- Title Pages
- Introduction
- Acknowledgments
- Virginia Woolf Standard Abbreviations
- Roundtable: Woolf and Violence
- Intersections: Surveillance, Propaganda, and Just War
- Modernism and Memorials: Virginia Woolf and Christopher Isherwood
- Taking Up Her Pen for World Peace: Virginia Woolf, Feminist Pacifist. Or Not?
- The Sex War and the Great War: Woolf’S Late Victorian Inheritance in <i>Three Guineas</i>
- Sky Haunting: The British Motor-Car Industry and the World Wars<sup>1</sup>
- The 1914 “Expurgated Chunk”: The Great War in and out of <i>The Years</i>
- “beauty, simplicity and peace”: Faithful Pacifism, Activist Writing, and <i>The Years</i>
- Virginia Woolf, Katharine Burdekin, and Britain’s Cosmopolitan Musical Culture
- Death in the Air: Virginia Woolf and Sylvia Townsend Warner in World War II
- Teaching Privileges: <i>Three Guineas</i> and the Cost of Global Citizenship
- From Guineas to Riyals: Teaching Woolf in the Middle East
- Fashionable Misconceptions: The Creation of the East in Virginia Woolf’s <i>Orlando</i>
- From London to Taipei: Writing the Past in “Wandering in the Garden, Waking from a Dream” and <i>Mrs. Dalloway</i>
- An Estranged Intimacy with the World: The Postcolonial Woolf’s Planetary Love in <i>The Voyage Out</i>
- “Shakespeare’s Sister”: Woolf in the World Before <i>A Room of One’s Own</i>
- Leonard Woolf: Writing the World of Palestine, Zionism, and the State of Israel
- “And the donkey brays”: Donkeys at Work in Virginia Woolf
- Companion Creatures: “Dogmanity” in <i>Three Guineas</i>
- Virginia Woolf’s Object-Oriented Ecology
- The Bodies In/Are <i>The Waves</i>
- Stretching our “Antennae”: Converging Worlds of the Seen and the Unseen in “Kew Gardens”
- “The Problem of Space”: Embodied Language and the Body in Nature in <i>To the Lighthouse</i>
- “Whose Woods These Are”: Virginia Woolf and the Primeval Forests of the Mind
- Negative Feminism and Anti-Development in Virginia Woolf’s <i>The Voyage Out</i>
- Upheavals of Intimacy in <i>To the Lighthouse</i>
- The Reconciliations of Poetry in Virginia Woolf’s <i>Between the Acts</i>; or, Why it’s “perfectly ridiculous to call it a novel”
- Virginia Woolf, Composition Theorist: How Imagined Audiences Can Wreck a Writer
- The Precarity of “Civilization” in Woolf’s Creative Worldmaking
- Notes on Contributors
- Conference Program
- Appendix
Virginia Woolf, Katharine Burdekin, and Britain’s Cosmopolitan Musical Culture
Virginia Woolf, Katharine Burdekin, and Britain’s Cosmopolitan Musical Culture
- Chapter:
- (p.69) Virginia Woolf, Katharine Burdekin, and Britain’s Cosmopolitan Musical Culture
- Source:
- Virginia Woolf: Writing the World
- Author(s):
David Deutsch
- Publisher:
- Liverpool University Press
This essay argues that Woolf’s depictions of music promoted and even predicted the continuation of Britain’s popular musical cosmopolitanism, a widely acknowledged, shared European heritage developed specifically and uniquely in Britain through the music of Bach, Beethoven, Handel, Mozart, and even Wagner. This analysis draws on Melba Cuddy-Keane’s suggestion that in Woolf’s work an “objet sonore” can provide a “bridge between the individual and the world” and can convey “a wholeness, a comprehensiveness, that embraces the communal life of the universe.” This essay focuses on classical music with a German provenance, reinforcing conceptions of a “communal” European culture, and compares the function of music in Woolf’s Between the Acts and Katherine Burdekin’s Swastika Night. The essay also analyses listeners’ letters to the BBC. Woolf and Burdekin projected public hopes that European musical traditions could represent long-lasting, international humanistic sympathies despite fascist atrocities in the years leading up to and during WWII.
Keywords: Virginia Woolf, Katherine Burdekin, Between the Acts, Swastika Night, Objet sonore, WWII, Classical music, European heritage, BBC
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- Title Pages
- Introduction
- Acknowledgments
- Virginia Woolf Standard Abbreviations
- Roundtable: Woolf and Violence
- Intersections: Surveillance, Propaganda, and Just War
- Modernism and Memorials: Virginia Woolf and Christopher Isherwood
- Taking Up Her Pen for World Peace: Virginia Woolf, Feminist Pacifist. Or Not?
- The Sex War and the Great War: Woolf’S Late Victorian Inheritance in <i>Three Guineas</i>
- Sky Haunting: The British Motor-Car Industry and the World Wars<sup>1</sup>
- The 1914 “Expurgated Chunk”: The Great War in and out of <i>The Years</i>
- “beauty, simplicity and peace”: Faithful Pacifism, Activist Writing, and <i>The Years</i>
- Virginia Woolf, Katharine Burdekin, and Britain’s Cosmopolitan Musical Culture
- Death in the Air: Virginia Woolf and Sylvia Townsend Warner in World War II
- Teaching Privileges: <i>Three Guineas</i> and the Cost of Global Citizenship
- From Guineas to Riyals: Teaching Woolf in the Middle East
- Fashionable Misconceptions: The Creation of the East in Virginia Woolf’s <i>Orlando</i>
- From London to Taipei: Writing the Past in “Wandering in the Garden, Waking from a Dream” and <i>Mrs. Dalloway</i>
- An Estranged Intimacy with the World: The Postcolonial Woolf’s Planetary Love in <i>The Voyage Out</i>
- “Shakespeare’s Sister”: Woolf in the World Before <i>A Room of One’s Own</i>
- Leonard Woolf: Writing the World of Palestine, Zionism, and the State of Israel
- “And the donkey brays”: Donkeys at Work in Virginia Woolf
- Companion Creatures: “Dogmanity” in <i>Three Guineas</i>
- Virginia Woolf’s Object-Oriented Ecology
- The Bodies In/Are <i>The Waves</i>
- Stretching our “Antennae”: Converging Worlds of the Seen and the Unseen in “Kew Gardens”
- “The Problem of Space”: Embodied Language and the Body in Nature in <i>To the Lighthouse</i>
- “Whose Woods These Are”: Virginia Woolf and the Primeval Forests of the Mind
- Negative Feminism and Anti-Development in Virginia Woolf’s <i>The Voyage Out</i>
- Upheavals of Intimacy in <i>To the Lighthouse</i>
- The Reconciliations of Poetry in Virginia Woolf’s <i>Between the Acts</i>; or, Why it’s “perfectly ridiculous to call it a novel”
- Virginia Woolf, Composition Theorist: How Imagined Audiences Can Wreck a Writer
- The Precarity of “Civilization” in Woolf’s Creative Worldmaking
- Notes on Contributors
- Conference Program
- Appendix
