Virginia Woolf's rich and imaginative use of language was partly a result of her keen interest in foreign literatures and languages - mainly Greek and French, but also Russian, German and Italian. As a translator she naturally addressed herself both to contemporary standards of translation within the university, but also to readers like herself. In Three Guineas she ranged herself among German scholars who used Antigone to critique European politics of the 1930s. Orlando outwits the censors with a strategy that focuses on Proust's untranslatable word. The Waves and The Years show her looking ahead to the problems of postcolonial society, where translation crosses borders. In this in-depth study of Woolf and European languages and literatures, Emily Dalgarno opens up a rewarding new way of reading her prose.
At the turn of the 20th century, printing and photographic technologies evolved rapidly, leading to the birth of mass media and the rise of the amateur photographer. Demonstrating how this development happened symbiotically with great changes in the shape of British literature, Writing, Authorship and Photography in British Literary Culture, 1880-1920 explores this co-evolution, showing that as both writing and photography became tools of mass dissemination, literary writers were forced to re-evaluate their professional and personal identities. Focusing on four key authors-Thomas Hardy, Bram Stoker, Joseph Conrad and Virginia Woolf-each of which had their own private and professional connections to photographs, this book offers valuable historical contexts for contemporary cultural developments and anxieties. At first establishing the authors' response to developing technologies through their non-fiction, personal correspondences and working drafts, Ennis moves on to examine how their perceptions of photography extend into their major works of fiction: A Laodicean, Dracula, The Secret Agent, The Inheritors and The Voyage Out. Reflecting on the first 'graphic revolution' in a world where text and image are now reproduced digitally and circulated en masse and online, Ennis redirects our attention to when image and text appeared alongside each other for the first time and the crises this sparked for authors: how they would respond to increasingly photographic depictions of everyday life, and in turn, how their writing adapted to a distinctly visual mass media.
Virginia Woolf's rich and imaginative use of language was partly a result of her keen interest in foreign literatures and languages - mainly Greek and French, but also Russian, German and Italian. As a translator she naturally addressed herself both to contemporary standards of translation within the university, but also to readers like herself. In Three Guineas she ranged herself among German scholars who used Antigone to critique European politics of the 1930s. Orlando outwits the censors with a strategy that focuses on Proust's untranslatable word. The Waves and The Years show her looking ahead to the problems of postcolonial society, where translation crosses borders. In this in-depth study of Woolf and European languages and literatures, Emily Dalgarno opens up a rewarding new way of reading her prose.
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