A generous "Contexts" section provides extracts from Woolf's diaries and letters as... more A generous "Contexts" section provides extracts from Woolf's diaries and letters as well as comments on the novel from her fellow writers and friends, among them E. M. Forster and T. S. Eliot. Also included are the short stories "The Mark on the Wall," "Kew Gardens," and "An Unwritten Novel," which Woolf viewed as early experiments with the innovative method used in Jacob's Room. An additional short story, "A Woman's College from Outside," which Woolf originally intended to be Chapter 10 of Jacob's Room, is also included. Finally, Woolf's classic essay "Modern Novels," written shortly before she began work on Jacob's Room, provides insight into her aesthetic and technique. "Criticism" is divided into two sections: "Contemporary Reception and Reviews" contains personal responses to the novel, from Lytton Strachey and E. M. Forster, as well as eleven reviews from contemporary period...
The Great War stimulated a sudden growth in the novel industry, and the trauma of the war continu... more The Great War stimulated a sudden growth in the novel industry, and the trauma of the war continued to reverberate through much of the fiction published in the years that followed its inglorious end. The essays in this volume, by a number of leading critics in the field, considers some of the best-known, and some of the least-known, women writers on whose work the war left its shadow. Ranging from Virginia Woolf, Katherine Mansfield, and H.D. to Vernon Lee, Frances Bellerby, and Mary Butts, the contributors challenge current thinking about women\u27s responses to the First World War and explore the differences between women writers of the period, thus questioning the very categorization of women\u27s writing.https://scholarworks.wm.edu/asbookchapters/1018/thumbnail.jp
Gallivanting with Campbell - "Orlando" and biography "moral eugenics" - the w... more Gallivanting with Campbell - "Orlando" and biography "moral eugenics" - the working-class fiction of V. Sackvill-West "maternal explanation" - autobiography and gender "a private matter" - V. Sackville-West's later novels "the girl beside me" - V. Sackville-West and the mystics "by what name shall we call death?" - Virginia Woolf's "The Waves" appendices - Vita Sackville-West, Virginia Woolf.
Twentieth-century culture is obsessed with waste. We worry about whether or not to recycle it, ho... more Twentieth-century culture is obsessed with waste. We worry about whether or not to recycle it, how to dispose of it, whether it is safe, and what will happen to it when we have finally got rid of it. Detritus has its own taxonomy: “rubbish,” “garbage,” and “litter,” for example, construct it as an essentially random, cumulative phenomenon, a by-product of our daily domestic lives. To call something “waste,” on the other hand, is to invoke its history. Nuclear waste, bodily waste, and medical waste are all the result of specific processes: they gesture back to the productive economies that generated them. Even in these days of recycling, waste is almost always disposed of or repudiated, sometimes indifferently, sometimes contemptuously, and even, on occasion, violently.
This monograph brings together the most recent research on Sinclair and re-contextualises her wor... more This monograph brings together the most recent research on Sinclair and re-contextualises her work both within and against dominant Modernist narratives. It explores Sinclair’s negotiations between the public and private, the cerebral and the corporeal and the spiritual and the profane in both her fiction and non-fiction. The essays contained in this volume are grouped under two sections entitled ‘The Intellect’ and ‘Abject Bodies’. They each address the various ways in which Sinclair endeavoured to formulate aesthetic techniques through which the subjective, physical and intellectual experience of ‘reality’ might be represented. Together, the two sections of the monograph investigate the many fruitful connections between Sinclair’s fictional, critical and philosophical output and the structures of epochal change traditionally associated with literary Modernism. They focus in particular upon Sinclair’s engagement with early-twentieth century cultural changes in perceptions of the co...
The essays in Strange Science examine marginal, fringe, and unconventional forms of scientific in... more The essays in Strange Science examine marginal, fringe, and unconventional forms of scientific inquiry, as well as their cultural representations, in the Victorian period. Although now relegated to the category of the pseudoscientific, fields like mesmerism and psychical research captured the imagination of the Victorian public. Conversely, many branches of science now viewed as uncontroversial, such as physics and botany, were often associated with unorthodox methods of inquiry. Whether ultimately incorporated into mainstream scientific thought or categorized by 21st century historians as pseudo- or even anti-scientific, these sciences generated conversation, enthusiasm, and controversy within Victorian society. To date, scholarship addressing Victorian pseudoscience tends to focus either on a particular popular science within its social context or on how mainstream scientific practice distinguished itself from more contested forms. Strange Science takes a different approach by pla...
On 26 July 1922, shortly after she finished writing her third novel, Jacob's Room, Virginia W... more On 26 July 1922, shortly after she finished writing her third novel, Jacob's Room, Virginia Woolf noted in her diary her feeling that in writing this novel, she had 'found out how to begin (at 40) to say something in [her] own voice' (Dz, p. 186). Critics have often followed Woolf's lead in regarding Jacob's Room as a starting-point of some kind. Many monographs on Woolf discuss the novels that preceded Jacob's Room (The Voyage Out (1915) and Night and Day (1919)) only in passing, or not at all, and where they are given more sustained attention they are often dismissed as 'apprentice efforts'. Woolf's comments appear to authorise developmental readings of her œuvre, readings which assume that her early novels were attempts to work out who she was as a novelist before, in early middle age, she found her characteristic fictional voice. But Woolf made something of a habit of announcing new beginnings. About ten years after she made the diary entry on Jacob's Room , shortly after the publication of The Waves , she wrote excitedly in her diary: Oh yes, between 50 & 60 I think I shall write out some very singular books, if I live. I mean I think I am about to embody, at last, the exact shapes my brain holds. What a long toil to reach this beginning - if The Waves is my first work in my own style! ( D 4, p. 53)
Virginia Woolf's writing has generated passion and controversy for the best part of a century. He... more Virginia Woolf's writing has generated passion and controversy for the best part of a century. Her novels-challenging, moving, and always deeply intelligentremain as popular with readers as they are with students and academics. This highly successful Cambridge Companion has been fully revised to take account of new departures in scholarship since it first appeared. The second edition includes new chapter on race, nation and empire, sexuality, aesthetics, visual culture and the public sphere. The remaining chapters, as well as the guide to further reading, have all been fully updated. The Cambridge Companion to Virginia Woolf remains the first port of call for students new to Woolf's work, with its informative, readable style, chronology and authoritative information about secondary sources. s u AN s ELLERS is Professor of Engli hand Related Literature at the University of St Andrews. With Jane Goldman, she is General Editor of the Cambridge Edition of the Works of Virginia Woolf; he is also the author of Vanessa and Virginia (2008), a novel about Woolf and Vanessa Bell.
All articles available through Birkbeck ePrints are protected by intellectual property law, inclu... more All articles available through Birkbeck ePrints are protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law.
In 1933, Freud inscribed a copy of his correspondence with Albert Einstein, Why War?, for Benito ... more In 1933, Freud inscribed a copy of his correspondence with Albert Einstein, Why War?, for Benito Mussolini. His dedication hailed Mussolini as a 'champion of culture', a distinction Freud felt he had earned by his support for excavation of Italian archaeological sites. Five years later, Freud, his family, and thirty-eight other psychoanalysts fled to London to escape a fascist regime with which Freud's 'champion of culture' was closely allied. This ironic turn of events was, according to Eli Zaretsky in Secrets of the Soul, typical of the history of psychoanalysis during what he identifies as its eighty-six year ascendancy in the West, from 1890 to 1976. In his account psychoanalysis seems capable of virtually infinite transformation. In Central Europe, for example, it was a force for emancipation; in the more conservative democracies of the US and Britain, however, it served the purpose of social control. Secrets of the Soul is the first book to attempt a historical assessment of the global significance of psychoanalysis, and as such it is extraordinarily valuable. It traces the history of psychoanalysis through the biographies of those who were involved in it, the political and social histories of the places and the societies in which they worked, and the shifting fortunes of the concepts they created, developed, and left behind. Zaretsky places psychoanalysis at the centre of the most profound transformations of the late nineteenth and the twentieth centuries. It was at its strongest and most influential, he argues, during the second industrial revolution of the 1890s and the protest movements of the 1960s. After that, in Zaretsky's view, analytic treatment and thought was increasingly sanitized, as the growth of the welfare state, managed care, shifting fashions in child-rearing and changing attitudes towards death cast increased suspicion on the idea that anything good could come out of the stimulation of aggression and despair. There was no longer any place for a treatment that was not afraid of fury. Psychoanalysis was inefficient and it encouraged a kind of temporary craziness. The embrace of human perversity no longer made sense. That psychoanalysis was a theory and a practice on which the West depended for most of the twentieth century is the message of this book. And equally, its message is that that dependency is finally over. Zaretsky argues that Secrets of the Soul is the first book to attempt such a wide-ranging assessment because the necessary distance between psychoanalysis and ourselves, 'with the waning of the medical fortunes of psychoanalysis' (p. 4), is only now beginning to appear. Previous historical accounts of psychoanalysis have focused on particular figures, the history of psychoanalytic thought, the story of psychoanalysis in particular countries, or specific case histories. Zaretsky's much more ambitious book is both a celebration of psychoanalysis and its elegy, even though, as Zaretsky acknowledges at the end, 'a psychoanalytic
... by Suzanne Raitt ... London and founder of the Institute of Education; LT Hobhouse, social-is... more ... by Suzanne Raitt ... London and founder of the Institute of Education; LT Hobhouse, social-ist and first Professor of Sociology at the University of London; WHB Stoddart, Superintendent of the Bethlem Royal Hospital; army doctor William McDougall, Reader in Mental Philosophy ...
A generous "Contexts" section provides extracts from Woolf's diaries and letters as... more A generous "Contexts" section provides extracts from Woolf's diaries and letters as well as comments on the novel from her fellow writers and friends, among them E. M. Forster and T. S. Eliot. Also included are the short stories "The Mark on the Wall," "Kew Gardens," and "An Unwritten Novel," which Woolf viewed as early experiments with the innovative method used in Jacob's Room. An additional short story, "A Woman's College from Outside," which Woolf originally intended to be Chapter 10 of Jacob's Room, is also included. Finally, Woolf's classic essay "Modern Novels," written shortly before she began work on Jacob's Room, provides insight into her aesthetic and technique. "Criticism" is divided into two sections: "Contemporary Reception and Reviews" contains personal responses to the novel, from Lytton Strachey and E. M. Forster, as well as eleven reviews from contemporary period...
The Great War stimulated a sudden growth in the novel industry, and the trauma of the war continu... more The Great War stimulated a sudden growth in the novel industry, and the trauma of the war continued to reverberate through much of the fiction published in the years that followed its inglorious end. The essays in this volume, by a number of leading critics in the field, considers some of the best-known, and some of the least-known, women writers on whose work the war left its shadow. Ranging from Virginia Woolf, Katherine Mansfield, and H.D. to Vernon Lee, Frances Bellerby, and Mary Butts, the contributors challenge current thinking about women\u27s responses to the First World War and explore the differences between women writers of the period, thus questioning the very categorization of women\u27s writing.https://scholarworks.wm.edu/asbookchapters/1018/thumbnail.jp
Gallivanting with Campbell - "Orlando" and biography "moral eugenics" - the w... more Gallivanting with Campbell - "Orlando" and biography "moral eugenics" - the working-class fiction of V. Sackvill-West "maternal explanation" - autobiography and gender "a private matter" - V. Sackville-West's later novels "the girl beside me" - V. Sackville-West and the mystics "by what name shall we call death?" - Virginia Woolf's "The Waves" appendices - Vita Sackville-West, Virginia Woolf.
Twentieth-century culture is obsessed with waste. We worry about whether or not to recycle it, ho... more Twentieth-century culture is obsessed with waste. We worry about whether or not to recycle it, how to dispose of it, whether it is safe, and what will happen to it when we have finally got rid of it. Detritus has its own taxonomy: “rubbish,” “garbage,” and “litter,” for example, construct it as an essentially random, cumulative phenomenon, a by-product of our daily domestic lives. To call something “waste,” on the other hand, is to invoke its history. Nuclear waste, bodily waste, and medical waste are all the result of specific processes: they gesture back to the productive economies that generated them. Even in these days of recycling, waste is almost always disposed of or repudiated, sometimes indifferently, sometimes contemptuously, and even, on occasion, violently.
This monograph brings together the most recent research on Sinclair and re-contextualises her wor... more This monograph brings together the most recent research on Sinclair and re-contextualises her work both within and against dominant Modernist narratives. It explores Sinclair’s negotiations between the public and private, the cerebral and the corporeal and the spiritual and the profane in both her fiction and non-fiction. The essays contained in this volume are grouped under two sections entitled ‘The Intellect’ and ‘Abject Bodies’. They each address the various ways in which Sinclair endeavoured to formulate aesthetic techniques through which the subjective, physical and intellectual experience of ‘reality’ might be represented. Together, the two sections of the monograph investigate the many fruitful connections between Sinclair’s fictional, critical and philosophical output and the structures of epochal change traditionally associated with literary Modernism. They focus in particular upon Sinclair’s engagement with early-twentieth century cultural changes in perceptions of the co...
The essays in Strange Science examine marginal, fringe, and unconventional forms of scientific in... more The essays in Strange Science examine marginal, fringe, and unconventional forms of scientific inquiry, as well as their cultural representations, in the Victorian period. Although now relegated to the category of the pseudoscientific, fields like mesmerism and psychical research captured the imagination of the Victorian public. Conversely, many branches of science now viewed as uncontroversial, such as physics and botany, were often associated with unorthodox methods of inquiry. Whether ultimately incorporated into mainstream scientific thought or categorized by 21st century historians as pseudo- or even anti-scientific, these sciences generated conversation, enthusiasm, and controversy within Victorian society. To date, scholarship addressing Victorian pseudoscience tends to focus either on a particular popular science within its social context or on how mainstream scientific practice distinguished itself from more contested forms. Strange Science takes a different approach by pla...
On 26 July 1922, shortly after she finished writing her third novel, Jacob's Room, Virginia W... more On 26 July 1922, shortly after she finished writing her third novel, Jacob's Room, Virginia Woolf noted in her diary her feeling that in writing this novel, she had 'found out how to begin (at 40) to say something in [her] own voice' (Dz, p. 186). Critics have often followed Woolf's lead in regarding Jacob's Room as a starting-point of some kind. Many monographs on Woolf discuss the novels that preceded Jacob's Room (The Voyage Out (1915) and Night and Day (1919)) only in passing, or not at all, and where they are given more sustained attention they are often dismissed as 'apprentice efforts'. Woolf's comments appear to authorise developmental readings of her œuvre, readings which assume that her early novels were attempts to work out who she was as a novelist before, in early middle age, she found her characteristic fictional voice. But Woolf made something of a habit of announcing new beginnings. About ten years after she made the diary entry on Jacob's Room , shortly after the publication of The Waves , she wrote excitedly in her diary: Oh yes, between 50 & 60 I think I shall write out some very singular books, if I live. I mean I think I am about to embody, at last, the exact shapes my brain holds. What a long toil to reach this beginning - if The Waves is my first work in my own style! ( D 4, p. 53)
Virginia Woolf's writing has generated passion and controversy for the best part of a century. He... more Virginia Woolf's writing has generated passion and controversy for the best part of a century. Her novels-challenging, moving, and always deeply intelligentremain as popular with readers as they are with students and academics. This highly successful Cambridge Companion has been fully revised to take account of new departures in scholarship since it first appeared. The second edition includes new chapter on race, nation and empire, sexuality, aesthetics, visual culture and the public sphere. The remaining chapters, as well as the guide to further reading, have all been fully updated. The Cambridge Companion to Virginia Woolf remains the first port of call for students new to Woolf's work, with its informative, readable style, chronology and authoritative information about secondary sources. s u AN s ELLERS is Professor of Engli hand Related Literature at the University of St Andrews. With Jane Goldman, she is General Editor of the Cambridge Edition of the Works of Virginia Woolf; he is also the author of Vanessa and Virginia (2008), a novel about Woolf and Vanessa Bell.
All articles available through Birkbeck ePrints are protected by intellectual property law, inclu... more All articles available through Birkbeck ePrints are protected by intellectual property law, including copyright law. Any use made of the contents should comply with the relevant law.
In 1933, Freud inscribed a copy of his correspondence with Albert Einstein, Why War?, for Benito ... more In 1933, Freud inscribed a copy of his correspondence with Albert Einstein, Why War?, for Benito Mussolini. His dedication hailed Mussolini as a 'champion of culture', a distinction Freud felt he had earned by his support for excavation of Italian archaeological sites. Five years later, Freud, his family, and thirty-eight other psychoanalysts fled to London to escape a fascist regime with which Freud's 'champion of culture' was closely allied. This ironic turn of events was, according to Eli Zaretsky in Secrets of the Soul, typical of the history of psychoanalysis during what he identifies as its eighty-six year ascendancy in the West, from 1890 to 1976. In his account psychoanalysis seems capable of virtually infinite transformation. In Central Europe, for example, it was a force for emancipation; in the more conservative democracies of the US and Britain, however, it served the purpose of social control. Secrets of the Soul is the first book to attempt a historical assessment of the global significance of psychoanalysis, and as such it is extraordinarily valuable. It traces the history of psychoanalysis through the biographies of those who were involved in it, the political and social histories of the places and the societies in which they worked, and the shifting fortunes of the concepts they created, developed, and left behind. Zaretsky places psychoanalysis at the centre of the most profound transformations of the late nineteenth and the twentieth centuries. It was at its strongest and most influential, he argues, during the second industrial revolution of the 1890s and the protest movements of the 1960s. After that, in Zaretsky's view, analytic treatment and thought was increasingly sanitized, as the growth of the welfare state, managed care, shifting fashions in child-rearing and changing attitudes towards death cast increased suspicion on the idea that anything good could come out of the stimulation of aggression and despair. There was no longer any place for a treatment that was not afraid of fury. Psychoanalysis was inefficient and it encouraged a kind of temporary craziness. The embrace of human perversity no longer made sense. That psychoanalysis was a theory and a practice on which the West depended for most of the twentieth century is the message of this book. And equally, its message is that that dependency is finally over. Zaretsky argues that Secrets of the Soul is the first book to attempt such a wide-ranging assessment because the necessary distance between psychoanalysis and ourselves, 'with the waning of the medical fortunes of psychoanalysis' (p. 4), is only now beginning to appear. Previous historical accounts of psychoanalysis have focused on particular figures, the history of psychoanalytic thought, the story of psychoanalysis in particular countries, or specific case histories. Zaretsky's much more ambitious book is both a celebration of psychoanalysis and its elegy, even though, as Zaretsky acknowledges at the end, 'a psychoanalytic
... by Suzanne Raitt ... London and founder of the Institute of Education; LT Hobhouse, social-is... more ... by Suzanne Raitt ... London and founder of the Institute of Education; LT Hobhouse, social-ist and first Professor of Sociology at the University of London; WHB Stoddart, Superintendent of the Bethlem Royal Hospital; army doctor William McDougall, Reader in Mental Philosophy ...
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