Virginia Woolf and the World of Books

2019 ◽  
Keyword(s):  
Print Culture ◽  
Virginia Woolf ◽  
Women's Writing ◽  
Independent Publishing ◽  
The World ◽  
Hogarth Press ◽  
Women’S Writing

Virginia Woolf and the World of Books examines Leonard and Virginia Woolf's Hogarth Press as a key intervention in modernist and women's writing and mark its importance to independent publishing, bookselling, and print culture at large. The research in this volume coincides with the centenary of the founding of Hogarth Press in 1917, thus making a timely addition to scholarship on the Woolfs and print culture.

The Dream Work of a Nation: From Virginia Woolf to Elizabeth Bowen to Mary Lavin

2020 ◽  
pp. 387-398
Author(s):  
Patricia Laurence
Keyword(s):  
Women Writers ◽  
Short Stories ◽  
Virginia Woolf ◽  
Women's Writing ◽  
Elizabeth Bowen ◽  
Dream Work ◽  
Three Guineas ◽  
The World ◽  
The Future ◽  
Women’S Writing

Virginia Woolf provides a backbone for important arguments that transform our reading of women’s writing during times of rising nationalism and war. In Three Guineas and elsewhere, she creates a new ground for fiction by including what is commonly thought a ‘small’ rather than a ‘large’ subject, and she creates links between domestic and public ‘tyranny’. Woolf challenges the claims of critics who assert that women writers do not engage with or link their fiction to the wider society, the nation and the world. Inspired by Woolf, the Irish authors, Elizabeth Bowen and Mary Lavin, illuminate these ‘small’ shocks and events in the lives of individuals, families, communities and institutions. Bowen provides ‘in-between’ glimpses of war in her wartime stories, Ivy Gripped the Steps while Lavin creates close-ups of ‘small’ scenes of beleaguered widows, loyal wives, enfeebled husbands, independent daughters, and needy clergy in her short stories. The intimate lives revealed in these stories are not ‘outside’ of politics and history and the world but are a part of the historical texture of life. They present a resistance to dominant views and richer definitions of the future of community: the dream work of a nation.

Off to the Pictures: Cinema, Fiction and Interwar Culture

2016 ◽  
Author(s):  
Lisa Stead
Keyword(s):  
Print Culture ◽  
Publishing Industry ◽  
Women's Writing ◽  
Detailed Consideration ◽  
Everyday Lives ◽  
British Cinema ◽  
Film Reception ◽  
Women’S Writing ◽  
Interwar Britain

The chapter outlines the critical and contextual foundations for the case study chapters that follow, establishing in greater depth the three interlocking contexts of moviegoing, print culture and modernity in interwar Britain. It offers an overview of the interrelationship between key framing contexts that inform the coordinates of the study, considering British cinema culture alongside the interwar publishing industry for women’s writing, read in relation to the changing texture of women’s everyday lives in British modernity alongside a more detailed consideration of the intersections between critical explorations of film reception and intermediality.

An Office of Her Own? Alice Munro and the Legacy of Writing with In-Authority

2018 ◽  
Author(s):  
Eva Mendez
Keyword(s):  
Women Writers ◽  
Short Story ◽  
Virginia Woolf ◽  
Women's Writing ◽  
Alice Munro ◽  
Rhetorical Strategy ◽  
Shared Interest ◽  
Room Of One's Own ◽  
Point Of Departure ◽  
Women’S Writing

In Alice Munro’s short story “The Office,” the protagonist claims an office of her own in which to write. Munro’s narrative can thus be read as engaging with the ideas on the spatial conditions for women’s writing which Virginia Woolf famously explored in A Room of One’s Own. My paper takes this thematic connection as a point of departure for suggesting that a Woolfian legacy shapes Munro’s “The Office” in ways which go beyond a shared interest in spaces for women’s writing. Both A Room of One’s Own and “The Office,” this paper argues, use the discussion of women’s writing spaces as a launching pad for exploring in how far women writers may claim for themselves traditionally masculine positions of authorship and authority, and in what ways authoritative forms of literary discourse may be transformed by women’s writing. In both A Room of One’s Own and “The Office,” the interruption as element of plot and rhetorical strategy plays a central role in answering these questions.

scholarly journals "The blindfold test"

1970 ◽  
Vol 57 ◽  
pp. 37-54
Author(s):  
Sabina Versieck
Keyword(s):  
Gender Difference ◽  
Virginia Woolf ◽  
Women's Writing ◽  
Men And Women ◽  
The Difference ◽  
Room Of One's Own ◽  
Women’S Writing ◽  
The Way

Is there a recognisable gender difference in the way men and women write?Is it possible to tell an author's gender from his or her prose? Or as E.M.Forster puts it: when you are reading a book can you teil instinctively whetherit is the work of a man or a woman? Virginia Woolf is concerned with thesequestions in (a.o.) A Room of One's Own; E.M. Forster writes about them inThe Feminine Note in Literature. Both Woolf's views and those of E.M.Forster on the difference between men's writing and women's writing and onsexual difference in general are examined and compared and put in a broadercontext.

Emotions in community research

2018 ◽  
Author(s):  
Zanib Rasool
Keyword(s):  
Social Science ◽  
Meaning Making ◽  
Women's Writing ◽  
Community Research ◽  
Ethnographic Research ◽  
The World ◽  
Human Emotions ◽  
Women’S Writing ◽  
Academic Social Science

This chapter argues that emotions help people with ‘meaning making’, and offer different experiences of the world through a different lens. It does so in the context of women's writing, as writing connects ordinary women and gives them the opportunity to articulate feelings not expressed or shared before. In academic social science, emotions have historically been associated with the irrational and quite opposed to the objective scientific search for knowledge. However, in the last decade or so, sociologists have recognised that ethnographic research cannot be clinical and detached from human emotions. We can say ‘emotions do things’ — they move us but also connect us with others.

Gender, love and recognition in I Love Dick and The Other Woman

2021 ◽  
pp. 135050682199591
Author(s):  
Camilla Schwartz ◽  
Rita Felski
Keyword(s):  
Comparative Analysis ◽  
Women's Writing ◽  
Sex Identification ◽  
The Other ◽  
Same Sex ◽  
Literary Works ◽  
The World ◽  
Other Woman ◽  
Women’S Writing

How might the idea of recognition offer a fresh slant on contemporary women’s writing? In this essay, we bring theories of recognition into dialogue with two literary works: Chris Kraus’s widely reviewed memoir I Love Dick and The Other Woman by the well-regarded Swedish novelist Therese Bohman. Our analysis focuses on recognition within the texts as well as its relevance to relations between texts and readers. We seek to clarify how attitudes to heterosexual love, feminism and same-sex identification are entangled and the broader implications of such entanglements. We are interested in how the protagonists engage the world as readers and the role of literature in shaping their identifications and attachments. Yet, a comparative analysis can also bring to light how a feminist habitus is predicated on class and education, suggesting that these two texts may invite rather different experiences of recognition.

When Caged Birds Sing: The Many-folded Subject in the Baroque World of Heian Japanese Women's Writing

2011 ◽  
Vol 5 (1) ◽  
pp. 97-117
Author(s):  
Christina Houen
Keyword(s):  
Women's Literature ◽  
Women's Writing ◽  
The World ◽  
Art Forms ◽  
Confessional Literature ◽  
The Many ◽  
Women’S Writing

In this article, the world of Heian women's literature is interpreted through Deleuzian concepts of desire and becoming and figures of the rhizome, the Baroque fold and origami, supported by Elizabeth Grosz's concept of art as originating in the impulse to seduction. Within the constraints of movement, dress and behaviour imposed by a polygamous hierarchical court society, Heian women created a rich body of literature that celebrated and subtly critiqued their world. Through aesthetic intensification of form and imagination within a labyrinthine cloistered society, they folded their fictional and autobiographical subjectivities into intricate patterns of desire. The richly described and imagined world of their fictional and confessional literature, still read, translated and transformed into other art forms, celebrates the freedom of the imagination even in confined and controlled circumstances.

Virginia Woolf in German: The Hogarth Press, the Insel Verlag, and Early Translations

2018 ◽  
Vol 13 (1) ◽  
pp. 55-76
Author(s):  
Daniel Göske
Keyword(s):  
Virginia Woolf ◽  
Literary Modernism ◽  
Modernist Literature ◽  
Global Level ◽  
To The Lighthouse ◽  
Archival Material ◽  
Publishing World ◽  
Cultural Boundaries ◽  
The World ◽  
Hogarth Press

As scholars have begun to explore the global reach of modernist literature, they have turned their attention towards understanding how texts move across and permeate linguistic and cultural boundaries. By exploring the networks, alliances, and interactions among those who facilitate the circulation and transmission of literature, scholars of modernist publishing are now able to offer a finer-grained analysis of where, how, and by whom those texts that we consider central to British literary modernism were first published elsewhere in the world. Marketing modernism on the international and, indeed, global level, in the 1920s and 1930s was a complex business, not least because of different structures in the publishing world of the Americas, Britain, and various European countries. My essay approaches this problem by focusing on the foreign reception of Virginia Woolf's work and, specifically, the contacts between the Hogarth Press and the Leipsic Insel Verlag. We need to understand how literary agents and translators negotiated issues of copyright and ownership and how they shaped her work in German. By drawing on archival material – particularly publishers' correspondence with translators and agents – I will cast new light on how Mrs Dalloway, To the Lighthouse and Orlando appeared in early German translations.

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