Virginia Woolf's Illnesses, by Douglass W

Total Page:16

File Type:pdf, Size:1020Kb

Virginia Woolf's Illnesses, by Douglass W Clemson University TigerPrints Monographs Clemson University Digital Press 2004 Virginia Woolf 's Illnesses Douglas W. Orr, M.D. Follow this and additional works at: https://tigerprints.clemson.edu/cudp_mono Recommended Citation Virginia Woolf's Illnesses, by Douglass W. Orr, M.D., edited by Wayne K. Chapman (Clemson, SC: Clemson University Digital Press, 2004), xiv+182 pp. Paper. ISBN 0-9741516-8-8 This Book is brought to you for free and open access by the Clemson University Digital Press at TigerPrints. It has been accepted for inclusion in Monographs by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Virginia Woolf’s Illnesses i VIRGINIA WOOLF’S ILLNESSES ii Virginia Woolf’s Illnesses Douglass W. Orr, M.D. ! Edited by Wayne K. Chapman iii VIRGINIA WOOLF’S ILLNESSES A full-text digital version of this book is available on the Internet, in addition to other works of the press and the Center for Electronic and Digital Publishing, including The South Carolina Review and The Upstart Crow: A Shakespeare Journal. See our Web site at www.clemson.edu/caah/cedp, or call the director at 864-656-5399 for information. Copyright 2004 by Clemson University ISBN 0-9741516-8-8 Published by Clemson University Digital Press at the Center for Electronic and Digital Publishing, College of Architecture, Arts and Humanities, Clemson University, Clemson, South Carolina. Produced in the MATRF Laboratory at Clemson University using Adobe Photoshop 5.5 , Adobe Pagemaker 6.5, Microsoft Word 2000. This book is set in Garamond and was printed by University Printing Services, Office of Publications and Promotional Services, Clemson University. Copy editing and layout at the press by Wayne K. Chapman (Executive Editor), assisted by Charis Chapman, Angela Price, and Kevin Manus. To order copies, contact the Center for Electronic and Digital Publishing, Strode Tower, Box 340522, Clemson University, Clemson, South Carolina 29634-0522. An order form is avail- able at the digital press Web site (see above) under “Publications” and linked to the on-line edition of the book. iv Contents Preface viii Acknowledgments xiv ! Chapter One: The Stephen Family 1 Leslie Stephen 3 Hereditary Madness 4 Julia Stephen 5 The Marriage 6 Virginia’s Views of Her Early Family Life 8 Chapter Two: Virginia’s Childhood 11 The Setting When Virginia Was Born 12 Virginia’s Early Years 13 Separations and Losses 16 Some Especially Crucial Years 17 “A State of Anxious Growth” 22 Chapter Three: Traumatic Early Adolescence 25 Early Medical History 26 1895: After Julia’s Death 27 1896 29 1897 30 Adolescence 33 Summary 35 Chapter Four: The Second Major Breakdown 38 Relations with George Duckworth 39 Leslie Stephen’s Death 41 Virginia’s View of Her 1904 Breakdown 43 The Second Madness 44 The Rest Cure 47 A New Life 49 v VIRGINIA WOOLF’S ILLNESSES Chapter Five: The 1910 Illness 53 Why This Illness? 55 Chapter Six: Engagement and Marriage 57 Preliminary 58 Leonard Woolf Returns 59 Reasons for Doubts 62 Chapter Seven: Madness Again: 1913 65 The Decision Not To Have Children 67 Virginia’s Letters: First Half of 1913 70 Another Rest Cure 73 Curious and Fateful Mistakes 75 Chapter Eigth: Madness Once More: 1915 79 The Wise Virgins 81 Notes on Psychopathology 84 Conclusion 85 Chapter Nine: Books and Illnesses: I 87 General Observations 88 Night and Day 90 Jacob’s Room 93 Chapter Ten: Books and Illnesses: II 97 Mrs. Dalloway 98 To the Lighthouse 100 Orlando 103 The Waves 104 Chapter Eleven: Books and Illnesses: III 109 Flush 110 The Years 111 The Menopause 118 Winding Up The Years 119 Chapter Twelve: Books and Illnesses: IV 123 Three Guineas 124 vi Roger Fry: A Biography 126 Chapter Thirteen: Virginia’s Account of Her Final Year 131 Invasion Expected 132 The Battle of Britain 134 The Final Month 141 Chapter Fourteen: Virgina’s Suicide and the Aftermath 149 Quiet Suffocation 151 The Suicide and Its Aftermath 152 Why Did Virginia Commit Suicide? 154 Chapter Fifteen: Notes on Diagnosis 159 Hereditary Illness? 160 Manic-Depressive? 161 Reactive Psychosis? 162 Narcissistic Personality? 163 Sexuality 167 Summary 168 Notes (by Chapter) 173 ! A Note on the Author 182 vii VIRGINIA WOOLF’S ILLNESSES Preface he opportunity to edit and publish this book began with a lucky coinci- dence. In June 2002, I presented a paper at the Twelfth Annual Confer- T ence on Virginia Woolf at Sonoma State University. The paper had enough of a Julian Bell connection to have been placed in a panel generally about Julian and Quentin Bell. The coincidence was that a fellow presenter, Nancy Orr Adams, who might not have attended the conference had it been anywhere but in Califor- nia that year, gave a rousing account of the unfortunate history of her father’s work in the hands of conventional publishing houses, both commercial and aca- demic. A marriage, family, and child counselor from Ukiah, she had collaborated with him on his last published book, Life Cycle Counseling (1987; see the biographi- cal note on p. 182, below). Naturally, she tried to steer Virginia Woolf’s Illnesses toward an appropriate press after his death in 1990. Overall, the way proved daunting but more so after cancer surgery and strokes had sidelined his pursuit of a publisher, leaving “the ms. to a much younger writer” who was to “revise it,” he said, “becoming my co-author” (unpublished letter, D. W. Orr to Quentin Bell, 4 June 1988). The more the pity the book missed that moment to make the “real and valuable contribution to our understanding of Virginia as a person” that the late Professor Bell predicted in a letter he gave to the manuscript as an Introduc- tion. I have kept the letter in its place but have attached it to the Acknowledg- ments on p. xiv. The audience at Sonoma State suggested that discussions gener- ally known to be taking place in the International Virginia Woolf Society’s business sessions—on an emerging consortium for publishing scholarship on Virginia Woolf online and on-demand—might offer this book to interested readers without un- due delay and expense. And this is precisely what has come to pass in the work you have before you.1 Nancy Adams’s paper was, as its subtitle declared, “a story about the author [Douglass W. Orr], his wife and Professor Quentin Bell.” Her approach sug- gested my own interest in writing couples. For she said, “My story is not specifi- cally concerned with Virginia Woolf herself, but with a married couple named Jean and Douglass Orr. Professionally, Jean was a social worker and Douglass a pioneer and prominent West Coast psychoanalyst.” As she drew on her father’s unpublished Preface at that point, it seems best here to quote Dr. Orr himself on the origin of the study and his affinity for Woolf as a subject. It all began when he and his wife made a trip abroad in 1969. In 1984, he wrote: About fifteen years ago a fellow tourist in London gave me a newspaper clipping about Bloomsbury the district and the Group. The article included the episode of Virginia and Leonard Woolf buying a hand-operated print- ing press in 1917, and it dawned on me that this was the beginning of the viii Hogarth Press. As a psychoanalyst I already knew that the Press had pub- lished the Standard Edition of Freud in English, and a good many other psychoanalytic writings, as well. I began reading about those in, or on the fringes of, the Bloomsbury Group who were involved with psychoanalysis: the Woolfs as publishers, James and Alix Strachey as translators, Adrian and Karin Stephen as practi- tioners, and Lytton Strachey, whose works James sent to Freud, who in turn complimented Lytton on his psychological understanding of Elizabeth and Essex. There was also Roger Fry who disagreed with Freud about the sources of artistic creativity in a pamphlet published by the Hogarth Press. As a physician and psychiatrist, as well as a psychoanalyst, I was caught up in the problem of Virginia Woolf’s “madness.” This book is my attempt to shed additional light on the origins and symptoms of her various illnesses, both mental and physical. I shall suggest different perspectives from those in other writings about her mental breakdowns. In those days, Quentin Bell’s famous biography was but a work in progress. The Orrs had begun to immerse themselves in the works of Virginia Woolf, her family, friends, and critics. Dr. Orr wrote a 52-page paper entitled “Psychoanalysis and The Bloomsbury Group,” which was read at a meeting of the San Diego Psychoanalytic Society on 21 April 1978. Adams recalls that, although never pub- lished in the Psychoanalytic Quarterly, for which it was intended, this “contribution to the history of psychoanalysis . whetted [her father’s] appetite to delve further into the world of Virginia Woolf, her family, and various Bloomsbury Group members.”2 In time, the book he wrote needed to be defined and qualified pro- fessionally in terms of everything that ought, or might, be said: This is not a psychobiography. I am not telling everything I know or, as a psychoanalyst, can surmise about Virginia’s psychic development and func- tioning. I cannot, for example, analyze the somatic delusions of two of her illnesses or the episodes that suggest anorexia nervosa. I shall mention a number of diagnostic possibilities, granting that I have not examined my “patient.” I venture to do so because diagnoses in psychiatry particu- larly are based upon careful history-taking, and, except for infancy, we have a good deal of Virginia’s life history both in her own words and in the reminiscences of others.
Recommended publications
  • Read Ebook {PDF EPUB} from the Lighthouse to Monk's House a Guide to Virginia Woolf's Literary Landscapes by Katherine C
    Read Ebook {PDF EPUB} From the Lighthouse to Monk's House A Guide to Virginia Woolf's Literary Landscapes by Katherine C. From the Lighthouse to Monk's House: A Guide to Virginia Woolf's Literary Landscapes by Katherine C. Hill-Miller. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #0556ee20-ce2f-11eb-856e-9999daff4577 VID: #(null) IP: 116.202.236.252 Date and time: Tue, 15 Jun 2021 23:11:31 GMT. From the Lighthouse to Monk's House: A Guide to Virginia Woolf's Literary Landscapes by Katherine C. Hill-Miller. Our systems have detected unusual traffic activity from your network. Please complete this reCAPTCHA to demonstrate that it's you making the requests and not a robot. If you are having trouble seeing or completing this challenge, this page may help. If you continue to experience issues, you can contact JSTOR support. Block Reference: #056a00f0-ce2f-11eb-8eb8-cb18dba6015e VID: #(null) IP: 116.202.236.252 Date and time: Tue, 15 Jun 2021 23:11:31 GMT. HILL-MILLER, Katherine C(ecelia) HILL-MILLER, Katherine C(ecelia). American, b. 1949. Genres: Writing/Journalism, Language/Linguistics. Career: Kingsborough Community College of the City University of New York, Brooklyn, NY, adjunct lecturer in English, 1972-73; College of William and Mary, Williamsburg, VA, assistant professor of English, 1978-80; Long Island University, C.W.
    [Show full text]
  • It Is Time for Virginia Woolf
    TREBALL DE FI DE GRAU Tutor/a: Dra. Ana Moya Gutierrez Grau de: Estudis Anglesos IT IS TIME FOR VIRGINIA WOOLF Ane Iñigo Barricarte Universitat de Barcelona Curso 2018/2019, G2 Barclona, 11 June 2019 ABSTRACT This paper explores the issue of time in two of Virginia Woolf’s novels; Mrs Dalloway and To the Lighthouse. The study will not only consider how the theme is presented in the novels but also in their filmic adaptations, including The Hours, a novel written by Michael Cunningham and film directed by Stephen Daldry. Time covers several different dimensions visible in both novels; physical, mental, historical, biological, etc., which will be more or less relevant in each of the novels and which, simultaneously, serve as a central point to many other themes such as gender, identity or death, among others. The aim of this paper, beyond the exploration of these dimensions and the connection with other themes, is to come to a general and comparative conclusion about time in Virginia Woolf. Key Words: Virginia Woolf, time, adaptations, subjective, objective. Este trabajo consiste en una exploración del tema del tiempo en dos de las novelas de Virginia Woolf; La Señora Dalloway y Al Faro. Dicho estudio, no solo tendrá en cuenta como se presenta el tema en las novelas, sino también en la adaptación cinematográfica de cada una de ellas, teniendo también en cuenta Las Horas, novela escrita por Michael Cunningham y película dirigida por Stephen Daldry. El tiempo posee diversas dimensiones visibles en ambos trabajos; física, mental, histórica, biológica, etc., que cobrarán mayor o menor importancia en cada una de las novelas y que, a su vez, sirven de puntos de unión para otros muchos temas como pueden ser el género, la identidad o la muerte entre otros.
    [Show full text]
  • The Charleston Bulletin Supplements, by Virginia Woolf and Quentin Bell, the British Library, London (ISBN 978 0 7123 5891), 2013
    The Charleston Bulletin Supplements, by Virginia Woolf and Quentin Bell, The British Library, London (ISBN 978 0 7123 5891), 2013. In 2003 the British Library purchased the manuscripts of The Charleston Bulletin and, a decade later, it launched this attractive edition of a selection of special issues or supplements to the daily Bulletin. Ninety years ago Vanessa and Clive Bell’s sons, Julian, aged fifteen, and Quentin Bell, thirteen, began to create their family newspaper. Quentin took the lead in the enterprise as he explains in the Afterword to his aunt Virginia Woolf’s The Widow and the Parrot: ‘I made all the illustrations and most of the other matter. From time to time my brother got bored and stopped work. I carried on reporting and inventing the news as best I could until he, exasperated by my spelling, my handwriting, my grammar etc, would take over again. Thus it happened that I asked for a contribution from my aunt Virginia’ (1). The enthusiastic participation of his aunt, who was by now a celebrated writer, explains why this book is now being published. The book is over 130 pages long, clearly printed on good quality paper and it is reasonably priced at £12.99. It includes eight black and white photographs and forty illustrations that have been carefully reproduced in authentic colour. The original collection at the British Library comprises many variously-sized pages with lots of white space on each. Inevitably compromise had to be made to compress irregular manuscripts into a neat, conventional, uniform book. The manuscript of The Dunciad edition, for instance, is 415 x 263 mm but here the images of that edition are reproduced as 140 x 110 mm on pages that are 210 x 130 mm.
    [Show full text]
  • Truly Miscellaneous Sssss
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Roger Fry and the art of the book: Celebrating the centenary of the Hogarth Press 1917-2017 Author(s) Byrne, Anne Publication Date 2018 Publication Byrne, Anne. (2018). Roger Fry and the Art of the Book: Information Celebrating the Centenary of the Hogarth Press 1917-2017. Virginia Woolf Miscellany, 92 (Winter/Fall), 25-29. Publisher International Virginia Woolf Society Link to https://virginiawoolfmiscellany.wordpress.com/virginia-woolf- publisher's miscellany-archive-issue-84-fall-2013-through-issue-92-fall- version 2017-winter-2018/ Item record http://hdl.handle.net/10379/15951 Downloaded 2021-09-25T22:35:05Z Some rights reserved. For more information, please see the item record link above. Space Consumes Me The hoop dancer dance...demonstrating how the people live in motion within the circling...spirals of time and space. They are no more limited than water and sky. Byrne, Anne. 2018. Roger Fry and the Paula Gunn Allen, The Sacred Hoop Truly Miscellaneous Art of the Book, Virginia Woolf Life is not a series of gig lamps symmetrically arranged, life is a luminous halo sssss Miscellany, No 92, Winter/Spring a semi-transparent envelope surrounding us from the 2018, 25-29. beginning of consciousness to the end.” Virginia Woolf, “Modern Fiction” Roger Fry and the Art of the Book: Celebrating the Centenary of the Hogarth Press 1917-20171 The earliest SPACE WAS MOTHER Making an Impression I join the friendly, excited queue around the hand-operated press, Her womb a circle of all waiting in line for an opportunity to experience the act of inking the And entry as well, a circle haloed by freshly inked plate.
    [Show full text]
  • Copyright Statement
    COPYRIGHT STATEMENT This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii REX WHISTLER (1905 – 1944): PATRONAGE AND ARTISTIC IDENTITY by NIKKI FRATER A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities & Performing Arts Faculty of Arts and Humanities September 2014 iii Nikki Frater REX WHISTLER (1905-1944): PATRONAGE AND ARTISTIC IDENTITY Abstract This thesis explores the life and work of Rex Whistler, from his first commissions whilst at the Slade up until the time he enlisted for active service in World War Two. His death in that conflict meant that this was a career that lasted barely twenty years; however it comprised a large range of creative endeavours. Although all these facets of Whistler’s career are touched upon, the main focus is on his work in murals and the fields of advertising and commercial design. The thesis goes beyond the remit of a purely biographical stance and places Whistler’s career in context by looking at the contemporary art world in which he worked, and the private, commercial and public commissions he secured. In doing so, it aims to provide a more comprehensive account of Whistler’s achievement than has been afforded in any of the existing literature or biographies. This deeper examination of the artist’s practice has been made possible by considerable amounts of new factual information derived from the Whistler Archive and other archival sources.
    [Show full text]
  • With the Reader's Superficial Difficulties with the Text and Designs'
    88 ESSAYS IN CRITICISM with the reader's superficial difficulties with the text and designs'. Few would want Frye's work rewritten, but many must feel, as I do, that Blake studies remain altogether too far from the actual words and lines—and the 'superficial difficulties' they raise—of Blake's pictures and poems. The proliferation of introductions to an already well-known Downloaded from https://academic.oup.com/eic/article/XXIX/1/88/452948 by guest on 27 September 2021 artist and poet (not even Wordsworth is as frequently quoted, and reproductions of Blake's work appear every- where, often in the most improbable places) seems to me to inhibit a proper appreciation and understanding of his work—precisely because it necessitates the sorts of short- cuts and assumptions of authority to which I've been objecting. Roehampton Institute ZACHARY LEADER VIRGINIA WOOLF The Novels of Virginia Woolf. By HERMIONE LEE. Methuen, 1977; boards £5.50, paper £2.95. Hermione Lee declares her intention at the start: not to write about Bloomsbury or lesbianism but about Virginia Woolf s nine novels 'in the hope of turning attention back from the life to the fictional work'. Nevertheless she quotes a good deal from Quentin Bell's Life, comments a fair amount on the ethos of Bloomsbury and uses A Writer's Diary extensively to show what Virginia Woolf was aiming at and what she felt about her own work. Whether we judge this opportunist or wisely eclectic, it does ensure that the novels are considered as a developing life-work, a series of attempts, in Miss Lee's words, 'to find a way of expressing life (or truth, or reality; the terms are frequently interchangeable) in arf.
    [Show full text]
  • Between the Acts Article
    ‘On different levels ourselves went forward’ : pageantry, class politics and narrative form in Virginia Woolf’s late writing Harker, B http://dx.doi.org/10.1353/elh.2011.0019 Title ‘On different levels ourselves went forward’ : pageantry, class politics and narrative form in Virginia Woolf’s late writing Authors Harker, B Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/11555/ Published Date 2011 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. ‘On different levels ourselves went forward’: pageantry, class politics and narrative form in Virginia Woolf’s late writing. Ben Harker In August 1936 the Rodmell village branch of the Labour Party held its monthly meeting in the usual venue, Monk’s House, the home of Leonard and Virginia Woolf. Those present included the Woolfs, the village postman Mr Fears and his wife, farm- worker Mr Hubbard, the Woolfs’ domestic servant Louie Everest (branch secretary) and her husband Bert, a labourer at the nearby cement works.1 A number of the assembled activists were also the Woolfs’ employees and tenants, and entrenched class dynamics rubbed against more egalitarian objectives: as recently as the 1929 General Election Virginia Woolf had been jolted by the realisation that she and her servants wanted the same side to win, reflecting in her diary that ‘to be ruled by Nelly [Boxall] and Lottie [Hope] would be a disaster.’2 As Raymond Williams points out it in his essay ‘The Bloomsbury Fraction’, the Woolfs’ circle had never been the politically disengaged aesthetes often caricatured by the left.
    [Show full text]
  • Virginia Woolf: the Outer and the Inner
    Masaryk University in Brno Faculty of Arts Department of English and American Studies English Language and Literature Virginia Woolf: The Outer and the Inner MA Major Thesis Author : Anna Krausová Supervisor : Mgr. Klára Kolinská, M.A.., Ph.D. 2008 - 1 - Contents 1. Introduction . 1 2. The Issue of the Form . 2 3. Orlando , the Precursor of The Years . 8 4. Orlando: A Biography . 11 4.1 The Portrait and Its Model . 11 4.2 Orlando , Time as a Qualitative Aspect of Reality . 21 4.3 Orlando , The Search for the Real Self and the Shaping of Poetic Vision. 27 5. The Pargiters : An Experiment with a Novel-Essay. 40 6. The Years : The Problem of Combining Fact and Vision . 51 7. The Years : The Aspect of Vision in the Search for Pattern . 57 8. Conclusion . 65 Bibliography . 66 - 2 - 1. Introduction In my MA Thesis I concentrate on the following works of Virginia Woolf: Orlando: A Biography , The Pargiters: The Novel-Essay Portion of The Years and The Years . The novel Orlando is included into this selection because it has certain similarities with The Pargiters and The Years . The Pargiters , a novel-essay, is an interesting experiment in the form as it alternates didactic and fictional chapters. In the second chapter, entitled “The Issue of the Form,” I focus on the meaning of the form for the expression of various aspects of reality. The third chapter, “ Orlando , the Precursor of The Years ,” discusses some links between Orlando and The Years and explains the subtitle “A Biography.” The fourth chapter, called “ Orlando: A Biography ,” is divided into three subchapters.
    [Show full text]
  • Novel to Novel to Film: from Virginia Woolf's Mrs. Dalloway to Michael
    Rogers 1 Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ Novel to Novel to Film: From Virginia Woolf’s Mrs. Dalloway to Michael Cunningham’s and Daldry-Hare’s The Hours Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Fall 2015 By Jacob Rogers ____________________ Thesis Director Dr. Kirk Boyle ____________________ Thesis Advisor Dr. Lorena Russell Rogers 2 All the famous novels of the world, with their well known characters, and their famous scenes, only asked, it seemed, to be put on the films. What could be easier and simpler? The cinema fell upon its prey with immense rapacity, and to this moment largely subsists upon the body of its unfortunate victim. But the results are disastrous to both. The alliance is unnatural. Eye and brain are torn asunder ruthlessly as they try vainly to work in couples. (Woolf, “The Movies and Reality”) Although adaptation’s detractors argue that “all the directorial Scheherezades of the world cannot add up to one Dostoevsky, it does seem to be more or less acceptable to adapt Romeo and Juliet into a respected high art form, like an opera or a ballet, but not to make it into a movie. If an adaptation is perceived as ‘lowering’ a story (according to some imagined hierarchy of medium or genre), response is likely to be negative...An adaptation is a derivation that is not derivative—a work that is second without being secondary.
    [Show full text]
  • Open Research Online Oro.Open.Ac.Uk
    Open Research Online The Open University’s repository of research publications and other research outputs Haunted houses: influence and the creative process in Virginia Woolf’s novels Thesis How to cite: De Gay, Jane (1998). Haunted houses: influence and the creative process in Virginia Woolf’s novels. PhD thesis The Open University. For guidance on citations see FAQs. c 1998 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000e191 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk 0NP--ZS7t?1 CTEVIý Haunted Houses Influence and the Creative Process in Virginia Woolf's Novels Jane de Gay, B. A. (Oxon. ) Thesis submitted for the qualification of Ph. D. Department of Literature, The Open University 14 August 1998 \ -fnica 0P 7 O-C,C- "n"Al"EA) For Wayne Stote and in memory of Alma Berry This influence, by which I mean the consciousness of other groups impinging upon ourselves; public opinion; what other people say and think; all those magnets which attract us this way to be like that, or repel us the other and make us different from that; has never been analysed in any of those Lives which I so much enjoy reading, or very superficially. 'A Sketch Past' - Virginia Woolf, of the Abstract This thesis argues that rather than being an innovative, modernist writer, Virginia Woolfs methods, themes, and aspirations were conservative in certain central ways, for her novels were influenced profoundly by the work of writers from earlier eras.
    [Show full text]
  • John Halperin Bloomsbury and Virginia W
    John Halperin ., I Bloomsbury and Virginia WooH: Another VIew . i· "It had seemed to me ever since I was very young," Adrian Stephen wrote in The Dreadnought Hoax in 1936, "that anyone who took up an attitude of authority over anyone else was necessarily also someone who offered a leg to pull." 1 In 1910 Adrian and his sister Virginia and Duncan Grant and some of their friends dressed up as the Emperor of Abyssinia and his suite and perpetrated a hoax upon the Royal Navy. They wished to inspect the Navy's most modern vessel, they said; and the Naval officers on hand, completely fooled, took them on an elaborate tour of some top­ secret facilities aboard the HMS Dreadnought. When the "Dread­ nought Hoax," as it came to be called, was discovered, there were furious denunciations of the group in the press and even within the family, since some Stephen relations were Naval officers. One of them wrote to Adrian: "His Majesty's ships are not suitable objects for practical jokes." Adrian replied: "If everyone shared my feelings toward the great armed forces of the world, the world [might] be a happier place to live in . .. armies and suchlike bodies [present] legs that [are] almost irresistible." Earlier a similarly sartorial practical joke had been perpetrated by the same group upon the mayor of Cam­ bridge, but since he was a grocer rather than a Naval officer the Stephen family seemed unperturbed by this-which was not really a thumbing·of-the-nose at the Establishment. The Dreadnought Hoax was harder to forget.
    [Show full text]
  • The Life and Works of Beatrice Elvery, 1881-1920
    Nationalism, Motherhood, and Activism: The Life and Works of Beatrice Elvery, 1881-1920 Melissa S. Bowen A Thesis Submitted to the Department of History California State University Bakersfield In Partial Fulfillment of the Requirements for the Degree of Master of Arts in History May 2015 Copyright By Melissa S. Bowen 2015 Acknowledgments I am incredibly grateful for the encouragement and support of Cal State Bakersfield’s History Department faculty, who as a group worked closely with me in preparing me for this fruitful endeavor. I am most grateful to my advisor, Cliona Murphy, whose positive enthusiasm, never- ending generosity, and infinite wisdom on Irish History made this project worthwhile and enjoyable. I would not have been able to put as much primary research into this project as I did without the generous scholarship awarded to me by Cal State Bakersfield’s GRASP office, which allowed me to travel to Ireland and study Beatrice Elvery’s work first hand. I am also grateful to the scholars and professionals who helped me with my research such as Dr. Stephanie Rains, Dr. Nicola Gordon Bowe, and Rector John Tanner. Lastly, my research would not nearly have been as extensive if it were not for my hosts while in Ireland, Brian Murphy, Miriam O’Brien, and Angela Lawlor, who all welcomed me into their homes, filled me with delicious Irish food, and guided me throughout the country during my entire trip. List of Illustrations Sheppard, Oliver. 1908. Roisin Dua. St. Stephen's Green, Dublin. 2 Orpen, R.C. 1908. 1909 Seal. The Royal Institute of the Architects of Ireland, Dublin.
    [Show full text]