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Revisiting Virginia Woolf's most experimental novels, Elsa Högberg explores how Woolf's writing prompts us to re-examine the meaning of intimacy. In Högberg's readings of Jacob's Room, Mrs Dalloway, To the Lighthouse and The Waves, intimacy is revealed to inhere not just in close relations with the ones we know and love, but primarily within those unsettling encounters which suspend our comfortable sense of ourselves as separate from others and the world around us. Virginia Woolf and the Ethics of Intimacy locates this radical notion of intimacy at the heart of Woolf's introspective, modernist poetics as well as her ethical and political resistance to violence, aggressive nationalism and fascism. Engaging contemporary theory – particularly the more recent works of Judith Butler, Luce Irigaray and Julia Kristeva – it reads Woolf as a writer and ethical thinker whose vital contribution to the modernist scene of inter-war Britain is strikingly relevant to critical debates around intimacy, affect, violence and vulnerability in our own time.
Revisiting Virginia Woolf's most experimental novels, Elsa Högberg explores how Woolf's writing prompts us to re-examine the meaning of intimacy. In Högberg's readings of Jacob's Room, Mrs Dalloway, To the Lighthouse and The Waves, intimacy is revealed to inhere not just in close relations with the ones we know and love, but primarily within those unsettling encounters which suspend our comfortable sense of ourselves as separate from others and the world around us. Virginia Woolf and the Ethics of Intimacy locates this radical notion of intimacy at the heart of Woolf's introspective, modernist poetics as well as her ethical and political resistance to violence, aggressive nationalism and fascism. Engaging contemporary theory – particularly the more recent works of Judith Butler, Luce Irigaray and Julia Kristeva – it reads Woolf as a writer and ethical thinker whose vital contribution to the modernist scene of inter-war Britain is strikingly relevant to critical debates around intimacy, affect, violence and vulnerability in our own time.
In her timely contribution to revisionist approaches in modernist studies, Lorraine Sim offers a reading of Virginia Woolf's conception of ordinary experience as revealed in her fiction and nonfiction. Contending that Woolf's representations of everyday life both acknowledge and provide a challenge to characterizations of daily life as mundane, Sim shows how Woolf explores the potential of everyday experience as a site of personal meaning, social understanding, and ethical value. Sim's argument develops through readings of Woolf's literary representations of a subject's engagement with ordinary things like a mark on the wall, a table, or colour; Woolf's accounts of experiences that are both common and extraordinary such as physical pain or epiphanic 'moments of being'; and Woolf's analysis of the effect of new technologies, for example, motor-cars and the cinema, on contemporary understandings of the external world. Throughout, Sim places Woolf's views in the context of the philosophical and lay accounts of ordinary experience that dominated the cultural thought of her time. These include British Empiricism, Romanticism, Platonic thought and Post-Impressionism. In addition to drawing on the major novels, particularly The Voyage Out, Mrs. Dalloway, and To the Lighthouse, Sim focuses close attention on short stories such as 'The Mark on the Wall', 'Solid Objects', and 'Blue & Green'; nonfiction works, including 'On Being Ill', 'Evening over Sussex: Reflections in a Motor-car', and 'A Sketch of the Past'; and Woolf's diaries. Sim concludes with an account of Woolf's ontology of the ordinary, which illuminates the role of the everyday in Woolf's ethics.
In her timely contribution to revisionist approaches in modernist studies, Lorraine Sim offers a reading of Virginia Woolf's conception of ordinary experience as revealed in her fiction and nonfiction. Contending that Woolf's representations of everyday life both acknowledge and provide a challenge to characterizations of daily life as mundane, Sim shows how Woolf explores the potential of everyday experience as a site of personal meaning, social understanding, and ethical value. Sim's argument develops through readings of Woolf's literary representations of a subject's engagement with ordinary things like a mark on the wall, a table, or colour; Woolf's accounts of experiences that are both common and extraordinary such as physical pain or epiphanic 'moments of being'; and Woolf's analysis of the effect of new technologies, for example, motor-cars and the cinema, on contemporary understandings of the external world. Throughout, Sim places Woolf's views in the context of the philosophical and lay accounts of ordinary experience that dominated the cultural thought of her time. These include British Empiricism, Romanticism, Platonic thought and Post-Impressionism. In addition to drawing on the major novels, particularly The Voyage Out, Mrs. Dalloway, and To the Lighthouse, Sim focuses close attention on short stories such as 'The Mark on the Wall', 'Solid Objects', and 'Blue & Green'; nonfiction works, including 'On Being Ill', 'Evening over Sussex: Reflections in a Motor-car', and 'A Sketch of the Past'; and Woolf's diaries. Sim concludes with an account of Woolf's ontology of the ordinary, which illuminates the role of the everyday in Woolf's ethics.
A Handbook on Woolf's achievements as an innovative novelist and pioneering feminist theorist. It studies her life, her works, her relationships with other writers, her professional career, and themes in her work including among others feminism, sexuality, education, and class.
Radio Modernism marries the fields of radio studies and modernist cultural historiography to the recent 'ethical turn' in literary and cultural studies to examine how representative British writers negotiated the moral imperative for public service broadcasting that was crafted, embraced, and implemented by the BBC's founders and early administrators. Weaving together the institutional history of the BBC and developments in ethical philosophy as mediated and forged by writers such as T. S. Eliot, H. G. Wells, E. M. Forster, and Virginia Woolf, Todd Avery shows how these and other prominent authors' involvement with radio helped to shape the ethical contours of literary modernism. In so doing, Avery demonstrates the central role radio played in the early dissemination of modernist art and literature, and also challenges the conventional assertion that modernists were generally elitist and anti-democratic. Intended for readers interested in the fields of media and cultural studies and modernist historiography, this book is remarkable in recapturing for a twenty-first-century audience the interest, fascination, excitement, and often consternation that British radio induced in its literary listeners following its inception in 1922.
Leading international scholars illuminate the party's significance in Modernism In 12 chapters internationally distinguished scholars explore the party both as a literary device and as a forum for developing modernist creative values, opening up new perspectives on materiality, the everyday and concepts of space, place and time. There are chapters on Conrad and domestic parties, T S Eliot's 'Prufrock', the party vector in Joyce's 'The Dead' and Finnegans Wake, Katherine Mansfield's party stories, Virginia Woolf's idea of a party, the textual parties of Proust, Ford Madox Ford and Aldous Huxley and the real-life parties of Sylvia Beach, Adrienne Monnier, Natalie Barney and Gertrude Stein, the black 'after-party' of the Harlem Renaissance and the parties in extremis in D H Lawrence's Women in Love. Like guests at a party, the chapters talk to and argue with each other. They contribute different approaches: formal, historical, thematic, biographical and theoretical. They address gender and sexuality, race, genre, class, sociality and privacy. And they establish critical viewpoints. The party is shown to be the site both of introspection and self-display. It provokes competition, collaboration and violence. It is an occasion of nihilism as well as a model for creative production. Key Features: Develops the concept of space, currently of central concern to Modernist scholars Explores the tensions between Modernism as an aesthetics of intensity and Modernism as a movement of the everyday Adds a new and vital area of research to investigations of Modernism as the product of intellectual and social networks
Virginia Woolf was not a religious person in any traditional sense, yet she lived and worked in an environment rich with religious thought, imagination, and debate. From her agnostic parents to her evangelical grandparents, an aunt who was a Quaker theologian, and her friendship with T. S. Eliot, Woolf’s personal circle was filled with atheists, agnostics, religious scholars, and Christian converts. In this book, Stephanie Paulsell considers how the religious milieu that Woolf inhabited shaped her writing in unexpected and innovative ways. Beginning with the religious forms and ideas that Woolf encountered in her family, friendships, travels, and reading, Paulsell explores the religious contexts of Woolf’s life. She shows that Woolf engaged with religion in many ways, by studying, reading, talking and debating, following controversies, and thinking about the relationship between religion and her own work. Paulsell examines the ideas about God that hover around Woolf’s writings and in the minds of her characters. She also considers how Woolf, drawing from religious language and themes in her novels and in her reflections on the practices of reading and writing, created a literature that did, and continues to do, a particular kind of religious work. A thought-provoking contribution to the literature on Woolf and religion, this book highlights Woolf’s relevance to our post-secular age. In addition to fans of Woolf, scholars and general readers interested in religious and literary studies will especially enjoy Paulsell’s well-researched narrative.