Lytton Strachey

This is a short piece of literary criticism on the use of 'narrative absence' to discuss trauma and consciousness in the work of Virginia Woolf. Although a brief summary is given, familiarity with Woolf's novel, To the Lighthouse (Hogarth, 1927), is needed to better engage with the discussion.

El presente estudio, fruto de la tesis doctoral del autor, explica la aparición de la biografía como uno de los nuevos géneros surgidos al calor del desarrollo de la edición industrial moderna, de la recepción en España de modelos europeos del nuevo arte de biografiar (André Maurois, Lytton Strachey, Stefan Zweig, Emil Ludwig, Giovanni Papini, entre otros) y del impulso de la política cultural y del libro de los años veinte y treinta.Esta investigación establece un detallado recorrido de la biografía por el mundo editorial español y sus colecciones dedicadas al género durante la primera mitad del siglo XX,incluyendo la Guerra Civil, la posguerra y el exilio republicano en América.

https://www.edizioninottetempo.it/it/ti-basta-l-atlantico-lettere-1906-1931

Virginia Woolf e Lytton Strachey si sono scritti per venticinque anni. Nelle loro lettere hanno discusso di libri, scrittura e amici che si erano comportati bene o male, hanno parlato di oceano e natura (Woolf l’amava, Strachey la sdegnava) e preso appuntamenti per il tè, mancandone parecchi. Sono lettere di cene, conversazioni nottambule e confidenze, letture intirizzite vicino al fuoco e viaggi, di ritiri tra brume gallesi o solitudini scozzesi, di ritorni al bel mondo cittadino (amato/odiato), e poi successi editoriali (immediato quello di Strachey, piú lento quello di Woolf) e affilate opinioni letterarie – cosí Dostoevskij è il piú grande scrittore mai vissuto, Henry James scrive romanzi notevoli nonostante manchi completamente di ironia, mentre l’Ulisse di Joyce è insostenibile. Pagine e pagine di mondanità, pettegolezzi, malattie o ipocondrie, una corrispondenza in cui libri e vita, piú che vicini, sono intrecciati, con malinconie ed entusiasmi che si incalzano tra le righe in mezzo a parole di infinita tenerezza – anche se “le cose che contano non si possono dire”. Chiara Valerio, che traduce le lettere di Virginia Woolf, e Alessandro Giammei, che traduce quelle di Strachey, curano la prima edizione italiana completa dello scambio tra i due scrittori, basata sugli originali archiviati in vari fondi internazionali, in particolare alla Mortimer Rare Book Collection dello Smith College in Massachusetts. Il carteggio include una sezione dedicata alla riproduzione di alcuni manoscritti.

Interwar Britain has traditionally been understood as featuring anti-Victorianism through the influence of Lytton Strachey’s Eminent Victorians (1918) and the Great War. Strachey is associated with the Bloomsbury Set, wartime experiences created the ‘Lost Generation’, but less attention has been given to Victorian generational identities in the twentieth century. Therefore, this thesis explores the survival of Victorian identities and accounts for the resurgence of the appeal of Victorian representations, especially amongst the ‘middlebrow’, c.1901-39.

The time period studied in this thesis includes the emergence of a new way of understanding society: as generations. How the Victorian and immediate post-Victorian generations understood their place in time, space, and in relation to one another will be demonstrated. Furthermore, a close reading of Victorian representations in popular culture will explore the emergence of a reappraisal of the Victorians.

Traditionally, inter-generational tension in this period has focused on Bloomsbury and the Intellectual Aristocracy. This thesis will supplement this focus with cultural material indicating generational identities and interest in Victorian representations in wider society. These include the emergence of a new form of literature, the genealogical novel, opinions found in popular daily newspapers and other periodicals, and visual representations such as films, stage plays, art and museum exhibitions.

This thesis challenges the argument that the appeal of Victorian identities and representations was vanquished in this period. It will be shown that it remained the dominant force in shaping early twentieth-century identities and held a significant role in popular culture during the 1930s.

No creo ir este año a Pontigny, pero le agradecería me dijera cuando Vd. y Scheler estarán allí. No sería imposible que fuese a hacerles una visita y hasta les comprometiese a venir a España en rápida excursión de automóvil. Saludándole atentamente, quedo de Vd. afmo.,

Readers are, most likely, aware of the hit job done by the Bloomsbury Group eminence Lytton Strachey on "eminent Victorians". And by eminent Victorians I don't mean Henry Bolte or Shane Warne. I mean British alleged-stodges of the late nineteenth century. Strachey's targets included Cardinal Manning and Florence Nightingale.

This article examines Italian publication history of three writers commonly associated to the Bloomsbury Group through an investigation of Italian publishers’ and translators’ archives. While the publication of Virginia Woolf and Lytton Strachey rough- ly developed in the same period, E. M. Forster, whose work exhibits a strong cultural tie with Italy, had to wait almost 40 years to see his works translated and published in Italy. This article investigates the reasons for such asymmetry with a two-prongued approach: on one side, it takes into consideration the critical reception of the three writers; and on the other, it highlights the editorial polices driving the Italian translation and publication inferred through the archival documentation of the people involved in the pre-publication stage. Archival documents testify that Mondadori, which first translated and published Woolf and Strachey in Italy, also had an interest in Forster well before 1945, but never managed to obtain the translation rights.

This article examines Italian publication history of three writers commonly associated to the Bloomsbury Group through an investigation of Italian publishers’ and translators’ archives. While the publication of Virginia Woolf and Lytton Strachey rough- ly developed in the same period, E. M. Forster, whose work exhibits a strong cultural tie with Italy, had to wait almost 40 years to see his works translated and published in Italy. This article investigates the reasons for such asymmetry with a two-prongued approach: on one side, it takes into consideration the critical reception of the three writers; and on the other, it highlights the editorial polices driving the Italian translation and publication inferred through the archival documentation of the people involved in the pre-publication stage. Archival documents testify that Mondadori, which first translated and published Woolf and Strachey in Italy, also had an interest in Forster well before 1945, but never managed to obtain the...