War and Peace

Author(s):  
Beryl Pong

This chapter examines the intertwining of modernist time philosophy with the recurring theme of global war in Woolf’s oeuvre. Looking at a range of texts—including Jacob’s Room, Mrs Dalloway, Three Guineas, The Years, and Between the Acts—it examines how Woolf’s work developed in relation to the major geopolitical events that preoccupied her pacifist activism and informed her temporal innovations. It argues for the need to temporalize her relationship to what Martin Hägglund calls chronolibido—the investment in temporal finitude rather than temporal transcendence—which has to be understood both philosophically as well as politically, to understand how her desire to hold on to a life essentially mortal took shape in the context of seemingly unending war in the early twentieth century.

Author(s):  
Elsa Högberg

In this chapter, Högberg traces a specific form of non-violent ethics across Woolf’s interwar and WWII writings, considering its political potential and limits. Focusing on Emmanuel Levinas’s idea of ‘The face as the extreme precariousness of the other. Peace as awakeness to the precariousness of the other’(Levinas, ‘Peace and Proximity’, 1984) alongside Judith Butler’s attempts to politicise his ethics of precariousness, this chapter shows how Woolf foregrounds vulnerability as an ethical injunction against violence. Arguing that Woolf’s work prompts a still unresolved question as to whether a pacifist ethics can be politically productive, Högberg reads Woolf’s pacifism as rooted in a concept of peace as proximity: the proximity of the ethical encounter, which prompts awakeness to the other’s vulnerability. The chapter ranges from Woolf’s Levinasian elevation, in Three Guineas, of a primary responsibility to Antigone’s Law of love, peace and proximity over the laws of the sovereign state to her literary articulations of an alternatively Levinasian and Butlerian ethics of peace and precariousness in Jacob’s Room, The Waves and Between the Acts. Voiced through poetic tropes of naked defencelessness and extra-linguistic, primal cries, Woolf’s pacifist ethics floods the boundaries defining Europe in a relocation of its ‘Greek’ origins, and in defiance against its political constructions of the other’s precarious face as a threat, which continue to justify the scandalous closing of European borders to ‘millions of bodies’ made vulnerable by war.


Author(s):  
Stephanie J. Brown

The fullness of Woolf’s engagement with early-twentieth-century feminism has at times been overshadowed by the prominence given A Room of One’s Own, and by longstanding archival obstacles to accessing her extensive work in periodicals. This chapter aims to offer an overview of Woolf’s engagement with British feminism during her lifetime, and to promote a richer conversation about how Woolf’s fiction, journalism, and essays, as well as A Room and Three Guineas, reflect a sustained engagement with, contributions to, and wariness of the feminist concerns of her day. Her responses to women’s suffrage, worker’s rights, the legal status of married women, education, political power, economic parity, and pacifism were unified by her consistent endeavors to draw attention to patriarchy as structuring public perceptions of ‘women’s issues’. (125)


Author(s):  
Madelyn Detloff

Virginia Woolf lived and worked during the ascendancy of Euro-American biopower. This essay takes up the tools of queer, crip, and antiracist theories to analyse Woolf’s engagement with three strands of biopower—state racism, heteronormativity, and ableist normativity—as well as a fourth Woolfian form elaborated upon in Three Guineas, state genderism. We can trace the entwinement of biopower in the racist and ableist elements of Woolf’s own work, accounts of how Woolf herself was treated by medical and mental health practitioners, and in Woolf’s own attempts to break down reified notions of desire and bodily comportment that are harmfully crystalized by biopolitical discourse. Woolf’s engagement with biopower is not always progressive, but the complexities of her art and work yield a rich picture of how biopower worked in the early twentieth century and how artists and intellectuals both deployed and resisted its workings.


Tempo ◽  
1948 ◽  
pp. 25-28
Author(s):  
Andrzej Panufnik

It is ten years since KAROL SZYMANOWSKI died at fifty-four. He was the most prominent representative of the “radical progressive” group of early twentieth century composers, which we call “Young Poland.” In their manysided and pioneering efforts they prepared the fertile soil on which Poland's present day's music thrives.


2004 ◽  
Vol 171 (4S) ◽  
pp. 320-320
Author(s):  
Peter J. Stahl ◽  
E. Darracott Vaughan ◽  
Edward S. Belt ◽  
David A. Bloom ◽  
Ann Arbor

2015 ◽  
Vol 42 (1) ◽  
pp. 165-170
Author(s):  
P. G. Moore

Three letters from the Sheina Marshall archive at the former University Marine Biological Station Millport (UMBSM) reveal the pivotal significance of Sheina Marshall's father, Dr John Nairn Marshall, behind the scheme planned by Glasgow University's Regius Professor of Zoology, John Graham Kerr. He proposed to build an alternative marine station facility on Cumbrae's adjacent island of Bute in the Firth of Clyde in the early years of the twentieth century to cater predominantly for marine researchers.


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