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The deadline for receipt of entries to the Angelica Garnett Undergraduate Essay Prize, sponsored by the International Virginia Woolf Society, is June 6.Virginia Woolf

This is the second annual undergraduate essay competition in honor of Virginia Woolf and in memory of Angelica Garnett, writer, artist, and daughter of Woolf’s sister, Vanessa Bell.

Essays can be on any topic pertaining to the writings of Virginia Woolf and should be between 2,000 and 2,500 words in length, including notes and works cited, with an original title of the entrant’s choosing.

Essays will be judged by the officers of the International Virginia Woolf Society: Kristin Czarnecki, president; Ann Martin, vice-president; Alice Keane, secretary-treasurer; and Drew Shannon, historian-bibliographer. The winner will receive $200 and have the essay published in the subsequent issue of the Virginia Woolf Miscellany. Please send essays in the latest version of Word.

To receive an entry form, please contact Kristin Czarnecki at kristin_czarnecki@georgetowncollege.edu.

The latest issue of the Virginia Woolf Miscellany, Fall 2015/Winter 2016, Issue 88 is now available vwm88fall2015spring2016-cover1online, according to Vara Neverow, managing editor of the publication, which is published by the International Virginia Woolf Society.

Ann Martin, guest editor, has focused the issue on the special topic of “Virginia Woolf in the Modern Machine Age.” The special topic section of the issue includes eight essays and a poem.

The issue includes information about the 26th Annual International Conference on Virginia Woolf (there’s still time to register!) and also includes the Call for Papers for the Second Annual Angelica Garnett Undergraduate Essay Prize ($200 and publication in the subsequent issue of the VWM).

The “Truly Miscellaneous” section of the issue features three contributions, one of which is a poem. The issue also includes calls for papers (including CFPs for future issues of the Miscellany), seven book reviews, the International Virginia Woolf Society column, and two generously discounted offers for published collections of essays on Virginia Woolf.

The print version will be available shortly.

This 18-minute video produced by the British Library for its twentieth-century literature site and featuring Elaine Showalter is an excellent introduction to Mrs. Dalloway for first-time readers. But it will also enlighten those who have read the novel over and over again.

In it, the American critic and writer takes us to London for a discussion of Virginia Woolf’s 1925 novel. We view 1920s London streets and traffic; take a look inside 46 Gordon Square, Woolf’s first home as an independent woman; and get a look at the novel’s original hand-written manuscript.

In addition, Showalter explains the artistic, social and historical context for the groundbreaking novel that takes place on one day in June in 1923. You can also read her article on the topic, “Exploring consciousness and the modern: an introduction to Mrs Dalloway,” on the British Library website. At that link, you can view 165 images of Woolf’s notebooks for the novel and for her essays published in The Common Reader (1925).

The new major summer exhibition at the Bath & North East Somerset Council-run Bloomsbury Rooms: Modernism, Subculture, DomesticityVictoria Art Gallery will recreate some of the famous Bloomsbury Group’s interior designs. The exhibition, A Room…

Source: ‘Designs’ on the Bloomsbury Group

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Aaron Gell will edit the male-centered blog, Beta Male.

A recent article by Jia Tolentino on the feminist blog Jezebel.com titled, “Sheesh, There’s a Reason Women Are ‘Totally Crushing It’ at the Confessional Essay” channels Woolf several times as Tolentino analyzes the future existence of a “new pop-up blog at New York Magazine, a six-week project called Beta Male.”

This new “pop-up blog” will highlight men’s writing, (and presumably, celebrate “beta males”) with a particular interest in the male confessional essay.

The editor of the new blog, Aaron Gell, who is the executive director of Maxim.com, sent out a call for submissions which Leah Finnegan published at Genius.com. Gell calls for men to “demonstrate” that they too can be “introspective” like women writers:

Among the many areas in which women are just totally crushing it lately (sheesh, women!) is the confessional essay. We would like to demonstrate that men can be introspective and self-aware, too. So by all means, whatever you pitch me, try to include a personal essay idea or two. These can be about sex and relationships, family, work, friendships, race, art, beauty, obsession, the body, war, childhood celebrity crushes, parenthood, butt play and/or shoes.

Tolentino alludes to (and links to) Woolf’s A Room of One’s Own several times as she questions the “outlets available for men to confess things about their personal lives online” and the confessional nature of women’s writing. Tolentino writes:

And as we are now in a cultural moment where people are—thankfully—interested in learning about social structures and what life is like for people who have suffered greater hardships, we have, to mixed effect, progressed on the personal essay front from “A Room of One’s Own” into sort of “A Room of One’s Own, Wallpapered With Identity and the Particular Difficult Things It Brings.”

Do men need a new room of their own in which to write and publish?

Or is the whole world their room?

Read Tolentino’s full post here.

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Alice Lowe, a Woolfian who contributes to Blogging Woolf, writesVirginia Woolf about what writers such as Virginia Woolf have taught her about solitude.

I acknowledge in my essay that the topic has been done to death, & I ask what I could possibly add to it. My own take, that’s what, which draws not just from personal experience but from …

Source: Solitude, blessed solitude…

What Woolf wore

Virginia Woolf wrote in her 1928 novel Orlando “clothes have more important offices than merely to keep us warm. They change our view of the world and the world’s view of us”. Her intimate circle of friends and members of the Bloomsbury group were part of the radical Modernist rethinking of dress at the Omega Workshops and Woolf herself wrote for British Vogue under Editor Dorothy Todd in the 1920s. Today the styles of Bloomsbury are inspiring more and more contemporary designers suggesting their aesthetic is as modern as it was 100 years ago.

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Nina Hamnett and Winifred Gill wearing Omega designs photographed in The Illustrated London Herald 24 October 1915. Copyright British Library.

In 1915 Woolf’s sister and co-founder of the Omega Workshops Vanessa Bell suggested that the Omega take up dress design using the fabrics they were already creating. Bell went on to design and wear many Omega dresses inspired by the new un-corseted “Directoire” style made popular by Parisian designer and marketing-extraordinaire Paul Poiret. Many of the garments were painted in bold colours in the Post-Impressionist style that had offended vast swathes of the British public at Roger Fry’s first Post-Impressionist art exhibition in 1910. The Omega artists took the style of these bold canvases and transferred it onto clothing, revealing a daring defiance in opposition to accepted ideas of “good taste”. Indeed, in Omega dress we glimpse attitudes that would define youth fashion in the second half of the twentieth century, dressing to express alternative aesthetic and ideological allegiance.

Virginia Woolf responded to these Omega styles, writing to Vanessa Bell:

 “My god! What clothes you are responsible for! Karin’s clothes wrenched my eyes from the sockets – a skirt barred with reds and yellows of the violent kind, a pea-green blouse on top, with a gaudy handkerchief on her head, supposed to be the very boldest taste. I shall retire into dove colour and old lavender, with a lace collar and lawn wristlets”.

In this note to her sister, Woolf craves subtler shades for her own wardrobe. She was remembered for these neutral shades, for wearing “simple” or “martial-looking” clothes, but also in elegant stand out dresses and by Madge Garland, fashion editor of British Vogue, as a “beautiful and distinguished woman wearing what could only be described as … an upturned wastepaper basket on her head”. Her own relationship with clothing was complicated and her writing reveals a strong awareness of how clothes represent the self and hints at the perils of misrepresentation.

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Virginia Woolf wearing her mother’s dress photographed for British Vogue. Copyright British Vogue.

The many moods of Bloomsbury dress are increasingly being adopted by contemporary designers. Painterly Post-Impressionist styles, updated Victorian details, and slouchy yet elegant shapes capture the freedom of expression and reclamation of the past so typical of the works of the Bloomsbury group.

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Burberry AW14/15 ready to wear. Copyright British Vogue

Burberry’s Bloomsbury Girls (AW14/15) modelled long floating hand-painted button-up dresses, patterned as if they had stepped out of the paintwork of an Omega interior. Tim Walker more recently used Charleston House in Sussex – home of Vanessa Bell and Duncan Grant – as the dramatic backdrop for his editorial Rebel Riders for Italian Vogue (December 2015): Four models posed in front of Vanessa Bell’s iconic black painted wall in the library and waded through the depths of the pond that initially drew Bell’s affection for the house 100 years ago. See-by-Chloe’s upcoming AW16/17 collection is also inspired by the Bloomsbury aesthetic, layering floating skirts in chintz prints with long shirts and polo-neck sweaters. Here the subtler Victorian styles – the bow tied collars, lace up boots, and long frilled skirts – are coupled with thick knits and urban details.

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Tim Walker’s Rebel Riders December 2015. Copyright Italian Vogue.

The personal styles of many members of the Bloomsbury group were as radical as their works. They rejected expected conventions whether that was with word, image, or by wearing a painted hat or a “wastepaper basket” style on one’s head. Perhaps this reveals the root of their continued relevance, both of their intellectual and sartorial lives, today.

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Looks from See by Chloe’s AW16/17 campaign. Copyright Vogue.

This post is inspired by my research paper Dressing Modern Identity that I wrote and delivered earlier this year as part of my curatorial traineeship at Charleston. Read the current interns’ research at thecharlestonattic.wordpress.com.

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