She suggested one fruitful approach might be to regard it as a soundtrack of the dissonant 1930s:Įven now the clamour, the uproar, that infantile fixation is making even here is such that we can hardly hear ourselves speak it takes the words out of our mouths it makes us say what we have not said. But, with so many of the men of Bloomsbury benefiting from the injustices that Woolf exposes, is it really surprising they would find it difficult reading?Ĭlaire's theme was music throughout Woolf's work, and in particular T hree Guineas – an extremely challenging work, for first-time readers especially, due to its mass of detail. In this latest lecture for Literature Cambridge, given by Claire Davison, Professor of Modernist Studies at the Université Sorbonne Nouvelle, Paris, and former Chair of the French Virginia Woolf Society, we heard how Forster in particular had not liked the work. Forster, Clive Bell or Roger Fry, into angry polemic. Is Three Guineas (1938) the work in which Virginia Woolf broke with the conventions of Bloomsbury? In it she switches gears from the civilised conversation and discussion beloved of E.M. Virginia Woolf Season Claire Davison, Lecture on Three Guineas and Music, Blog by Lisa Hutchins
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