Woolfian Boundaries - Clemson University

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148 WOOLFIAN BOUNDARIES skin, and sculptural body shape almost literally transform her into a style icon and produce the star as commodity. 6 As Richard Dyer has argued, the embodiment of stars seems to off er us a privileged insight into the nature of the human but instead off ers “particular, even rather peculiar, ways of making sense of the body” (12). Th e rather peculiar embodiment of Nicole Kidman in Th e Hours, then, presents us with a very postmodern paradox: in a culture of cosmetic surgery as supplement to, if not foundation of, celebrity, we have a star with a bad nose job whose performance nonetheless, for many viewers, seems to evoke a reassurance of authenticity linked to her perceived beauty. For this reason, commodity stars like Kidman, even when—especially when—disguised or disfi gured on screen, remain faces of “the very greatest importance” in contemporary visual culture and demonstrate the clear boundaries that still operate to demarcate women by appearance rather than achievement. Notes 1. Other cinematic representations of Woolf in the 1990s, such as in Carrington and Tom and Viv, while also unfl attering in terms of Woolf’s character, noticeably depicted the author as fashionably dressed, although perhaps overly so (see Silver 179-82, 185-86). 2. It is worth noting that elsewhere, Kidman has been capable of transforming her appearance beyond recognition. One of the best examples of this would be the Vogue image of Kidman parodying a MGM musical which John Hartley used as a cover image for his book, Popular Reality (1996). 3. Perhaps best encapsulated in an episode of the Australian satire Kath and Kim depicting a local theatre production of a musical version of Th e Hours. Th is innovative production includes a “dancing noses” sequence in which the performers’ bodies are entirely obscured by enormous papier-maché noses from which only their tap-dancing feet are visible. 4. For a comparable discussion of the articulation of beauty, celebrity, suff ering, and tragedy, see Scott Wilson’s analysis of the death of Princess Diana, “Th e Indestructible Beauty of Suff ering: Diana and the Metaphor of Global Consumption,” in which he argues that the beauty of Diana “functions to support, that is maintain, sustain and even provoke, the spectacle of suff ering,” at the same time as her suff ering “also guarantees the truth of her virtue” (3). Without her beauty, the suff ering-virtue nexus would be broken; leaving only the ugliness of suff ering. 5. See Dyer (passim) on the inter-relation between public discourse on the lives of celebrities and their fi lm characterizations to construct the meaning of stars. See also Spohrer on the signifi cance of “Kidman’s extratextual stardom” in informing the public’s perception of her role in Th e Hours (117). 6. For further discussion of Kidman as a commodity star, see Conor. Works Cited: Blackwelder, Rob. “Half an Hour About Th e Hours.” . 2002. Accessed 8/4/05. Boys Don’t Cry. Dir. Kimberly Peirce. Twentieth Century Fox, 1999. Carrington. Dir. Christopher Hampton. Polygram, 1995. Conor, Liz. “Nicole Kidman and the Commodity Star.” Metro Magazine, no. 127/128, 2001: 98-99. Cunningham, Michael. Th e Hours. London: Fourth Estate, 1998. ——. “Nicole Kidman.” Interview, 32 (1), February 2002: 92. Daldry, Stephen. “Th e Heroics of Everyday Lives.” Film Education online, . 2003. Accessed 8/4/05. Dyer, Richard. Heavenly Bodies: Film Stars and Society. 2 nd ed. London: Routledge, 2004. Geraghty, Christine. “Re-examining Stardom: Questions of Texts, Bodies and Performance.” Reinventing Film Studies. Ed. Christine Gledhill and Linda Williams. London: Arnold, 2000: 183-202. Griffi n, Michelle. “Th e Power of Plain.” Th e Age online, . 2005. Accessed 21/11/05.
Whose Face Was It? 149 Hartley, John. Popular Reality: Journalism, Modernity, Popular Culture. London: Arnold, 1996. Hiscock, John. “Nicole Kidman as Never Seen Before.” Th e Telegraph online. . 2002 Accessed 8 April 2005. Holden, Stephen. “Who’s Afraid Like Virginia Woolf?” New York Times, 27 December 2002. E.1. Iannone, Carol. “Woolf, Women and Th e Hours.” Commentary, April 2003: 50-53. Kath and Kim. “Kicking Up a Stink.” Dir. Ted Emery. Riley Turner Productions, 2003. Lee, Hermione. Virginia Woolf. London: Chatto & Windus, 1996. ——. “Virginia Woolf’s Nose.” Body Parts: Essays in Life-Writing. London: Chatto & Windus, 2005. 28-44. Monster. Dir. Patty Jenkins. Columbia Pictures, 2003. Sandhu, Sukhdev. “Masterpiece of Miscasting.” Th e Telegraph online. . 2003. Accessed 8 April 2005. Scott, A. O. “A Unifi ed Th eory of Nicole Kidman.” New York Times, 2 November 2003. 2A.1. Silver, Brenda R. Virginia Woolf Icon. Chicago: <strong>University</strong> of Chicago Press, 1999. Spohrer, Erika. “Seeing Stars: Commodity Stardom in Michael Cunningham’s Th e Hours and Virginia Woolf’s Mrs Dalloway.” Arizona Quarterly 61 (2005): 113-32. Tom and Viv. Dir. Brian Gilbert. Miramax, 1994. Turan, Kenneth. “Movie Review: Th e Hours.” Los Angeles Times online. . 2002. Accessed 23/11/05. Wilson, Scott. “Th e Indestructible Beauty of Suff ering: Diana and the Metaphor of Global Consumption.” Th eory & Event, vol 1 no 4, 1997. . Woolf, Virginia. Mrs. Dalloway. Ed. Elaine Showalter. London: Penguin, 1992.
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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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6 WOOLFIAN BOUNDARIES In amongst he
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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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56 WOOLFIAN BOUNDARIES every side;
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“THE SHOCK OF LOVE” AND THE VIS
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60 WOOLFIAN BOUNDARIES has a counte
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62 WOOLFIAN BOUNDARIES to a possibl
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64 WOOLFIAN BOUNDARIES Caroline Ste
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66 WOOLFIAN BOUNDARIES of “expert
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68 WOOLFIAN BOUNDARIES of merging a
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70 WOOLFIAN BOUNDARIES But the triu
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REAL BODIES AND THE PSYCHOLOGY OF C
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74 WOOLFIAN BOUNDARIES of culture a
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76 WOOLFIAN BOUNDARIES a certain eg
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78 WOOLFIAN BOUNDARIES advantages o
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WOOLF, ROOKS, AND RURAL ENGLAND by
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82 WOOLFIAN BOUNDARIES G. K. Yeates
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84 WOOLFIAN BOUNDARIES At another t
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WOOLF AND THE OTHERS AT THE ZOO by
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88 WOOLFIAN BOUNDARIES his gaze a s
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90 WOOLFIAN BOUNDARIES bankruptcy o
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92 WOOLFIAN BOUNDARIES refuses to s
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94 WOOLFIAN BOUNDARIES of pesticide
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96 WOOLFIAN BOUNDARIES Taxonomy in
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