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Reflecting the modernist fascination with science, Virginia Woolf's representations of nature are informed by a wide-ranging interest in contemporary developments in the life sciences. Christina Alt analyses Woolf's responses to disciplines ranging from taxonomy and the new biology of the laboratory to ethology and ecology and illustrates how Woolf drew on the methods and objectives of the contemporary life sciences to describe her own literary experiments. Through the examination of Woolf's engagement with shifting approaches to the study of nature, this work covers new ground in Woolf studies and makes an important contribution to the understanding of modernist exchanges between literature and science.
Virginia Woolf and the Natural World is a compilation of thirty-one essays presented at the twentieth annual international conference on Virginia Woolf. This volume explores Woolf's complex engagement with the natural world, an engagement that was as political as it was aesthetic. The diversity of topics within this collection-ecofeminism, the nature of time, the nature of the self, nature and sporting, botany, climate, and landscape, just to name a few-fosters a deeper understanding of the nature of nature in Woolf's works. Contributors include Bonnie Kime Scott, Carrie Rohman, Diana Swanson, Elisa Kay Sparks, Beth Rigel Daugherty, Jane Goldman, and Diane Gillespie, among many others from the international community of Woolf scholars.
This volume features new essays by eminent and emerging Woolf scholars, focusing on the aesthetics and influences of Virginia Woolf's work. Themes include eco-criticism, conceptions of intellectual women, spaces and places, and Woolf beyond Bloomsbury. The volume opens with a personal reflection by Cecil Woolf, nephew of Leonard and Virginia Woolf.
Mrs Dalloway, Virginia Woolf's fourth novel, offers the reader an impression of a single June day in London in 1923. Clarissa Dalloway, the wife of a Conservative member of parliament, is preparing to give an evening party, while the shell-shocked Septimus Warren Smith hears the birds in Regent's Park chattering in Greek. There seems to be nothing, except perhaps London, to link Clarissa and Septimus. She is middle-aged and prosperous, with a sheltered happy life behind her; Smith is young, poor, and driven to hatred of himself and the whole human race. Yet both share a terror of existence, and sense the pull of death. The world of Mrs Dalloway is evoked in Woolf's famous stream of consciousness style, in a lyrical and haunting language which has made this, from its publication in 1925, one of her most popular novels.
A Companion to Virginia Woolf is a thorough examination of her life, work, and multiple contexts in 33 essays written by leading scholars in the field. Contains insightful and provocative new scholarship and sketches out new directions for future research Approaches Woolf's writing from a variety of perspectives and disciplines, including modernism, post-colonialism, queer theory, animal studies, digital humanities, and the law Explores the multiple trajectories Woolf’s work travels around the world, from the Bloomsbury Group, and the Hogarth Press to India and Latin America Situates Woolf studies at the vanguard of contemporary literature scholarship and the new modernist studies
This book offers an extensive analysis of Woolf's engagement with science, tracing the application of scientific concepts to questions of identity.
Examining the writings and life of Virginia Woolf, In the Hollow of the Wave looks at how Woolf treated "nature" as a deliberate discourse that shaped her way of thinking about the self and the environment and her strategies for challenging the imbalances of power in her own culture—all of which remain valuable in the framing of our discourse about nature today. Bonnie Kime Scott explores Woolf’s uses of nature, including her satire of scientific professionals and amateurs, her parodies of the imperial conquest of land, her representations of flora and fauna, her application of post-impressionist and modernist modes, her merging of characters with the environment, and her ventures across the species barrier. In shedding light on this discourse of Woolf and the natural world, Scott brings to our attention a critical, neglected, and contested aspect of modernism itself. She relies on feminist, ecofeminist, and postcolonial theory in the process, drawing also on the relatively recent field of animal studies. By focusing on multiple registers of Woolf’s uses of nature, the author paves the way for more extended research in modernist practices, natural history, garden and landscape studies, and lesbian/queer studies.
Choice Outstanding Academic Title In her third and final volume on Virginia Woolf’s diaries, Barbara Lounsberry reveals new insights about the courageous last years of the modernist writer’s life, from 1929 until Woolf’s suicide in 1941. Woolf turned more to her diary—and to the diaries of others—for support in these years as she engaged in inner artistic wars, including the struggle with her most difficult work, The Waves, and as the threat of fascism in the world outside culminated in World War II. During this period, the war began to bleed into Woolf’s diary entries. Woolf writes about Hitler, Mussolini, and Stalin; copies down the headlines of the day; and captures how war changed her daily life. Alongside Woolf’s own entries, Lounsberry explores the diaries of 18 other writers as Woolf read them, including the diaries of Leo Tolstoy, Dorothy Wordsworth, Guy de Maupassant, Alice James, and André Gide. Lounsberry shows how reading diaries was both respite from Woolf’s public writing and also an inspiration for it. Tellingly, shortly before her suicide Woolf had stopped reading them completely. The outer war and Woolf’s inner life collide in this dramatic conclusion to the trilogy that resoundingly demonstrates why Virginia Woolf has been called “the Shakespeare of the diary.” Lounsberry’s masterful study is essential reading for a complete understanding of this extraordinary writer and thinker and the development of modernist literature.
he Mark on the Wall is the first published story by Virginia Woolf.It was published in 1917 as part of the first collection of short stories written by Virginia Woolf and her husband, Leonard Woolf, called Two Stories.It was later published in New York in 1921 as part of another collection entitled Monday or Tuesday.
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.