Book contents
- Frontmatter
- Table of Content
- Introduction to Woolf and the Natural World
- Acknowledgments
- List of Abbreviations
- Ecofeminism, Holism, and the Search for Natural Order in Woolf
- “We Make Life”: Vibration, Aesthetics, and the Inhuman in The Waves
- “The Real World”: Virginia Woolf and Ecofeminism
- Virginia and Leonard, as I Remember Them
- “Everything tended to set itself in a garden”: Virginia Woolf's Literary and Quotidian Flowers: A Bar-Graphical Approach
- Taking Her Fences: The Equestrian Virginia Woolf
- The Metaphysics of Flowers in The Waves: Virginia Woolf's “Seven-Sided Flower” and Henri Bergson's Intuition
- Crowding Clarissa's Garden
- The Flesh of Citizenship: Red Flowers Grew
- The Besieged Garden: Nature in Virginia Woolf's Mrs. Dalloway and Willa Cather's One of Ours
- Virginia Woolf: Natural Olympian: Swimming and Diving as Metaphors for Writing
- “This, I fancy, must be the sea”: Thalassic Aesthetics in Virginia Woolf's Writing
- Wild Swimming
- The Woolf, the Horse, and the Fox: Recurrent Motifs in Jacob's Room and Orlando
- The Dogs that Therefore Woolf Follows: Some Canine Sources for A Room of One's Own in Nature and Art
- “The Bird is the Word”: Virginia Woolf and W.H. Hudson, Visionary Ornithologist
- Evolution, History, and Flush; or, The Origin of Spaniels
- “Lappin and Lapinova”: A Woolf in Hare's Clothing?
- “A Certain Hold on Haddock and Sausage”: Dining Well in Virginia Woolf's Life and Work
- Moments of Aging: Revising Mother Nature in Virginia Woolf's Mrs. Dalloway
- Homeless in Nature: Solitary Trampings and Shared Errantry in Cornwall, 1905
- “Walking over the bridge in a willow pattern plate”: Virginia Woolf and the Exotic Landscapes
- Mining with the Head: Virginia Woolf, Henry David Thoreau, and Exploring the Self Through Nature
- Virginia Woolf as Mountaineer
- “It was an uncertain spring”: Reading Weather in The Years
- Transforming Nature: Orlando as Elegy
- “Nature, who has played so many queer tricks upon us”: Digging Granite and Chasing Rainbows with Virginia Woolf
- Sundered Waters: Isolated Consciousness and Ostensible Communion in Woolf's Narration
- “To give the moment whole”: The Nature of Time and Cosmic (Comm)unity in Virginia Woolf's The Waves
- Spengler's The Decline of the West and Intellectual Quackery: Checking the Climate with Leonard Woolf and W.B Yeats
- Listening-in, Tuning Out: Leonard Woolf's Criticism of the BBC During the 1930s
- Notes on Contributors
- Conference Program
“Walking over the bridge in a willow pattern plate”: Virginia Woolf and the Exotic Landscapes
- Frontmatter
- Table of Content
- Introduction to Woolf and the Natural World
- Acknowledgments
- List of Abbreviations
- Ecofeminism, Holism, and the Search for Natural Order in Woolf
- “We Make Life”: Vibration, Aesthetics, and the Inhuman in The Waves
- “The Real World”: Virginia Woolf and Ecofeminism
- Virginia and Leonard, as I Remember Them
- “Everything tended to set itself in a garden”: Virginia Woolf's Literary and Quotidian Flowers: A Bar-Graphical Approach
- Taking Her Fences: The Equestrian Virginia Woolf
- The Metaphysics of Flowers in The Waves: Virginia Woolf's “Seven-Sided Flower” and Henri Bergson's Intuition
- Crowding Clarissa's Garden
- The Flesh of Citizenship: Red Flowers Grew
- The Besieged Garden: Nature in Virginia Woolf's Mrs. Dalloway and Willa Cather's One of Ours
- Virginia Woolf: Natural Olympian: Swimming and Diving as Metaphors for Writing
- “This, I fancy, must be the sea”: Thalassic Aesthetics in Virginia Woolf's Writing
- Wild Swimming
- The Woolf, the Horse, and the Fox: Recurrent Motifs in Jacob's Room and Orlando
- The Dogs that Therefore Woolf Follows: Some Canine Sources for A Room of One's Own in Nature and Art
- “The Bird is the Word”: Virginia Woolf and W.H. Hudson, Visionary Ornithologist
- Evolution, History, and Flush; or, The Origin of Spaniels
- “Lappin and Lapinova”: A Woolf in Hare's Clothing?
- “A Certain Hold on Haddock and Sausage”: Dining Well in Virginia Woolf's Life and Work
- Moments of Aging: Revising Mother Nature in Virginia Woolf's Mrs. Dalloway
- Homeless in Nature: Solitary Trampings and Shared Errantry in Cornwall, 1905
- “Walking over the bridge in a willow pattern plate”: Virginia Woolf and the Exotic Landscapes
- Mining with the Head: Virginia Woolf, Henry David Thoreau, and Exploring the Self Through Nature
- Virginia Woolf as Mountaineer
- “It was an uncertain spring”: Reading Weather in The Years
- Transforming Nature: Orlando as Elegy
- “Nature, who has played so many queer tricks upon us”: Digging Granite and Chasing Rainbows with Virginia Woolf
- Sundered Waters: Isolated Consciousness and Ostensible Communion in Woolf's Narration
- “To give the moment whole”: The Nature of Time and Cosmic (Comm)unity in Virginia Woolf's The Waves
- Spengler's The Decline of the West and Intellectual Quackery: Checking the Climate with Leonard Woolf and W.B Yeats
- Listening-in, Tuning Out: Leonard Woolf's Criticism of the BBC During the 1930s
- Notes on Contributors
- Conference Program
Summary
In a review of “Strange Stories from the Lodge of Leisures,” a classic Chinese short story collection by Pu Songlin of the Qing Dynasty, Virginia Woolf concludes her discussion by saying that “[s]o queer and topsy–turvy is the atmosphere of these little stories that one feels, when one has read a number of them, much as if one had been trying to walk over the bridge in a willow pattern plate” (E2 8). Indeed, by reading Chinese literature, Woolf was able to imagine the exotic land no matter how strange it proved to be. The very imagery Woolf employed in such an analogy is the classic Chinese landscape, the willow pattern. As a most popular domestic artifact in the English society, the willow pattern plate, with its vivid visual refl ections of Chinese landscapes and the exquisite porcelain, has become an important cultural symbol of the East in westerners’ imaginations. By likening her reading experience to walking over the bridge in a willow pattern plate, Woolf was in fact materializing her perception of otherness when encountered with new literature and cultures.
Woolf 's reading of Chinese literature and mention of Chinese artifact were no accident. Woolf developed an early interest in foreign literature and culture while reading in her father's grand library. Her later travels in many European cities expanded her knowledge and understanding of foreign cultures. For those countries where she never had a chance to traverse herself, she learned about them either by talking to family and friends who had returned from abroad or through extensive readings. These experiences and knowledge are inevitably refl ected in her works. Th ough most of her novels are set in Britain, we can find foreign affiliations in the major characters in one way or another. Exotic landscapes thus become a necessary but subtle element in Woolf 's novels. Landscape writing on South America, Italy, India, Russia and even China can be found in many of Woolf 's writings, in which she chooses different imageries from the natural world and sometimes uses them as cultural symbols.
- Type
- Chapter
- Information
- Virginia Woolf and the Natural World , pp. 174 - 179Publisher: Liverpool University PressPrint publication year: 2011