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Archive for March, 2017

This is a call for papers for a workshop which will explore the history of the British Post Office from its monopolization of the telegraph  service in 1869 under control of the state until the privatization of  the telecommunications business as British Telecom.

Background

The history of the Post Office’s communication networks has, until recently, long been one of state monopoly, and the twentieth-century Post Office was both one of  the UK’s largest state bureaucracies and largest employers. However, in contrast, it is apparent that histories of the Post Office are as disconnected as they are diverse, and so this workshop will synthesise these approaches and foreground the Post Office. We are influenced by numerous histories where the Post Office is explored on diverse registers.

For example, Duncan Campbell-Smith (2012) explores the history of the Post Office as a business organisation since its inception, whereas Patrick Joyce (2013) locates the Post Office as central to the networks and systems of the state used to communicate power. Business and the state alone, however, are not our foci: from Frank Bealey’s (1976) observation of the unique position of Post Office engineering staff as Civil Servants, to Iwan Rhys Morus’ (2000) analysis of the telegraph’s
promise of “instant intelligence” to Victorian society and the state, there has long been recognised an intrinsic technological element to the modern Post Office.

How might these histories be synthesised? There are histories which include the Post Office’s role in regulating the emergence of radio astronomy (Agar, 1998), the interaction of computerisation and
mechanisation with gender workplace relations (Hicks, 2017), and with the Post Office Savings Bank (Campbell-Kelly, 1998). There are now projects which explore the Post Office’s role in developing assistive technologies for hearing loss (AHRC/Action for Hearing Loss) and as a site of government research (AHRC/The Science Museum).

This range of subjects will therefore draw on and speak to different specialties: general history, political history, science and technology studies (including history of science and technology), business history, and cultural history. This call for papers recognises this fact, whilst seeking to focus discussion productively by asking for papers that satisfy the following criteria: a) papers that take a primarily
historical approach; b) papers that focus on the British Post Office; c) papers that broadly discuss the Post Office and technology; d) papers that focus on the Post Office commencing from its monopolisation of telecommunications networks.

Topics

Possible subjects include, but are not restricted to:

  • Technological systems and the Post Office
  • The bureaucratic Post Office (the “Government Machine”)
  • The material and visual culture of the telephone and telegraph services
  • The telephone and telegraph services in popular culture
  • Architecture, exchange buildings and sorting offices
  •  Mechanisation, parcel sorting and exchange automation
  • Involvement in wartime science and technology projects (e.g. Colossus)
  • Gender and Post Office telecom, from telephone users to operators
  • The Post Office and assistive technologies (e.g. hearing aids,
    amplified telephones)
  • Financial technologies (“FinTech”) in historical context, e.g. National Giro, Post Office Savings Bank
  • Regulation, broadcasting and the airwaves, from pirate radio to
    radio telescopes
  • The Post Office and privatisation, the creation of British Telecom
  • Comparative/connective national historiographies of the Post Office

Conference location and submission guidelines

‘The British Post Office in the Telecommunications Era’ will take place at The Science Museum on 31st August 2017. Registration will be free.

We invite proposals for twenty-minute papers. Proposals of no more than 350 words, together with the name and institutional affiliation of the speaker, should be sent to Jacob Ward at jacob.ward.12@ucl.ac.uk. The closing date for submissions is 1st May 2017.

The workshop is convened by PhD candidates Rachel Boon, University of  Manchester, Alice Haigh, University of Leeds, and Jacob Ward, UCL, in conjunction with The Science Museum.

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When I first learned, through one of Paula Maggios’s tweets, about the Virginia Woolf inspired art exhibit in Las Vegas, I shifted my calendar around so that I could visit the gallery as soon as possible. I then learned that two of my colleagues from the College of Southern Nevada are a part of the community of women whose work is on display at the Left of Center Art Gallery as part of the “A Room of One’s Own” All Women’s Art Exhibit, and so I went to the gallery immediately!

The gallery provides a space for women artists to create, discuss, and display their art. This specific exhibit features both literary and visual art pieces. Some of the pieces directly reference Woolf, such as the piece “Freedom” by Yvette Mangual, which quotes “A Room of One’s Own”:

“Freedom” by Yvette Mangual

Some pieces seemed to allude to Woolf’s misty, Modernist aesthetic, such as Elizabeth Blau-Ogilvie’s gorgeous piece, “Glacial Pour” which gave me visions of James’s, Cam’s and Mr. Ramsay’s final boat ride in To the Lighthouse:

“Glacial Pour” by Elizabeth Blau-Ogilvie

Dr. Karen Laing and Professor Erica Vital-Lazare are two of the 26 women artists whose works are on display in the Woolf inspired exhibit. After an inspired visit to the gallery, I interviewed Karen and Erica to learn about the ways that Virginia Woolf has inspired them as artists, and to gather their views on being woman artists.

Karen Laing is an activist and artist who teaches English composition and literature at the College of Southern Nevada. My interview with Karen is featured below:

Karen, your poem, “Thanks Sharon” reflects on oppression and resistance. In what ways does your work speak to and for women?

Among my deepest desires for the contribution my work makes in the never-ending conversation about what it means to be human is the hope that women locate ourselves in the center of every discussion, armed with a voice as authentic and indispensable to the outcomes present and prophetic as it is sufficient to the challenges reality places before us. I hope my life and art unleash the initiative of the creator within us so that we create a world worthy of our best and healing of our worst.

Karen, in what ways has Virginia Woolf’s work influenced you? 

Woolf’s A Room of One’s Own inspired me to create spaces in which I could listen for and attend to my heart’s desires. It soon became apparent that for this to be more consistently and sustainably possible, I would need to encourage others to find and forge similar spaces and permissions of their own.

“Future Primitive” on display at the Left of Center Gallery by artist Lolita Develay.

Erica Vital-Lazare teaches creative writing at the College of Southern Nevada where she is the editor-in-chief of the Red Rock Review literary journal. Our interview is located below:

Erica, you work as a Professor, artist, and editor within the Las Vegas community, so you have a unique view of women artists in Sin City. In what ways do you think that Woolf’s ideas in “A Room of One’s Own” connect to today’s women artists?

In 1929 when Woolf was asked to write about women who write, she raised the artful and sanctioned notables—the pluck of Jane Austen and the blunt-edged realism of George Eliot with the intent of taking the discussion further than those points of comfort to address the gap between woman-art and its creation and recognition. The gap she addresses is parity. The bridge she dares to construct deconstructs. In a time when women are chattel she makes public the keys to artistic freedom when she says a woman must have these things of her own: her own money and her own space within the canon. Agency. Nearly 90 years after Woolf penned “A Room of One’s Own”, women-artists build their own, even though sometimes it just might mean they must first burn down a few houses.

In what ways has Virginia Woolf’s work influenced your own writing?

Virginia Woolf’s fearlessness as a woman-artist in an era when capitulating and cowing under the weight of gender was so deeply embedded in the culture that furniture was specifically designed and appointed in the homes of finer society to catch our feinting and fainting-fragile selves is a wonder and an inspiration to me.  I know many women writers in many genres who think of her and the essay as they carve out space for themselves.

If you are in the Las Vegas area, I highly recommend making a trip to the Left of Center Gallery to enjoy some moving art, as well as to support women artists. The exhibit is free and will continue until March 31. Read more about the exhibit here.

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The International Virginia Woolf Society will host the third annual undergraduate essay competition in honor of Virginia Woolf and in memory of Angelica Garnett, writer, artist, and daughter of Woolf’s sister, Vanessa Bell.

Angelica Garnett

Essays can be on any topic pertaining to the writings of Virginia Woolf, between 2,000 and 2,500 words in length, including notes and works cited, with an original title of the entrant’s choosing.

Essays are judged by the officers of the International Virginia Woolf Society: Kristin Czarnecki, President; Ann Martin, Vice-President; Alice Keane, Secretary-Treasurer; and Drew Shannon, Historian-Bibliographer.

The winner receives $200 and has the essay published in the Virginia Woolf Miscellany.

Please send essays in the latest version of Word. All entries must be received by June 5, 2017. To receive an entry form, please contact Kristin Czarnecki at kristin_czarnecki@georgetowncollege.edu.

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Here is a call for papers for a special topics issue (#92, Fall 2017) of the Virginia Woolf Miscellany on Woolf and Indigenous Literatures:

Virginia Woolf and Indigenous Literatures

This issue of VWM seeks essays that consider Woolf’s oeuvre in dialogue with works by Native American, First Nations, Australian, and New Zealander authors, among others.

  • What kind of dialogic emerges when placing Woolf’s writings alongside those of indigenous writers?
  • How might indigenous literatures enhance interpretations of Woolf’s modernist, feminist, and pacifist poetics?
  • How might such comparisons affect or inform understandings of subjectivity in women’s lives and literature, and the interconnections between narrative innovation and socio-political activism?
  • Does Woolf’s ecological vision align with those of indigenous writers responding to threats of global destruction and mass extinctions?
  • Could such comparative and intersectional work chip away at the boundaries still often imposed upon literary studies—the “West” versus the “Rest”?
  • Other approaches are welcome.

How to Submit: Please send submissions of no more than 2,500 words, including notes and works cited, in the latest version of Word to: Kristin Czarnecki, kristin_czarnecki@georgetowncollege.edu.

Submission Deadline: March 31, 2017.

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