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Virginia Woolf, Europe, and Peace最新文献

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Woolf and Criticism in the Time of Post-Critique: 后批评时代的伍尔夫与批评
Virginia Woolf, Europe, and Peace Pub Date : 2020-07-09 DOI: 10.2307/j.ctv14161qj.8
J. Wallace
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引用次数: 0
Acknowledgments 致谢。
Virginia Woolf, Europe, and Peace Pub Date : 2020-07-09 DOI: 10.2307/j.ctv14161qj.4
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引用次数: 0
“[A]s if some animal were dying in a slow but exquisite anguish”: “[A]就好像某种动物正在缓慢而极度的痛苦中死去”:
Virginia Woolf, Europe, and Peace Pub Date : 2020-07-09 DOI: 10.2307/j.ctv14161qj.12
J. Dubino
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引用次数: 0
Intersections: 十字路口:
Virginia Woolf, Europe, and Peace Pub Date : 2020-06-30 DOI: 10.2307/j.ctv14161qj.20
Judith Allen
{"title":"Intersections:","authors":"Judith Allen","doi":"10.2307/j.ctv14161qj.20","DOIUrl":"https://doi.org/10.2307/j.ctv14161qj.20","url":null,"abstract":"Investigating the intersections of propaganda and Just War theory, this chapter delves into the significance of the power of propagandism to ‘manufacture consent’, and for people to resist those influences and use their voices to resist, to think critically, and to expose the financial gains of warmongering. Exploring the complicated nature of propaganda and Just War theory as presented in Woolf’s Three Guineas and ‘Thoughts on Peace in an Air Raid’, alongside Arthur Ponsonby’s Falsehood in Wartime (1928) and Edward Bernay’s Propaganda (1928), Allen offers a way of reading Woolf as a theorist of peace whose message remains just as relevant in the contemporary moment of twenty-first century war and violence as it was in her own lifetime.","PeriodicalId":170850,"journal":{"name":"Virginia Woolf, Europe, and Peace","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131068364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Breaking the Peace: 打破和平:
Virginia Woolf, Europe, and Peace Pub Date : 2020-06-30 DOI: 10.2307/j.ctv14161qj.14
Saskia McCracken
{"title":"Breaking the Peace:","authors":"Saskia McCracken","doi":"10.2307/j.ctv14161qj.14","DOIUrl":"https://doi.org/10.2307/j.ctv14161qj.14","url":null,"abstract":"This chapter examines Woolf’s feminist, pacifist, and anti-fascist engagement with Darwin’s work on dictators through the trope of the worm, suggesting how we might we read both Woolf and Darwin through the lens of animal studies. McCracken reads Woolf’s ‘creature Dictator’ and related worm imagery back through Charles Darwin’s writings both on worms and on nineteenth-century Argentinian Dictator General Juan Manuel de Rosas, whom he met during his voyage on the HMS Beagle. According to Darwin, Rosas led a ‘war of extermination’ against indigenous peoples, yet ‘disapproved of peace having been broken’. This chapter argues that Woolf re-appropriates the Social Darwinist rhetoric of the 1930s, and twists animal imagery to feminist advantage.  The chapter also analyses Woolf’s silkworm and related mulberry tree imagery in Three Guineas through Darwin’s interest in breeding silkworms. Placing this imagery in the context of 1930s social Darwinist silk production discourse under the Third Reich, McCracken, argues that, contrary to critics who read her silkworm as symbolic of female creativity, Woolf’s writing intimately connects Darwinian silkworm breeding imagery and fascist politics.","PeriodicalId":170850,"journal":{"name":"Virginia Woolf, Europe, and Peace","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122829894","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Woolf, Weeping Women, and the European mater dolorosa 伍尔夫，哭泣的女人，和欧洲的悲哀
Virginia Woolf, Europe, and Peace Pub Date : 2020-06-30 DOI: 10.2307/j.ctv14161qj.15
G. Lowe
{"title":"Woolf, Weeping Women, and the European mater dolorosa","authors":"G. Lowe","doi":"10.2307/j.ctv14161qj.15","DOIUrl":"https://doi.org/10.2307/j.ctv14161qj.15","url":null,"abstract":"The gendered maxim ‘men must work and women must weep’ comes from Charles Kingsley's 1851 ballad 'The Three Fishers'. Virginia Woolf appropriated 'Women Must Weep' for early version of Three Guineas, serialised in The Atlantic Monthly (1938). This chapter argues that the public nature of Woolf’s polemical anti-fascist essay may, concurrently, be read as a more intimate document about personal grief and grievance. For Woolf her sister, Vanessa Bell, was the weeping woman, devastated by the tragic death in 1937 of Julian Bell in the Spanish Civil War. Duncan Grant drafted posters (reproduced here) to raise money for refugee Spanish children, employing the trope of mothers cradling babies. Woolf’s contemporary, the German artist Käthe Kollwitz, a mother bereaved twice by war, repeated the poignant pietà image in numerous anti-war pieces. Picasso, inspired by Dora Maar whom he regarded privately as ‘the weeping woman’, created sixty mater dolorosa works in preparation for his immense elegiac public work, ‘Guernica’ (1937). The chapter traces the powerful aesthetic of the sorrowful mother as a European anti-war figure. It concludes by considering how this iconography has been used cross-culturally and trans-historically. The pietà has been gender-flipped, adapted and plagiarised in war photography, murals, comic books, manga, fashion, film and video.","PeriodicalId":170850,"journal":{"name":"Virginia Woolf, Europe, and Peace","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130430734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“Peace was the third emotion” “平和是第三种情感”
Virginia Woolf, Europe, and Peace Pub Date : 2020-06-30 DOI: 10.3828/liverpool/9781949979374.003.0011
R. Crossland
{"title":"“Peace was the third emotion”","authors":"R. Crossland","doi":"10.3828/liverpool/9781949979374.003.0011","DOIUrl":"https://doi.org/10.3828/liverpool/9781949979374.003.0011","url":null,"abstract":"In this essay Crossland explores Woolf’s writing of threes in Between the Acts, the title of which itself places emphasis on the three intervals between the acts of its central pageant. Both the number three and triple repetitions of specific words are prevalent across this text, while Woolf often provides strings of three words, such as the ‘orts, scraps and fragments’ summing up the pageant. Woolf also describes ‘Peace’ as ‘the third emotion’, joining with ‘Love’ and ‘Hate’ to ‘ma[ke] the ply of human life’. Although ‘Love. Hate. Peace’ only appear explicitly together once in the final novel, Crossland examines Woolf’s typescript revisions and argues that, by focusing on the novel’s tripartite structure, it is possible to read peace into certain other moments, in particular the end of the book in the form of both silence and sleep. By reading Woolf’s final novel through complementarity structures that go beyond dualities, \u0000Crossland shows how Woolf was able to writer a book with a ‘triple melody’ at its centre.","PeriodicalId":170850,"journal":{"name":"Virginia Woolf, Europe, and Peace","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115852838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“Cry with the Pack and Kill What We Fear” “和同伴一起哭泣，杀死我们害怕的东西”
Virginia Woolf, Europe, and Peace Pub Date : 2020-06-30 DOI: 10.3828/liverpool/9781949979350.003.0009
E. H. Wright
{"title":"“Cry with the Pack and Kill What We Fear”","authors":"E. H. Wright","doi":"10.3828/liverpool/9781949979350.003.0009","DOIUrl":"https://doi.org/10.3828/liverpool/9781949979350.003.0009","url":null,"abstract":"After the Great War, women playwrights began to write drama addressing the consequences of war for women, the home front and for humanity as a whole and positing strategies for ways in which future wars might be prevented. This essay explores the work of these women playwrights and makes comparisons between their dramas and Woolf’s thinking about war in her novels and Three Guineas. Woolf and playwrights such as Vernon Lee, Cicely Hamilton, Muriel Box, Olive Popplewell and Elizabeth Rye ask us to examine nationalism as a catalyst for conflict and to take up the position of ‘outsiders’ in order to question our place in supporting future wars. In light of this, the essay will also address form, particularly pageantry as a mode that all these authors use to undermine the central purpose of pageantry which is to create the group cohesion that these writers believe leads to conflict.","PeriodicalId":170850,"journal":{"name":"Virginia Woolf, Europe, and Peace","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115261910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“Peace as awakeness to the precariousness of the other” "和平是对他人不稳定的觉醒"
Virginia Woolf, Europe, and Peace Pub Date : 2020-06-30 DOI: 10.3828/liverpool/9781949979374.003.0006
Elsa Högberg
{"title":"“Peace as awakeness to the precariousness of the other”","authors":"Elsa Högberg","doi":"10.3828/liverpool/9781949979374.003.0006","DOIUrl":"https://doi.org/10.3828/liverpool/9781949979374.003.0006","url":null,"abstract":"In this chapter, Högberg traces a specific form of non-violent ethics across Woolf’s interwar and WWII writings, considering its political potential and limits. Focusing on Emmanuel Levinas’s idea of ‘The face as the extreme precariousness of the other. Peace as awakeness to the precariousness of the other’(Levinas, ‘Peace and Proximity’, 1984) alongside Judith Butler’s attempts to politicise his ethics of precariousness, this chapter shows how Woolf foregrounds vulnerability as an ethical injunction against violence. Arguing that Woolf’s work prompts a still unresolved question as to whether a pacifist ethics can be politically productive, Högberg reads Woolf’s pacifism as rooted in a concept of peace as proximity: the proximity of the ethical encounter, which prompts awakeness to the other’s vulnerability. The chapter ranges from Woolf’s Levinasian elevation, in Three Guineas, of a primary responsibility to Antigone’s Law of love, peace and proximity over the laws of the sovereign state to her literary articulations of an alternatively Levinasian and Butlerian ethics of peace and precariousness in Jacob’s Room, The Waves and Between the Acts. Voiced through poetic tropes of naked defencelessness and extra-linguistic, primal cries, Woolf’s pacifist ethics floods the boundaries defining Europe in a relocation of its ‘Greek’ origins, and in defiance against its political constructions of the other’s precarious face as a threat, which continue to justify the scandalous closing of European borders to ‘millions of bodies’ made vulnerable by war.","PeriodicalId":170850,"journal":{"name":"Virginia Woolf, Europe, and Peace","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114886915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
“Very Slowly into My Own Tongue”: “非常缓慢地进入我自己的语言”:
Virginia Woolf, Europe, and Peace Pub Date : 2020-06-13 DOI: 10.2307/j.ctv12sdxh1.11
A. Palmer
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引用次数: 0
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