Set in the heart of the Sussex Downs, Charleston Farmhouse is the most important remaining example of Bloomsbury decorative style, created by the painters Vanessa Bell and Duncan Grant. Quentin Bell, the younger son of Clive and Vanessa Bell, and his daughter Virghinia Nicholson, tell the story of this unique house, linking it with some of the leading cultural figures who were invited there, including Vanessa's sister Virginia Woolf, the writer Lytton Strachey, the economist Maynard Keynes and the art critic Roger Fry. The house and garden are portrayed through Alen MacWeeney's atmostpheric photographs; pictures from Vanessa Bell's family album convey the flavour of the household in its heyday.
This compelling new study reveals, for the first time, through an emplaced investigation, the potential of Charleston and Monk's House to illuminate the shared histories of Virginia Woolf and Vanessa Bell.
This volume explores the appropriation of the past in modern British culture. The twelve essays argue that to distinguish between "the new" and "the traditional" today often draws a false dichotomy. It argues that Britishness, in fact, has been the product of continuous creation throughout the 19th and 20th centuries.
Built in the seventeenth century, the Sussex farmhouse Charleston was home from 1916 until 1978 to two of the most influential artists of Bloomsbury group--Vanessa Bell and Duncan Grant. And during their residence, Bell and Grant opened the doors of Charleston as a country retreat for many members of the group, including Bell's sister Virginia Woolf and her husband Leonard, the economist John Maynard Keynes, the art critics Roger Fry and Clive Bell, and the biographer Lytton Strachey. Charleston is a house unlike any other, with many a story to tell. After Duncan Grant died in 1978, Charleston's fate remained unclear for several years with its contents remaining undisturbed and unaltered from their Bloomsbury days. During this time, while funds were being sought for the house's restoration, Kim Marsland made two visits to take notes and photographs. Her unique record of Charleston, gathered here in this marvelous book, shows the house just as Grant left it--cluttered with years of painting, collecting, and literary life. The previously unpublished photographs gathered here showcase the unique atmosphere of a house full of memories and artistic importance. They also show Charleston before its restoration, allowing the reader a peek into a lost past. Fully restored, the farmhouse is now a hugely popular destination for visitors and hosts an annual literary festival. Charleston Farmhouse offers a beautiful and rare glimpse into the real world of the Bloomsbury group.
The present collection of essays primarily honours Bernfried Nugel the teacher and scholar, but it also pays homage to Bernfried Nugel the indefatigable worker in the cause of Aldous Huxley studies. Hermann Josef Real is director of the Ehrenpreis Institute for the Study of Swift, University of Muenster (Germany). Peter Firchow is professor of English at the University of Minnesota, author of several books on modern and modernist literary subjects, including books on Huxley, Conrad, and Auden.
This is an innovative interdisciplinary book about objects and people within museums and galleries. It addresses fundamental issues of human sensory, emotional and aesthetic experience of objects. The chapters explore ways and contexts in which things and people mutually interact, and raise questions about how objects carry meaning and feeling, the distinctions between objects and persons, particular qualities of the museum as context for person-object engagements, and the active and embodied role of the museum visitor. Museum Materialities is divided into three sections – Objects, Engagements and Interpretations – and includes a foreword by Susan Pearce and an afterword by Howard Morphy. It examines materiality and other perceptual and ontological qualities of objects themselves; embodied sensory and cognitive engagements – both personal and across a wider audience spread – with particular objects or object types in a museum or gallery setting; notions of aesthetics, affect and wellbeing in museum contexts; and creative and innovative artistic and museum practices that seek to illuminate or critique museum objects and interpretations. Phenomenological and other approaches to embodied experience in an emphatically material world are current in a number of academic areas, most particularly strands of material culture studies within anthropology and cognate disciplines. Thus far, however, there has been no concerted application of this kind of approach to museum collections and interactions with them by museum visitors, curators, artists and researchers. Bringing together essays by scholars and practitioners from a wide disciplinary and international base, Museum Materialities seeks to make just such a contribution. In so doing it makes a valuable and original addition to the literature of both material culture studies and museum studies.
This study is a groundbreaking investigation into the formative influence of music on Virginia Woolf's writing. In this unique study Emma Sutton discusses all of Woolf's novels as well as selected essays and short fiction, offering detailed commentaries on Woolf's numerous allusions to classical repertoire and to composers including Bach, Mozart, Beethoven and Wagner. Sutton explores Woolf's interest in the contested relationship between politics and music, placing her work in a matrix of ideas about music and national identity, class, anti-Semitism, pacifism, sexuality and gender. The study also considers the formal influence of music - from fugue to Romantic opera - on Woolf's prose and narrative techniques. The analysis of music's role in Woolf's aesthetics and fiction is contextualized in accounts of her musical education, activities as a listener, and friendships with musicians; and the study outlines the relationship between her 'musicalized' work and that of contemporaries including Joyce, Lawr
'Racy, vivacious, warm-hearted. Offers an illuminating and well-researched portrait of life among the artists, a century ago' TLS Subversive, eccentric and flamboyant, the artistic community in the first half of the twentieth century were ingaged in a grand experiment. The Bohemians ate garlic and didn't always wash; they painted and danced and didn't care what people thought. They sent their children to co-ed schools; explored homosexuality and Free Love. They were often drunk, broke and hungry but they were rebels. In this fascinating book Virginia Nicholson examines the way the Bohemians refashioned the way we live our lives.
This sumptuous new Oxford Companion is devoted to gardens of every kind and the people and ideas involved in their making, in every part of the world where the designed landscape has played an important part. Its broad sweep makes this the perfect reference for garden-lovers everywhere. It combines a survey of the world's gardens, biographies of garden designers, nurserymen, and others, and entries on the worlds of horticulture and plantsmanship, with articles on a range of topics fromgarden visiting to garden elements and styles, and from scientific issues to the social history of gardens. The Companion provides comprehensive coverage in 1,750 alphabetical entries, detailing all aspects of the garden from the ancient to the avant garde. The writing is authoritative and engaging, with careful attention paid to the correct naming of plants, and a central aim of giving a vivid impression of what it is like to be in these inspirational gardens. There are sumptuous colourphotographs by some of the world's best garden photographers, and elegant engravings of historical subjects. Well over half of the entries are devoted to individual gardens, many of them open to the public. These include every kind of garden from palace gardens such as Versailles to private gardens of outstanding design or plant interest, public gardens, botanic gardens and arboreta, late 20th-century land art, and contemporary gardens everywhere. Central to the book are the garden cultures ofItaly, Britain, France, China, Japan, and the USA - unquestionably the most significant in the world - but the geographical coverage is worldwide, including such far-flung regions as Turkey, Peru, and Bali. The Companion draws on some of the expertise from The Oxford Companion to Gardens (1986) - in particular the late Maggie Keswick's groundbreaking writing on Chinese gardens. The international team of advisory editors and contributors includes leading authorities and top garden writers from more than 25 countries around the world. Many of the entries include suggestions for further reading and the work's usefulness is further enhanced by a general bibliography, a thematic listing of contents, and an index of gardens, individuals, themes, and features.
Virginia Woolfs Gedanken zu Literatur und Leben Ihre Romane gehören zur Weltliteratur, ihre Tagebücher und autobiographischen Schriften sind berühmt. Aber als glänzende, höchst anregende Essayistin ist Virginia Woolf immer noch zu entdecken. Die leidenschaftliche Leserin schrieb viele ihrer Rezensionen und Betrachtungen für das renommierte ›Times Literary Supplement‹ und andere Zeitschriften. Mit schwebender Aufmerksamkeit widmet sie sich den Themen, die Literatur, Kunst und Leben ihr stellen, und offenbart dabei den ganzen Reichtum ihres Wissens und Denkens, die Vielfalt ihrer gestalterischen Möglichkeiten und den Zauber ihrer Prosa. Die beiden Textsammlungen ›Granit und Regenbogen‹ (Bd. 092568) und ›Das Totenbett des Kapitäns‹ (Bd. 092560), ausgewählt aus dem immensen essayistischen Werk, bilden den Abschluss der Ausgabe der Gesammelten Werke von Virginia Woolf.
In 1919 a generation of young women discovered that there were, quite simply, not enough men to go round, and the statistics confirmed it. After the 1921 Census, the press ran alarming stories of the 'Problem of the Surplus Women - Two Million who can never become Wives...'. This book is about those women, and about how they were forced, by a tragedy of historic proportions, to stop depending on men for their income, their identity and their future happiness.
Set in the heart of the Sussex Downs, Charleston Farmhouse is the most important remaining example of Bloomsbury decorative style. But the garden, described by Virginia Woolf on her arrival in 1916 as "charming. . . now run rather wild" became and remained central to life in the farmhouse. The walled garden, created by Vanessa Bell and Roger Fry from the vegetable garden after the war, as well as the pond, the orchard, and the lawns which shade off into the fields, all contributed in a major sense to the creative energies of the place. And this creativity is reflected in the numerous works of art in stone, in wood, in brick, and in ceramic that Bell, Fry, Duncan Grant, and the next generation -- notably Quentin Bell -- contributed to the garden to enhance (and sometimes to comment on or to counterpoint) the simple but expressive planting schemes. Now, for the first time, the year-round charm and glory of this most English and most artistic of gardens has been captured by one of Britain's leading garden photographers.
'Ambitious, humane and absorbing . . . this book could not be better.' Spectator 'A deeply satisfying chronicle of women's lives at a time when this nation was tested as never before. Introduces you to hundreds of wonderful women - a magnificent regiment - you wish you had met in the flesh, and when you close it you feel enlarged as well as amazed by their experiences. Women were fire watchers, ARP workers, first aiders, ambulance drivers, police officers, messengers, transport, demolition and repair workers. A rich, entwined narrative, which moves in and out of the lives of an absorbing cast of characters during ten years.' Daily Mail 'A magnificent work of social history written with passion and panache.' Daily Express 'Splendid. Using diaries, autobiographies, memoirs and interviews, Nicholson charts the work, the lives, the relationships and the emotions of typists, factory workers, housewives, debutantes and artists working as nurses, in the services, in intelligence, in factories, on the land and as codebreakers. A tremendous achievement.' Observer 'A deeply moving account of female courage both at home and overseas. The joy of Nicholson's book is the way she has plaited scores of individual stories into a richly textured account of the many forms that female courage can take.' Mail on Sunday
Ein Mädchen entdeckt im Rotlichtviertel von Amsterdam ganz unerwartet das berauschende Gefühl sexueller Freiheit. Eine Kinokartenabreißerin träumt sich aus ihrem Leben heraus und in die unbegrenzten Möglichkeiten der Filme hinein. Ein Fotograf besucht seine alte schottische Heimat und lernt von einer Neunjährigen, auf Dächer zu klettern und Steine übers Wasser springen zu lassen ... Unbändige Lebenslust spricht aus den Erzählungen der schottischen Autorin Ali Smith, die Freude an der Entdeckung der Welt, die Begeisterung über Worte und ihre Kraft, der Rausch des Aufbruchs und der erwachenden Sehnsucht, das unglaubliche Glücksgefühl, Liebe zu finden. Und wie gut es ist, eine Frau zu sein.
Mit dem Werkbeitrag aus Kindlers Literatur Lexikon. Mit dem Autorenporträt aus dem Metzler Lexikon Weltliteratur. Mit Daten zu Leben und Werk, exklusiv verfasst von der Redaktion der Zeitschrift für Literatur TEXT + KRITIK. Vierhundert Jahre im Leben Orlandos: Im 16. Jahrhundert ist er ein hübscher Page mit literarischen Ambitionen am englischen Hof, als Gesandter in Konstantinopel wird er eine Frau, lebt bei einem Zigeunerstamm, kehrt als große Dame der Gesellschaft des 18. Jahrhunderts nach England zurück, sucht, als Mann verkleidet, verbotene Abenteuer, verliebt sich und ist, in der Gegenwart angekommen, eine erfolgreiche Schriftstellerin. Diese einzigartige, virtuose Romanbiographie gehört zu den unvergänglichen Werken der Weltliteratur.
Um das Leben des Malers Lucian Freud ranken sich viele Gerüchte – nicht zuletzt, weil er Privates rigoros vor der Öffentlichkeit abschirmte. Geordie Greig gehörte zu Freuds engsten Vertrauten, mit ihm teilte er Geschichten aus seinem Leben, das voller Arbeitswut, grausamer Rücksichtslosigkeit und einer fatalen Hang zum Glücksspiel war. Greig enthüllt in seiner Biographie eine faszinierende Persönlichkeit, für die jeder aus der High Society liebend gern Modell sitzen wollte, obwohl es monatelange Tortur bedeutete. Illustriert mit vielen unbekannten Fotos und Bildern, ist diese Biographie eines der bedeutendsten Maler des 20. Jahrhunderts zugleich ein lebendiges Stück Kunstgeschichte.
Ein Tag im Leben dreier Frauen: Clarissa Vaughan spaziert an einem strahlenden Junimorgen durch die Straßen von New York. Es ist das pulsierende New York der späten neunziger Jahre. Clarissa will Blumen für eine Party besorgen, die sie an diesem Abend für ihren aidskranken Freund Richard geben will, der soeben einen bedeutenden Literaturpreis erhalten hat. Sie kennen sich seit Jahrzehnten, für kurze Zeit waren sie auch ein Paar. Richard gab ihr den Spitznamen Mrs. Dalloway, weil sie ihn an die Heldin aus Virginia Woolfs gleichnamigen Roman erinnert. Laura Brown ist mit einem Kriegsveteranen verheiratet, der rührend um sie bemüht ist, ihr kleiner Sohn liebt sie abgöttisch, sie ist zum zweitenmal schwanger. Doch das Hausfrauenleben in einem Vorort von Los Angeles erdrückt sie. An einem Tag im Jahr 1949 flieht sie vor den alltäglichen Pflichten, mietet sich ein Zimmer in einem Hotel und liest fasziniert "Mrs. Dalloway". Virginia Woolf ringt im Jahr 1923 um den Anfang ihres neuen Romans, dem sie den Arbeitstitel "The Hours" (Die Stunden) gegeben hat und der einmal "Mrs. Dalloway" heißen wird. Sie hat Kopfschmerzen und hört Stimmen, und sie vermisst die Großstadt, obwohl sie weiß, dass ihr der Rückzug aufs Land nach Richmond gut tut. Fast steigt sie in den Zug nach London, nur fast, denn nun schreibt sie den ersten Satz: "Mrs. Dalloway sagte, sie wolle die Blumen selber kaufen." In seinem überwältigend schönen und bewegenden Roman schildert Michael Cunningham einen Tag im Leben dieser drei Frauen. Von Virginia Woolfs Leben und Werk inspiriert, schafft er eine ganz eigene Welt, die sich um die Möglichkeiten von Freundschaft und Liebe dreht, um das Auffangen von Scheitern und Lebensüberdruss und um eine Gemeinschaft jenseits von Leben und Tod: der Literatur.

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