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In Virginia Woolf's masterpiece The Years, we are invited on a journey through the labyrinths of time and the ever-changing landscapes of human existence. With her unique and experimental prose, Woolf creates a poignant portrayal of life's passage, its fleeting moments, and the eternal quest for meaning and understanding. Through a kaleidoscopic narrative style and a stream of consciousness, the author weaves together the story of multiple generations of a family, from late 19th-century England to the modern 20th century. On this journey, we witness the characters' love, sorrow, joy, and doubt, while Woolf skillfully explores themes of time, identity, and the role of women in society. The Years is a deeply philosophical and poetic novel that envelops the reader with its lyrical beauty and thought-provoking reflections. With her sharp observations and pioneering style, Virginia Woolf has crafted a masterpiece that continues to fascinate and challenge generations of readers. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.
This book explores the relationship between aesthetic productivity and artists' degree of involvement in social and sexual life as depicted in Virginia Woolf's novels. Ann Ronchetti locates the sources of Woolf's lifelong preoccupation with the artist's relationship to society in her family heritage, her exposure to Walter Pater and the aesthetic movement, and the philosophical and aesthetic interests of the Bloomsbury group.
This edition takes the first British edition of The Years as its copy-text, and includes a comprehensive introduction, extensive explanatory notes, and a full list of textual variants and editorial emendations. Features a comprehensive introduction, detailing the lengthy process of the composition and revision of the novel, and its subsequent publication history Includes extensive explanatory notes, highlighting the political, historical, social and literary contexts of the novel Provides a full account of the variants between the first British and American editions, supplemented by a list of editorial emendations made in this present edition
Sheila Cordner traces a tradition of literary resistance to dominant pedagogies in nineteenth-century Britain, recovering an overlooked chapter in the history of thought about education. This book considers an influential group of writers - all excluded from Oxford and Cambridge because of their class or gender - who argue extensively for the value of learning outside of schools altogether. From just beyond the walls of elite universities, Jane Austen, Elizabeth Barrett Browning, Thomas Hardy, and George Gissing used their position as outsiders as well as their intimate knowledge of British universities through brothers, fathers, and friends, to satirize rote learning in schools for the working classes as well as the education offered by elite colleges. Cordner analyzes how predominant educational rhetoric, intended to celebrate England's progress while simultaneously controlling the spread of knowledge to the masses, gets recast not only by the four primary authors in this book but also by insiders of universities, who fault schools for their emphasis on memorization. Drawing upon working-men's club reports, student guides, educational pamphlets, and materials from the National Home Reading Union, as well as recent work on nineteenth-century theories of reading, Cordner unveils a broader cultural movement that embraced the freedom of learning on one's own.
A revised and fully updated edition, featuring five new chapters reflecting recent scholarship on Woolf.
In Framing Pieces, Whittier-Ferguson recovers and explores drafts, notes, glosses, essays, and guides that high modernists, such as James Joyce, Virginia Woolf, T.S. Eliot, and Ezra Pound generated in order to interpret their own work. These archival materials reveal a complex picture of how texts like Finnegan's Wake, A Room of One's Own, Three Guineas, and ABC's of Reading were annotated and framed by their authors, and how the authors illuminated and obscured various aspects of the annotations. Whittier-Ferguson also examines the first editions and periodicals in which these works appeared to show how modernist writers gauged the extent of their audience and tried to control their readers' encounters with their writing.
After the Modernist literary experiments of her earlier work, Virginia Woolf became increasingly concerned with overt social and political commentary in her later writings, which are preoccupied with dissecting the links between patriarchy, patriotism, imperialism and war. This book unravels the complex textual histories of The Years (1937), Three Guineas (1938) and Between the Acts (1941) to expose the genesis and evolution of Virginia Woolf's late cultural criticism. Fusing a feminist-historicist approach with the practices and principles of genetic criticism, this innovative study scrutinizes a range of holograph, typescript and proof documents within their historical context to uncover the writing and thinking processes that produced Woolf's cultural analysis during 1931-1941. By demonstrating that Woolf's late cultural criticism developed through her literary experimentalism as well as in response to contemporary social, political and economic upheavals, this book offers a fresh perspective on her emergence as a cultural commentator in her final decade and paves the way for further genetic enquiries in the field.
Before the Second World War and long before the second wave of feminism, Virginia Woolf argued that women's experience, particularly in the women's movement, could be the basis for transformative social change. Grounding Virginia Woolf's feminist beliefs in the everyday world, Naomi Black reclaims Three Guineas as a major feminist document. Rather than a book only about war, Black considers it to be the best, clearest presentation of Woolf's feminism. Woolf's changing representation of feminism in publications from 1920 to 1940 parallels her involvement with the contemporary women's movement (suffragism and its descendants, and the pacifist, working-class Women's Co-operative Guild). Black guides us through Woolf's feminist connections and writings, including her public letters from the 1920s as well as "A Society," A Room of One's Own, and the introductory letter to Life As We Have Known It. She assesses the lengthy development of Three Guineas from a 1931 lecture and the way in which the form and illustrations of the book serve as a feminist subversion of male scholarship. Virginia Woolf as Feminist concludes with a discussion of the continuing relevance of Woolf's feminism for third-millennium politics.