Virginia Woolf and Photography1
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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. -
Virginia Woolf's Carlylean Pilgrimages
Revisiting a Great Man’s House: Virginia Woolf’s Carlylean Pilgrimages MARIE LANIEL LTHOU G H MANY EARLY TWENTIETH -CENTURY WRITERS TEND TO disparage Thomas Carlyle’s moral earnestness, emphatic A hero-worship, and stern authoritarianism, most of them also feel strangely compelled to express ambivalent feelings of involuntary allegiance towards the Victorian sage. Enveloped in spiritual turmoil, Bertrand Russell found comfort by reading Carlyle’s account of his own religious crisis in Sartor Resartus (1833– 34) and felt obliged to acknowledge that he was oddly “moved by rhetoric which [he] could not accept. Carlyle’s ‘Everlasting No’ and ‘Everlasting Yea’ seemed to me very splendid, in spite of my thinking that at bottom they were nonsense” (27). Such remarks help to explain Carlyle’s curiously cloaked influence in the novels of the period, ranging from E. M. Forster’s A Room with a View (1908) to D. H. Lawrence’s Women in Love (1920). In these circumstances, it was perhaps inevitable that James Joyce should recognize the advent of Carlylean rhetoric as a momentous stage in the development of English prose writing by including a true-to-life, if slightly irreverent, impersonation of the Victorian prophet in the “Oxen of the Sun” chapter in Ulysses (1922). Of all modernist writers, Virginia Woolf (1882–1941) was perhaps the most reluctant to acknowledge any debt towards Carlyle. Throughout her life she was impervious to his egotistical rhetoric and critical of his authoritarian streak. In a letter to Margaret Llewelyn-Davies (23 January 1916), Woolf derides his oracular tone and dismisses his gloomy insights as the ravings of a misguided prophet: “I’ve been reading Carlyle’s Past and Present, and wondering whether all his rant has made a scrap CSA 24 2008 118 CARLYLE STUDIE S ANNUAL of difference practically” (Letters 2: 76). -
Writing the Subject: Virginia Woolf and Clothes Carolyn Abbs
Writing the Subject: Virginia Woolf and Clothes Carolyn Abbs Virginia Woolf had a fascination with clothes and textiles. She wrote about clothes in her diaries, fiction and non-fiction and she even wrote for Vogue magazine – the editor was a friend.1 There may have been some in- fluence from William Morris’s designs and tapestries, the Omega work- shops of the time, Serge Diaghilev and costume designs for the Ballets Russes, and we know that she worked needlepoint with her sister Vanessa Bell. However, in regard to writing the subject, it was more than a mere fascination with clothes: she recognized the important link between clothes and the body. The other aspect of her life and work of relevance here is her intrigue with childhood and childhood experience – particularly the memory of her mother. I am interested in the way Woolf’s fascination with clothes and intrigue are entwined with childhood experience and memory in her work. In this paper, I suggest that Virginia Woolf has a method of writing the subject that involves clothes and textiles. The method stems from her autobiographical writing, in particular the childhood memory of her mother, and is carried through into her novelistic practice. I will argue that Woolf is able to fictionalize/ re-work memory as perception of the body by involving “clothes and textiles”;2 that is, she understands a confluence between body and clothes which she writes via the nonverbal and, in particular, the tactile to create the subject in her writing practice. It is this confluence which I un- COLLOQUY text theory critique 11 (2006). -
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. -
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. -
The Importance of the Ordinary. Moments of Being in Virginia Woolf’S Mrs
Pobrane z czasopisma New Horizons in English Studies http://newhorizons.umcs.pl Data: 25/09/2021 11:49:07 New Horizons in English Studies 1/2016 LITERATURE • Emilia Flis UNIVERSITY OF WARSAW [email protected] The Importance of the Ordinary. Moments of Being in Virginia Woolf’s Mrs. Dalloway Abstract. “A Sketch of the Past” is an essay in which Virginia Woolf recollects her childhood memo- ries and reflects upon certain events, while trying to understand why she remembers them and forgets others. She mentions the concept “moments of being”, though without providing the reader with a clear definition. The idea refers to the bits of our lives in which we experience something beyond the ordinary daily routine – the intense feeling of being alive. The author describes it as “a sudden violent shock; something happened so violently that I have remembered it all my life” (Woolf, A Sketch of the Past 71) and contrasts such intenseUMCS revelatory moments with “the cotton wool” (70) of non-being that defines most of our living. The concept “moments of being” is of great importance to the writer, as she herself states: ”And so I go on to suppose that the shock-receiving capacity is what makes me a writer” (72). The present article discusses the concept “moments of being” and attempts to capture its meaning by analysing selected passages from one of Virginia Woolf’s most famous novels, Mrs Dalloway. Keywords: modernism, time, the ordinary, stream of consciousness, identity, sexuality One of the characteristics of literary modernism is the focus on the ordinary. -
Impressionism in the Early Novels of Virginia Woolf Author(S): Jack F
Impressionism in the Early Novels of Virginia Woolf Author(s): Jack F. Stewart Reviewed work(s): Source: Journal of Modern Literature, Vol. 9, No. 2 (May, 1982), pp. 237-266 Published by: Indiana University Press Stable URL: http://www.jstor.org/stable/3831259 . Accessed: 27/06/2012 17:50 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of Modern Literature. http://www.jstor.org JACK F. STEWART UNIVERSITYOF BRITISHCOLUMBIA in the Impressionism Early Novels of Woolf Virginia In "A Sketch of the Past,"1 Virginia Woolf traces the origins of her sensibility in childhood. "If I were a painter," she observes, "I should paint these first impressions in pale yellow, silver, and green. There was the pale yellow blind; the green sea; and the silver of the passion flowers. I should make a picture that was globular; semi-transparent. I should make curved shapes, showing the light through, but not giving a clear outline. Everything would be large and dim; and what was seen would at the same time be heard . sounds indistinguishable from sights." This verbal painting has the glowing indistinctness of an Im? pressionist canvas: colors, shapes, sounds, and rhythms merge in a synthesis of sense and emotion. -
The Posthumanistic Theater of the Bloomsbury Group
Maine State Library Digital Maine Academic Research and Dissertations Maine State Library Special Collections 2019 In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group Christina A. Barber IDSVA Follow this and additional works at: https://digitalmaine.com/academic Recommended Citation Barber, Christina A., "In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group" (2019). Academic Research and Dissertations. 29. https://digitalmaine.com/academic/29 This Text is brought to you for free and open access by the Maine State Library Special Collections at Digital Maine. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Digital Maine. For more information, please contact [email protected]. IN THE MOUTH OF THE WOOLF: THE POSTHUMANISTIC THEATER OF THE BLOOMSBURY GROUP Christina Anne Barber Submitted to the faculty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy August, 2019 ii Accepted by the faculty at the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. COMMITTEE MEMBERS Committee Chair: Simonetta Moro, PhD Director of School & Vice President for Academic Affairs Institute for Doctoral Studies in the Visual Arts Committee Member: George Smith, PhD Founder & President Institute for Doctoral Studies in the Visual Arts Committee Member: Conny Bogaard, PhD Executive Director Western Kansas Community Foundation iii © 2019 Christina Anne Barber ALL RIGHTS RESERVED iv Mother of Romans, joy of gods and men, Venus, life-giver, who under planet and star visits the ship-clad sea, the grain-clothed land always, for through you all that’s born and breathes is gotten, created, brought forth to see the sun, Lady, the storms and clouds of heaven shun you, You and your advent; Earth, sweet magic-maker, sends up her flowers for you, broad Ocean smiles, and peace glows in the light that fills the sky. -
'A Society': an Aristophanic Comedy by Virginia Woolf
Athens Journal of Philology - Volume 1, Issue 2 – Pages 99-110 ‘A Society’: An Aristophanic Comedy by Virginia Woolf By Lucía P. Romero Mariscal ‘A Society’, by Virginia Woolf, was published in 1921. By this time the writer had notoriously proved not only her well-known opposition to the recent Great War but also her outspoken criticism against the inferiority of women writers and artists. She was also well acquainted with both the ancient Greek language and literature, and she continually referred to them in her private diaries and letters, as well as in her novels, short-stories and essays. As a matter of fact, she had already had a review printed on a pro-suffrage adaptation of Aristophanes’ Lysistrata (1910) and had read and discussed the translation that her friend Roger Fry had prepared in 1918. The content of this paper argues that ‘A Society’ deploys the mechanisms and plots of famous Aristophanean comedies, such as Lysistrata and Women of the Assembly, in order to enhance its own utopian and critical message. Taking the genre of ancient comedy as a foil, the development of the story, from the comic idea to the various references to historical, as much as personal, events acquires an enriched dimension that illustrates the writer’s learned and refined art of allusion. All in all, it is a witty and hilarious example of Virginia Woolf’s original and creative art of reception of the Greek classical tradition. I „and if there‟s one thing I love it is female society‟ L 2, p. 27 „If the Greeks are to survive, they must prove themselves alive‟ E 6, p. -
Virginia Woolf, Arnold Bennett, and Turn of the Century Consciousness
Colby Quarterly Volume 13 Issue 1 March Article 5 March 1977 The Moment, 1910: Virginia Woolf, Arnold Bennett, and Turn of the Century Consciousness Edwin J. Kenney, Jr. Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, Volume 13, no.1, March 1977, p.42-66 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Kenney, Jr.: The Moment, 1910: Virginia Woolf, Arnold Bennett, and Turn of the The Moment, 1910: Virginia Woolf, Arnold Bennett, and Turn ofthe Century Consciousness by EDWIN J. KENNEY, JR. N THE YEARS 1923-24 Virginia Woolf was embroiled in an argument I with Arnold Bennett about the responsibility of the novelist and the future ofthe novel. In her famous essay "Mr. Bennett and Mrs. Brown," she observed that "on or about December, 1910, human character changed";1 and she proceeded to argue, without specifying the causes or nature of that change, that because human character had changed the novel must change if it were to be a true representation of human life. Since that time the at once assertive and vague remark about 1910, isolated, has served as a convenient point of departure for historians now writing about the social and cultural changes occurring during the Edwardian period.2 Literary critics have taken the ideas about fiction from "Mr. Bennett and Mrs. Brown" and Woolfs other much-antholo gized essay "Modern Fiction" as a free-standing "aesthetic manifesto" of the new novel of sensibility;3 and those who have recorded and discussed the "whole contention" between Virginia Woolf and Arnold Bennett have regarded the relation between Woolfs historical observation and her ideas about the novel either as just a rhetorical strategy or a generational disguise for the expression of class bias against Bennett.4 Yet few readers have asked what Virginia Woolf might have nleant by her remark about 1910 and the novel, or what it might have meant to her. -
Virginia Woolf's to the Lighthouse: Toward an Integrated Jurisprudence
Virginia Woolf's To the Lighthouse: Toward an Integrated Jurisprudence Lisa Weilt I. INTRODUCTION Since the publication of Virginia Woolf s novel To the Lighthouse in 1927, a significant volume of critical commentary has grown to surround the work. These critical interpretations come in two types: some consider Woolf's technical experiments in style and form;' others consider her ideology. Commentaries which address Woolf's ideology include discussions of her views on philosophy, aesthetics, relations between the sexes, and feminist issues.2 In recent years, scholars have approached the novel with the insight of Woolf's autobiographical writings and have taken a particular interest in feminist and psychoanalytical themes in the work. This Article's analysis differs from the existing body of commentary by exploring another dimension of Woolf's ideology: her legal philosophy. Existing commentaries interpret the celebrated expedition to the Lighthouse as a quest for psychological maturity, truth, harmonious social relations between men and women, and aesthetic harmonies. This Article adds another dimension to the symbolic voyage and interprets the expedition as a quest for justice. Critics have often placed Woolf within the intellectual aristocracy of her time and judged her as an elitist who avoided themes of social and political importance.4 This Article counters that criticism and concludes that Woolf's t B.A. University of Pennsylvania, 1989; J.D. Georgetown University Law Center, 1993. 1 would especially like to thank my research advisor, Professor Robin West, whose scholarship and teaching, and insightful comments enriched this essay and this author. I would also like to thank Professor Mari Matsuda for her exemplary integration of feminist method and theory in the classroom. -
Journal of the Short Story in English, 50 | Spring 2008 “To Slip Easily from One Thing to Another”: Experimentalism and Perception In
Journal of the Short Story in English Les Cahiers de la nouvelle 50 | Spring 2008 Special issue: Virginia Woolf “To Slip Easily From One Thing To Another”: Experimentalism And Perception in Woolf’s Short Stories Teresa Prudente Édition électronique URL : http://journals.openedition.org/jsse/704 ISSN : 1969-6108 Éditeur Presses universitaires de Rennes Édition imprimée Date de publication : 1 juin 2008 ISSN : 0294-04442 Référence électronique Teresa Prudente, « “To Slip Easily From One Thing To Another”: Experimentalism And Perception in Woolf’s Short Stories », Journal of the Short Story in English [En ligne], 50 | Spring 2008, mis en ligne le 06 février 2015, consulté le 03 décembre 2020. URL : http://journals.openedition.org/jsse/704 Ce document a été généré automatiquement le 3 décembre 2020. © All rights reserved “To Slip Easily From One Thing To Another”: Experimentalism And Perception in... 1 “To Slip Easily From One Thing To Another”: Experimentalism And Perception in Woolf’s Short Stories Teresa Prudente 1 Woolf’s engagement with the short story is to be read as more than an occasional exploration and alternative to her constant experimentation as a novelist: indeed, her short stories appear to unveil the foundation of her experiments in narrative and to provide us with an important insight into her innovative approach to writing. 2 From this point of view, the short stories which Woolf composed between the years 1917-1921, collected in the volume Monday or Tuesday (1921), testify to the writer’s crucial shift from her conventional writing in her first novels, i.e., The Voyage Out (1915) and Night and Day (1919), to more radical forms of writing.