Divided by Flesh and Pen: Teaching Medieval Manuscripts Through Virginia Woolf

This paper explores some key texts of Virginia Woolf in the context of Deleuzian concepts. Using a close reading style, it shows how the prose poetry in Mrs Dalloway engages a complex interplay of repetition and difference, resulting in a remarkably similar model of the three syntheses of time as Deleuze understands them. It subsequently explores Woolf's technical processes in a key passage from To the Lighthouse, showing how the prose-poetic technique systematically undoes the structures of logical fact and rationality inscribed in both language and everyday speech to an extremely precise level.

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Katherine Mansfield and Literary Influence

10.3366/edinburgh/9780748694419.001.0001 ◽

2015 ◽

Cited By ~ 1

Keyword(s):

Cultural Differences ◽

Virginia Woolf ◽

Katherine Mansfield ◽

Anton Chekhov ◽

Evelyn Waugh ◽

Literary Influence ◽

Artistic Production ◽

Key Issues ◽

John Middleton Murry

Katherine Mansfield and Literary Influence seeks to understand influence, a powerful yet mysterious and undertheorised impetus for artistic production, by exploring Katherine Mansfield’s wide net of literary associations. Mansfield’s case proves that influence is careless of chronologies, spatial limits, artistic movements and cultural differences. Expanding upon theories of influence that focus on anxiety and coteries, this book demonstrates that it is as often unconscious as it is conscious, and can register as satire, yearning, copying, homage and resentment. This book maps the ecologies of Mansfield’s influences beyond her modernist and postcolonial contexts, observing that it roams wildly over six centuries, across three continents and beyond cultural and linguistic boundaries. Katherine Mansfield and Literary Influence identifies Mansfield’s involvement in six modes of literary influence - Ambivalence, Exchange, Identification, Imitation, Enchantment and Legacy. In so doing, it revisits key issues in Mansfield studies, including her relationships with Virginia Woolf, John Middleton Murry and S. S. Koteliansky, as well as the famous plagiarism case regarding Anton Chekhov. It also charts new territories for exploration, expanding the terrain of Mansfield's influence to include writers as diverse as Colette, Evelyn Waugh, Nettie Palmer, Eve Langley and Frank Sargeson.

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Virginia Woolf and Being-in-the-world

10.3366/edinburgh/9781474421676.001.0001 ◽

2017 ◽

Cited By ~ 1

Author(s):

Emma Simone

Keyword(s):

Virginia Woolf ◽

Historical Context ◽

The Political ◽

Cartesian Dualism ◽

Self And Other ◽

The World ◽

Binary Oppositions ◽

The Individual ◽

The Relationship ◽

Existential Perspective

Virginia Woolf and Being-in-the-world: A Heideggerian Study explores Woolf’s treatment of the relationship between self and world from a phenomenological-existential perspective. This study presents a timely and compelling interpretation of Virginia Woolf’s textual treatment of the relationship between self and world from the perspective of the philosophy of Martin Heidegger. Drawing on Woolf’s novels, essays, reviews, letters, diary entries, short stories, and memoirs, the book explores the political and the ontological, as the individual’s connection to the world comes to be defined by an involvement and engagement that is always already situated within a particular physical, societal, and historical context. Emma Simone argues that at the heart of what it means to be an individual making his or her way in the world, the perspectives of Woolf and Heidegger are founded upon certain shared concerns, including the sustained critique of Cartesian dualism, particularly the resultant binary oppositions of subject and object, and self and Other; the understanding that the individual is a temporal being; an emphasis upon intersubjective relations insofar as Being-in-the-world is defined by Being-with-Others; and a consistent emphasis upon average everydayness as both determinative and representative of the individual’s relationship to and with the world.

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Envoi

10.3366/edinburgh/9781474427418.003.0007 ◽

2018 ◽

Author(s):

Vike Martina Plock

Keyword(s):

Cold War ◽

Virginia Woolf ◽

Edith Wharton ◽

Jean Rhys ◽

Suez Crisis ◽

The Cold War

It is 1956, the height of the Cold War. The year will end in the Suez Crisis and the Hungarian Uprising. Edith Wharton and Virginia Woolf have both been dead for a while, Jean Rhys is all but forgotten and Rosamond Lehmann’s career as a novelist is on the wane....

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Kate O'Brien and Virginia Woolf: Common Ground

Irish University Review ◽

10.3366/iur.2018.0334 ◽

2018 ◽

Vol 48 (1) ◽

pp. 127-142

Author(s):

Aintzane Legarreta Mentxaka

Keyword(s):

Civil War ◽

Virginia Woolf ◽

Spanish Civil War ◽

Common Ground ◽

Point Of View ◽

Political Alignments ◽

Literary Influences ◽

Kate O'brien

Convergences in the work of Kate O'Brien and Virginia Woolf range from literary influences and political alignments, to a shared approach to narrative point of view, structure, or conceptual use of words. Common ground includes existentialist preoccupations and tropes, a pacifism which did not hinder support for the left in the Spanish Civil War, the linking of feminism and decolonization, an affinity with anarchism, the identification of the normativity of fascism, and a determination to represent deviant sexualities and affects. Making evident the importance of the connection, O'Brien conceived and designed The Flower of May (1953), one of her most experimental and misunderstood novels, to paid homage to Woolf's oeuvre.

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‘BLAST First (from politeness) ENGLAND’: The Manifesto in Britain and Ireland

Modernist Cultures ◽

10.3366/mod.2017.0172 ◽

2017 ◽

Vol 12 (2) ◽

pp. 297-315 ◽

Cited By ~ 2

Author(s):

Julian Hanna

Keyword(s):

Detailed Analysis ◽

Virginia Woolf ◽

Ezra Pound ◽

Wyndham Lewis ◽

Italian Futurism ◽

Free Zone ◽

Hugh Macdiarmid ◽

The Times

Aside from the familiar story of Vorticists and Imagists before the war, no detailed analysis of manifestos in Britain (or Ireland) exists. It is true that, by 1914, there had been such an upsurge in manifesto writing that a review of BLAST in The Times (1 July 1914) began: ‘The art of the present day seems to be exhausting its energies in “manifestoes.”’ But after the brief fire ignited by the arrival of Italian Futurism died out, Britain again became a manifesto-free zone. Or did it? While a mania for the militant genre did not take hold in Britain and Ireland the same way it did in France, Italy, Germany, or Russia, the manifesto did enjoy a small but dedicated following that included Whistler, Wilde, and Yeats; Patrick Geddes and Hugh MacDiarmid; Wyndham Lewis and Ezra Pound; Dora Marsden and Virginia Woolf; and Auden, MacNeice, and Spender. Through these and other figures it is possible to trace the development of a manifesto tradition specific to Britain and Ireland.

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Taxi! The Modern Taxicab as Feminist Heterotopia

Modernist Cultures ◽

10.3366/mod.2014.0084 ◽

2014 ◽

Vol 9 (2) ◽

pp. 213-232

Author(s):

Anne E. Fernald

Keyword(s):

Virginia Woolf ◽

Maximum Power ◽

Male Gaze ◽

Real Place ◽

Critical Relation ◽

Transitional Mode ◽

Mode Of Transport ◽

Woman's Body

The taxicab operated as a crucial transitional mode of transport for bourgeois women, allowing them maximum power as spectators when it was still brave for a woman to be a pedestrian. The writings of Virginia Woolf, which so often depict bourgeois women coping with modernity, form the chief context in which to explore the role of the taxicab in liberating the modern woman. The taxi itself, clumsy and ungendered, encases a woman's body and protects her from the male gaze. At the same time, a woman in a taxi can look out upon the street or freely ignore it. As such, the taxi is a type of heterotopia: a real place but one which functions outside of and in a critical relation to, the norms of the rest of the community.

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