Woolfian Boundaries - Clemson University
Woolfian Boundaries - Clemson University Woolfian Boundaries - Clemson University
A full-text digital version of this book is available on the Internet, at the Center for Virginia Woolf Studies, California State University, Bakersfi eld. Go to http://www.csub. edu/woolf_center and click the Publications link. Works produced at Clemson University by the Center for Electronic and Digital Publishing, including Th e South Carolina Review and its themed series “Virginia Woolf International,” “Ireland in the Arts and Humanities,” and “James Dickey Revisited” may be found at our Web site: http://www.clemson. edu/caah/cedp. Contact the director at 864-656-5399 for information. Every eff ort has been made to trace all copyright-holders, but if any have been inadvertently overlooked, the publisher will be pleased to make the necessary arrangement at the fi rst opportunity. Copyright 2007 by Clemson University ISBN 978-0-9796066-1-8 CLEMSON UNIVERSITY DIGITAL PRESS Published by Clemson University Digital Press at the Center for Electronic and Digital Publishing, Clemson University, Clemson, South Carolina. Produced with the Adobe Creative Suite CS2 and Microsoft Word. Th is book is set in Adobe Garamond Pro and was printed by University Printing Services, Offi ce of Publications and Promotional Services, Clemson University. Editorial Assistants: Julie Gerdes and Kara McManus. To order copies, contact the Center for Electronic and Digital Publishing, Strode Tower, Box 340522, Clemson University, Clemson, South Carolina 29634-0522. An order form is available at the digital press Web site: http://www.clemson.edu/caah/cedp/SCRTh emed_ Iss_VWoolf.htm. Front cover illustration: Th e Window, 1918 Oil painting by Bloomsbury artist Roger Fry Courtesy of the University of Birmingham Collections and by the kind permission of the copyright holder. iv
Table of Contents Ruth Gruber • Forward .................................................................................................vi Anna Burrells, Steve Ellis, Deborah Parsons, Kathryn Simpson • Introduction ...............ix Suzanne Bellamy • Textual Archeology: An Australian Study of Virginia Woolf in 1942 ..... 1 Amber K. Regis • “From all this diversity…not a riot of confusion but a richer unity”: Th e Limits of Self-Representation in Virginia Woolf’s Orlando: A Biography .................... 8 Deborah Gerrard • Brown-ness, Trees, Rose Petals, and Chrysalises: Th e Infl uence of Edward Carpenter’s Mystical Evolutionary Socialism on the Writing of Virginia Woolf, with Particular Reference to Th e Years ......................................................... 15 Katie Macnamara • Mapping Woolf’s Montaignian Modernism ..................................... 22 Jim Stewart • Woolf and Andrew Marvell: Th e Gendering of Modernism ........................ 30 Ben Clarke • “But the barrier is impassable”: Virginia Woolf and Class ........................... 36 Helen Southworth • “Outside the magic (and tyrannical) triangle of London-Oxford- Cambridge”: John Hampson, Th e Woolfs, and the Hogarth Press ............................... 43 Lara Feigel • Buggery and Montage: Birmingham and Bloomsbury in the 1930s .............. 51 Alyda Faber • “Th e shock of love” and the Visibility of “indecent” Pain: Reading the Woolf-Raverat Correspondence ................................................................................ 58 Susan Reid • Killing the Angel in the House: Virginia Woolf, D. H. Lawrence, and the Boundaries of Sex and Gender ................................................................................ 65 Randi Synnøve Koppen • Real Bodies and the Psychology of Clothes: Th ree Guineas and the Limits of Sartorial Reasoning ..................................................................... 72 Ian Blyth • Woolf, Rooks, and Rural England ................................................................ 80 Richard Espley • Woolf and the Others at the Zoo .......................................................... 86 Christina Alt • Pests and Pesticides: Exploring the Boundaries of Woolf’s Environmentalism......93 Jane Goldman • “Ce chien est à moi”: Virginia Woolf and the Signifying Dog ................ 100 Bonnie Kime Scott • Virginia Woolf, Ecofeminism, and Breaking Boundaries in Nature ...108 Emily Kopley • Woolf’s Transformation of Providential Form in Mrs. Dalloway ........... 116 Th aine Stearns • Pilfering Modernism’s Image: Woolf and Th ose Other Londoners .......... 121 Ben Harvey • Borderline Personalities: Woolf Reviews Kapp .......................................... 127 Elizabeth Wright • Performing the Self: Woolf as Actress and Audience .......................... 138 Wendy Parkins • “Whose face was it?”: Nicole Kidman, Virginia Woolf, and the Boundaries of Feminine Celebrity ......................................................................... 144 Maggie Humm • “Memory Holes” or “Heterotopias”?: The Bloomsbury Photographs ...... 150 Tara Surry • “Over the boundary”: Virginia Woolf as Common Seer .............................. 157 Elisa Kay Sparks • “Th e evening under lamplight…with the photograph album”: To the Lighthouse as Family Scrapbook .................................................................... 164 Melba Cuddy-Keane • Afterword: Inside and Outside the Covers: Beginnings, Endings, and Woolf’s Non-Coercive Ethical Texts ................................................................. 172 Notes on Contributors ................................................................................................. 181 Conference Program .................................................................................................... 185 v
- Page 1: Woolfi an Boundaries Selected Paper
- Page 6 and 7: Foreword by Ruth Gruber On October
- Page 8 and 9: • Nearly seventy years later, in
- Page 10 and 11: Rhoda in Th e Waves, “and must pr
- Page 12 and 13: es to late Victorian scientifi c ma
- Page 14 and 15: Virginia Woolf Standard Abbreviatio
- Page 16 and 17: 2 WOOLFIAN BOUNDARIES paper I will
- Page 18 and 19: 4 WOOLFIAN BOUNDARIES tion” and i
- Page 20 and 21: 6 WOOLFIAN BOUNDARIES In amongst he
- Page 22 and 23: “FROM ALL THIS DIVERSITY…NOT A
- Page 24 and 25: 10 WOOLFIAN BOUNDARIES a total diss
- Page 26 and 27: 12 WOOLFIAN BOUNDARIES For a biogra
- Page 28 and 29: 14 WOOLFIAN BOUNDARIES Nadel, Ira B
- Page 30 and 31: 16 WOOLFIAN BOUNDARIES more at odds
- Page 32 and 33: 18 WOOLFIAN BOUNDARIES In Woolf’s
- Page 34 and 35: 20 WOOLFIAN BOUNDARIES of accompany
- Page 36 and 37: MAPPING WOOLF’S MONTAIGNIAN MODER
- Page 38 and 39: 24 WOOLFIAN BOUNDARIES Toulmin’s
- Page 40 and 41: 26 WOOLFIAN BOUNDARIES there emerge
- Page 42 and 43: 28 WOOLFIAN BOUNDARIES 4. Adorno’
- Page 44 and 45: WOOLF AND ANDREW MARVELL: THE GENDE
- Page 46 and 47: 32 WOOLFIAN BOUNDARIES sense of the
- Page 48 and 49: 34 WOOLFIAN BOUNDARIES It will be o
- Page 50 and 51: “BUT THE BARRIER IS IMPASSABLE”
- Page 52 and 53: 38 WOOLFIAN BOUNDARIES ate and inst
Table of Contents<br />
Ruth Gruber • Forward .................................................................................................vi<br />
Anna Burrells, Steve Ellis, Deborah Parsons, Kathryn Simpson • Introduction ...............ix<br />
Suzanne Bellamy • Textual Archeology: An Australian Study of Virginia Woolf in 1942 ..... 1<br />
Amber K. Regis • “From all this diversity…not a riot of confusion but a richer unity”: Th e<br />
Limits of Self-Representation in Virginia Woolf’s Orlando: A Biography .................... 8<br />
Deborah Gerrard • Brown-ness, Trees, Rose Petals, and Chrysalises: Th e Infl uence of<br />
Edward Carpenter’s Mystical Evolutionary Socialism on the Writing of Virginia<br />
Woolf, with Particular Reference to Th e Years ......................................................... 15<br />
Katie Macnamara • Mapping Woolf’s Montaignian Modernism ..................................... 22<br />
Jim Stewart • Woolf and Andrew Marvell: Th e Gendering of Modernism ........................ 30<br />
Ben Clarke • “But the barrier is impassable”: Virginia Woolf and Class ........................... 36<br />
Helen Southworth • “Outside the magic (and tyrannical) triangle of London-Oxford-<br />
Cambridge”: John Hampson, Th e Woolfs, and the Hogarth Press ............................... 43<br />
Lara Feigel • Buggery and Montage: Birmingham and Bloomsbury in the 1930s .............. 51<br />
Alyda Faber • “Th e shock of love” and the Visibility of “indecent” Pain: Reading the<br />
Woolf-Raverat Correspondence ................................................................................ 58<br />
Susan Reid • Killing the Angel in the House: Virginia Woolf, D. H. Lawrence, and the<br />
<strong>Boundaries</strong> of Sex and Gender ................................................................................ 65<br />
Randi Synnøve Koppen • Real Bodies and the Psychology of Clothes: Th ree Guineas<br />
and the Limits of Sartorial Reasoning ..................................................................... 72<br />
Ian Blyth • Woolf, Rooks, and Rural England ................................................................ 80<br />
Richard Espley • Woolf and the Others at the Zoo .......................................................... 86<br />
Christina Alt • Pests and Pesticides: Exploring the <strong>Boundaries</strong> of Woolf’s Environmentalism......93<br />
Jane Goldman • “Ce chien est à moi”: Virginia Woolf and the Signifying Dog ................ 100<br />
Bonnie Kime Scott • Virginia Woolf, Ecofeminism, and Breaking <strong>Boundaries</strong> in Nature ...108<br />
Emily Kopley • Woolf’s Transformation of Providential Form in Mrs. Dalloway ........... 116<br />
Th aine Stearns • Pilfering Modernism’s Image: Woolf and Th ose Other Londoners .......... 121<br />
Ben Harvey • Borderline Personalities: Woolf Reviews Kapp .......................................... 127<br />
Elizabeth Wright • Performing the Self: Woolf as Actress and Audience .......................... 138<br />
Wendy Parkins • “Whose face was it?”: Nicole Kidman, Virginia Woolf, and the<br />
<strong>Boundaries</strong> of Feminine Celebrity ......................................................................... 144<br />
Maggie Humm • “Memory Holes” or “Heterotopias”?: The Bloomsbury Photographs ...... 150<br />
Tara Surry • “Over the boundary”: Virginia Woolf as Common Seer .............................. 157<br />
Elisa Kay Sparks • “Th e evening under lamplight…with the photograph album”: To<br />
the Lighthouse as Family Scrapbook .................................................................... 164<br />
Melba Cuddy-Keane • Afterword: Inside and Outside the Covers: Beginnings, Endings,<br />
and Woolf’s Non-Coercive Ethical Texts ................................................................. 172<br />
Notes on Contributors ................................................................................................. 181<br />
Conference Program .................................................................................................... 185<br />
v
Change language