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Archive for the ‘Woolf as Commodity’ Category

Graph of the number of times Virginia Woolf's name appears in English language books published between 1920 and 2008

How popular is Virginia Woolf around the world?

The Google Labs Books Ngram Viewer can help us figure that out. The database is culled from nearly 5.2 million digitized books. Its dataset consists of the 500 billion words in books published between 1500 and 2008 in English, French, Spanish, German, Chinese and Russian, explained the New York Times back in December.

This new resource allows anyone who logs onto the site to type in a string of up to five words and see a graph that charts the phrase’s frequency over time.

Take “Virginia Woolf,” for instance. The graph at right shows the number of times her name appeared in English language books between 1920 and 2008. As you can see, she reached the pinnacle of her popularity in those books in the late 1980s.

But we can break this down further. While her popularity peaked in British English books in the mid- to late 1980s, for Americans, the highpoint came in the late 1990s.

Among authors writing in German, Woolf peaked in the late 1980s, but her popularity was still riding high among authors writing in French into the mid-1990s. In both Russian and Chinese, Woolf’s popularity is simply a flat line.

Graph showing the number of times Virginia Woolf's name appears in English language books of fiction published between 1920 and 2008

This next bit will interest Alice Lowe, author of Beyond the Icon: Virginia Woolf in Contemporary Fiction, published by Cecil Woolf Publishers. Woolf peaked in the English fiction category in the late 1990s.

Woolf as commodity

Books, however, are not the only medium invoking Woolf’s name. In Virginia Woolf Icon (1999), Brenda Silver analyzes the appropriation of Woolf by both high and pop culture, from her 1937 appearance on the cover of Time to more recent appearances in movies, TV and theater.

And you can see for yourself the long list of items in the right sidebar that use her name, her words and/or her image. They range from dolls to mugs to tea towels to underwear.

Woolf in the online world

Virginia Woolf is a huge presence online, something that has grown dramatically since Silver published her book. Online sightings of her name and work come in by the dozens each week.

In “Virginia Woolf in the Cyber City: Connecting in the Virtual Public Square” in Woolf and the City: Selected Papers from the Nineteenth Annual Conference on Virginia Woolf, I mention that on 17 May 2009, my Google Web search on the name “Virginia Woolf” turned up 2.7 million hits (215).

On that same date, I found 31,400 hits for “Virginia Woolf groups” and 458,000 hits under the Google Images category for “Virginia Woolf.” My Facebook search conducted on the same date found more than 500 Woolf groups, with the total number of group members ranging from six to 2,600.

Tidbits on Woolf’s popularity in Europe and beyond

Below are some interesting tidbits regarding Woolf’s popularity that I found in The Reception of Virginia Woolf in Europe by Mary Ann Caws and Nicola Luckhurst and other sources.

  • In recent days, Woolfians from Italy, Africa, France and the U.S. have subscribed to Blogging Woolf.
  • According to the Fall/Winter 2010 issue of the Virginia Woolf Miscellany, Woolf organizations exist in the NetherlandsKorea and Japan, in addition to the Société d’Etudes Woolfiennes in France. And, of course, we must not forget the International VW Society and the VW Society of Great Britain. Links to these organizations appear in the right sidebar.
  • During the 1920s and ’30s, Woolf’s texts were translated into French faster than into any other language, according to Caws and Luckhurst (5).
  • On Page 10 of their book, Caws and Luckhurst provide a full list of European languages and dates of publication of translations of the full text of Woolf’s writing in book form. Swedish was first with Jacob’s Room in 1927. Lithuanian was last with Mrs. Dalloway in 1994.
  • The first of Woolf’s books to be translated into Turkish was To the Lighthouse, which appeared in 1945.
  • In “‘For God’s and Virginia’s sake why a translation?’ – Virginia Woolf’s Transfer to the Low Countries,”  published in Comparative Critical Studies in 2006, Els Andringa says the first mention of Woolf in a Dutch publication was in 1920 in a scholarly book on literature. But only after 1925 did regular reviews and essays begin appearing (204), while the first translation of her work in Dutch was not published until 1948. However, the boom in Woolf translations did not arrive until 1976 (205).
  • The Hogarth Press encouraged formal, consistent relationships with foreign publishing houses that may have helped spur translation of Woolf’s works (Caws and Luckhurst 330).
  • Susan Sellers posted an interview with Professor Yang Lixin in which the scholar explained Woolf’s popularity in China: “As an important pioneer of the ‘stream of consciousness’ literary technique and the western feminist movement, Virginia Woolf is well known in China – particularly to the common reader she herself valued so much.”
  • Biljana Dojčinović-Nešic discusses the political ramifications of translations of Woolf’s work, as well as Woolf’s views on translations, in “Translation as Border-Crossing: Virginia Woolf’s Case.”

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Tomorrow, you can decorate your own Bloomsbury plate. Yesterday I heard a lecture on Bloomsbury artists.

These are some of the final activities during the final days of the final stop on the cross-country tour of the traveling exhibit, A Room of Their Own: The Bloomsbury Artists in American Collections.

The exhibit will be at the Palmer Museum of Art at Pennsylvania State University in University Park, Pa., through Sept. 26. After that, all the artwork, books, fabric and furniture will be carefully packed and returned to their owners. Artist Jasper Johns, for example, will be reunited with his Omega Workshop pottery.

When Benjamin Harvey, associate professor of art history at Mississippi State University,  reviewed the exhibit for Blogging Woolf nearly one year ago, he recommended that Bloomsbury afficionados “make every effort to see it.”

Riders on the storm

Early Thursday evening, I took his advice, setting off from Ohio to Pennsylvania in a violent rainstorm — the one that brought tornadoes to the East Coast — with the expectation that we would view the Bloomsbury exhibit the next day. We did, despite the unfortunate weather that kept us on the edge of our car seat the entire way.

It was worth the trip.

I have been to Charleston Farmhouse and Monk’s House, so I have seen many original works of Bloomsbury art. But this exhibit was different. It displays a large collection of Bloomsbury art together in a gallery setting, which gave me the chance to step back and appreciate it one piece at a time without feeling overwhelmed or rushed by tour guides.

As a result, I felt a new appreciation for the artistry of Vanessa Bell. I clearly saw that her artwork stands on its own rather than in the shadow of Duncan Grant.

Giant canvas greeting

© 2010 by Nasher Museum Blogs

Visitors to the Penn State exhibit are initially greeted by a giant Duncan Grant painting that depicts an exuberant male nude holding cymbals. Although it dwarfs even the tallest art lover, the painting is just one part of the 1937 original oil on canvas, which was commissioned to hang over the massive fireplace in the first-class lounge of the Queen Mary, according to Christopher Reed, associate professor of English and visual culture at Penn State and co-curator for the exhibit.

Along with other commissioned designs, such as upholstery fabric of cotton velveteen patterned with an obviously Bloomsbury design, and carpeting, it was never used on the ship. Cunard, the ship’s owner, changed course and decided to use an art deco look for the first-class quarters instead.

Grant’s massive painting featuring the nude cymbal player and other elements was discovered years later in the barn of Kenneth Clark, English art historian. It was covered with pigeon droppings, so had to undergo extensive restoration before it was fit for exhibition, Reed explained.

Drawn into Bloomsbury

A multi-media display greets visitors to the Bloomsbury exhibit.

A multi-media display introduces visitors to the actual exhibit, and it draws them into the Bloomsbury scene with its life-size graphics of a Charleston Farmhouse bedroom. Just below the window ledge is  a video screen where a slide presentation shows scenes from the early 20th-century era, photographs of Bloomsbury Group members, examples of their art and quotes that help illuminate their thinking.

Even the display tables that hold important artifacts are decorated in Bloomsbury style. They were loaned to the Penn State exhibit by Cornell. Inside the glass cases resting on the decorated display tables are letters from Leonard and Virginia Woolf, Roger Fry and others, as well as numerous volumes published by the Hogarth Press. These included Virginia’s novels with dust jackets decorated by Vanessa Bell, along with the English translations of the works of Sigmund Freud.

Influence of Bloomsbury artists

Joyce Robinson and Christopher Reed, co-curators of the Bloomsbury exhibit at Penn State

In his noon lecture, Christopher Reed, associate professor of English and visual culture at Penn State and co-curator for the exhibit, discussed the influence of Bloomsbury artists on early twentieth-century thinking about art and the art of home decoration.

He also noted their appreciation for the unique imperfections of handmade art – from Omega Workshop pottery to the utilitarian shutters painted by Vanessa Bell.

While some items that were included in earlier installations were not part of the Palmer exhibit — such as Woolf’s writing desk decorated by Quentin Bell — three paintings that did not appear in earlier exhibits are part of this one. All three were loaned by an individual who viewed an earlier exhibit and noted that he had several paintings by the same artist at home.

The three turned out to be the work of Duncan Grant. They are:

  • “Hatbox”
  • “Still Life with Jug”
  • “Paul Roche in the Bath”

Joyce Robinson, curator at the Palmer, gave visitors insight into how Vanessa and Virginia worked together. She quoted Woolf as saying the sisters had the same eyes but wore different spectacles.

Palmer's Bloomsbury bookmark

In particular, she cited the edition of Kew Gardens decorated by Vanessa Bell. Robinson said Vanessa and Virginia worked on the layout together, making sure that Vanessa’s decorations and Virginia’s hand-set type complimented each other both visually and symbolically.

More on Woolf and knitting

Another interesting item from the exhibit, in light of the ongoing discussion on the VWoolf Listserv regarding Woolf and knitting,  is a pencil drawing by Roger Fry depicting his daughter, titled “Pamela Knitting and Reading.”

Reed, author of Bloomsbury Rooms: Modernism, Subculture, and Domesticity, said some argue that paintings depicting Virginia knitting really show her engaged in book binding.

Welcome commodification at the museums

Bloomsbury 2010 tattoo

To view more artwork from the exhibit visit the Nasher Museum exhibit page. The Duke University museum was the first stop on the tour. You can also purchase the exhibit catalogue from Cornell.

However, unless you make a trip to the Palmer soon, you will have no chance to get the freebies they gave out: an exhibit bookmark and a Bloomsbury 2010 temporary tattoo that features Woolf. I can’t wait to apply mine.

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T-shirt One

T-shirts from the 2010 Annual International Conference on Virginia Woolf: Woolf and the Natural World are for sale.  So if you couldn’t make it to the conference — or you did get to Georgetown but forgot to buy a shirt — you can still get one through the mail.

Two versions are available, and each includes interesting graphics designed by Georgetown College art majors. T-shirt One is a standard T-shirt, with graphic designed by Erica Miller. T-shirt Two is a tapered “ladies fit,” with design by Ryleyanne Vaughn.

The shirts are 100 percent cotton and are available in small, medium and large. The “ladies fit” shirt does run small. I’m not a large person, but I bought a large size and found it to be extremely form fitting.

The cost for each shirt is $20, which includes tax and shipping.

T-shirt Two

To purchase a shirt, send your order and check to conference organizer Kristin Czarnecki, Georgetown College, 400 E. College St., Georgetown, KY 40324. Checks should be made out to Georgetown College. Be sure to include your choice of designs — T-shirt One or T-shirt Two — along with your size.

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The Virginia Woolf Collection

To mark the 20th Annual International Conference on Virginia Woolf, Cynthia Nash has created a collection of specially designed jewelry named in honor of Woolf.

The Virginia Woolf Collection includes tanzanite and garnet Swarovski crystals, with tanzanite representing Woolf’s favorite colored ink and garnet symbolizing friendship, wholeness and success, according to Nash.

The idea for the jewelry collection started with Kristin Czarnecki, organizer of this year’s conference at Georgetown College in Georgetown, Ky, whose theme is “Woolf and the Natural Word.”  She said Nash asked many questions about Woolf and read To the Lighthouse before designing the necklace, bracelet and earrings in Woolf’s honor.

“Cindy’s Virginia Woolf jewelry is a lovely, lasting memento of Woolf’s significance in our lives and the fellowship we enjoy at each year’s conference,” Czarnecki said.

Orders placed by May 10 receive a 10 percent pre-conference discount. To get the discount, use the code vwoolf at checkout. Conference attendees will also save the customary $8 shipping fee, as they can pick up their orders when they arrive at the conference. Pieces from the collection will also be available for sale at the conference.

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Taking a page from AbeBooks’ blog, the folks at Entertainment Weekly have paired authors with pets that look like them. Or so they think.

One EW pairing links Jean-Paul Sartre with a pug dog, but AbeBooks connects that pug pup to Agatha Christie.

Woolf is not paired with a look-alike pet on the AbeBooks’ blog, but EW juxtaposes her alongside a greyhound.

Check it out and see if you notice any resemblance. I myself do not. But maybe I am biased in my favorite author’s favor.

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