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Archive for September, 2019

Here is a roundup of music and movie news of interest to followers of Virginia Woolf and the Bloomsbury group.

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2018 Virginia Woolf quote winner

The Virginia Woolf Society of Great Britain has released its shortlist of favorite quotes, as submitted by readers as part of #DallowayDay celebrations in June.

Visit the VWSGB Facebook page to vote for your top choice or email your vote to smhall123@yahoo.co.uk.

Last year’s winner was the quote at right from A Room of One’s Own.

  1. As a woman, I have no country. As a woman I want no country. As a woman my country is the whole world. – Three Guineas
  2. If life has a base that it stands upon, if it is a bowl that one fills and fills and fills – then my bowl without a doubt stands upon this memory … It is of lying half asleep, half awake, in bed in the nursery at St Ives. It is of hearing the waves breaking, one, two, one, two, and sending a splash of water over the beach; and then breaking, one two, one two, behind a yellow blind. It is of hearing the blind draw its little acorn across the floor as the wind blew the blind out. It is of lying and hearing this splash and seeing this light, and feeling, it is almost impossible that I should be here, of feeling the purest ecstasy I can conceive. – “A Sketch of the Past”
  3. What is the meaning of life? That was all – a simple question; one that tended to close in on one with years. The great revelation had never come. The great revelation perhaps never did come. Instead there were little daily miracles, illuminations, matches struck unexpectedly in the dark … – To the Lighthouse
  4. It is fatal for anyone who writes to think of their sex … one must be woman–manly or man-womanly. – A Room of One’s Own
  5. Against you I will fling myself, unvanquished and unyielding, O Death! – The Waves

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What: Call for Papers for the 30th Annual International Conference on Virginia Woolf: Profession and Performance

When: June 11–14, 2020

Where: University of South Dakota in Vermillion, SD, U.S.A.

Twitter: @vwoolf2020

“Profession and Performance,” the theme of the 30th Annual International Conference on Virginia Woolf, calls to mind not only Woolf’s sense of herself as a writer (her profession) but also the set of specialized occupations she takes up in A Room of One’s Own (1929) and Three Guineas (1938), areas of study and livelihoods traditionally reserved for the sons of educated men.

It also invokes the conference’s commitment over the past three decades to the arts, to theater, to music, to the spoken word, and to the resonances of these media with the performance/performativity of Woolf’s life and writing.

“Profession and Performance” might also encourage us to reflect on the conference’s rich history and to consider the ways in which the professions of those who support and attend the conference might be changing. As an event open to all scholars, students, and common readers of Woolf and Woolfian connections, we encourage 2020 participants to sound and explore echoes of past professions and performances in our present ones.

Possible topics

The 30th Annual International Conference on Virginia Woolf invites papers addressing these issues as well as other topics addressing “Profession and Performance,” including, but not limited to:

  • contemporary adaptations of Woolf, her circles, or her work on stage / screen (e.g., Vita and Virginia; Life in Squares; etc.)
  •  the dynamic link between Woolf’s social critique (what she professed) and her art (its performance)
  • the rich archive of scholarship that brings together studies of the avant-garde, modernism, and the middlebrow
  • intersections of modernist studies and performance studies
  • modernism’s role in the professionalization of literature and criticism
  • the livelihoods and lifestyles of Woolf and the Bloomsbury Group
  • investigations of identity and community
  • Woolfian meditations on professions (i.e., on occupations, commitments, allegiances, and declarations)
  • interpretations of Woolf-inspired performance art (e.g., music, dance, theater)
  • profession as (public) performance
  • questions of affect and attachment
  • strong and weak performances / professions / modernisms
  • reflections on the selves and the worlds we profess / perform in daily life, in politics, in ethics, in institutions, and in ongoing efforts to teach and learn
  • the performative life of professionalization (or the subversion of professionalization)
  • life-writing as performance of self, professionalization of self
  • gendered performances / performances of gender (on stage / page, in life)
  • professions for women (history of, literary treatments of, performances of)
  • Woolf and developments in medical sciences and psychology
  • teaching Woolf / Woolf as Teacher
  • performing Bloomsbury / performative Bloomsberries
  • the life of the feminist academic; the professionalization and/or institutionalization of feminism outside of academia

Proposal parameters

Abstracts of maximum 250 words for single papers and 500 words for panels should be sent to Virginia.Woolf@usd.edu by Feb. 1st, 2020. In addition to traditional presentations, organizers encourage proposals for workshops (such as bookmaking, translation, publishing, forming writing groups, etc.) and proposals for roundtable or group discussions (such as feminist / queer perspectives, Woolfian pedagogy, staging / performing Woolf, etc.).

For accepted proposals, we ask well ahead of time that presenters bring access copies of their presentations to their panels.

Non-English presentations welcome

The conference welcomes proposals for presentations in languages other than English to foster a more open exchange at this international conference.

A few caveats: the organizers ask that all abstracts and proposals be submitted in English. Also, to ensure a more effective exchange among all participants, we ask that non-English presentations be accompanied by a handout of main points in English as well as (if possible) a PowerPoint presentation in English. Note that Q&A sessions will be conducted in English as well.

For more information

More information about the 30th Annual International Conference on Virginia Woolf will be made available in the coming months. Contact conference organizer Benjamin Hagen, at Benjamin.Hagen@usd.edu, with questionsCall for papers for 2020 Woolf conference: Profession and Performance.

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Charleston

Henrietta Garnett, daughter of Angelica and David Garnett and granddaughter of Vanessa Bell, died Sept. 4 of pancreatic cancer.

She grew up at Charleston, and of it she said:

 

Charleston had the most powerful identity of any place that I had known. It reeked of itself: of turpentine and toast, of apples, damp walls and garden flowers. The atmosphere was one of liberty and order, and of a strength which came from its being a house in which the inhabitants were happy…

Read a tribute to her posted by her cousin, Virginia Nicholson, president of the Charleston Trust, and her obituary in The Guardian.

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