NUMBER 74 FALL/WINTER 2008 To the Readers: possibilities” explored by Woolf in constructing her — TABLE of CONTENTS — text. In her 1931 essay “Aurora Leigh,” Woolf wonders, see page 10 with due irony, “what damage the art of photography EVENTS and CFPs At the very least, by attending to photographs has inflicted upon the art of literature” (218). see pages 2-9 and photography in Woolf studies, fresh avenues Indeed, since she had already included photographs – MLA 2009 CFP/MLA 2008 – for research and scholarship open up for our in Orlando (1928), and references to photography – Virginia Woolf Conferences – deliberation. Woolf’s use of photographs in her and notional photographs had found a place in – A Year of Bloomsbury at Duke – own work provides one of those avenues, certainly. much of her work before then, including in all of – SCSU Graduate Conference – In her diaries and letters, she discusses informal the novels, the suggestion that photography might photographs casually, much as we might in 2008, – A Room of Their Own Exhibit – have a deleterious effect on the literary seems including snapshots taken by Leonard and others decidedly tongue-in-cheek. Moreover, in addition to – Summer Course at U of Sussex– in her circles, and the images that she sees in taking pictures on her own cameras and developing – A Room of One’s Own at Cambridge – newspapers and in other publications. These photographs with Leonard, she had also written an objects, many of which are extant, contain much important introduction to a retrospective collection Virginia Woolf Miscellany salient material for new scholarly exploration. of her Great Aunt Julia Margaret Cameron’s Guest Editors & CFPs The formal photographs of Woolf and of her photography, Victorian Photographs of Famous Issue #75—Spring 2009 contemporaries offer still more pathways of study: Men & Fair Women (1926). After 1931, she would Elisa Sparks as Brenda Silver’s invaluable Virginia Woolf Icon continue to explore photography in her literature; Country and City reminds us, it is these images that have created Flush (1933), Three Guineas (1938), and Roger Fry in Woolf’s Life and Work the cultural phenomenon surrounding Woolf’s (1940) use photographs to create the illusion of truth [email protected] celebrity. There remains, however, much work to be in a narrative, for rhetorical effect, and to illustrate done historicizing and analyzing the photographs aspects of her textual subject. Issue #76—Fall 2009 of Woolf, including the snapshots and the posed Patrick Collier images taken by Gisèle Freund, Man Ray, and The timeliness of an issue on photography is Woolf in Periodicals/ others. occasioned by the attention in Woolf studies to Woolf on Periodicals. The VWM, seeks short essays (2000 visual culture and to her investment in various ocular The notional photographs appearing in her fiction words maximum) investigating Virginia mediums. Specifically focused on photography, Woolf’s interactions with periodicals. serve, in part, to call attention to modern objects Maggie Humm’s Modernist Women and Visual Particularly welcome are essays that in her narrative settings, but they also function CulturesVirginia (2003) and Snapshots of Bloomsbury (2006)Woolf read periodicals themselves as Miscellanycomplex in other ways that ask for interpretive attention. have been especially useful in making available cultural texts while contextualizing and/or Kimberly Lamm’s essay in this issue performs photographs taken by and of Woolf’s circle; historicizing Woolf’s contributions. Essays that kind of analysis on key examples in Woolf’s Humm has also offered theoretical frameworks that shed new light on Woolf’s evolving photographic “image repertoire,” to locate Woolf’s for considering the camera work that we associate attitudes towards journalism and the print consideration of photography within the larger marketplace are also welcome. with Woolf. In addition, with the restoration of the context of women’s relationship to the medium, Deadline: July 1, 2009 photographs in the annotated Harcourt edition of Submit essays via suggesting that we might assess her employment of Three Guineas (2006), introduced and edited by email attachment to Patrick Collier at photographs as resistant to the matrilineal heritage Jane Marcus (Mark Hussey, general editor), the text [email protected] advanced by Cameron. As Orlando and Three has become readily accessible in all of its original Issue #77—Fall 2009 Guineas indicate, Woolf also thought rigorously visual richness, properly returning it formally to Kristin Czarnecki about theoretical aspects of photographic images; something akin to the hybrid genre comprised of Woolf and the Natural World in one of these texts she uses photographs to textual elements and photos that W. J. T. Mitchell advance her fiction, challenging realist predicates Issue #78—Spring 2010 has delineated as the “photo essay,” a generic term of the medium and of historical narrative. In the Maggie Humm that he attributes to Tom Moran.1 The re-inclusion other, as Jean Mills’s essay in this issue reminds Virginia Woolf and Copyright of those photographs necessitates a rereading of Please send me any items on tips/advice/ us, the restored photographs in Three Guineas are Woolf’s text and also suggests the need to restore past histories/horror stories in a necessity, and they also serve to “manipulate images, facsimile covers, and other materials to other handling intellectual property/permissions perception,” ultimately reinforcing the impetus of texts in her oeuvre. We can only hope that Harcourt and copyright issues Woolf’s extraordinary argument. will see fit to publish a new edition ofFlush, for Woolf studies (or in general) complete with the original illustrations, including Address: email [email protected] Celia Marshik’s and Jane Garrity’s essays the photograph that Humm discusses in her essay in Professor Maggie Humm exemplify still other ways in which photographs Research Leader SSMACS this issue. Here she asks about the woman posing afford productive approaches to contextual University of East London as Elizabeth Barrett, sitting with the ostensible 4-6 University Way matters connected to Woolf’s circles. In both “Flush,” in order to consider the range of “visual London E16 2RD cases the essays tease out questions concerning The deadline for submissions is Omega designs. Marshik’s essay infers 1 See Mitchell (94), in which he discusses briefly the August 31, 2009. Thank you. from a photograph—either “imaginary or a kinds of photo-essays that “contain strong textual element, Issue #79 representation”—something more about how where the text is most definitely an ‘invasive’ and even fashion from the workshops—designs for garments domineering element” (286), vis-à-vis the Eugene Smith Gill Lowe Woolf and Juvenilia that are no longer extant—might have appeared. account (included in Moran 14-15) of photo-essays without Garrity’s piece asks Woolfians for help in finding any texts. 1 the “origins, context, and archival location” of a specific photograph of MLA 2008 IN SAN FRANCISCO Vanessa Bell modeling a dress of her own design. Her query implicitly THE PANELS proposes another issue surrounding photographs from the period: unlike Saturday, 27 December texts or other works of art in modernism, questions of origin, attribution, 74. Troping the Light Fantastic: Woolf’s Use of Desire and Pleasure and provenance proliferate for a medium that was almost infinitely 5:15–6:30 p.m., Hilton San Francisco reproducible and whose representational status as an art form was Program arranged by the International Virginia Woolf Society marginal and still tenuous. Presiding: Brenda S. Helt, Univ. of Minnesota, Twin Cities 1. “The ‘Power to Cut and Wound and Excite’: Feeling and The five essays in this issue suggest how Woolf studies can usefully Communication after War in Mrs. Dalloway,” Wyatt Bonikowski, consider photography and photographs to advance fresh questions about Suffolk Univ. familiar materials and to relocate “lost” or overlooked materials for 2. “The Concentrated Camp of Between the Acts,” Sam See, Univ. of fresh contemplation. In such an undertaking, we might very well find California, Los Angeles ourselves in the position of her fellow diners that Woolf describes in 3. “Music, Musicality, and Intimacy: Performing the Immaterial in her essay on Walter Sickert: “what excites them in those photographs is Virginia Woolf’s The Voyage Out,” Bret L. Keeling, Northeastern something so deeply sunk that they cannot put words to it” (191). Like Univ. Woolf, however, the effort to put images into (and in conjunction with) For copies of abstracts, visit http://www.utoronto.ca/IVWS/ words can provide imaginative and theoretically fruitful results. Monday, 29 December Thaine Stearns 499. Orlando’s “House Was No Longer Hers Entirely”: Property in Sonoma State University Virginia Woolf 10:15–11:30 a.m., Hilton San Francisco Works Cited Program arranged by the International Virginia Woolf Society Cameron, Julia Margaret. Victorian Photographs of Famous Men & Fair Presiding: Jamie McDaniel, Case Western Reserve Univ. Women. Introductions by Roger Fry and Virginia Woolf. London: 1. “‘I’m Dead, Sir!’: The Writings of C. P. Sanger and the Influence of Hogarth Press, 1926. Intestacy Law in Orlando: A Biography,” Jamie McDaniel, Case Humm, Maggie. Modernist Women and Visual Cultures: Virginia Woolf, Western Reserve Univ. Vanessa Bell, Photography and Cinema. New Brunswick: Rutgers 2. “Floating Real Estate, Modern(ist) Time, and Chronotopics in Mrs. UP, 2003. Dalloway,” Janet Larson, Rutgers Univ., Newark —. Snapshots of Bloomsbury: The Private Lives of Virginia Woolf and 3. “Virginia Woolf, Great Men’s Houses, and Haunted Literary Vanessa Bell. New Brunswick: Rutgers UP, 2006. Properties,” Alison Booth, Univ. of Virginia Mitchell, W. J. T. Picture Theory. Chicago: U of Chicago P, 1994. Respondent: Alexander M. Bain, Univ. of Oklahoma Moran, Tom. The Photo Essay: Paul Fusco and Will McBride. Los For copies of papers, write to [email protected] Angeles: Alskog, Inc., 1974.