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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.
Virginia Woolf’s Unwritten Histories explores the interrelatedness of Woolf’s modernism, feminism and her understanding of history as a site of knowledge and a writing practice that enabled her to negotiate her heritage, to find her place among the moderns as a female artist and intellectual, and to elaborate her poetics of the "new": not as radical rupture but as the result of a process of unwriting and rewriting "traditional" historiographical orthodoxies. Its central argument is that unless we comprehend the genealogy of Woolf’s historical thought and the complexity of its lineage, we cannot fully grasp the innovative thrust of her attempt to "think back through our mothers." Bringing together canonical texts such as Orlando (1928), A Room of One’s Own (1929), Three Guineas (1938) or Between the Acts (1941) and under-researched ones — among which stand Woolf’s essays on historians and reviews of history books and her pieces on literary history and nineteenth-century women’s literature — this book argues that Woolf’s textual "conversations" with nineteenth-century writers, historians and critics, many of which remain unexplored, are interwoven with her historiographical poiesis and constitute the groundwork for her alternative histories and literary histories: "unwritten," open-textured, unacademic and polemical counter-narratives that keep track of the past and engage politically with the future.
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In the age of Buzzfeeds, hashtags, and Tweets, students are increasingly favoring conversational writing and regarding academic writing as less pertinent in their personal lives, education, and future careers. Writing and Literature: Composition as Inquiry, Learning, Thinking and Communication connects students with works and exercises and promotes student learning that is kairotic and constructive. Dr. Tanya Long Bennett, professor of English at the University of North Georgia, poses questions that encourage active rather than passive learning. Furthering ideas presented in Contribute a Verse: A Guide to First-Year Composition as a complimentary companion, Writing and Literature builds a new conversation covering various genres of literature and writing. Students learn the various writing styles appropriate for analyzing, addressing, and critiquing these genres including poetry, novels, dramas, and research writing. The text and its pairing of helpful visual aids throughout emphasizes the importance of critical reading and analysis in producing a successful composition. Writing and Literature is a refreshing textbook that links learning, literature, and life.
Positing that a radical utopianism is one of the most vital impulses of feminist politics, Partial Visions traces the articulation of this impulse in the work of Euro-American, French and German women writers of the 1970s. It argues that this feminist utopianism both continued and reconceptualized a critical dimension of Left politics, yet concludes that feminist utopianism is not just visionary, but myopic - time and culture bound - as well.
Brilliant, illuminating criticism from a superstar poet—a refreshing, insightful look at how works of art, specifically poetry and popular music, can serve as essential tools for living. How can art help us make sense—or nonsense—of the world? If wrong life cannot be lived rightly, as Theodor Adorno had it, what weapons and strategies for living wrongly can art provide? With the same intelligence that animates his poetry, Michael Robbins addresses this weighty question while contemplating the idea of how strange it is that we need art at all. Ranging from Prince to Def Leppard, Lucille Clifton to Frederick Seidel, Robbins’s mastery of poetry and popular music shines in Equipment for Living. He has a singular ability to illustrate points with seemingly disparate examples (Friedrich Kittler and Taylor Swift, to W.B. Yeats and Anna Kendrick’s “Cups”). Robbins weaves a discussion on poet Juliana Spahr with the different subsets of Scandinavian black metal, illuminating subjects in ways that few scholars can achieve. Equipment for Living is also a wonderful guide to essential poetry and popular music.
Literary London is a snappy and informative guide, showing just why - as another famous local writer put it - he who is tired of London is tired of life.
A delightful collection of essays penned by Woolf for what she saw as the common reader. An informal, informative and witty celebration of our literary and social heritage.
In this 2007 book, Kate Chedgzoy explores the ways in which women writers of the early modern British Atlantic world imagined, visited, created and haunted textual sites of memory. Asking how women's writing from all parts of the British Isles and Britain's Atlantic colonies employed the resources of memory to make sense of the changes that were refashioning that world, the book suggests that memory is itself the textual site where the domestic echoes of national crisis can most insistently be heard. Offering readings of the work of poets who contributed to the oral traditions of Wales, Scotland and Ireland, and analysing poetry, fiction and life-writings by well-known and less familiar writers such as Hester Pulter, Lucy Hutchinson and Aphra Behn, this book explores how women's writing of memory gave expression to the everyday, intimate consequences of the major geopolitical changes that took place in the British Atlantic world in the seventeenth century.