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Woolf Writing the World addresses such themes as the creation of
worlds through literary writing, Woolf's reception as a world
writer, world wars and the centenary of the First World War, and
natural worlds in Woolf's writings. The selected papers represent
the major themes of the conference as well as a diverse range of
contributors from around the world and from different positions in
and outside the university. The contents include familiar voices
from past conferences--e.g., Judith Allen, Eleanor McNees, Elisa
Kay Sparks--and well-known scholars who have contributed less
frequently, if at all, to past Selected Papers--e.g., Susan
Stanford Friedman, Steven Putzel, Michael Tratner--as well as new
voices of younger scholars, students, and independent scholars. The
volume is divided into four themed sections. The first and longest
section, War and Peace, is framed by Mark Hussey's keynote
roundtable, "War and Violence," and Maud Ellmann's keynote address,
"Death in the Air: Virginia Woolf and Sylvia Townsend Warner in
World War II." The second section, World Writer(s), includes papers
that read the Woolfs in a global context. The papers in Animal and
Natural Worlds bring recent developments in ecocriticism and
post-humanist studies to analysis of Woolf's writing of human and
nonhuman worlds. Finally, Writing and Worldmaking addresses various
aspects of genre, style, and composition. Madelyn Detloff's closing
essay, "The Precarity of 'Civilization' in Woolf's Creative
Worldmaking," brings us back to international and cultural
conflicts in our own day, reminding us, as Detloff says, why Woolf
still matters today.
In 1930 Danish artist Einar Wegener underwent a series of surgeries
to live as Lili Ilse Elvenes (more commonly known as Lili Elbe).
Her life story, Fra Mand til Kvinde (From Man to Woman), published
in Copenhagen in 1931, is the first popular full-length
(auto)biographical narrative of a subject who undergoes genital
transformation surgery (Genitalumwandlung). In Man Into Woman: A
Comparative Scholarly Edition, Pamela L. Caughie and Sabine Meyer
present the full text of the 1933 American edition of Elbe's work
with comprehensive notes on textual and paratextual variants across
the four published editions in three languages. This edition also
includes a substantial scholarly introduction which situates the
historical and intellectual context of Elbe's work, as well as new
essays on the work by leading scholars in transgender studies and
modernist literature, and critical coverage of the 2015 biopic, The
Danish Girl. This print edition has a digital companion: the Lili
Elbe Digital Archive (www.lilielbe.org). Launched on July 6, 2019,
to commemorate the 100th anniversary of the founding of Magnus
Hirschfeld's Institute for Sexual Science (Institut fur
Sexualwissenschaft) where Lili Elbe was initially examined, the
Lili Elbe Digital Archive hosts the German typescript and all four
editions of this narrative published in Danish, German, and English
between 1931 and 1933, with English translations of the Danish
edition and the typescript. Many letters from archives and
contemporaneous articles noted in this print edition may be found
in the digital archive.
Gender in Modernism, conceived as a sequel to the now-classic
volume The Gender of Modernism, selects the best from the fifteen
years of feminist literary and modernist scholarship that has
appeared since the original's publication. Its fresh and diverse
texts examine new themes and reflect today's broader, more
inclusive understanding of modernism. The collection's modernist
works have been grouped into twenty-one thematic sections, with
theoretical introductions to the primary texts provided by the
scholars who have taken the lead in pushing both modernism and
gender in new directions. The selections enhance our understanding
of the complex intersections of gender with a large array of social
identifications, including global location, ideas of race, passing,
the queering of sexualities, medicine, and experiences of trauma
and war. It sees continental modernism in a different light, and
moves on to colonial and postcolonial sites. less-studied genres of
modernism, including writers on the left, suffragists, authors of
manifestos, mediums, authors dismissed as sentimental, artists,
dancers, dramatists, and filmmakers. Gender in Modernism will
quickly move from resource to springboard, furthering modernist
study well into the twenty-first century. Contributors include
Tuzyline Jita Allan, Ann Ardis, Nancy Berke, Julia Briggs, Pamela
L. Caughie, Mary Chapman, Suzanne Clark, Patrick Collier, Diane F.
Gillespie, Barbara Green, Leslie Kathleen Hankins, Suzette A.
Henke, Katherine Kelly, Colleen Lamos, Bette London, Janet Lyon,
Jayne Marek, Sonita Sarker, Carol Shloss, Susan Squier, Claire
Tylee, and Gay Wachman.
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