- Title Pages
- Virginia Woolf Standard Abbreviations
- “But…I had said ‘but’ too often.” Why “but”?
- Woolf, Context, and Contradiction
- “Did I not banish the soul?” Thinking Otherwise, Woolf-wise
- “The Play’s The Thing BUT We Are The Thing Itself.” Prologue, Performance and Painting. A multimedia Exploration of Woolf’s Work in the Late 1930s and Her Vision of Prehistory.
- Report to the Memoir Club
- “But somebody you wouldn’t forget in a hurry”
- Contradictions in Autobiography
- “But something betwixt and between”
- “Can ‘I’ Become ‘We’?”
- Woolf’s Un/Folding(s)
- Woolf’s Contradictory Thinking
- The Feeling of Knowing in <i>Mrs Dalloway</i>
- “When the lights of health go down”
- Kinetic Tropes, Comedic Turns
- But Woolf was a Sophisticated Observer of Fashion…
- Bi-sexing the Unmentionable Mary Hamiltons in <i>A Room of One’s Own</i>
- Lacanian <i>Orlando</i>
- The Bispecies Environment, Coevolution, and <i>Flush</i>
- From Spaniel Club to An<i>i</i>Malous Society
- Ecology, Identity and Eschatology
- “Please Help Me!” Virginia Woolf, Viola Tree, and the Hogarth Press<sup>1</sup>
- “Am I a Snob?” Well, sort of
- “Come buy, come buy”
- Virginia Woolf and December 1910
- Virginia Woolf on Mathematics
- “A Brief Note in the Margin”
- “Observe, Observe Perpetually,” Montaigne, Virginia Woolf and the “<i>Patron au Dedans</i>.”
- Who’s Behind the Curtain? Virginia Woolf, “Nurse Lugton’s Golden Thimble,” and the Anxiety of Authorship
- Virginia Woolf and the Russian Oxymoron
- “A Dialogue…about this Beauty and Truth”
- “As I spin along the roads I remodel my life”
- Travesty in Woolf and Proust
- Woolf, Yeats, and the Making of “Spilt Milk”
- Figures of Contradiction
- Do Not Feed the birds
- Approaches to War and Peace in Woolf
- Duncan Grant
- Notes on Contributors
- Conference Program
The Artist and the Event of the Neo-Baroque
- (p.96) Woolf’s Un/Folding(s)
- Contradictory Woolf
- Liverpool University Press
This chapter explores the question of aesthetics in Virginia Woolf's writing by relating it to Alfred North Whitehead's notion of the “event” and Gilles Deleuze's concept of the “fold” through a reading of Woolf's To the Lighthouse (1927). Deleuze, via Whitehead, proposes four components of the event of the neo-Baroque: extensions, intensions, prehensions, and eternal objects. In The Fold, Deleuze also appropriates Whitehead's definition of the event as a “nexus of prehensions,” in which subjects and objects fold into each other and, in so doing, radicalize individuality as impersonality. The chapter argues that Woolf's writing contains examples of “non-dialectical un/folding(s) of the neo-Baroque” discussed by Deleuze via Whitehead, and where contradiction stands not so much for “notes of dissonance, but as creative, vital moments” in which both Woolf and her artists recognize and affirm “textual and textural incompossibility, the everything-at-once, the unlimited bifurcations of the world”.
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