Titlebook: Virginia Woolf‘s Rooms and the Spaces of Modernity; Suzana Zink Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 spatial ima

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Out of Rooms: Imperial Routes and the Impasse of Becoming in , heroine’s voyage of self-discovery, examining the extent to which the narrative of Rachel’s development is bound up with patriarchal ideas of women, empire and the nation. A comparison between the novel and Woolf’s early journals shows how travel mediates her renegotiation of “home” and the nationa

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,The Woman’s Room: , and Its Contemporary Readers,s House letters provide fascinating insights into how Woolf’s contemporary readers engaged with the powerful spatial trope and the arguments expressed in the essay. The letters also document the text’s unexpected reverberations in the lives of readers whose political views resonated with Woolf’s. Dr

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Writing Spatial History: ,, highly gendered divisions of the late-Victorian home, symbolised by emblematic spaces such as the sickroom and the study, to new modes of living across the city. The spatial shifts discussed, indicative of a break with the Victorian legacy of separate spheres, include class mobility (recalling the

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,Rooms of Memory: “A Sketch of the Past”, affect in Woolf’s unfinished memoir “A Sketch of the Past.” Zink reads Woolf’s memoir-writing in the troubled context of the late 1930s and early 1940s, a time when memory, private space and her readership were threatened by the imminence of war. The rooms in this fragmentary memoir are material sp

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Conclusion,laims of the book. Set in the grounds of an English country house, the novel’s pageant deconstructs its narrative of history through spatio-temporal layering, suggestive of the contemporary crisis of signification as well as the instability of reality, history and artistic vision. Woolf’s unfinished

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