Woolfian Boundaries - Clemson University
Woolfian Boundaries - Clemson University Woolfian Boundaries - Clemson University
170 WOOLFIAN BOUNDARIES Figure 6: Talland House Ghosts, digital print by Elisa Kay Sparks Notes 1. Other important essays on Woolf and photography which I found particularly helpful include those by Helen Wussow, Vara Neverow, and Alex Zwerdling. 2. Jeff erson’s commonplace books can be perused on-line at the Library of Congress web site. Th e importance of Twain’s contribution to scrap-booking is shown in the OED entry on the word which contains several exemplary citations from Twain’s letters and autobiographical writings. 3. I learned of Newnes’s interest in scraps from Gill Lowe at the Birmingham conference. 4. After I delivered this paper in Birmingham, several fellow researchers were kind enough to inform me about these other scrapbooks. In addition to Gill Lowe, mentioned above, Marion Dell knew about the Cameron scrapbook, and Chris Reed told me that Grant’s scrapbooks are housed in the Tate Gallery Archives. 5. Allen and Hoverstadt note that many diff erent kinds of cut-out paper material were commonly pasted into scrapbooks, including clippings about topical events from the Illustrated London News and Punch (20). Several pages of scraps illustrating children’s stories (96-99) suggest a possible scrap connection for the tale of “Th e Fisherman’s Wife.” Th ey also comment on the great popularity of scrap prints of fruit clusters (25). See plates 82-85 (pp.102-6) for examples of fruit scraps, many of which feature luscious arrangements of grapes and pears similar to that on the Ramsays’ dinner table. Plate 15 features beautifully lustrous sea shells (47). 6. In her article on the uses of photography in To the Lighthouse, Alexandra Neel identifi es Mrs. Ramsay with a kind of constructivist photography, an ability to combine images into collages (209). 7. As this review of pictures of Julia Stephen suggests, photographs also provided a vivid reminder and specifi c mapping of the spaces in Talland House itself. Photographs are available which document many aspects of the Stephens’ summer home: the tall double glass doors opening out from the sitting room, the pots full of geraniums on the terrace (Kukil pl. 37c), the escalonia hedge (pl. 37f), the view from terrace (Dell and Whybrow, 31, 38), the cricket ground (Humm, Snapshots, pl. 6 [44]). 8. Scraps were also available to commemorate various heroic and military expeditions. Allen and Hoverstadt include a “Gigantic Relief” of the Transvaal Campaign designed to be stood up as a diorama, complete with cut-out bullets and shells (pl. 51 [73]) as well as a set of Jubilee scraps commemorating notable events in
The Evening Under Lamplight… 171 Victoria’s reign, including the Queen bidding farewell to the troops going out to the Crimea (pl. 93; p. 11). 9. For more information on Lily Bristow, see Brown (111-15). Th e climb of the Grépon, a granite needle near Chamonix, was quite strenuous and dangerous; the expedition went without a guide, and Bristow took signifi cant risks in making her photographs, sometimes unhooking from the safety line to get a better angle (112). One assumes such a trek could not be made without much previous experience, so it is not a stretch to think Lily Bristow was already climbing when Julia and Leslie Stephen were visiting Switzerland in 1889. 10. Th is phrase becomes a leitmotiv in Between the Acts, appearing no less than eight times in that novel. Works Cited Allen, Alistari and Joan Hoverstadt. Th e History of Printed Scraps. London: New Cavendish Books, 1983. Alpine Club Photo Album. . Accessed 3 June 2006. Bristow, Lily. “An Easy Day for a Lady.” Alpine Journal 53 (1941-42): 370-74. Brown, Rebecca. Women on High: Pioneers of Mountaineering. Boston, MA: Appalachian Mountain Club Books, 2002. Curtis, Vanessa. Th e Hidden Houses of Virginia Woolf and Vanessa Bell. London: Robert Hale, 2005 Dell, Marion and Marion Whybrow. Virginia Woolf and Vanessa Bell: Remembering St. Ives. Padstow, Cornwall: Tabb House, 2004. Friedman, Susan Stanford. Penelope’s Web: Gender, Modernity, and H. D.’s Fiction. Cambridge: Cambridge UP, 1990. Gillespie, Diane F. “‘Her Kodak Pointed at His Head’: Virginia Woolf and Photography.” Th e Multiple Muses of Virginia Woolf. Ed. Diane F. Gillespie. Columbia: University of Missouri Press, 1993. 113-47. John W. Hartman Center for Sales, Advertising & Marketing History. “Emergence of Advertising in America.” . Accessed 28 May 2006. Humm, Maggie. Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell, Photography, and Cinema. New Brunswick, NJ: Rutgers UP, 2003. ——. Snapshots of Bloomsbury: Th e Private Lives of Virginia Woolf and Vanessa Bell. New Brunswick, NJ: Rutgers UP, 2005. Kukil, Karen, curator. “Leslie Stephen’s Photograph Album.” Smith College Libraries. . Accessed 16 June 2006. Hankins, Leslie. “Doomed Expeditions in Film & Fiction: Early Antarctic Films in Woolf’s To the Lighthouse.” Paper delivered at the 15th Annual Conference on Virginia Woolf. Lewis and Clark University, 9-12 June 2005. Havens, Earle. Commonplace Books: A History of Manuscripts and Printed Books from Antiquity to the Twentieth Century. Th e Beinecke Rare Books and Manuscript Library, Yale University. University Press of New England, 2001. Lowe, Gill, ed. Hyde Park Gate News: Th e Stephen Family Newspaper. London: Hesperus, 2005. Neel, Alexandra. “Th e Photography of Antarctica: Virginia Woolf’s Letters of Discovery. Virginia Woolf and the Art of Exploration: Selected Papers from the Fifteenth Annual Conference on Virginia Woolf. Ed. Helen Southworth and Elisa Kay Sparks. Clemson University Digital Press, 2006. 203-11. Neverow, Vara. “Th inking Back through Our Mothers, Th inking in Common: Virginia Woolf’s Photographic Imagination and the Community of Narrators in Jacob’s Room, A Room of One’s Own, and Th ree Guineas.” Virginia Woolf and Communities: Selected Papers from the Eighth Annual Conference on Virginia Woolf. Ed. Jeanette McVicker and Laura Davis. New York: Pace UP, 1999. 65-87. Pawlowski, Merry M. and Vara Neverow, ed. “Th e Reading Notes for Th ree Guineas.” Th e Center for Virginia Woolf Studies. . Accessed 12 May 2006. Slatten, Lee Andra. “A Brief History of Scrapbooking.” 7 December 2004. . Accessed 15 May 2006. Stephen, Leslie. Sir Leslie Stephen’s Mausoleum Book. Introd. Alan Bell. Oxford: Clarendon, 1977. Woolf, Virginia. Th e Common Reader: First Series. New York: Harcourt, 1984. ——. Th ree Guineas. Annotated and introd. Jane Marcus. New York: Harcourt, 2006. ——. To the Lighthouse. New York: Harcourt, 1981. Wussow, Helen. “Virginia Woolf and the Problematic Nature of the Photographic Image.” Twentieth Century Literature 40.1 (Spring 1994): 1-14. Zwerdling, Alex. “Mastering the Memoir: Woolf and the Family Legacy.” Modernism/Modernity 10.1 (2003): 165-88.
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The Evening Under Lamplight…<br />
171<br />
Victoria’s reign, including the Queen bidding farewell to the troops going out to the Crimea (pl. 93; p. 11).<br />
9. For more information on Lily Bristow, see Brown (111-15). Th e climb of the Grépon, a granite needle near<br />
Chamonix, was quite strenuous and dangerous; the expedition went without a guide, and Bristow took<br />
signifi cant risks in making her photographs, sometimes unhooking from the safety line to get a better angle<br />
(112). One assumes such a trek could not be made without much previous experience, so it is not a stretch<br />
to think Lily Bristow was already climbing when Julia and Leslie Stephen were visiting Switzerland in 1889.<br />
10. Th is phrase becomes a leitmotiv in Between the Acts, appearing no less than eight times in that novel.<br />
Works Cited<br />
Allen, Alistari and Joan Hoverstadt. Th e History of Printed Scraps. London: New Cavendish Books, 1983.<br />
Alpine Club Photo Album. . Accessed 3 June 2006.<br />
Bristow, Lily. “An Easy Day for a Lady.” Alpine Journal 53 (1941-42): 370-74.<br />
Brown, Rebecca. Women on High: Pioneers of Mountaineering. Boston, MA: Appalachian Mountain Club Books,<br />
2002.<br />
Curtis, Vanessa. Th e Hidden Houses of Virginia Woolf and Vanessa Bell. London: Robert Hale, 2005<br />
Dell, Marion and Marion Whybrow. Virginia Woolf and Vanessa Bell: Remembering St. Ives. Padstow, Cornwall:<br />
Tabb House, 2004.<br />
Friedman, Susan Stanford. Penelope’s Web: Gender, Modernity, and H. D.’s Fiction. Cambridge: Cambridge UP, 1990.<br />
Gillespie, Diane F. “‘Her Kodak Pointed at His Head’: Virginia Woolf and Photography.” Th e Multiple Muses of<br />
Virginia Woolf. Ed. Diane F. Gillespie. Columbia: <strong>University</strong> of Missouri Press, 1993. 113-47.<br />
John W. Hartman Center for Sales, Advertising & Marketing History. “Emergence of Advertising in America.”<br />
. Accessed 28 May 2006.<br />
Humm, Maggie. Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell, Photography, and Cinema.<br />
New Brunswick, NJ: Rutgers UP, 2003.<br />
——. Snapshots of Bloomsbury: Th e Private Lives of Virginia Woolf and Vanessa Bell. New Brunswick, NJ: Rutgers<br />
UP, 2005.<br />
Kukil, Karen, curator. “Leslie Stephen’s Photograph Album.” Smith College Libraries. .<br />
Accessed 16 June 2006.<br />
Hankins, Leslie. “Doomed Expeditions in Film & Fiction: Early Antarctic Films in Woolf’s To the Lighthouse.” Paper<br />
delivered at the 15th Annual Conference on Virginia Woolf. Lewis and Clark <strong>University</strong>, 9-12 June 2005.<br />
Havens, Earle. Commonplace Books: A History of Manuscripts and Printed Books from Antiquity to the Twentieth<br />
Century. Th e Beinecke Rare Books and Manuscript Library, Yale <strong>University</strong>. <strong>University</strong> Press of New<br />
England, 2001.<br />
Lowe, Gill, ed. Hyde Park Gate News: Th e Stephen Family Newspaper. London: Hesperus, 2005.<br />
Neel, Alexandra. “Th e Photography of Antarctica: Virginia Woolf’s Letters of Discovery. Virginia Woolf and the<br />
Art of Exploration: Selected Papers from the Fifteenth Annual Conference on Virginia Woolf. Ed. Helen Southworth<br />
and Elisa Kay Sparks. <strong>Clemson</strong> <strong>University</strong> Digital Press, 2006. 203-11.<br />
Neverow, Vara. “Th inking Back through Our Mothers, Th inking in Common: Virginia Woolf’s Photographic<br />
Imagination and the Community of Narrators in Jacob’s Room, A Room of One’s Own, and Th ree Guineas.”<br />
Virginia Woolf and Communities: Selected Papers from the Eighth Annual Conference on Virginia Woolf. Ed.<br />
Jeanette McVicker and Laura Davis. New York: Pace UP, 1999. 65-87.<br />
Pawlowski, Merry M. and Vara Neverow, ed. “Th e Reading Notes for Th ree Guineas.” Th e Center for Virginia<br />
Woolf Studies. . Accessed 12 May 2006.<br />
Slatten, Lee Andra. “A Brief History of Scrapbooking.” 7 December 2004. .<br />
Accessed 15 May 2006.<br />
Stephen, Leslie. Sir Leslie Stephen’s Mausoleum Book. Introd. Alan Bell. Oxford: Clarendon, 1977.<br />
Woolf, Virginia. Th e Common Reader: First Series. New York: Harcourt, 1984.<br />
——. Th ree Guineas. Annotated and introd. Jane Marcus. New York: Harcourt, 2006.<br />
——. To the Lighthouse. New York: Harcourt, 1981.<br />
Wussow, Helen. “Virginia Woolf and the Problematic Nature of the Photographic Image.” Twentieth Century<br />
Literature 40.1 (Spring 1994): 1-14.<br />
Zwerdling, Alex. “Mastering the Memoir: Woolf and the Family Legacy.” Modernism/Modernity 10.1 (2003):<br />
165-88.