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2 - Can Flush Count?: Virginia Woolf, Animality and Numbers
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- By Jane Goldman
- Edited by Alex Goody, Oxford Brookes University, Saskia McCracken
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- Book:
- Beastly Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 21 October 2023
- Print publication:
- 31 March 2023, pp 38-55
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Summary
‘Can Flush Count?’ The short answer is ‘Yes – But, in more ways than one!’ This essay counts some of the ways. The historical, lived dog Flush (c.1840– 54), companion of the poet Elizabeth Barrett Browning, given to her by Mary Russell Mitford and the subject of Virginia Woolf’s novel Flush: A Biography (1933), was apparently taught to count. But this parlour game with a poet is possibly the least interesting aspect of any investigation into numbers and animality in Woolf’s bestselling but least critically scrutinised novel. Canine counting and Woolf’s own recorded suspicion of measuring – ‘Who shall measure the heat and violence of a poet’s heart when caught and tangled in a woman’s body?’ (Woolf 1929: 73) – is here considered in relation to Catullus’s famous love lyric against counting and Derrida’s dictum ‘Counting is a bad procedure’, to argue that Flush: A Biography, Woolf’s much neglected ground-breaking work on animality, really does count.
COUNTING THE FLUSHES
‘Can Flush count?’ supplements a previous question I asked elsewhere: ‘Can Flush read?’. In attempting to respond to the latter I explored Woolf’s canine novel in relation to Derrida’s animal turn (Goldman 2016). I concluded with the short answer: yes, Flush can read (Goldman 2016: 172)! Flush can read image; he can read humans; he can read human writing. But which ‘Flush’ can read these things? For Flush is legion. Flush, too, is verb, noun and adjective. Flush is text, and more importantly, intertext. How might we collate him? How do we go about counting the number of Flushes that could come running when we call that name? Flush: A Biography undermines our faith in a singular, originary Flush.
Nor is Flush simply polysemic; rather, Flush is disseminated. Dissemination, according to Derrida, in ‘diverging from polysemy, comprising both more and less than the latter […] interrupts the circulation that transforms into an origin what is actually an after-effect of meaning’ (Derrida 1981: 21).
List of Figures
- Edited by Claire Davison, Derek Ryan, University of Kent, Jane A. Goldman, University of Glasgow
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- Book:
- Cross-Channel Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
- Print publication:
- 31 March 2020, pp vii-vii
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Cross-Channel Modernisms
- Edited by Claire Davison, Derek Ryan, Jane A. Goldman
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- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
- Print publication:
- 31 March 2020
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Explores modernist aesthetics and cultural exchange between Britain, France and beyond
Introduction: Cross-Channel (Transmanche) Modernisms
- Edited by Claire Davison, Derek Ryan, University of Kent, Jane A. Goldman, University of Glasgow
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- Book:
- Cross-Channel Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
- Print publication:
- 31 March 2020, pp 1-13
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Summary
What better place to start than midway, in extracts from letters exchanged before and after a cross-Channel expedition?
To Vita Sackville-West
RodmellSaturday 8 September [1928]Concentrate your mind upon this, and give me your answer. Suppose we start (you and I and Potto) on Saturday 22nd. Sleep in Paris. Get to SAULIEU on Monday … Do you want to go 2nd or 1st (I insist on 1st on the boat) If first is much more comfortable, first is advisable. Not otherwise; because first class travellers are always old fat testy and smell of eau de cologne, which makes me sick. (Woolf 1975–80, vol. 3: 528)
To Virginia Woolf
British Embassy, BerlinTuesday 11 SeptemberYour letter has caught me, as we leave early tomorrow morning. I am absolutely overjoyed to think that our France may really materialise, and I beg you to get the tickets before you have time to change your mind. (Sackville-West 1985: 298)
To Vita Sackville-West
52 Tavistock Place W.C.1Oh there's a lot to talk to you about: Orlando: Radclyffe Hall: etc.
I am getting a fish basket for Potto.
Shall you be bored with me?
As an experiment this journey interests me enormously. (Woolf 1975–80, vol. 3: 531)
To Virginia Woolf
Long Barn, SevenoaksWednesday 19 SeptemberI write in a hurry because I am just starting for Eton with Ben.
Monday, – yes. Could you send a postcard to say
1) what time the boat starts,
2) how much I owe you for the tickets
3) the name of the hotel in Saulieu (Sackville-West 1985: 300)
To Virginia Woolf
Long BarnFriday night 5 OctoberIt was queer, reading some of your letters, in the light of having been with you so much lately. A fitful illumination played over them, – a sort of cross-light, – (do you realise that at Auppegard one is always in a cross-light? a symbolic fact which would, I feel, have had more influence on you or me, had either of us chanced to live there, than it has had on the relatively unimaginative natures of Ethel and Nan.) Well, a sort of cross-light, as I say, played across them, projected half from the rather tentative illumination of the past and half from the fuller illumination of the present….
Frontmatter
- Edited by Claire Davison, Derek Ryan, University of Kent, Jane A. Goldman, University of Glasgow
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- Book:
- Cross-Channel Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
- Print publication:
- 31 March 2020, pp i-iv
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Index
- Edited by Claire Davison, Derek Ryan, University of Kent, Jane A. Goldman, University of Glasgow
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- Book:
- Cross-Channel Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
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- 31 March 2020, pp 243-254
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Interlude: Mediating
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- By Jane Goldman
- Edited by Claire Davison, Derek Ryan, University of Kent, Jane A. Goldman, University of Glasgow
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- Book:
- Cross-Channel Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
- Print publication:
- 31 March 2020, pp 155-161
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Summary
When we hit the English Channel that night, choppy and wind-blown as it was, I began to be seasick for the first and only time in my life. But I thought I was going to die. I rocked! And the sea rocked! And the boat rocked! And the world went round and round! When we got out of the Channel, we ran into one of those North Atlantic gales that lasted half-way to New York. And for over a week, every time the boat would sway, my stomach would sway, too. That cured me of ever again drinking too much gin. (Hughes 1993: 140)
Modernist Channel crossings may sometimes become narrow straits, a sort of critical shorthand for experimental exchanges between London and Paris. And traffic may in some received opinion likewise be considered preponderantly one way, particularly in view of Paris's postwar status in 1919 as the locus for the Peace Conference, and therefore for a while capital city of the political world, as well as the capital city of the international, transnational, cultural avant-gardes. But, recalling a nauseating and hungover Channel crossing, rough in many senses (see Virginia Woolf's hilarious cross-Channel mistranslation of this word cited in our Introduction [Woolf 1975–80, vol. 4: 197]) and made while he was working on ‘a big, clean-looking freighter’ on a regular run between Rotterdam and New York (1993: 139), Langston Hughes reminds us, in an aqueous autobiography, The Big Sea (1940), that it is possible to cross through the English Channel in many other directions too, and not only to other European destinations besides France and Belgium, the amorphous ‘Flanders’, metonym for all the Great War battlefields. For the English Channel/French ‘la Manche’ in fact mediates in the east with the North Sea (also the site of huge naval conflict), which incidentally was known until the Great War as the German Ocean on British and German maps alike (see Scully 2009), and hence east to Scandinavia and Russia, and in the west with the Celtic and Irish seas and the Atlantic Ocean.
Contents
- Edited by Claire Davison, Derek Ryan, University of Kent, Jane A. Goldman, University of Glasgow
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- Book:
- Cross-Channel Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
- Print publication:
- 31 March 2020, pp v-vi
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Notes on Contributors
- Edited by Claire Davison, Derek Ryan, University of Kent, Jane A. Goldman, University of Glasgow
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- Book:
- Cross-Channel Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
- Print publication:
- 31 March 2020, pp viii-x
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4 - Cross-Channel Modernisms and the Vicissitudes of a Laughing Torso: Nina Hamnett, Artist, Bohemian and Writer in London and Paris
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- By Jane Goldman
- Edited by Claire Davison, Derek Ryan, University of Kent, Jane A. Goldman, University of Glasgow
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- Book:
- Cross-Channel Modernisms
- Published by:
- Edinburgh University Press
- Published online:
- 03 October 2020
- Print publication:
- 31 March 2020, pp 96-119
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This chapter is the fruit of my own cross-Channel scholarly activities, beginning with a lecture in June 2010 to the conference titled ‘“No Hawkers: No Models”: The Vicissitudes of the Modernist Muse’, held at the University of Westminster, London. I developed this work in April 2015 for presentation to the ‘Cross-Channel Modernisms Symposium’ at Reid Hall in Paris (the University of Kent's Paris Campus). The latter version was in fact delivered twice within the space of a few days, first on the University of Kent's home campus and then in Paris. Shuttling between England and France via the Channel tunnel, I was already reworking my text on a remarkable modernist cross-Channel figure who had shuttled a little less speedily but with greater sartorial panache by boat-train a century earlier.
Laughing Torso (1932), the ‘reminiscences’ of Nina Hamnett (1890–1956), recounts her notorious cross-Channel vicissitudes as a struggling artist in the 1910s and 1920s in bohemian London and Paris. It opens up all kinds of interdisciplinary modernist crossings and channels. Hamnett's was an astonishing career not only as a visual artist (whose reputation has only recently been recovered) and as a muse, model and self-fashioning bohemian (whose excesses in the bars of Fitzrovia, Soho and Montparnasse, for many of her critics, eclipsed her other talents), but also as a writer. Reappraisal of Hamnett opens fascinating conduits to numerous modernist circles and to many pressing as well as entrenched critical and theoretical questions on modernism, including its international, transnational and geopolitical, trans-temporal and interdisciplinary, and its (trans-)performative, lived and embodied, and cross-gender framings. Hamnett, in her cross-Channel person as well as in her art and writing, may be productively considered in response to Virginia Woolf's question ‘who shall measure the heat and violence of the poet's heart when caught and tangled in a woman's body?’ (Woolf 1929: 73) .
Critics tend to focus either on Hamnett's early identification with the acclaimed modernist marble Torso (1914), the sculpture made by the French artist Henri Gaudier-Brzeska in response to a segment of her supple body as a fragment of classical statuary, or on her reputation as ‘Queen of Bohemia’ in both Soho and Montparnasse over many decades in the company of luminary modernist artists, writers and critics.
Editing Woolf
- from Editing and Teaching Woolf
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- By Jessica Berman, Humanities at the University of Maryland, Baltimore County (UMBC)., Jane Goldman, Reader in English at Glasgow University, Susan Sellers, Professor of English at St Andrews University., Bryony Randall, Senior Lecturer in English Literature at the University of Glasgow., Madeleine Detloff, Professor of English and Global and Intercultural Studies at Miami University.
- Edited by Nicola Wilson, Claire Battershill
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- Book:
- Virginia Woolf and the World of Books
- Published by:
- Liverpool University Press
- Published online:
- 16 January 2020
- Print publication:
- 27 September 2018, pp 241-252
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I will put my cards on the table—I never wanted to edit a Companion—to Virginia Woolf or any other writer. In fact, companions scare me. They create the appearance of coverage or the definitive word on any particular topic or subject. The very notion of a “companion” presumes familiarity, comradery, or friendship—or at least the prospect of these relations. Handbooks, even at their most perspicacious, invite us to think the topic can be made ready “to hand,” and often must find ways to make that possible—excising the unfamiliar, the far flown, or the foreign. The Cambridge Companion to Modernism, admittedly, a 1999 volume updated more than five years ago, barely ventures outside Anglo-American writing, except by reference to Picasso, Freud, Marx, et al., and rarely moves outside of the period between the last decade of the 19th century and WWII. I wonder, what happens to a writer like Gustave Flaubert in these models— or that painter of modern life, Charles Baudelaire? What happens to the writers in the colonies, whose lack of access to cultural and economic power often means they don't “do” modernism or modernity until the second half of the century? In an effort to make these volumes less about traditional categories of coverage, Cambridge has begun to issue companions that look more like conventional essay collections, such as The Cambridge Companion to Literature and the Posthuman, or a recent one I've contributed to: The Cambridge Companion to Transnational American Literature. This is a good impulse, but it is hard to know why these should still be called “companions,” when those are, by their own definition, “a series of authoritative guides, written by leading experts, offering lively, accessible introductions to major writers, artists, philosophers, topics, and periods.” Not to pick on Cambridge—Wiley Blackwell has also started to make more topical and less generic companions, like the Feminist Companion to Shakespeare, now in its second edition. This looks like a terrific book, with a whole section on “Race and Colonialism,” and another on “Performing Sexuality.” But I fear that companions are crowding out other work in the field, making it harder to publish groundbreaking monographs or other adventurous work that doesn't purport to provide a general overview.
Queer Woolf: Queer Approaches and Creative-Critical Research
- from Making New Books: Creative Approaches
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- By Jane Goldman, Reader in English at Glasgow University, Calum Gardner, none, Colin Herd, none
- Edited by Nicola Wilson, Claire Battershill
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- Book:
- Virginia Woolf and the World of Books
- Published by:
- Liverpool University Press
- Published online:
- 16 January 2020
- Print publication:
- 27 September 2018, pp 162-188
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According to the Oxford English Dictionary Arnold Bennett, no less, the famed pantomime rival of Bloomsbury, is the earliest source in Britain of queer's modern “chiefly derogatory” usage. He uses it in a diary entry of 26 March 1915 (published in 1932)—although it is difficult to assess how derogatory, if at all, this instance is: “An immense reunion of art students, painters, and queer people. Girls in fancy male costume, queer dancing, etc.” (OED; Bennett 550).
Turning to the source, we discover that the evening in question was a thoroughly Bloomsbury affair, involving a visit to an exhibition of radical art by the London Group (“some nice things but all imitative”), and thence to dinner with Lady Ottoline Morrell where Bennett finds “Lowes Dickinson, Bertrand Russell, Whitehouse. All these very much upset by the war, convinced that the war and government both wrong, etc.” (Bennett 127). Having witnessed the Bloomsbury related art and pacifism that inform many of the contributions to Queer Bloomsbury, Bennett's account of his evening with the Morrells concludes with a glimpse of Bloomsbury masquerade, orientalism and queer sexualities too:
Afterwards, an immense reunion of Art Students, painters, and queer people. Girls in fancy male costume, queer dancing etc. A Japanese dancer. We left at 12.15. Pianola. Fine pictures. Glorious drawings by Picasso. Excellent impression of host and hostess. (Bennett 127)
The “queer people” on this occasion did not include Virginia Woolf whose debut novel, The Voyage Out, was published the day after this party (i.e. 26 March 1915) and who was convalescing in a nursing home following a bout of mental illness, but it seems likely that her sister and other Bloomsbury members were present. Her novel, which incidentally Vanessa Bell on its publication described as “a queer business” (Spalding VB 137), “appeared amid a season of unparalleled gaiety,” according to Frances Spalding, when “[a]s if in defiance of the war, Lady Ottoline Morrell was holding parties every Thursday” (Spalding VB 137).
Chapter 9 - Ecce animot
- from Part III - Futures
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- By Jane Goldman
- Edited by Jean-Michel Rabaté, University of Pennsylvania
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- Book:
- After Derrida
- Published online:
- 11 May 2018
- Print publication:
- 31 May 2018, pp 161-179
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1 - ‘The Queen had come’: Orgasm and Arrival
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- By Jane Goldman
- Edited by Elsa Högberg, Uppsala University, Amy Bromley, University of Glasgow
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- Book:
- Sentencing Orlando
- Published by:
- Edinburgh University Press
- Published online:
- 06 May 2021
- Print publication:
- 09 January 2018, pp 15-31
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Summary
The Queen had come.
These four words surely comprise the most direct sentence of Orlando: A Biography, the novel that taught Woolf ‘how to write a direct sentence’ (D3 203). Vulgar, bawdy, openly celebrating female autoeroticism, orgasmic pleasure, they nevertheless remain coded, cryptic, somehow hidden in plain sight. These plainest of words simply report, in base language of information, the historic arrival of Queen Elizabeth I at Knole in 1573 – if indeed the fictitious Orlando's ‘own great house’ (O 21) is the house that would not be inherited, because of male primogeniture, by the novel's real-life dedicatee, Vita Sackville-West. VSW's book Knole and the Sackvilles (1922) does not mention that visit, but clearly states that Knole was ‘granted to Thomas Sackville by Queen Elizabeth’ thirteen years later in 1586. In context and out, this sentence refuses to oblige any such innocent or literal reading. It is equally a direct, open report of a woman's having achieved orgasm: ‘The Queen had come’. With orgasm comes sovereign power too: ‘The Queen had come’. The pluperfect is the coup de grace: it was and still is no use arguing or worrying after the fact. An orgasmic feminist Sapphic coup had (has) already happened, so let us face the fact: ‘The Queen had come’.
‘To come’ for centuries has meant to ‘experience sexual orgasm’, its earliest recorded usage in a song, ‘Walking in Meadow Green’ (1650): ‘Then off he came, & blusht for shame soe soone that he had endit’. See too the notorious Earl of Rochester's pornographic collection Cabinet of Love (1714): ‘Just as we came, I cried, “I faint! I die!”’. An instance of female erotic urgency occurs in the anonymous Victorian memoir My Secret Life (c. 1890): ‘“Shove on”, said she, “I was just coming”’. Woolf would have read in Joyce's Ulysses (1922) two further lewd examples of coming: ‘Suppose you … came too quick with your best girl’; ‘yet I never came properly till I was what 22’. In 1928, the year of Orlando's publication, D. H. Lawrence's Lady Chatterley's Lover (1928), immediately banned for obscenity, furnished two more examples: ‘“We came off together that time”, he said’; ‘when I’d come and really finished, then she’d start on her own account’.
“Her—it—age!”: Virginia Woolf and Syllabic intervention— Or, “Heritage is a Kim Novak word”
- from HERITAGE: A DEBATE
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- By Jane Goldman, University of Glasgow
- Jane deGay, Tom Breckin, Anne Reus
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- Book:
- Virginia Woolf and Heritage
- Published by:
- Liverpool University Press
- Published online:
- 12 January 2018
- Print publication:
- 08 June 2017, pp 2-8
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“Ja—cob! Ja—cob!” Archer shouted.
“Scarborough,” Mrs. Flanders wrote on the envelope, and dashed a bold line beneath; it was her native town; the hub of the universe. But a stamp? She ferreted in her bag; then held it up mouth downwards; then fumbled in her lap, all so vigorously that Charles Steele in the Panama hat suspended his paint-brush.…
“Ja—cob! Ja—cob!” Archer shouted.
…“Over there—by the rock,” Steele muttered, with his brush between his teeth, squeezing out raw sienna, and keeping his eyes fixed on Betty Flanders's back.
“Ja—cob! Ja—cob!” shouted Archer, lagging on after a second.
The voice had an extraordinary sadness. Pure from all body, pure from all passion, going out into the world, solitary, unanswered, breaking against rocks—so it sounded. (JR 8–10)
What Woolf has Archer do unto Jacob in the opening pages of Jacob's Room— “Ja—cob! Ja—cob!”—I propose doing unto that most unWoolfian word: “Her—it—age!” Now we have three words that truly do open up Woolfian portals, obsessed as her writing is by gendered pronouns and the passing of time. Is this trisyllabic utterance now a form of urgent shorthand, telegraphing the message: “She has become an object over time”? I can certainly see that message as fundamental to the concept of “heritage.” For “Heritage” speaks the sustained historical period of eugenically entitled patriarchal subjectivity that we still endure. Heritage is a toxic political and social convention— reifying, commodifying, subordinating, gendering and ranking all that it encounters.
Syllabling “Her—it—age!” also opens up the word's fantastic capacity for mondegreen, which did tempt me to write a paper on “Woolf 's Hairy Stage,” an argument predicated on the aesthetics of coiffure in the works written in that era of Woolf 's conventional long, loose locks and her badly bundled chignon— before she got herself that smart shingled bob in 1927! Or predicated on the gender and canine stakes at that formative moment when the hirsute family pet mongrel Shag (male), and Gurth the equally hairy (and male) sheepdog whom she shared with her sister Vanessa, were superseded in her affections in 1906 by the intermediary shorthaired and misnamed bitch Hans, the epicene boxer dog (the end of another Woolfian hairy stage).
Contributors
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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. 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Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. 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- Edited by Robert Audi, University of Notre Dame, Indiana
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- Book:
- The Cambridge Dictionary of Philosophy
- Published online:
- 05 August 2015
- Print publication:
- 27 April 2015, pp ix-xxx
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Contributors
- Edited by Allison Pease, John Jay College of Criminal Justice, City University of New York
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- The Cambridge Companion to <I>To The Lighthouse</I>
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- 05 December 2014
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- 29 December 2014, pp ix-xii
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3 - To the Lighthouse’s Use of Language and Form
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- By Jane Goldman
- Edited by Allison Pease, John Jay College of Criminal Justice, City University of New York
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- The Cambridge Companion to <I>To The Lighthouse</I>
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- 05 December 2014
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- 29 December 2014, pp 30-46
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Woolf, Defoe, Derrida: Interdisciplinary dogs—or the canine aesthetics and (gender) politics of creativity
- from Patterns, Practices, Principles
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- By Jane Goldman, University of Glasgow
- Edited by Ann Martin, Kathryn Holland
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- Interdisciplinary/Multidisciplinary Woolf
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- Liverpool University Press
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- 04 July 2017
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- 31 December 2013, pp 95-101
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Summary
My current work, Virginia Woolf and the Signifying Dog, tracks the shifting canine tropes underpinning Woolf's writings in numerous genres on multiple disciplines. Woolf's mercurial dog figure is a sliding signifier representing the historic, unequal struggles between men and women over artistic subjectivity, authority, and voice in verbal, visual, musical, and theatrical arts. For example, in the finale to the multidisciplinary pageant, in Between the Acts, the megaphonic voice urges the audience, fragmentarily mirrored back to themselves, to “Consider the dogs [who] do openly what we do slyly” (BTA 134). Woolf's signifying dogs intervene at the intersection between art and life, between artists and their subjects, between art and audience, between art and criticism, and between the arts themselves. What might be at stake, artistically, politically, and ethically, in the tricks performed by this evolving troupe of interdisciplinary dogs? One thing at stake I suggest is the as such of dasein where, according to Heidegger and others, the caesura falls between animal and man, the site of violence and creativity in all its multiplicities.
The “ironic apparatus” of the “anthropological machine,” according to Giorgio Agamben, installs a shifting caesura in the narrative of the historical “passage from animal to man” where or when an animal-not-yet-human births a human-animal, and where the acquisition of language is a key indicator of that passage from animality to humanity (Agamben 37). In patriarchy, we might add, the “passage from animal to man,” where or when an animal-not-yet-human births a human-animal, occurs every time a mother whelps a son!
The verb “whelp” serves my dogged interests here precisely because of its canine provenance. As the OED shows whelp is both noun and verb, the noun applicable to “the young of various animals” and humans, but distinctively canine in pedigree and often derogatory. The transitive verb, “whelp,” means of a bitch dog “To bring forth” or to give birth to “(a whelp or whelps)”; it may also serve intransitively meaning to “bring forth whelps” and again slides toward the derogatory. It has an “uncertain” etymology. Is it perhaps related to that other rare transitive birth verb “to world”?
Preface
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- By Jane Goldman, University of Glasgow
- Edited by Derek Ryan, Stella Bolaki
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- Book:
- Contradictory Woolf
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- Liverpool University Press
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- 04 July 2017
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- 31 December 2012, pp vii-viii
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Summary
But you may say “Why Contradictory Woolf? Why Glasgow?” Why not? For one thing, Contradictory Woolf, the 21st Annual International Conference on Virginia Woolf (but the first ever to be held in Scotland) opened the delicious opportunity for our assembling Woolf scholars to say “But” in the Bute Hall, that magnificent Victorian chamber of intellect and scholarly debate at the heart of the neo-gothic edifice, the Gilbert Scott Building, the centrepiece of the University of Glasgow, replete with quads, lawns and gravel. But Woolf scholars take happy note: there is no law of trespass in Scotland! And how splendid to have the rising and setting sun shining through the Bute Hall's stunningly beautiful stained glass windows, in which are depicted numerous figures, figures which, as the University website has it, “represent a wide range of characters and subjects including writers, philosophers, scientists, theologians, saints, monarchs and women [sic].” (Here we may say but doesn't and sometimes mean but?) The women figures in the eastern windows are personifications of seasons and virtues and other abstractions; the men figures in the western are portraits of great men such as Plato, Chaucer, Thomas Carlyle, et al. But there is one window in the Bute Hall commemorating three women pioneers of Scottish university education, Jessie Campbell, Isabella Elder, and Janet Galloway, and it is pleasing to note that there are still blank panes awaiting stains…How gratifying to have our Principal remind us in his welcome speech that “but” in Scotland is also an affirmation, but! But how fabulous, too, to have on display, for the duration of the conference at least, Suzanne Bellamy's superb pageant painting depicting Woolf on Chaucer's horse with the sun streaming through its rich colours, its golden touches gleaming, while the voices in the Bute Hall for four days sang out their buts and many other wise and contradictory words too.
Those voices (and I have space only to mention the five keynotes and must pass over the plenary panels on bi, queer, war, and class as well as the numerous parallel panels held in the Bute) included that of Judith Allen, author of an inspirational “but” paper on Woolf, and now of the book Virginia Woolf and the Politics of Language published by Edinburgh University Press (2010).