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Edited collection from acclaimed contemporary Woolf scholars, addressing the theme of Virginia Woolf and the Commonwealth reader.
Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. 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.
The last two decades have seen a resurgence of critical and popular attention to Virginia Woolf's life and work. Such traditional institutions as The New York Review of Books now pair her with William Shakespeare in promotional advertisements; her face is used to sell everything from Barnes & Noble books to Bass Ale. Virginia Woolf: Lesbian Readings represents the first book devoted to Woolf's lesbianism. Divided into two sections, Lesbian Intersections and Lesbian Readings of Woolf's Novels, these essays focus on how Woolf's private and public experience and knowledge of same-sex love influences her shorter fiction and novels. Lesbian Intersections includes personal narratives that trace the experience of reading Woolf through the 60s, 70s, 80s, and 90s. Lesbian Readings of Woolf's Novels provides lesbian interpretations of the individual novels, including Orlando, The Waves, and The Years. Breaking new ground in our understanding of the role Woolf's love for women plays in her major writing, these essays shift the emphasis of lesbian interpretations from Woolf's life to her work.
This collection addresses such themes as the creation of worlds through literary writing, Woolf's reception as a world writer, world wars and the centenary of the First World War, and natural worlds in Woolf's writings. The selected papers represent the major themes of the conference as well as a diverse range of contributors from around the world and from different positions in and outside the university. The contents include familiar voices from past conferences--e.g., Judith Allen, Eleanor McNees, Elisa Kay Sparks--and well-known scholars who have contributed less frequently, if at all, to past Selected Papers--e.g., Susan Stanford Friedman, Steven Putzel, Michael Tratner--as well as new voices of younger scholars, students, and independent scholars. The volume is divided into four themed sections. The first and longest section, War and Peace, is framed by Mark Hussey's keynote roundtable, War and Violence, and Maud Ellmann's keynote address, Death in the Air: Virginia Woolf and Sylvia Townsend Warner in World War II. The second section, World Writer(s), includes papers that read the Woolfs in a global context. The papers in Animal and Natural Worlds bring recent developments in ecocriticism and post-humanist studies to analysis of Woolf's writing of human and nonhuman worlds. Finally, Writing and Worldmaking addresses various aspects of genre, style, and composition. Madelyn Detloff's closing essay, The Precarity of 'Civilization' in Woolfs Creative Worldmaking, brings us back to international and cultural conflicts in our own day, reminding us, as Detloff says, why Woolf still matters today.
In The Value of Virginia Woolf, Madelyn Detloff explores the writings of Virginia Woolf from her early texts to her challenging and inventive novels. Detloff demonstrates why Woolf has enduring value for our own time, both as a defender of modernist experimentation and as a novelist of innovation and poetic vision who also exhibits moments of intense insight and philosophical depth. A famously enigmatic figure, Woolf's literary works offer different rewards to different readers. The Value of Virginia Woolf examines not only the significance of her most celebrated fiction but the function of time and allegory, natural and urban spaces, voice and language that give Woolf's writings their perennial appeal.
Virginia Woolf, Europe, and Peace: Transnational Circulations enlarges our understanding of Virginia Woolf’s pacifist ideology and aesthetic response to the World Wars by re-examining her writings and cultural contexts transnationally and comparatively through the complex interplay between modernism, politics, and aesthetics. The “transnational” paradigm that undergirds this collection revolves around the idea of transnational cultural communities of writers, artists, and musicians worldwide who were intellectually involved in the war effort through the forging of pacifist cultural networks that arose as a form of resistance to war, militarism, and the rise of fascism. The book also offers philosophical approaches to notions of transnational pacifism, anti-war ethics, and decolonization, examining how Woolf’s prose undermines center/edge or self/other bifurcations. Breathing new life into Woolf’s anti-war writings through a transnational lens and presenting us with the voices and perspectives of a range of significant scholars and critics, the chapters in this volume engage with mobile and circulatory pacifisms, calling attention to the intersections of modernist inquiries across the arts (art, music, literature, and performance) and transnational critical spaces (Asia, Europe, and the Americas) to show how the convergence of different cultural and linguistic horizons can significantly expand and enrich our understanding of Woolf’s modernist legacy.
After more than a century of genocides and in the midst of a global pandemic, this book focuses on the critique of biopolitics (the government of life through individuals and the general population) and the counterdevelopment of biopoetics (an aesthetics of life elaborating a self as a practice of freedom) realized in texts by Virginia Woolf, Michel Foucault, and Michael Ondaatje. Their world fiction produces transhistorical, transnational experiences offered to the reader for collective responsibility in these critical times. Their books function as heterotopias: spaces and processes that recall and confront regimes of recognized truths to dismantle fixed identities and actualize possibilities for becoming other. Higgins and Leps define and explore a slant, biopoetic perspective that is feminist, materialist, anti-racist, and anti-war.
This book contains the first comprehensive account of writing by women from the mid sixteenth century through to 1700. At the same time, it traces the way a representative sample of that writing was published, circulated in manuscript, read, anthologised, reprinted, and discussed from the time it was produced through to the present day. Salzman's study covers an enormous range of women from all areas of early modern society, and it covers examples of the many and varied genres produced by these women, from plays to prophecies, diaries to poems, autobiographies to philosophy. As well as introducing readers to the wealth of material produced by women in the early modern period, this book examines changing responses to what was written, tracing a history of reception and transmission that amounts to a cultural history of changing taste.
This summer, during these strange strange times, immerse yourself in words that have touched all of us and will always get to the core of all of us, of every single person. Books that have made us think, change, relate, cry and laugh:_x000D_ Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson)_x000D_ A Doll's House (Henrik Ibsen)_x000D_ A Tale of Two Cities (Charles Dickens)_x000D_ Dubliners (James Joyce)_x000D_ A Portrait of the Artist as a Young Man (James Joyce)_x000D_ War and Peace (Leo Tolstoy)_x000D_ Howards End (E. M. Forster)_x000D_ Le Père Goriot (Honoré de Balzac)_x000D_ Sense and Sensibility (Jane Austen)_x000D_ Anne of Green Gables Series (L. M. Montgomery)_x000D_ The Wind in the Willows (Kenneth Grahame)_x000D_ Gitanjali (Rabindranath Tagore)_x000D_ Diary of a Nobody (Grossmith)_x000D_ The Beautiful and Damned (F. Scott Fitzgerald)_x000D_ Moll Flanders (Daniel Defoe)_x000D_ 20,000 Leagues Under the Sea (Jules Verne)_x000D_ Gulliver's Travels (Jonathan Swift)_x000D_ The Last of the Mohicans (James Fenimore Cooper)_x000D_ Peter and Wendy (J. M. Barrie)_x000D_ The Three Musketeers (Alexandre Dumas)_x000D_ Iliad & Odyssey (Homer)_x000D_ Kama Sutra_x000D_ Dona Perfecta (Benito Pérez Galdós)_x000D_ The Divine Comedy (Dante)_x000D_ The Rise of Silas Lapham (William Dean Howells)_x000D_ The Book of Tea (Kakuzo Okakura)_x000D_ Madame Bovary (Gustave Flaubert)_x000D_ The Hunchback of Notre Dame (Victor Hugo)_x000D_ Red and the Black (Stendhal)_x000D_ Rob Roy (Walter Scott)_x000D_ Barchester Towers (Anthony Trollope)_x000D_ Uncle Tom's Cabin (Harriet Beecher Stowe)_x000D_ Three Men in a Boat (Jerome K. Jerome)_x000D_ Tristram Shandy (Laurence Sterne)_x000D_ Tess of the d'Urbervilles (Thomas Hardy)_x000D_ My Antonia (Willa Cather)_x000D_ The Age of Innocence (Edith Wharton)_x000D_ The Awakening (Kate Chopin)_x000D_ Babbitt (Sinclair Lewis)_x000D_ The Four Just Men (Edgar Wallace)_x000D_ Of Human Bondage (W. Somerset Maugham)_x000D_ The Portrait of a Lady (Henry Jame...
Woolf Editing / Editing Woolf focuses on Woolf as editor both of her own work and of the Hogarth Press, and on editing Woolf—on the conflation of textual and theoretical criticism of Woolf’s oeuvre. Since many contributors are editors, creative writers, and critics, contributions highlight the intersections of those three roles. The essays variously addressed the “granite” of close textual reading and the “rainbow” of theoretical approaches to Woolf’s writings. Several more flexible versions of editing emerge in the papers that discuss adaptations of Woolf to film, theatre, and music. Brenda Silver’s contribution in memory of Julia Briggs opens the volume, and James Haule’s contribution concludes it.