Search Results for sackville

...Kirstie Blair Copyright © Hofstra University 2004 41 Gypsies and Lesbian Desire: Vita Sackville-West,Violet Trefusis, and Virginia Woolf Kirstie Blair Long Barn, Knole, Richmond and Bloomsbury. All too familiar and entrapping. Either I am at home, and you are strange...

.... E. Moore, Sigmund Freud, E. M. Forster, D. H. Lawrence, Virginia Woolf, and Vita Sackville-West each emerges in Wolfe’s text as possessing a unique understanding of intimacy that would have been unpalatable for the others, but which Wolfe gathers together under the Wittgensteinian label...

...” performed by some of the Bright Young Things—Cecil Beaton, Stephen Tennant, Edward Sackville-West—also seemed to ap- propriate sexological theories of inversion that much of first-generation Bloomsbury had rejected in favor of the socialist, feminist, and egalitar- ian theories and practices of Edward...

.... See Thomas Berger, James. “Twentieth-Century Apocalypse: Forecasts and Aftermaths.” 46.4 (2000): 387-395 Twentieth-Century Literature 51.1 Spring 2005 114 Index Bishop, Elizabeth. See Carson; Pickard;White Blair, Kirstie. “Gypsies and Lesbian Desire: Vita Sackville-West,Violet...

... importantly, Vita Sackville-West, Woolf, the essay argues, refused what she saw as this male-valorized gender stereotyping, which represented female same-sex desire as mannish, rare, and different rather than what she thought of as womanly, common, and ordinary. The essay then turns instead...

... a visit to her intimate aristocratic friend,Vita Sackville-West. Leonard’s mother figures in Virginia’s diary with frequent regularity. This is a typical exam­ ple, from September 1930: Here of course, I begin to see very plainly how ugly, how nosey, how irreparably middle class...

...). For an excellent account of the way Orlando ’s Orientalist fantasy subverts typical paradigms of male colonial adventure, see Lawrence 1992. 14 Vita Sackville-West (1984 : 370) complained to Woolf of the reverse in Harriet Hume , which she considered a poor imitation of Orlando , asking in a letter...

... connecting Woolf and Colette, focusing on four sets of women: Sylvia Beach and Adrienne Monnier; Vita Sackville-West and Violet Trefusis; Radclyffe Hall and Una Troubridge; and Singer sewing machine heiress Winnie de Polignac, French poet Comtesse Anna de Noailles, and English suffragist...

... the result, one imagines, of Woolf’s own troubled relation to sexuality as an adult woman. Her marriage to Leonard Woolf is generally be- lieved to have been unconsummated, and her relationships with Vita Sackville- West and other women to whom she found herself drawn sexually remain murky, never fully...

... to provoke the masses into an engagement with art. In March 1912, when Marinetti staged the first futurist exhibit at London’s Sackville Gallery, it was clear that these tactics had enabled him to successfully place his Italian avant-garde move­ ment at the forefront of the British art scene...

... on Rothschild’s financial status, referring to 289 Lara Trubowitz him in a 1933 letter to Vita Sackville-West as “the richest young man in Europe” (5:198) and again in a letter o f the same year to Ethel Smyth as “the richest young man in England” (5:241—42), phrases that are echoed in her...

... a canine world o f smells, fidelities and lusts” (409). Bell does not locate the original o f W oolf’s Flush in a human per­ sonality but in Pinka, the golden cocker spaniel presented to W oolf by Vita Sackville-West (409). Indeed, a photograph o f Pinka posing as Flush in a Victorian...

... a patriarchal culture. When “Friendships Gallery” was first discovered, however, the sketch was quickly linked with Woolf’s better-known mock biography of an­ other female friend,Vita Sackville-West, and it has since shared a critical fate similar to Orlando’s within the Woolf canon of literary...

... by parody­ ing gendered, anticommercial language. The very status of Orlando as a novel that is secretly about Woolf’s lover Vita Sackville-West and is re­ plete with inside jokes to her, but with which Woolf happily nonethe­ less “goes public,” marks a straddling of the private/public boundary...

... Sackville-West and Virginia Woolf. Oxford: Clarendon Press, 1993. Richardson, Dorothy. “Adventure for Readers.” Scott 425-29. “Continuous Performance: The Film Gone Male.” Scott 423-25. Foreword. Pilgrimage. Vol. I. London: Virago, 1979. 9-12. “The Garden.” Journey to Paradise: Short...