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Archive for the ‘Woolf Courses’ Category

Editor’s Note: Trudi Tate, director of Literature Cambridge, provided this piece for Blogging Woolf.

Wolfson College at the University of Cambridge

Woolfians are invited to join Literature Cambridge in summer 2020 for a rare opportunity to study Virginia Woolf’s Mrs. Dalloway (1925) alongside writing by some of her most interesting contemporaries.

Reading the 1920s, held July 26-31 at Wolfson College at the University of Cambridge, will provide a week’s intensive study, with lectures, seminars, supervisions, plus visits to places of interest in Cambridge.

Shaping the 20th century

Reading the 1920s explores some of the brilliant writers working after the First World War. The 1920s is a crucial period in the shaping of the entire twentieth century and its literature. It was an extraordinarily productive decade for Woolf: between 1922 and 1931 she wrote many of her greatest works: Jacob’s Room, Mrs. Dalloway, To the Lighthouse, A Room of One’s Own, The Waves, and more.

Woolf was familiar with the works students will study on this course. Some she knew very well, such as “The Waste Land” (1922) and A Passage to India (1924). She had mixed feelings about Lawrence, but admired the best of his work, noting as she finished The Waves that his writing gave her much to think about. We will study his powerful novella collection of 1923, The Fox, The Ladybird, and The Captain’s Doll, plus his joyous nature poetry in Birds, Beasts, and Flowers (also 1923).

Katrina Jacubowicz reads aloud at the summer 2019 Literature Cambridge course, Virginia Woolf’s Gardens.

Lecturers and topics

  • Alison Hennegan will discuss sexuality and censorship in the 1920s, focusing on The Well of Loneliness (1928). Why was this book by Radclyffe Hall censored while Woolf’s Orlando sold freely?
  • Peter Jones will explore the thinking of Forster’s Passage to India about India, Britain, and the campaign for Indian independence in the 1920s.
  • Trudi Tate will look at some powerful and poignant testimonies from the First World War.
  • Karina Jakubowicz will discuss Mrs. Dalloway and the social system that Woolf so criticized.

This course provides students with a great opportunity to study Woolf, Lawrence, Forster, and others together. The course aims to give a richer understanding of the writings of the 1920s, and of the turbulent history to which they bear witness.

Woolf’s Women July 19-24

Literature Cambridge also runs an intensive summer course on Woolf every year in July. In 2020, from July 19-24, the course will explore Woolf’s Women.

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Literature Cambridge runs an intensive summer course on Woolf every year in July. In 2020, from July 19-24, the course will explore Woolf’s Women.

Students in Literature Cambridge’s Virginia Woolf’s Gardens course in July 2019 visit the Fitzwilliam Museum.

Women as Woolf’s characters

The course will look at some of her fascinating women characters, such as Mrs. Dalloway and her daughter; Mrs. Ramsay and Lily in To the Lighthouse, plus the intriguing figure of Orlando, who leads us to wonder: What is a woman, to Woolf?

Women in Woolf’s life

And what about the women in Woolf’s life who were so important to her writing: her mother Julia Stephen, her sister Vanessa Bell; friends such as writer Katherine Mansfield and composer Ethel Smyth; lover Vita Sackville-West; plus scholars such as Jane Harrison and Janet Case?

What did Woolf think about women and education, and the women’s colleges at Cambridge, in A Room of One’s Own?

Walks, talks and visits

The course, held at the University of Cambridge, will visit the two original women’s colleges, Girton and Newnham, where Woolf gave talks in 1928 which became A Room of One’s Own in 1929. There will be a visit to the Fitzwilliam Museum to see the original manuscript of this ground-breaking book, with a talk by Claire Nicholson.

There will be a rich program of lectures, seminars, supervisions (tutorials), walks, talks, and visits to places of interest in Cambridge. Teachers include: Gillian Beer, Claire Davison, Alison Hennegan, Karina Jakubowicz, Isobel Maddison, Trudi Tate, Claudia Tobin, and Clare Walker Gore.

Marion Dell of the Virginia Woolf Society of Great Britain and an expert on Woolf’s family history will give a talk on Julia Stephen. Susan Sellers will read from her acclaimed novel about Woolf and her sister, Vanessa and Virginia. And much more.

Readings for the course

  • Mrs Dalloway (1925)
  • To the Lighthouse (1927)
  • Orlando (1928)
  • A Room of One’s Own (1929)
  • Between the Acts (1941)

Discounts are available for members of recognized literary societies; and for CAMcard holders. To request a booking form: https://www.literaturecambridge.co.uk/bookings

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Fall Events

What: Study Day on Reading The Waves
When: Saturday 21 September 2019
Where: Stapleford Granary
Cost: £90/£80 students and Virginia Woolf Society of Great Britain members.

What: Ellie Mitchell, Talk on Reading Ritual in The Waves
When: Tuesday 15 October 2019
Where: Lucy Cavendish College, Cambridge
Cost: Free talks for Town and Gown

What: All-day reading of The Waves
When: Sun. 27 October 2019
Where: Cambridge
Cost: Free but places are limited. Email info@literaturecambridge.co.uk if you would like to attend.

Summer 2020 Courses

Virginia Woolf’s Women, 19-24 July 2020. An intensive week of lectures, seminars, tutorials, walks, talks, and visits to places of interest in Cambridge.

Reading the 1920s, 26-31 July 2020. An intensive study week on literature from the decade following the First World War. Authors include T.S. Eliot, E.M. Forster, Lawrence, Woolf, Radclyffe Hall, Helen Zenna Smith, Edmund Blunden.

Discount for early bookings. Members of the VWSGB can book at the student rate, subject to availability.

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Our marvelous Literature Cambridge course on Virginia Woolf’s Gardens ended last Friday. But perhaps the best was yet to come.

Our class, along with some of those enrolled in this week’s Fictions of Home class, went on an all-day outing to Monk’s House, Virginia and Leonard Woolf’s home in Rodmell, and Charleston, the nearby home of Vanessa Bell and Duncan Grant and others. Beautiful, incredibly moving, and breathtaking.

I’m traveling today, so only have time to post these tweets. But I promise to provide more about the trip after I am back in a room of my own.

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We have already followed Virginia Woolf to locations at Newnham College, King’s College, and the Fitzwilliam Museum during our time at the Literature Cambridge course Virginia Woolf’s Gardens.

But today, the first overcast, drizzly day since we arrived, we went off on our own. We made a trek to nearby Grantchester — and two other spots in Cambridge we just discovered.

The Orchard

Virginia Woolf, along with Maynard Keynes and E. M. Forster, was a member of the Bloomsbury Group and a member of the Grantchester Group as well. Focused around poet Rupert Brooke, who lived in the picturesque Grantchester, the latter group met at Orchard House there, where Brooke is said to have hosted wild parties.

The original pavilion of The Orchard still exists, and one reaches it via a long path from High Street surrounded by a quiet green lawn dotted with apple trees and dark green deck chairs grouped around tables.

An outdoor display board tells the story of the Grantchester Group. Indoors, photos and a display case of Rupert Brooke books, photos and memorabilia, tell his story. Photos of other writers and celebrities, including Woolf, cover the walls.

Byron’s Pool

The river Cam runs through Grantchester Meadows, which includes Byron’s Pool. In the early 1900s a group of Cambridge undergraduates and their friends, dubbed the neo-Pagans, bathed there, according to the University of Cambridge website.

Rupert Brooke and Virginia Woolf are also said to have swum naked by moonlight at Byron’s Pool in 1911. Today, cars on the M11 roar past that spot.

Now one must be a member to obtain access to pool, as entry is not granted without a key. But a gracious friend of someone affiliated with the Literature Cambridge course drove us down the nearest Cambridge road behind the pool, and we snapped a photo of the field that fronts it.

One warm night there was a clear sky and a moon and they walked out to the shadowy waters of Byron’s Pool. ‘Let’s go swimming, quite naked,’ Brooke said, and they did. – Rupert Brooke: A Biography by Christopher Hassall (1964)

The Porch

Also in Cambridge, we found The Porch at 33 Grantchester St., the home of Caroline Emilia Stephen, Woolf’s aunt. Her niece and Woolf’s cousin, Katharine Stephen, was a librarian and later the Principal at Newnham College, where Woolf gave her “Women and Fiction” talk in October 1928.

Both Woolf and her sister Vanessa Bell stayed with their aunt at The Porch when they visited their brothers Adrian and Thoby during May Week at Trinity College. Woolf herself made “formational visits” to her aunt, who she sometimes called “the nun,” from 1904 to 1906. Virginia and Adrian also lived with Stephen for a period of time in 1907, after Vanessa’s marriage to Clive Bell.

As Jane deGay writes on the Leeds Centre for Victorian Studies Blog: “[Caroline] Stephen played a key role in helping Virginia Woolf distance herself from patriarchal ideologies by developing a radical approach to religion and spirituality that was deeply feminist.”

A Quaker, it was this aunt who at her death in 1909 left Woolf the £2,500 inheritance that gave her a modest income of her own. The amount indicates the special relationship she had with Woolf, as she left Adrian and Vanessa just £100 each.

Sign directing visitors to The Orchard Tea Garden in Grantchester, where Virginia Woolf drank tea with Rupert Brooke and others.

The original pavilion where Woolf and others met for tea on rainy days

Sign noting the literary significance of the original pavilion at The Orchard

Information board outside the pavilion noting members of the Grantchester Group, which included Virginia Woolf

Just two of the photos lining the walls inside the pavilion. Woolf’s is on the right.

Past this field of grasses and wildflowers and the stand of trees beyond sits Byron’s Pond, where Woolf and Brooke went skinny dipping.

The Porch, 33 Grantchester Rd., Cambridge, the home of Woolf’s Aunt Caroline Emilia Stephen. Woolf and her sister Vanessa Bell stayed here.

Closeup of the home’s sign, identifying it as The Porch

 

 

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A Room of One’s Own. We have read it. We have discussed it. We have been inspired by it. But today 23 of us got an up-close view of Virginia Woolf’s original draft manuscript for the book. Now you can, too, thanks to Leonard Woolf and the Fitzwilliam Museum.

At the Fitzwilliam

Leonard Woolf donated a large piece of the manuscript to the Fitzwilliam Museum in Cambridge in 1942, after the museum’s director requested that Leonard give the institution something related to Virginia’s work. But because it was wartime, the manuscript lay neglected for nearly 50 years.

Titled “Women & Fiction,” it is the first draft of the book Woolf would eventually call A Room of One’s Own, and it has two other connections with Cambridge. The book had its origins in two talks on women and fiction that Woolf gave at Newnham and Girton Colleges in Cambridge in October 1928. And a lunch Woolf ate in Dadie Rylands’ room at King’s College inspired the luncheon scene in the first chapter of the book.

Background of the manuscript

Our visit to the Fitzwilliam to view Woolf’s manuscript was today’s outing for the Literature Cambridge course on Virginia Woolf’s Gardens. Dr. Trudi Tate, director of the course, shared some of the book’s background.

Dr. Trudi Tate

”Woolf worked incredibly quickly on this book, so fast, in fact, that she found it difficult to read her own handwriting when she had to type it up,” Tate said.

”As Beth Daugherty tells us, she wrote a huge amount of the book in two months, March and April 1929. She began to create the book in her mind when she was lying in bed, recovering from illness. She drafted it rapidly, in ‘one of my excited outbursts of composition’ (Diary 3, 218-19),” Tate explained.

Significance of the manuscript

The manuscript’s significance as the working draft for A Room of One’s Own was not recognized by scholars until the 1990s, according to the Fitzwilliam’s website.

At that time, S.P. Rosenbaum published a full transcription (1992). In his introduction, he gives details of Woolf’s lectures at the Cambridge colleges and traces the text’s evolution — from talks to magazine article to feminist polemic in book form.

The 20 pages from chapter three of the manuscript that are not part of the Fitzwilliam document are preserved separately in the Monk’s House Papers at the University of Sussex.

Creative process of the book

Tate detailed how Woolf’s writing process for Room included several stage of creation:

  1. the lectures, including the “Women & Fiction” essay and the “Women in Fiction” draft viewed at the Fitzwilliam
  2. A Room of One’s Own typescript
  3. A proof copy of the book
  4. The first published edition of the book, published by the Hogarth Press in Britain and Harcourt Brace in the U.S. in 1929.

Digitized version available online

The digitized version of the manuscript that was once on display at the Fitzwilliam as part of the museum’s past exhibition “Virginia Woolf: an exhibition inspired by her writings” is available online. View the entire manuscript on the Fitzwilliam Museum website.

A side view of Virginia Woolf’s manuscript of “Women & Fiction,” which was the first draft of “A Room of One’s Own.”

The cover of Woolf’s draft manuscript for “Women & Fiction”

Page one of the manuscript, with Woolf’s own edits. Note: This page is the same color as the others but the lighting makes it look lighter.

Page seven of the manuscript with Woolf’s edits and margin notes

Page 12 of the manuscript

Each student in the Literature Cambridge course Virginia Woolf’s Gardens was able to view the manuscript up close and take photos of it.

After learning about the manuscript and viewing it, the students in the Literature Cambridge course from countries including Japan, Italy, Germany, Spain, Belgium, the Netherlands, India, the UK, and the U.S., took turns reading the first chapter of “A Room of One’s Own” aloud.

Some of the 23 students in the Literature Cambridge course on Virginia Woolf’s Gardens

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Botanic Garden gates

Today at the Literature Cambridge course on Virginia Woolf’s Gardens, we went To the Lighthouse.

Not literally. But that was the focus of both the lecture by Trudi Tate and our small group tutorials this morning, before we veered off across the land to the Cambridge University Botanic Garden. There, garden historian Caroline Holmes led us on an afternoon tour of plants from all over the world.

We didn’t make it through the entire 40 acres of the garden that opened in 1846. Nevertheless, we saw, felt, and sniffed a wide variety of the more than 8,000 species growing there.

Discussing the garden in To the Lighthouse

Predictably enough, our morning discussions about To the Lighthouse focused on Woolf’s use of the garden in her 1927 novel. In her lecture, Tate touched on ways the garden connects to mother and memory, as well as the Victorian past.

Later this morning, in our four-person tutorial group led by Karina Jakubowicz, two things stand out to me from our discussion. One was the way the urns full of red trailing geraniums fail to attract Mr. Ramsay’s full attention but cause him to go off on intellectual tangents. The other was the meaning of Mrs. Ramsay’s green cashmere shawl in the “Time Passes” section. We all thought there was more to explore there.

Walking the gardens

Now for photos from the day, starting at Wolfson College, home of this year’s Literature Cambridge course, and ending with a walk through the Cambridge University Botanic Garden.

The Wolfson College garden where two of the four tutorial groups at this year’s Literature Cambridge class discussed Woolf’s “To the Lighthouse” this morning.

Entrance to the Cambridge University Botanic Garden on Trumpington Street

The knowledgeable Caroline Holmes provided the history of the trees and other plants at the Botanic Garden during our tour, adding a touch of humor throughout.

The iconic fountain designed by David Mellor, a focal point at the eastern end of the Botanic Garden’s Main Walk

Path through the Winter Garden

Floral close-up

One of the many trees on the Main Walk of the Botanic Garden

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