430 research outputs found
Virginia Woolf and Visual Culture
Virginia Woolfâs work is shaped by her knowledge of, and fascination with, visual cultures. Orlando, Flush, and Three Guineas all contain photographs, and Woolf wrote about cinema and was an enthusiastic domestic photographer.
Visual artefacts of all kinds ranging from Omega Workshop crafts to Hogarth Press book designs, are part of her visual landscape.
The chapter discusses Woolfâs relation to visual cultures, in particular Woolfâs âPortraitsâ, essays, âThe Cinemaâ, Flush and Three Guineas
Memory, Photography, and Modernism: The âdead bodies and ruined housesâ of Virginia Woolfâs Three Guineas
In Three Guineas Woolf includes five photographs of her masculine world: the army, lawyers, professors and church leaders which Woolf 'resists' with unpublished photographs: the narrator's memories of Spanish Civil War photographs. Where the public photographs erase individuality, the absent photographs encourage an alternative and radical politics. In private life Woolf was an active photographer very conscious of the links between memory, subjectivity and photography. Utilising ideas of memory and the visual from a range of writers including Pierre Nora, the article argues that the narrator's political argument is created by means of her embodiment in relation to the absent, not published, photographs
Virginia Woolf and Vanessa Bell: "the same pair of eyes, only different spectacles"
Writing to Vanessa Bell in 1937, Woolf imagined âdo you think we have the same pair of eyes, only different spectacles?â
From the age of fifteen, both Woolf and Bell took, developed and mounted photographs in albums throughout their careers. There are over 1,000 photographs in Woolfâs Monkâs House Albums and a similar number in the albums of Vanessa Bell. Both sisters wrote about photography and photography influenced their aesthetics and art. The modernist sisters used photography not simply as a documentary device but as a means of crossing the border between the visual and the unconscious.
The photographs reveal Woolf and Bellâs struggles with the public and the private, with formal aesthetics and everyday moments. The albums offer a crucial insight into those psychic mechanisms structuring Woolf and Bellâs aesthetics. For example Bellâs erotic photographs of her naked children are her âunconscious opticsâ as well as a record of her world.
The paper shows how album photographs are vivid examples of Woolf and Bellâs ideas about aesthetics, the maternal, the erotic and identity
Simone de Beauvoir, Virginia Woolf and the Maternal
In this book chapter originally presented as a plenary paper at the International Conference âContemporary European Women Writers: Gender and Generation, March 30th to 1 April 2005 held by the University of Bath, Professor Humm discusses
writings of Virginia Woolf and Simone de Beauvoir as a maternal legacy for British feminist critics and activists. The chapter focuses on a crucial year for feminists in the 1970s: 1972 which saw the first publication of the paperback of The Second Sex. It touches on de Beauvoirâs debt to Woolf, and de Beauvoirâs literary critiques of masculinity and the maternal in The Second Sex, as well as British feminist reception of de Beauvoir and Woolf in that year. Woolfâs famous injunction in a Room of Oneâs Own that a woman writer âthinks through her mothersâ, Woolfâs recovery of the lost mother in âA Sketch of the Pastâ, The Voyage Out, and Lily Briscoeâs reparative painting in To The Lighthouse are often cited as Woolfâs maternal imaginary. The chapter tells another story about maternal presences in Woolfâs own domestic photographs and in some professional photographs taken of Woolf, as well as Woolfâs debt to her mother Juliaâs writing, particularly Juliaâs Notes From Sick Rooms
"Memory Hole" or "Heterotopias"?: the Bloomsbury photographs
The chapter examines ways of reading photography in relation to selected examples from the archives of Virginia Woolf and Vanessa Bell. It argues that the variety of the Bloomsbury photographs offered Virginia Woolf and Vanessa Bell many possibilities: a safe space from which to view past presences; imagined communities as well as â following Foucault - âheterotopiasâ, combining real and imagined spaces outside of the social. In addition, Vanessa Bellâs photographs when placed alongside her paintings, for example, the photographs and paintings of Studland Beach, offer further ways of understanding Bellâs representations of past and present, as well as prequels of her paintings
Editing Virginia Woolf and the Arts: Woolf and the Royal Academy
In this book chapter originally presented as a paper at the 18th Annual International Conference on Virginia Woolf, June 19-22 2008 held by the University of Denver, Professor Humm discusses Virginia Woolfâs review of the Royal Academy 1919 summer exhibition âThe Royal Academy,â in which she obscures the contribution of women artists as well as the significant date of the exhibition which was the first since the end of the war. Woolfâs review together with the 1919 exhibition itself, raises gender and political issues and presents a crucial case study of ambiguities in Woolfâs writings as well as in contemporary critical difficulties with âmodernismâ itself
My Own Ghost Met Me: Woolfâs 1930s Photographs, Death and Freudâs Acropolis
In this book chapter, originally presented as a plenary paper at the 14th Annual International Conference on Virginia Woolf âBack to Bloomsburyâ. June 23rd to 26th held at the Institute of English Studies University of London, Professor Humm discusses Virginia Woolfâs 1930s photographs in relation to visits to the Acropolis made by both Woolf in the 1930s and 1906, and by Freud in 1904. Freud revisits the Acropolis in his mind in the 1930s in a long letter to Rolland. The chapter argues that Woolfâs obsession with death in this period and Freudâs analysis of his own fears in the letter have much in common; and that her photographs were for Woolf, as Freudâs letter was for him, a technology of memory, which Woolf uses to counter fears of death and loss of identity
- âŠ