tag:blogger.com,1999:blog-27133427009205153932023-11-15T23:56:28.131-08:003504WoolfThis is the blog for Professor Fernald's undergraduate Woolf elective, spring 2013.Anonymoushttp://www.blogger.com/profile/03281027116636227323noreply@blogger.comBlogger101125tag:blogger.com,1999:blog-2713342700920515393.post-53412334384531094152013-04-19T19:17:00.003-07:002013-04-19T19:23:00.502-07:00A 1931 Review of The Waves<!--[if gte mso 9]><xml>
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I was excited to read a
review of <i style="mso-bidi-font-style: normal;">The Waves</i> from when it was
first published, to get a taste of the responses Woolf herself might have read
from contemporaries. While I found <a href="http://www.nytimes.com/books/97/06/08/reviews/woolf-waves.html">this review</a> by Louis Kronenberger to be in
many ways insightful and congruent with my own opinions, I also disagreed with
his ultimate conclusion. Kronenberger praises Woolf’s imagist poetry, even titling
the article “Poetic Brilliance in the New Novel by Mrs. Woolf,” but ends with
the claim that the novel is “a very far cry…from greatness.” Despite its unique
form, he argues that the novel’s themes are conventional and that “it is simply
a marvelous description, it is not quite vision.” </div>
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This critique functions
on a distinction between form and content, with content being of primary value.
However, I do not believe the two are quite as distinct as Kronenberger makes
them out to be. Her form is part of the content, communicating an essence, a
mood, an emotion, a state of being. Take for instance her description of Rhoda’s
terror in the first section of the novel:</div>
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“The others look; they
look with understanding. Louis writes; Susan writes; Neville writes; Jinny
writes; even Bernard has now begun to write. But I cannot write. I see only
figures. The others are handing in their answers, one by one. Now it is my
turn. But I have no answer. The others are allowed to go. They slam the door.”</div>
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<br /></div>
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The simplicity, the step
by step description of this passage, brilliantly captures the slow, steady
weight of being trapped in fear, confusion and humiliation in a classroom. It
immediately brought me back to my days in kindergarten, left struggling over
math problems when the rest of the class had finished and gone to recess. The
ability to perfectly capture such an experience, seemingly mundane though it
may be, is to me a feat of greatness. </div>
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Kronenberger claims that
Woolf “is not really concerned in <i style="mso-bidi-font-style: normal;">The
Waves</i> with people, she is hardly concerned in the prosaic sense with
humanity: she is only concerned with the symbols, the poetic symbols, of
life--the changing seasons, day and night, bread and wine, fire and cold, time
and space, birth and death and change.”<span style="mso-spacerun: yes;"> </span>When
I first read this comment, I felt it to be entirely accurate, but upon further
reflection I feel that while <i>The Waves</i> is indeed concerned with “the poetic
symbols of life,” it is through these symbols that she <i style="mso-bidi-font-style: normal;">does</i> capture humanity. He complains that “it is always sensibility [Woolf]
has, never passion; we never get, in a mystical flash, the universe.” But of
course, in a novel titled <i>The Waves</i>, there is no flash; for Woolf, life is not a flash. We do, however, get a deeply moving and carefully paced portrait of
the tides of life, a macro image of the passage of time. </div>
Zoe Simpsonhttp://www.blogger.com/profile/11484933727175711869noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-29860784879194188172013-04-19T17:42:00.000-07:002013-04-19T17:42:24.061-07:00Virginia Wolf: A Children's Story<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ4nTrdDl5YZTXoIsMRb_OQccgUsLQ1eSb4XAE6d6aaGfauoz1j9-JspBV3HxFNZ-jdkC9G1qtZxmmzgs9DpsTtVxD_PiCENl5mpXMndCaeYqNPbC2jFVlDEpIrBSi16aUBnU9TAg_vs/s1600/VirginiaWolf-Cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZ4nTrdDl5YZTXoIsMRb_OQccgUsLQ1eSb4XAE6d6aaGfauoz1j9-JspBV3HxFNZ-jdkC9G1qtZxmmzgs9DpsTtVxD_PiCENl5mpXMndCaeYqNPbC2jFVlDEpIrBSi16aUBnU9TAg_vs/s320/VirginiaWolf-Cover.jpg" width="232" /></a></div>
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I never would have
expected the life of lofty, intellectual, suicidal Virginia Woolf to make a
good children’s story, but Kyo Maclear’s <i style="mso-bidi-font-style: normal;">Virginia
Wolf</i> appears to be very sweet indeed. Inspired by Woolf’s relationship with
her sister, <a href="http://kyomaclearkids.com/">http://kyomaclearkids.com</a> describes the children’s story as follows:</div>
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“Vanessa’s sister,
Virginia, is in a ‘wolfish’ mood – growling, howling and acting very strange.
It’s a funk so fierce, the whole household feels topsy-turvy. Vanessa tries everything
she can think of to cheer her up, but nothing seems to work. Then Virginia
tells Vanessa about an imaginary, perfect place called Bloomsberry. Armed with
an idea, Vanessa begins to paint Bloomsberry on the bedroom walls, transforming
them into a beautiful garden complete with a ladder and swing ‘so that what was
down could climb up.’ Before long, Virginia, too, has picked up a brush and
undergoes a surprising transformation of her own.” </div>
Zoe Simpsonhttp://www.blogger.com/profile/11484933727175711869noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-39945721762748779272013-04-19T17:26:00.001-07:002013-04-19T17:27:07.377-07:00On Keeping a Diary<!--[if gte mso 9]><xml>
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In reading <a href="http://www.brainpickings.org/index.php/2013/01/25/virginia-woolf-on-keeping-a-diary/">an article</a> on
Woolf’s thoughts about keeping a diary, I found a few key observations that
strongly resonated with my own experience. I have been keeping a daily diary
and a dream journal since I was fourteen. I remember early on asking myself the
same question as Woolf: “What sort of diary should I like mine to be?” </div>
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<br /></div>
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On the one hand, I was concerned
with how my writing would sound to relatives who might read it in the future.
This is not quite so egotistical as it might sound, considering that I was
inspired to start writing by the volumes of diaries and memoirs that my
grandfather left behind. Having lost him to cancer when I was only three, I
loved pouring over his writings as a way to get to know him, and found his
adventures and ponderings highly entertaining. I was very aware of the contrast
between his eloquent, organized prose and neat handwriting versus my lazy
scribbles and jumbled ramblings. For a while I tried to be funny,
interesting and clear, pretending that I was writing to my future
grandchildren. But after less than a year of this, I went back to my earlier
entries and reached the same conclusion as Woolf:</div>
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<br /></div>
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“The main requisite, I
think on re-reading my old volumes, is not to play the part of censor, but to
write as the mood comes or of anything whatever; since I was curious to find
how I went for things put in haphazard, and found the significance to lie where
I never saw it at the time.” </div>
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<br /></div>
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I decided I would like it
to be “something loose knit… so elastic that it will embrace anything, solemn,
slight or beautiful that comes into my mind…some deep old desk…in which one
flings a mass of odds and ends without looking them through.” While Woolf claims
that this goal must still be balanced with a “fear of becoming slack and untidy,”
I no longer bothered worrying myself over sloppiness at all. To this day I
enjoy looking at scribbles, added <span style="mso-spacerun: yes;"> </span>notes and drawings in the margins of entries
from years ago, retracing the ways in which my mind would wander and leap as I
wrote stream of consciousness. </div>
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<br /></div>
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As someone whose
self-critiques always slowed down the writing process, I also found this
approach served me, like Woolf, as practice for other writing endeavors. I
could write essays faster by getting them out on the page before going back to
edit and organize, instead of agonizing over every sentence as I
wrote. My enjoyment of my past entries also gave me confidence in creative
writing, and inspired me to take classes in creative non-fiction, which I greatly
enjoyed. While my style and purpose are naturally in many ways unlike the literally
legend, it was somehow inspiring to find these similarities in something as
intimate as a diary. </div>
Zoe Simpsonhttp://www.blogger.com/profile/11484933727175711869noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-37779067215445102362013-04-18T23:12:00.003-07:002013-04-18T23:12:33.541-07:00On the morbid and mistaken<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/Wg3gSJ5pUII?feature=player_embedded' frameborder='0'></iframe></div>
Sadistik--"Virginia Woolf"<br />
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A rap piece written about Virginia—or rather, loosely
inspired by her death. The artist explains on his website: “For those of you
who aren’t familiar, Virginia Woolf was a very famous writer from the early
1900s who ended up committing suicide by putting rocks in her dress and walking
into the ocean. I always thought this was morbidly poetic and I even found
myself really inspired after reading the letter she left behind for her
husband, so I decided to write a song about it.” Initially I was taken aback by
his error and by the lack of thorough research (his decision to read her
suicide note seems oddly flippant?), but it did prove thought-provoking for me.
He does a lot of guesswork and includes imagery predicated on her walking into
the ocean instead of the river: seashells, messages in bottles, even going so
far as to establish the disappearing coast as the last thing she saw. I’m not
especially interested in bashing him for his mistake; what does interest me is
the instinct to write about a tragic event that one doesn’t really understand,
or the death of a person whose full history one doesn’t know, and the
afterlives of famous figures in a shared public consciousness. I think there’s
a kind of cultish fascination with the suicides of artists—Sylvia Plath is, I
think, another example of an artist whose fame in certain demographics is
largely due to shock factor and the draw of the macabre. Their deaths precede
their lives and their works, to some degree. This not a unique or surprising
phenomenon by any means, but I am uncomfortable with the appropriation of
someone’s moment of deepest pain as a sort of creative prompt or a curiosity
for grisly enjoyment, and especially as a shorthand to evoke emotions from an
audience. Normally I’m deeply interested in creative ‘recycling’ and the
conversations or lineages that emerge in intertexts, but when one of the
‘texts’ is someone’s life (or death? Can someone’s death be a text distinct
from their life?)—and inaccurately rendered at that—I find that to be more than
a little unsettling. Are we entitled or allowed to try to creatively enter
someone else’s headspace when they have occupied such a visible position in the
cultural consciousness? Is there an ethics to inspiration? </div>
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<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/15760365911507590794noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-27820462655069520462013-04-18T23:11:00.004-07:002013-04-18T23:11:25.227-07:00Thoughts on writing and private/public creation
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<a href="http://www.brainpickings.org/index.php/2013/01/25/virginia-woolf-on-keeping-a-diary/">http://www.brainpickings.org/index.php/2013/01/25/virginia-woolf-on-keeping-a-diary/ </a></div>
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This article offers some selections from Woolf’s diaries and
commentary on the mental state and creative process. A quote I liked: “<span style="background: white; letter-spacing: -.6pt; mso-ascii-font-family: Cambria; mso-bidi-font-size: 9.0pt; mso-hansi-font-family: Cambria;">Melancholy diminishes as I
write. Why then don’t I write it down oftener? Well, one’s vanity forbids. I
want to appear a success even to myself. Yet I don’t get to the bottom of it.”
Although I have always loved writing and loved even more the idea of being a
disciplined diarist with journals filled with my very own words and my life
neatly organized, I have had little success in fulfilling that fantasy. I own
dozens of beautiful journals given to me by well-meaning friends and family who
know my interests and want to encourage me to create, but most of them are
empty, or else have a few pages written in (usually torn out within a few
days). I love journals and the idea of using them, but they scare me with the
promise of what I could create with them. I find it infinitely easier to write
my thoughts down in private blogs or other online spaces, or notebooks that are
cheap and ugly and unlikely to last—the temporary reduces the threat of
embarrassment. I can’t bring myself to ‘ruin’ a well-crafted notebook, even if
it was created specifically to hold my mistakes. They make me feel as though my
private thoughts must be polished and coherent and fully-formed from the start.
And my writing is irregular, precisely because of the problem that Woolf nods
to above. It is all too easy to become fixated on having a literary diary which
recounts stories of your interesting and sophisticated life rather than the
ordinary, mundane topics of most diaries. At that point it is no longer a diary
but an exhibit, something artificial, something on display. In order for me to
be able to write, certain conditions must be in place to remove that obligation
to exhibition. I think all of us feel that paradox she underscores of the need
to overcome emotional hurdles and stressors in order to be able to write, which
is only fully possible through practice and constantly writing, constantly
creating. </span><o:p></o:p></div>
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<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/15760365911507590794noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-83005672467738650452013-04-18T23:10:00.003-07:002013-04-18T23:14:15.463-07:00Flowers in the river<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/310CAedVPcM?feature=player_embedded' frameborder='0'></iframe></div>
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<br /></div>
<div class="MsoListParagraphCxSpFirst">
Of all the musical intertexts we’ve
encountered this semester, I believe Patrick Wolf’s “To The Lighthouse” is my
favorite. I think it handles the topic of Woolf’s death with subtlety, emotional
nuance, and productive energy, and it contains some interesting references as
well. It’s not a mourning song, though it very easily could have been, but
rather an exhortation to live and endure in a way that I feel is respectful of
her experience, and even affectionate toward her. The most moving line in the
song is actually a quote, the first part of a line from Purcell’s opera <i>Dido and Aeneas</i>: “Great minds against themselves
conspire/And shun the cure they most desire”, which the chorus sings as Aeneas
leaves Dido to her death. Wolf
deals a lot with this idea of the burdened, melancholic creative, and when I
saw his name on the syllabus, I immediately assumed that we would be listening
to a song from later in his career, “The Sun Is Often Out”, which a friend once
showed me (with a preface of “this is the saddest dang song in the world”, and
I have to say, he wasn’t exaggerating). </div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/VVqKPNlxWIc?feature=player_embedded' frameborder='0'></iframe></div>
<div class="MsoListParagraphCxSpFirst">
<br /></div>
<div class="MsoListParagraphCxSpFirst">
This piece is one that Wolf wrote in
memory of a poet friend who took his own life, and though I don’t actually own
or regularly listen to any of Wolf’s music, the lyrics are so powerful that
they have stayed with me for years. It seems a bit simplistic to draw on the
contextual placement in London and lines like “They’re throwing flowers in the
river/where your body cold was found” as signs of Woolf’s presence, however
quiet, but the repeated last lines are what I associate most with her and with
the frequent but inexplicable concurrence of creative brilliance and incredible
emotional suffering:</div>
<div align="center" class="MsoListParagraphCxSpMiddle" style="text-align: center;">
“Was
your work of art so heavy</div>
<div align="center" class="MsoListParagraphCxSpLast" style="text-align: center;">
That
it would not let you live?”</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/15760365911507590794noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-25033634920954944342013-04-18T23:08:00.001-07:002013-04-18T23:08:39.371-07:00Freshwater
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<!--[if !supportLists]--><a href="%35.http://www.guardian.co.uk/stage/theatreblog/2012/may/23/virginia-woolf-play-bloomsbury-group">1<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span><!--[endif]-->http://www.guardian.co.uk/stage/theatreblog/2012/may/23/virginia-woolf-play-bloomsbury-group</a></div>
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<br /></div>
<div class="MsoListParagraph" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
I had no idea that Woolf ever wrote a play—why didn’t
she write more? I feel as though they would be pretty excellent, although
apparently this one is far from it. <i>Freshwater
</i>is a 1935 play she wrote to be produced in her sister’s studio, a satire of
her great-aunt’s circle and the social milieu in which she operated. The
Bloomsbury group would often put on little skits and parodies at parties at 46
Gordon Square, which now houses a school of arts with Birkbeck, University of
London. The English department faculty there held a reading of <i>Freshwater</i> last year, and you can find
the recording on their website <a href="http://www.bbk.ac.uk/english/our-research/bcct/projects/showings-of-performance-work">here</a>.</div>
<br />
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<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/15760365911507590794noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-10205958591264402402013-04-18T23:06:00.001-07:002013-04-18T23:06:54.018-07:00In response to the content of the broadcast recording
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I’ve really enjoyed listening to the recording of
Woolf’s radio broadcast that people have posted here; there’s something very
odd about finally hearing a voice you’ve only been able to imagine and guess at
for years. But to go beyond the initial shock—her message is something that I
have thought a lot about. She says there is no such thing as “brand new words”,
that English is too old and too layered with memories for any writer or speaker
to use an extant word without resurrecting all of its past or potential
meanings. “Words belong to each other,” she says. Everything is linked and the
methods we employ to try to organize language are insufficient. In this light,
grammar isn’t much more than a nervous human bridle on language, which it can
neither tame nor contain. She says, “our business is to see what we can do with
the old English language as it is”. She makes some claims about literature and
the mind and the ‘current’ generation that I’m not sure I think are productive
or urgent for us to think about, but much of this broadcast seems to me to be
the foundation of a literary feminism. Awareness of language is a first step
toward dismantling systems of injustice, and her message about words and
ownership and accountability resonates with me—that one cannot use words
without invoking histories, and that we cannot make words our own, at least not
without seriously engaged creative thought. </div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/15760365911507590794noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-57129498762957035762013-04-18T22:37:00.002-07:002013-04-18T22:44:47.317-07:00Tangled Thread of Consciousness <div dir="ltr" style="text-align: left;" trbidi="on">
<div>
<div style="text-align: left;">
<span style="font-family: Times, Times New Roman, serif;"><i>The Voyage Out</i> was my
favorite Virginia Woolf novel throughout the course. Although, I have a feeling
that <i>The Waves</i> would become my new favorite Woolf novel. I cannot say so for
sure now because I have not completed it yet.<br /><br />Nonetheless, <i>The Waves</i> has
blown me away with its <span style="background-color: white;">stream-of-consciousness.
To best understand what Woolf has done, one could imagine a long thread; a
thread that is so knotted and tangled and twisted that it is almost impossible
to untangle. </span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /><span style="background-color: white;">Because
the thread is knotted, it would seem as if the thread, once untangled,
would make one long thread. However, once you succeed
in untangling it, you find the thread is in six perfect pieces. You
realize that the coloring of each of the six pieces of thread is imperceptibly different.
Each piece of thread represents its own distinctive characteristic, yet your
mind pictured one whole thread – perfectly uncut.</span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /><span style="background-color: white;">That is
how the six characters in<i> The Waves</i> are presented; although each character has
their own individual traits and personalities, together they make up one
individual; one consciousness. They are so intertwined, like pieces of
thread tangled together, that it seems as though they make one single long
thread. </span></span><br />
<span style="font-family: Times, Times New Roman, serif;"><br /><span style="background-color: white;">Woolf
breaks boundaries as she creates a work of fiction that is not just complex
fiction, but colorful poetry. She creates a maze
of consciousness where fictional characters explore the depths of
their Self, and their mind – from childhood to adolescence to
adulthood – through vivid images, through nature, through expressed emotion;
the stream of consciousness develops on its own a certain rhythm that
is unbreakable and unlimited; exactly like a wave; a wave that keeps coming and
coming; going and going. It washes over you and another one washes over you in
a never ending cycle; a consciousness that is dependent on others but
one that is also insistent on continuity. </span></span></div>
<div class="MsoNormal">
<span style="font-family: Times, Times New Roman, serif;"><br /></span>
<span style="background-color: white; line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">“I am made and remade continually. Different people draw different words from me.” </span></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span>
<span style="background-color: white; line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">“Now begins to rise in me the familiar rhythm; words that have lain dormant now lift, now toss their crests, and fall and rise, and falls again. I am a poet, yes. Surely I am a great poet.”</span></span><br />
<span style="background-color: white; line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;"><br /></span></span>
<span style="background-color: white; line-height: 18px;"><span style="font-family: Times, Times New Roman, serif;">“But when we sit together, close,’ said Bernard, ‘we melt into each other with phrases. We are edged with mist. We make an unsubstantial territory.”</span></span></div>
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<o:p></o:p></div>
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Aguernahhttp://www.blogger.com/profile/16161164585887055326noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-16263277711290345192013-04-18T21:25:00.001-07:002013-04-18T21:25:51.208-07:00Why The Waves Might Be My FavoriteI have to admit that when I first started reading <i>The Waves </i>I looked at that opening page that was full of poetic language and thought it was maybe not going be one of my favorites that we have read this semester. I think the kind of style she is experimenting with is beautiful but I couldn't see how this could compare with the standards that we had read earlier in this semester that were clearly identifiable as Woolf. I was dead wrong however. The farther I get into <i>The Waves </i>the more I love it.<br />
<br />
I have a sense when reading it that the dialogue and narration of the characters should be spoken in a particular way that I can't describe. The way Woolf chooses to write allows the reader to see so much more of the characters' personalities then we get to see in her other works, not that we don't get to see a lot. Somehow her style here, having the characters' thoughts and actions described by themselves and having the characters often describe their perspective on the same moment helps illustrate the story in the way that plain narration can't.<br />
<br />
This was kind of a rant, but I just thought I would share, and am wondering if anyone else feels the same way about <i>The Waves</i>. To conclude, I am so glad that I have been pleasantly surprised by it!Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-71533810497351711722013-04-18T21:08:00.002-07:002013-04-18T21:08:59.131-07:00Women with opinions, then and nowThis article made me think of the conversation my groups had on the day we walked around to the five stations in class. At the station about art and the obstacles and societal prejudices about women in writing and in visual art--and the issues that face all young people regardless of gender, such as family's attitudes and financial stability--my group talked about how Woolf grew up surrounded by a fantastic artistic community; she had opinions, and from an early age she was surrounded by people who knew had to express their own ideas. That intellectual heritage undoubtedly had a huge effect on her work. I don't know anyone, though, who grew up with that sort of encouragement. We blog, or tweet, or, if we feel so inclined to try to write a novel or a volume of poetry, or some similar larger work, we have to work to seek out encouragement and mentors. Jenna "Marbles" is part of this conversation we all take part in, taken to its extreme (she's able to more than live off the income of doing something she enjoys).<br />
<br />
<a href="http://www.nytimes.com/2013/04/14/fashion/jenna-marbles.html?pagewanted=all&_r=0">http://www.nytimes.com/2013/04/14/fashion/jenna-marbles.html?pagewanted=all&_r=0</a>AlysCarolanhttp://www.blogger.com/profile/02210860667624678326noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-35416812867569541812013-04-18T20:45:00.000-07:002013-04-18T20:45:06.024-07:00More Woolf Tumblr-ingI noticed that Karen made a post detailing her explorations of Virginia Woolf on tumblr. I too have ventured into Woolf territory on tumblr at least a few times, and have to agree that it's an overwhelming experience seeing so many different, enthusiastic perspectives on Woolf all at once.<br />
<br />
In the process I stumbled upon this <a href="http://fuckyeahvirginiawoolf.tumblr.com/" target="_blank">fuckyeahvirginiawoolf</a> tumblr dedicated to Woolf, and I'm not totally sure how I feel about it. What aggravates me most is the site's disorderly, cluttered format. It also bothers me, though, that there's even a "fuck yeah" tumblr dedicated to Woolf to begin with. Those familiar with tumblr know that throngs of people have created "fuck yeah" tumblrs on virtually every topic, even the most mundane (i.e. fuckyeah1990's or fuckyeahhiking). These other single-topic blogs are fun to browse, but most are silly,* and I feel like Woolf deserves a little more credit and dedication than do the nostalgic popculture references of the 1990's that one finds on the fuckyeah1990's tumblr. Nonetheless, I do respect whoever compiled it for bringing together some excellent quotes, manuscripts, and photos of Woolf and those who inspired her altogether on one site. If anything, the site might introduce internet browsers not familiar with Woolf to her work, albeit in a rather strange way. The library is probably a better place to start.<br />
<br />
*note: one exception is <a href="http://fuckyeahexistentialism.tumblr.com/" target="_blank">fuckyeahexistentialism</a>. That one is actually great.<br />
<br />
(also, I hope my language in this post did not offend...I really didn't see a way around it!)Anonymoushttp://www.blogger.com/profile/07674032201288701083noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-53604079232465387012013-04-18T20:13:00.000-07:002013-04-18T20:13:48.844-07:00“Mrs. Dalloway said she would buy the flowers herself.”: The Hours, Internal Conflict and Controlling One’s Fate
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It was hard to narrow in on one topic after watching <i>The Hours</i> since the whole film felt like
a culmination of the Woolf pieces we’ve read this semester. However, I felt that the concepts of
internal conflict and control over one's fate were major themes in the film as well as in most of Woolf’s
novels. The first line of <i>Mrs. Dalloway</i> is Clarissa declaring that she will buy flowers herself, an assertion of control. In <i>The Hours</i>, I think Julianne Moore’s character Laura had the most
difficulty with falling apart and having to constantly hide it. When she almost committed suicide, I
viewed that as her discovering she finally had control over something. Whether she did or did not kill
herself, she was the only one who could make that choice. Laura’s difficulties in her life were
very much internalized. One moment that stood out to me was when she cries in the bathroom while talking to
her husband who, despite being only a room over, remains completely ignorant of
her sadness. Her life forced her to constantly hide her unhappiness, something that
drove her to eventually leave her family. Although this act was a betrayal to her family, it was one way that she could
gain control over her own life. </div>
<div class="MsoNormal">
This
control that Laura initially lacks, but eventually finds is mirrored
in Nicole Kidman’s Virginia Woolf. Virginia feels like she is suffocating in the suburbs at the insistance of a doctor who could not possibly comprehend what troubles her mind. During a heated argument with Leonard,
Virginia tries to make him understand that he cannot understand. She says, “If I were thinking clearly,
Leonard, I would tell you that I wrestle alone in the dark, in the deep dark,
and that only I can know.” This
notion of solitude in thought seems to be most prominent in the Virginia and Laura
characters, both tormented by their isolation within themselves, and plagued by
thoughts of suicide. In the end, they both achieve the control they want; Laura chose to leave her family behind, and Virginia saw suicide
as her only option for an escape from a life she did
not wish to live.</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07630155406661916731noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-31330646746980042952013-04-18T19:13:00.000-07:002013-04-18T19:14:55.213-07:00A Look at Woolf's Complex Relationship With Her Servants<!--[if gte mso 9]><xml>
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<br />
<div class="nitf" style="background: white; mso-outline-level: 5; text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;"><span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><a href="http://www.nytimes.com/2008/10/19/books/review/Messud-t.html?pagewanted=1&ref=virginiawoolf&_r=0" target="_blank">This</a>
is a <i>New York Times </i> book review of Alison Light’s </span><i>Mrs. Woolf and the Servants: </i><i>An Intimate History of Domestic Life in Bloomsbury</i>.
The book <span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-bidi-font-size: 10.0pt;">looks at the relationships between Woolf and her
hired maids and cooks throughout her youth and adulthood, telling the untold
stories of the help in Woolf’s life. Apparently the bonds Woolf shared with her
house staff were sometimes hostile, sometimes comforting, but always intimate
and important in her life.<o:p></o:p></span></span></div>
<div class="nitf" style="background: white; line-height: 16.8pt; mso-outline-level: 5;">
<span style="font-family: Times, Times New Roman, serif;"><br /></span></div>
<div class="MsoNormal" style="text-indent: .5in;">
<span style="font-family: Times, Times New Roman, serif;">I
know we’ve talked a bit about Woolf, as a woman of her time, being a snob and
quite prejudiced. This review struck me because at first glance the book seems
present a perfect example of Woolf’s upstairs-downstairs snobbery in relation
to her house staff. And yet, as the review suggests, Woolf’s discomfort with
her help is actually a really complex topic to explore. I find it interesting
that Woolf “<span style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Times New Roman';">embraced the Labor Party and politics that
promised social change, and yet did not seem to realize that [her] way of
living perpetuated established class divisions” through the employment of maids
and cooks. This shows that Woolf struggled with an ongoing battle between a
resistance to her dependence on her house staff and a desire to embrace this
dependence. This at times manifested in tensions between Woolf and her help. For
a woman in her time, I think this struggle is particularly fascinating. On the
one hand, and as the article shows, Woolf in a way has her hired help to thank
for freeing her time so that she could complete her works, including her most
feminist and forward-thinking. Perhaps a lack of hired help was just another of
the many impediments to the advancement of female writers mentioned by Woolf in
<i>A Room of One’s Own</i>. On the other
hand, perhaps employing help might have felt to Woolf like a sign of weakness,
not only female, but human. No individual likes to admit his or her dependence,
especially not a strong feminist woman who seeks to set a bold example in a
society that is more or less unwelcoming toward boldness. How does a woman reconcile her independent artistic and career life with her dependent domestic life? This might
illuminate, though not at all excuse, Woolf’s occasional hostile and elitist
tendencies toward her help, who were actually essential in her daily life. When
it comes to Woolf’s snobbery I think it’s important that we not only
acknowledge and criticize it, but also come to understand it as a force within
her that she constantly struggled against and tried to make sense of.</span><span style="font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/07674032201288701083noreply@blogger.com5tag:blogger.com,1999:blog-2713342700920515393.post-43165868962519759552013-04-18T19:03:00.001-07:002013-04-18T19:03:43.206-07:00How Words Shape our Perceptions
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The discussion in class about the word flanerie versus the
word streetwalker, prompted me to start thinking about how the use of words
shape and reflect so many perceptions in our society. </div>
<div class="MsoNormal" style="text-indent: .5in;">
Let’s start with the first word
that I have an issue with: “she”. You are probably saying to yourself, “What? How
can she have a problem with such an innocent word?” I don’t have a problem with
the word itself; I have a problem with how it is sometimes used. It has always
bothered me when people refer to inanimate objects as a “she”. “Yep she (my
boat) just went out to sea for the first time.” Yes I’ve actually heard that phrase
being used before. Why are we indicating possession of inanimate objects by
using a female word? There is something about the fact that we indicate
possession with “she” that just gets under my skin. </div>
<div class="MsoNormal" style="text-indent: .5in;">
Now let’s move to the more commonly
and more casually used word: “bitch”. The first problem I have with this word
is how casually it’s used. I have heard numerous females use this phrase flippantly
to describe a member of their own sex. I have also heard many men use this word
to viciously describe women that have dejected them. The Webster Dictionary
defines this word as “the female version of dog, a lewd or immoral woman or
something that is extremely difficult or unpleasant”. There are so many things
that are disturbing about this definition, including the fact that we are using
the same word to describe a dog and a woman. But the most disturbing thing of
all is that our society actually has a word for this for a “lewd” woman, while
we definitely do not have a parallel word for a man. </div>
<div class="MsoNormal" style="text-indent: .5in;">
Another word that I have a problem
with is “spinster”. The fact that the word for a single man is bachelor while
the word for a single woman is spinster portrays a gender perception that we
are all aware of. When the word “bachelor” comes to mind, I think of a
strapping young man. When the word “spinster” comes to mind, I think of a crotchety
old woman sitting at home reading to her cats. These two parallel words seem to
suggest that is fine for a man to be unmarried, but incredibly troubling for a
woman to not have a husband.</div>
<div class="MsoNormal" style="text-indent: .5in;">
Virginia Woolf used her writing to
convey ideas that pushed the limits of gender. Through her words she protested
the patriarchal structure of our society. However, the fact that many words
convey gender stereotypes suggests that notions about gender are deeply
embedded in the fabric of our society. So I ask, in order to change stereotypes
associated with our gender, do we first have to change the way we use words in
our society and then seek to change the patriarchal system?</div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/18091125204537518419noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-56919141015508712992013-04-18T18:28:00.000-07:002013-04-18T18:48:31.456-07:00Why Reading Woolf Isn't So Simple"For I am more selves than Neville thinks. We are not simple as our friends would have us to meet their needs. Yet love is simple" (64).<br />
<br />
There continues to be something about this quote that I am really drawn to. At first I immediately thought, how many times have I unloaded my own personal issues on my friends ( The way Neville and Bernard do) in a way that I no longer see them as an equally complex person, but rather I simplify them for my own need at the moment. <br />
<br />
My second reaction to this quote, however, was something deeper. It was a sort of an, "It all makes sense," moment as to why Virginia Woolf's novels have been so hard for me to follow. It is as though it is this exact false simplicity that she is trying to disprove through her novels. The people we know, whether it be friends or people we see in the streets, that we judge and have made up our minds on how to define them, they are in fact not as simple as our predisposed definitions. Woolf's characters alike are just not that simple. As easy it would be to read a novel based on events in the character's lives, Woolf gives us the complexity of the characters thoughts surrounding these events and of the people around them. It makes me recall a moment when Bernard notes that it is easy for him to write what he sees and what he hears, but that person, how do I write them?<br />
<br />
It would be easy to read Woolf if she only wrote the actions of her characters, but, like the quote, she refuses to embody the simplicity of characters in fiction that we often enjoy. Woolf forces us to answer the questions that all of her characters in the novel <i>The Waves</i> seem to be asking, "Who am I?" not what is happening, but rather who am I as a person? Who is this other person?<br />
<br />
This mission of Woolf doesn't make her books the easiest to read and often not the most exciting, but what they have offered me is so much insight on how little I know of who I am, and therefore how could I begin to describe (judge) someone else. As we have seen through Woolf stories it is practically impossible to keep from analyzing what we make of another's life, it is part of human nature, but Woolf's exploration of both parties involved in the "judging process" has reminded me the limitations of my judgments, and the real complexity of the person I choose to simplify for my own needs, my own peace of mind.<br />
<br />
Yet though all of this complexity be among us Woolf states, "love is simple." I have yet to fully understand what she means by this last line means, but it sounds beautiful, and I believe it is true. :)<br />
<br />Anonymoushttp://www.blogger.com/profile/07281931760485738667noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-56104969928042837892013-04-18T17:50:00.002-07:002013-04-20T12:39:00.206-07:00Artistic Limitations Based on Gender<!--[if gte mso 9]><xml>
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I recently came across a <a href="http://www.vulture.com/2013/04/leading-men-age-but-their-love-interests-dont.html">fascinating Vulture article</a> that
illustrates the film industry’s tendency to allow leading men to get older, but keep
their female love interests around the same age. They took 10 actors who typically play leading roles and
graphed their age in a “representative sample” of their films in comparison to the
women who played their wives, girlfriends, etc. in these films. Although this is
not too groundbreaking of a revelation, the graphs that they provide are quite
striking. I thought that this would be something with which Woolf would take
issue. In <i>A Room of One’s Own</i>, Woolf writes, “…it would have been impossible,
completely and entirely, for any woman to have written the plays of Shakespeare
in the age of Shakespeare” (p 46). This gender barrier, or unequal representation, still exists
in art today. Though not as
extreme as in Shakespeare’s time, this problem in the film industry is both
inhibiting women and constructing an unrealistic standard. By upholding this bizarre standard, Hollywood
is telling women that they are not supposed to age past a certain number. Not only is that misrepresenting
reality, because, shockingly, both men <i>and</i>
women age, but it is severely limiting older actresses. If they are constantly
beat out by 25 year old females playing opposite 45 year old men, what is left?
There is certainly not an abundance of middle-aged female-centered films for
them to play in. I feel like there should be some kind of Bechdel-like test for
this too; like if there is no plot point that calls for a drastic age
difference between the two main characters, then it fails.</div>
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Of all the books I have now read by Woolf, I wondered what
her actual voice sounded like (I believe we listened to her voice in class once,
but I do not remember when). Anyway, I
decided to listen to her voice on Youtube and in this particular video, she describes the process of
integrating words into the dictionary. What she says at times is quite boring,
but her vocal inflections and sense of enthusiasm adds life into what she
describes. She also has a way of using these profound metaphors to describe an
idea that may seem unexciting and spark interest in the listener. Her voice is
quite amusing: she sounds like she could be the Queen of England! The wisdom on
her voice is apparent with every sentence she utters. She really is a true talent
and her voice reflects that! Enjoy the video and pictures that
go along with it!<o:p></o:p><br />
<br />
Link:<br />
<br />
http://youtu.be/jPmDJqGuQis</div>
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/10791425156933306534noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-22996409393697864432013-04-18T15:37:00.002-07:002013-04-18T15:37:18.431-07:00On “Dover Beach” and The Waves
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While I was reading the opening lines of <i>The Waves, </i>something about it felt
vaguely familiar. I kept thinking I had read this book before, but I knew that
I had never picked up a Virginia Woolf novel until this course. As I kept
reading, I became more and more frustrated by how the italicized portions of
the novel resembled something that I had read before, but I could not put my
finger on it. Instantly, while sitting on the train, I remembered and smiled.
As soon as I got home, I ran to my room and opened up my anthology of Victorian
poems to Matthew Arnold’s “Dover Beach” (1851).
I re-read my favorite poem by Arnold just to make sure that I remembered
correctly. The way the waves behave in the opening section of <i>The Waves </i>is the same way the waves
behave amongst the pebbles in “Dover Beach.” This landscape poem describes the
scene the speaker sees at night as he watches the sea. Arnold describes the
night as “tranquil” and “calm”. As the speaker sees “where the sea meets to moon-blanched
land,” there is:<o:p></o:p></div>
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<br /></div>
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“a grating roar<o:p></o:p></div>
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Of pebbles which the waves draw back, and fling, <o:p></o:p></div>
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At their return, up the high strand,<o:p></o:p></div>
<div class="MsoNormal">
Begin, and cease, and then begin, <o:p></o:p></div>
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With tremulous cadence slow, and bring<o:p></o:p></div>
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The eternal note of sadness in” (1.8-14). <o:p></o:p></div>
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<br /></div>
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Arnold’s use of commas creates a series of stops and starts
along the one sentence to mimic the motion of the sea. The back and forth
motion that the reader must do in order to finish the sentence across the
stanza mirrors the back and forth motion of the waves. Also, the imagery of the
water drawing back on the pebbles is like the image of the shore breaking and
sweeping a thin veil of white water across the land in <i>The Waves. </i>The white water across the land also reminds me of the
moon-blanched land described earlier in this poem. This long sentence creates a
sense of long, drawn out waves in the poem. Similarly with <i>The Waves, </i>Woolf uses a series of commas in order to track the
motions of the sea. Woolf writes, “As they neared the shore each bar rose,
heaped itself, broke and swept a thin veil of white water across the sand. The
wave paused, and then drew out again, sighing like a sleeper whose breath comes
and goes unconsciously” (5). The imagery in this passage is vivid and Woolf’s
use of the words rose, heaped, broke, and swept are indicative of how a wave
reacts. <o:p></o:p></div>
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<br /></div>
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It is interesting that although there is no proof to note
that Woolf used Arnold’s poem as an inspiration how striking similar they are.
It is also interesting to see how Arnold and Woolf use similar literary
elements in order to describe different times of the day. Arnold’s poem takes
place in the thick of night while Woolf’s passage takes place right before
dawn. <o:p></o:p></div>
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<br /></div>
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If you would like to read Dover Beach, here is the link:<o:p></o:p></div>
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<br /></div>
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<a href="http://www.poemhunter.com/poem/dover-beach/">http://www.poemhunter.com/poem/dover-beach/</a>
<o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/10791425156933306534noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-85659983103158064542013-04-18T15:36:00.000-07:002013-04-18T15:36:04.816-07:00On the Androgynous Mind and A Room of One’s Own
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In my theory course the other day, my class discussed a
feminist essay written by Gayle Rubin, called “The Traffic in Women: Notes on
the ‘Political Economy’ of Sex.” This essay explores the idea of having a
society where the sex/gender system does not place so much attention on the
role of men verses the role of women in society. Inherent biological
characteristics such as women having the ability to have children and not men
should not be overly emphasized. According to Rubin, when characteristics like
this one is too stressed in society, it becomes the person’s identity which
leads to the danger of limiting him or her to that particular sphere in which
that characteristic dwells. This is how culture develops. Culture takes the
ability to have a baby to mean that the woman is confined to the home and
taking care of the children. Rubin in
her essay aims to fight against this notion that either gender, both male and
female should be confined to a set of roles. She calls for a liberation of
gender. This instantly made me think of the androgynous mind that Woolf
explains in <i>A Room of One’s Own.</i> The
androgynous mind would work in perfect harmony with this society that Rubin
posits because it is neither male nor female, it is the grey area between the
two. It does not need a definition; in fact, it cannot be defined by words in
the dictionary. It is a concept that gives both men and women an opportunity to
pursue anything without the constant reminder that there are roles in society
that are socially constructed to keep order in society. <o:p></o:p></div>
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<br /></div>
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Interestingly enough, when we were asked whether we agree or
can accept Rubin’s theory, many of us said it would be difficult to imagine a
world without gender. Many female students said that they enjoyed being a girl
and being able to wear their hair and dress a certain way. I found myself
saying that it would be difficult to separate gender from our biological
characteristics because there are aspects of gender that are so deeply rooted
in the biological characteristics that we hold which affirms who we are as
people. The concept of mother is so deeply rooted in the fact that a woman can
give birth to a child that if a woman left her child on the side of the road,
it would be socially unacceptable. Just because a woman can have the child,
does it also mean that she has to take care or him or her? Society has sold the
idea of motherhood so early in our development that it seems like an absurd
question to ask but is it really? This also makes me think of the androgynous
mind in our sex/gender society. I know what Woolf describes authors that she
believes have an androgynous mind but do you think that that concept could even
exist in a world where gender roles are so strongly enforced? <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
If you would like to read “The Traffic in Women: Notes on
the ‘Political Economy’ of Sex” visit this website and it begins on page 27.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://books.google.com/books?id=EcgSDuc2bWQC&printsec=frontcover&cd=1&source=gbs_ViewAPI%23v=onepage&q&f=false">http://books.google.com/books?id=EcgSDuc2bWQC&printsec=frontcover&cd=1&source=gbs_ViewAPI#v=onepage&q&f=false</a><o:p></o:p></div>
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<br /></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/10791425156933306534noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-59600247861619711462013-04-18T15:32:00.001-07:002013-04-18T15:32:36.515-07:00On Mrs. Ramsay and A Room of One’s Own
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As I was reading <i>A
Room of One’s Own, </i>I was wondering how it would look like if each of
Woolf’s female characters had a room of their own. Rachel Vinrace still would
have probably killed herself, consumed with the books that she inhaled every
day. Mrs. Dalloway would have probably used her room to plan parties, perhaps
write letters to her loved ones. When I came upon Mrs. Ramsay, instead of
imagining what she would have done with her room, I began to think why she
could not have a room of her own. In the book, she is constantly under pressure
trying to raise her children, being a gracious host, and appeasing her husband,
Mr. Ramsay. You cannot feel that bad for Mrs. Ramsay, however, because she
believes that men deserve her protection. Woolf writes: <o:p></o:p></div>
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“Indeed she had the whole of the other sex under her
protection; for reasons she could not explain, for their chivalry and valour,
for the fact that they negotiated treaties, ruled India, controlled finance;
finally for an attitude towards herself which no woman could fail to feel or to
find agreeable, something trustful, childlike, reverential; which an old woman
could take from a young man without loss of dignity, and woe betide the
girl—pray Heaven it was none of her daughters!—who did not feel the worth of
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Paragraph 7). <o:p></o:p></div>
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Mrs. Ramsay believes that men deserve her protection because
they rule the world and because of their attitude towards women. Her thoughts
are translated in the way she serves men. In most of the interactions that Mrs.
Ramsay has with men, she aims to bolster their sense of self. This can be seen
with Paul Rayley, Charles Tansley, and with Mr. Ramsay throughout the
novel. When I was reading <i>A Room of One’s Own</i> and fell upon the
section that described the function of the mirror, I instantly thought of Mrs.
Ramsay. She serves men the way the looking glass in <i>A Room of One’s Own</i> “<span style="font-family: "Times New Roman";">possess[es]
the magic and delicious power of reflecting the figure of man at twice its
natural size" (Woolf 35). Mrs. Ramsay makes men feel twice their size
because she belittles her own abilities to reaffirm to men like Mr. Ramsay that
they are of importance. Though Mrs. Ramsay is performing her societal duty, is
it not at her own expense? <o:p></o:p></span></div>
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I do not know what Mrs. Ramsay would do with her own room. I
just hope that there would be a used desk with books, word filled pages, and a
warm chair with a permanent dent of where she sits –not the unused desk with
the cold wooden chair that I keep imagining in my head. <o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/10791425156933306534noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-84853314703260042772013-04-18T15:29:00.001-07:002013-04-18T15:29:59.882-07:00On Lily Briscoe and Aurora Leigh
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When Lily Briscoe finishes her painting at the end of
Virginia Woolf’s <i>To the Lighthouse, </i>she
not only proves Charles Tansley wrong when he told her “women can’t write, women
can’t paint,” but she also serves as an inspiration for women artists (Woolf
75). Lily Briscoe also follows in the footsteps of many brave female artists
that came before her, including Aurora Leigh. She is a character in Elizabeth
Barrett Browning’s poem titled “Aurora Leigh” (1857). This very long poem
consists of nine books and spans 350 pages and describes Leigh’s life and her
love of art and the poems she writes about art. Aurora Leigh begins to find
trouble when her cousin Romney Leigh proposes to her on her 20<sup>th</sup>
birthday in Book 2. While he does so, he explains to her how he is skeptical of
her poetic ability. He tells her “We want the Best in art now, or no art (Book
2, line 149). Here, Romney undercuts her artistic ability by implying that her
poems are decent at best. Similarly, Charles Tansley tells Lily that women
can’t write in an attempt to discourage her from pursue her painting. Romney’s
misogynistic tone towards Aurora Leigh persists when he says:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
Ah, But men, and still less women, happily,<o:p></o:p></div>
<div class="MsoNormal">
Scarce need be poets. Keep to the green wreath, <o:p></o:p></div>
<div class="MsoNormal">
Since even dreaming of the stone and bronze <o:p></o:p></div>
<div class="MsoNormal">
Brings headaches, pretty cousin, and defiles <o:p></o:p></div>
<div class="MsoNormal">
The clean white morning dress (Book 2, lines 92-96).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Romney not only thinks that women are incapable of producing
art, but he says that even dreaming about the material one would use to produce
art will give women headaches and will mess up their clean white morning dress.
The white morning dress in Victorian society was seen as a dress worn while in
the house doing domestic chores. Romney implies that women’s role need only to
be contained to domestic affairs and nothing else. Every time Romney spoke, he
infuriated me, however, Aurora came to my rescue and formed many rebuttals,
including, “Here, if heads/ That hold a rhythmic thought, much ache perforce, /
For my part I choose headaches,–and to-day’s My birthday” (Book 2, lines
106-108). Leigh stands up to Romney and
shows him that she is not afraid of the heard work that comes with producing
great art. When Lily paints the last stroke on her painting at the end of <i>To The Lighthouse</i>, I am reminded that
women prove men like Tansley and Romney wrong everyday. Women prefer the pen,
the paintbrush, and the headache to the white morning dress. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If you would like to read “Aurora Leigh” here is the link to
all of the books: <a href="http://classiclit.about.com/library/bl-etexts/ebbrowning/bl-ebbrown-aurora-1.htm">http://classiclit.about.com/library/bl-etexts/ebbrowning/bl-ebbrown-aurora-1.htm</a><o:p></o:p></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/10791425156933306534noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-34982737869742627402013-04-18T14:36:00.000-07:002013-04-18T14:36:55.430-07:00London GardensWhen we read "Kew Gardens," it made me think of all of the gardens that I saw during my trip to London. I spent last summer in London for study abroad taking a class called "British Heritage Cinema." On one of our days off, some of us decided to take a trip over to Kew Gardens. Unfortunately, I don't have any pictures from that day as I had forgotten my camera at the apartment. I do, however have pictures from Kensington Gardens:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTZHO1mLy_wUep2ASGIUZivO44aguyeg7grq5fl3k_aWQM0WGwcVfGhssXwIABSZ-h61dIf-z0z5gHlAPXsg34bWi3t3KakJCqfRwEqIoRgF2kZ2xFoC31vRidSTdmke8UyUVC2ujYEz4/s1600/London+2012+046.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTZHO1mLy_wUep2ASGIUZivO44aguyeg7grq5fl3k_aWQM0WGwcVfGhssXwIABSZ-h61dIf-z0z5gHlAPXsg34bWi3t3KakJCqfRwEqIoRgF2kZ2xFoC31vRidSTdmke8UyUVC2ujYEz4/s320/London+2012+046.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipQH9eqPXckLD8omMXL6fuUNT0WM9l7-NYiypPUlKAntsnEjVCSmPyfiL22AKVlYT2msCRMSBToYJM_d-YPWlIEIcVO3w_eI3cZ8z4OySDp5uA2p28CnILWOvVcxprXKXaJ062RJx5VdU/s1600/London+2012+044.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipQH9eqPXckLD8omMXL6fuUNT0WM9l7-NYiypPUlKAntsnEjVCSmPyfiL22AKVlYT2msCRMSBToYJM_d-YPWlIEIcVO3w_eI3cZ8z4OySDp5uA2p28CnILWOvVcxprXKXaJ062RJx5VdU/s320/London+2012+044.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrQCLxjyINNmSgzz87iFwl5nl-yI3euNWLCauxEVywpuTc2dR1dUzKPYsj9NpOF5htCAZvUsewAla6u26aqNBJ3JIaPFhroJ02KZHD-czDrevBkgbPCLERo0umBuYJZBKTTXoSWkVyJgU/s1600/London+2012+057.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrQCLxjyINNmSgzz87iFwl5nl-yI3euNWLCauxEVywpuTc2dR1dUzKPYsj9NpOF5htCAZvUsewAla6u26aqNBJ3JIaPFhroJ02KZHD-czDrevBkgbPCLERo0umBuYJZBKTTXoSWkVyJgU/s320/London+2012+057.JPG" width="320" /></a></div>
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And a few from Hyde Park (The night that I was there was the night of the Queen's Jubilee concert. The actual concert was in front of Buckingham Palace, but they put it up on massive screens throughout Hyde Park for everyone. So, these aren't so much pictures of the park as they are pictures of crowds...)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5eN367auqE1_-qElFaTav9dnzxvLQ4d4-qEDiXj9YmTVIqFU2YwVFnAvKBvTpjoANvR_HgKvYrzQHDCAHB8mxNpwByv_MchnzBiSW0tYy2hu1jufnsGfJiuybb_E3UeIfHm6adv5oOyU/s1600/London+2012+071.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5eN367auqE1_-qElFaTav9dnzxvLQ4d4-qEDiXj9YmTVIqFU2YwVFnAvKBvTpjoANvR_HgKvYrzQHDCAHB8mxNpwByv_MchnzBiSW0tYy2hu1jufnsGfJiuybb_E3UeIfHm6adv5oOyU/s320/London+2012+071.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgll3l0bxVmZpg2pYi1e51W4cpTu8jvBOYr_WL4UON1C9SaN9EDL3e_vK_rjP9w0U7bbZfyTVF2twA6iEF2FK441O1Nfr9sK0Rz8xDZE7HRsarpBfaFLSwTN7ZC1fiyq1i7NeZYmbbzmTQ/s1600/London+2012+068.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgll3l0bxVmZpg2pYi1e51W4cpTu8jvBOYr_WL4UON1C9SaN9EDL3e_vK_rjP9w0U7bbZfyTVF2twA6iEF2FK441O1Nfr9sK0Rz8xDZE7HRsarpBfaFLSwTN7ZC1fiyq1i7NeZYmbbzmTQ/s320/London+2012+068.JPG" width="320" /></a></div>
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Wandering this area was really fun; however, some of the coolest gardens that I got to see were at Hatfield House, an old manor home about an hour north of London. We went to see it because many productions use this site to film classic "manor home" or "castle" interiors (<i>Shakespeare in Love</i>, <i>Batman Begins</i>, <i>Harry Potter and the Deathly Hallows-Part 2</i>, <i>My Week with Marilyn</i>, and many more). It is also the place where Elizabeth I lived in exile until she was named queen in 1558.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTVByy2S3JcwFWra8KUebUmow1S_9Pa2Sv_sN-LGfP-Xc_Rii2M1-Hk__dnrj9VsND6pVTNelVp2TCHtD-SXIDhTdUW9cgkHfzvCNANgX1GxrNzUVGM3n-840-N4WBTCVf95dWTJ72p1g/s1600/London+2012+259.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTVByy2S3JcwFWra8KUebUmow1S_9Pa2Sv_sN-LGfP-Xc_Rii2M1-Hk__dnrj9VsND6pVTNelVp2TCHtD-SXIDhTdUW9cgkHfzvCNANgX1GxrNzUVGM3n-840-N4WBTCVf95dWTJ72p1g/s320/London+2012+259.JPG" width="320" /></a></div>
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We wound up getting to Hatfield House almost an hour ahead of when our tour was scheduled to be, so our teacher sent us off to wander the grounds and take pictures. After about 20 minutes of this, I got distracted and started taking pictures of flowers (which I won't include here because they're mostly out of focus and you've already indulged me on the past 8 pictures of "not Kew Gardens"). However, the moment in "Kew Gardens" which the narrative shifts to the perspective of the snail reminded me of my own shift of focus at Hatfield house. </div>
Beth Ryderhttp://www.blogger.com/profile/10673379532727583619noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-17022092218883414452013-04-18T12:26:00.001-07:002013-04-18T12:26:01.692-07:00The Nora Ephron AwardI found this article on Slate.com about a new prize being entered into the Tribeca Film Festival this season:<br />
<a href="http://www.slate.com/blogs/xx_factor/2013/04/17/at_tribeca_film_festival_nora_ephron_award_the_nora_will_honor_female_filmmakers.html">http://www.slate.com/blogs/xx_factor/2013/04/17/at_tribeca_film_festival_nora_ephron_award_the_nora_will_honor_female_filmmakers.html</a><br />
<br />
From the article: "<span style="font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px;">In a lovely gesture, the Tribeca Film Festival and Vogue.com have </span><a href="http://www.hollywoodreporter.com/news/tribeca-announces-nora-ephron-award-440516?utm_source=feedly&utm_medium=feed&utm_campaign=Feed%3A+thr%2Fnews+%28The+Hollywood+Reporter+-+Top+Stories%29" style="-webkit-tap-highlight-color: rgb(255, 255, 153); color: #006699; font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px; text-decoration: none;" target="_blank">teamed up to offer</a><span style="font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px;"> a $25,000 award to the woman director or screenwriter whose work, </span><a href="http://tribecafilm.com/festival/blogs/nora-ephron-prize-tff-2013" style="-webkit-tap-highlight-color: rgb(255, 255, 153); color: #006699; font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px; text-decoration: none;" target="_blank">debuting at the festival</a><span style="font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px;">, best embodies Nora Ephron's legacy."</span><br />
<span style="font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px;"><br /></span>
<span style="font-family: verdana, sans-serif;"><span style="font-size: 12px; line-height: 17.984375px;">Being a young, aspiring filmmaker who also happens to be a woman, it can be very intimidating to look at the "boy's club" that is the movie industry and try to imagine a place for myself there. While I tend to look to people like Kathryn Bigelow, Tina Fey, and Amy Pascal as examples of people who inspire me to push through my own anxieties about my future (if they could do it, so can I), I had never really considered Nora Ephron as one of those women. She certainly made movies that I enjoyed watching (</span></span><i style="font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px;">You've Got Mail</i><span style="font-family: verdana, sans-serif;"><span style="font-size: 12px; line-height: 17.984375px;"> was the first DVD that I ever bought with my babysitting money); yet I didn't tend to look at her as someone doing anything particularly important with her work. Looking back, I think that it might have been because her most popular moves were Romantic Comedies, which I tend to write-off as sentimental pandering from studios who are looking to make easy money. But looking over her work, and the kinds of things that she was able to do with the women in her movies was truly groundbreaking. Her female leads weren't consumed by an incessant need to fall in love, nor were they hard-nosed, cold-heart-ed shrews who could only regain their femininity by falling for a man. Rather, they were hard working, complex women who also happened to fall in love. At the same time, the article addresses Ephron's short comings in the areas of race, economic status, and I would add sexuality. </span></span><br />
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<span style="font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px;">The Woolf connection here is stated outright in the article: "</span><span style="font-family: verdana, sans-serif; font-size: 12px; line-height: 17.984375px;">it's [the cash prize] a substantial cushion, an updated version of Virginia Woolf's 'money and a room of her own,'." As I said before, it's scary to jump into a world that is dominated by men; something that Virginia Woolf would probably have understood as a young novelist. It's nice to know that there are people out there who care about increasing the role of women in the film industry and want to encourage success among the next generation. </span>Beth Ryderhttp://www.blogger.com/profile/10673379532727583619noreply@blogger.com0tag:blogger.com,1999:blog-2713342700920515393.post-33583684900191683832013-04-18T11:21:00.002-07:002013-04-18T11:21:47.909-07:00RuinedI went to see <i>Ruined</i> when it was on the Main Stage a few months ago. It was certainly a powerful play to watch and I saw several connections to Woolf, though they are more connected to <i>A Room of One's Own</i>, which we had not yet read at the time. The show takes place at Mama Nadi's store/bar/brothel which this production placed on the back of a flatbed truck. Behind the truck was a makeshift tent structure where the three girls who worked for Mama lived. The tent itself was set so far back into stage left that you could only just see what was going on in there; I remember having to lean over to see what was going on back there. This could have just been a matter of where I was sitting, but it speaks to Woolf's discussion of women needing their own space to thrive as artists. Sophie who is "ruined" meaning that she was raped and injured so badly that she is now infertile, is a singer and is sheltered by Mama who can't give her a room of her own, but can keep her from being a prostitute. This tent space being small and only barely visible to the audience highlighted the marginalization of some women in the Congo and the hidden nature of their stories.<br />
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During the scenes where the women would dance for the soldiers, Sophie would stand off on her own separate part of the stage, and if a soldier ever attempted to violate that space, Mama stepped in to protect her. Here the value of individual space is emphasized though it is not purely on the basis of artistic talent that Sophie is given her own space, but also in large part because of what she has been through. Sophie also lacks money which would be problematic for Woolf. Mama is the one woman in the play who has both the money and the rooms of her own and yet she is not an artist; her only goal is to survive. And yet, when Sophie has the opportunity to have an operation that would make her fertile again, Mama risks her security in order to help Sophie. The indication here is that Mama has hope for Sophie's future and that hope is dangerous. It's hard to say what Woolf would have thought about these themes. While (spoiler alert) all seems to end well for Mama, she goes through considerable hardship in trying to help other women. This could relate to Ray Strachey's <i>The Cause</i> and Woolf's differing opinions on feminine success, though I make this connection loosely as I doubt that Woolf would see helping out her fellow woman as dangerous.<br />
<br />Beth Ryderhttp://www.blogger.com/profile/10673379532727583619noreply@blogger.com0