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106 WOOLFIAN BOUNDARIES Woolf’s citation of Pascal to the “pack of snarling, tearing, quarrelling jackals” in her husband’s simile for Europe’s rabid colonisation of Africa, the jackals whose choice is to subordinate African peoples to national, imperial order. Th e speaker of Woolf’s sentence is aligned with the canine objects, not subjects, of canine “instinct”: the “woman,” the “fi ne woman,” the “very fi ne negress,” and the “dog,” all of whom are aligned with “ce chien.” And the very notion of “instinct” itself has already been undermined by the “dog woman” narrator’s encounter with the Beadle. It would be a grotesque misreading to conclude that Woolf herself runs with the jackals and not the dogs in this sentence, or even that she has clumsily but unintentionally aligned herself with the jackals in using the terms “Englishwoman,” “fi ne woman,” and “very fi ne negress.” Woolf as jackal or as dog aside, we must attend to how her sentence has been engineered to interpellate its readers as canine. Nor is it simply a matter of her reader running either with the jackals, or with the dogs, or of realising, as Woolf’s slippery syntax and sliding canine signifi ers encourage us to realise, that the potential for jackal and dog, for “reason” and “instinct,” is there in us all. It is also the way her slippery, rhythmical repetitive syntax and her sliding canine signifi ers have the reader reading and re-reading, returning to images and fi gures, marking and re-marking their signifi cance, digging up her half-buried allusions, and chasing them down. Marked and marking beings, we readers (by choice, reason, or instinct?) leave our own traces on her tombstones and signposts. Meanwhile Woolf declares herself a diff erent animal: “I’m the hare,” she records in her diary of 1931, “a long way ahead of the hounds my critics” (D4 45). Notes 1. A signifi cantly diff erent and much expanded version of this paper is forthcoming in Woolf Studies Annual. See Jane Goldman, “‘Ce chien est à moi’: Virginia Woolf and the Signifying Dog,” Woolf Studies Annual 13 (2007): 49-86. 2. As if to confi rm that “the train of thought” is canine, a dog’s view of the terrain is off ered: “To the right and left bushes of some sort, golden and crimson, glowed with the colour, even it seemed burnt with the heat, of fi re. On the further bank the willows wept in perpetual lamentation, their hair about their shoulders” (AROO 8). And again, the Biblical allusions to lamentation and to the burning bush (from where God spoke to Moses of delivery to the promised land) speak of slavery and the prospect of emancipation. 3. Woolf makes explicit her engagement with misogynist canine troping, in A Room of One’s Own, when she invokes Dr. Johnson’s infamous analogy for women preachers (AROO 72, 82-83); I’ve shown (Goldman 2006) how Woolf also derives, in her London Scene essays, a racially marked canine trope from Th omas Carlyle’s pamphlet, “Th e Nigger Question.” 4. “I charge ye all, ye mariners, /Th at sail upon the sea, /Let neither my father nor mother get wit, /Th is dog’s death I’m to die.” Made up version from Scott’s edition of 1833. Works Cited Adams, Carol J. “Th e Rape of Animals, the Butchering of Women.” Sexual Politics of Meat: A Feminist-Vegetarian Critical Th eory (London: Continuum, 1990). Rpt. Th e Animal Ethics Reader. Ed. Susan J. Armstrong and Richard G. Botzler. London: Routledge, 2003. 209-15 Agamben, Giorgio. Th e Open: Man and Animal. Trans. Kevin Attell. Stanford: Stanford UP, 2004. Dunn, June. “‘Beauty Shines On Two Dogs Doing What Two Women Must Not Do’: Puppy Love, Same-Sex Desire and Homosexual Coding in Woolf.” Virginia Woolf: Turning the Centuries. Ed. Ann L. Ardis and Bonnie Kime Scott. New York: Pace UP, 2000. 176-82 Eberly, David. “Housebroken: Th e Domesticated Relations of Flush.” Virginia Woolf: Texts and Contexts: Selected
Virginia Woolf and the Signifying Dog 107 Papers from the Fifth Annual Conference on Virginia Woolf. Ed. Beth Rigel Daugherty and Eileen Barrett. New York: Pace UP, 1996. 21-25. Garber, Marjorie. Dog Love. New York: Touchstone, 1997. Gates, Henry Louis. Th e Signifying Monkey: A Th eory of African American Literary Criticism. New York: Oxford UP, 1988. Goldman, Jane. “Who Let the Dogs Out?: From Dr. Johnson to Horatian Woolf.” Unpublished Conference Paper. 11th Annual International Conference on Virginia Woolf. <strong>University</strong> of Bangor, June 2001. ——. “Who let the dogs out?”: Statues, Suff ragettes, and Dogs in Woolf’s London.” Back to Bloomsbury: the 14 th Annual International Conference on Virginia Woolf. . September, 2006. Forthcoming in Virginia Woolf’s Bloomsbury. Ed. Lisa Shahriari and Gina Vitello Potts. Basingstoke: Palgrave, 2007. Haraway, Donna. Th e Companion Species Manifesto: Dogs, People and Signifi cant Otherness. Chicago: Prickly Paradigm Press, 2003. Levinas, Emmanuel. “Th e Name of a Dog, or Natural Rights.” Diffi cult Freedom: Essays on Judaism. Trans. Seán Hand. Baltimore: Johns Hopkins UP, 1990. 151-53. Marcus, Jane. Hearts of Darkness: White Women Write Race. New Brunswick, NJ: Rutgers UP, 2004. Pascal, Blaise. Pensées (1660). . Phillips, Kathy. Virginia Woolf Against Empire. Knoxville: <strong>University</strong> of Tennessee Press, 1994. Rego, Paula. Dog Woman (oil painting, 1994). . Shiach, Morag, ed. A Room of One’s Own by Virginia Woolf. Oxford: Oxford UP, 1992. Scott, Walter. “Th e Queen’s Marie.” Minstrelsy of the Scottish Border (1802-03). . Steeves, H. Peter. “Lost Dog, or, Levinas Faces the Animal.” Figuring Animals: Essays on Animal Images in Art, Literature, Philosophy, and Popular Culture. Ed. Mary Sanders Pollock and Catherine Rainwater. Basingstoke: Palgrave, 2005. 21-36. Vanita, Ruth. “‘Love Unspeakable’: Th e Uses of Allusion in Flush.” Virginia Woolf: Th emes and Variations. Ed. Vara Neverow-Turk and Mark Hussey. New York: Pace UP, 1993. 248-57. Woolf, Leonard. Empire and Commerce in Africa: A Study in Economic Imperialism. London: Macmillan, 1920. Woolf, Virginia. Th e Diary of Virginia Woolf. Ed. Anne Olivier Bell with Andrew McNeillie. Vol. 4. London: Hogarth, 1982. ——. Jacob’s Room. London: Hogarth, 1922. ——. Night and Day. London: Duckworth, 1919. ——. A Room of One’s Own. London: Hogarth, 1929.
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Woolfi an Boundaries Selected Paper
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A full-text digital version of this
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Foreword by Ruth Gruber On October
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• Nearly seventy years later, in
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Rhoda in Th e Waves, “and must pr
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es to late Victorian scientifi c ma
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Virginia Woolf Standard Abbreviatio
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2 WOOLFIAN BOUNDARIES paper I will
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4 WOOLFIAN BOUNDARIES tion” and i
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“FROM ALL THIS DIVERSITY…NOT A
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10 WOOLFIAN BOUNDARIES a total diss
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12 WOOLFIAN BOUNDARIES For a biogra
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14 WOOLFIAN BOUNDARIES Nadel, Ira B
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16 WOOLFIAN BOUNDARIES more at odds
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18 WOOLFIAN BOUNDARIES In Woolf’s
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20 WOOLFIAN BOUNDARIES of accompany
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MAPPING WOOLF’S MONTAIGNIAN MODER
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24 WOOLFIAN BOUNDARIES Toulmin’s
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26 WOOLFIAN BOUNDARIES there emerge
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28 WOOLFIAN BOUNDARIES 4. Adorno’
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WOOLF AND ANDREW MARVELL: THE GENDE
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32 WOOLFIAN BOUNDARIES sense of the
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34 WOOLFIAN BOUNDARIES It will be o
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“BUT THE BARRIER IS IMPASSABLE”
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38 WOOLFIAN BOUNDARIES ate and inst
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40 WOOLFIAN BOUNDARIES miners at th
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42 WOOLFIAN BOUNDARIES Orwell, Geor
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44 WOOLFIAN BOUNDARIES in Pictures
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46 WOOLFIAN BOUNDARIES Allen has de
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48 WOOLFIAN BOUNDARIES work that ne
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50 WOOLFIAN BOUNDARIES Works Cited
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52 WOOLFIAN BOUNDARIES the group, w
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54 WOOLFIAN BOUNDARIES literary rig
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“THE EVENING UNDER LAMPLIGHT…WI
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166 WOOLFIAN BOUNDARIES a model for
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170 WOOLFIAN BOUNDARIES Figure 6: T
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Afterword INSIDE AND OUTSIDE THE CO
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174 WOOLFIAN BOUNDARIES ing before
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176 WOOLFIAN BOUNDARIES open future
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178 WOOLFIAN BOUNDARIES makes this
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180 WOOLFIAN BOUNDARIES Notes 1. Fo
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182 WOOLFIAN BOUNDARIES on politica
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184 WOOLFIAN BOUNDARIES Woolf’s c
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188 WOOLFIAN BOUNDARIES Friday, Jun
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190 WOOLFIAN BOUNDARIES Chair: Magg
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