Book contents
- Frontmatter
- Table of Content
- Introduction to Woolf and the Natural World
- Acknowledgments
- List of Abbreviations
- Ecofeminism, Holism, and the Search for Natural Order in Woolf
- “We Make Life”: Vibration, Aesthetics, and the Inhuman in The Waves
- “The Real World”: Virginia Woolf and Ecofeminism
- Virginia and Leonard, as I Remember Them
- “Everything tended to set itself in a garden”: Virginia Woolf's Literary and Quotidian Flowers: A Bar-Graphical Approach
- Taking Her Fences: The Equestrian Virginia Woolf
- The Metaphysics of Flowers in The Waves: Virginia Woolf's “Seven-Sided Flower” and Henri Bergson's Intuition
- Crowding Clarissa's Garden
- The Flesh of Citizenship: Red Flowers Grew
- The Besieged Garden: Nature in Virginia Woolf's Mrs. Dalloway and Willa Cather's One of Ours
- Virginia Woolf: Natural Olympian: Swimming and Diving as Metaphors for Writing
- “This, I fancy, must be the sea”: Thalassic Aesthetics in Virginia Woolf's Writing
- Wild Swimming
- The Woolf, the Horse, and the Fox: Recurrent Motifs in Jacob's Room and Orlando
- The Dogs that Therefore Woolf Follows: Some Canine Sources for A Room of One's Own in Nature and Art
- “The Bird is the Word”: Virginia Woolf and W.H. Hudson, Visionary Ornithologist
- Evolution, History, and Flush; or, The Origin of Spaniels
- “Lappin and Lapinova”: A Woolf in Hare's Clothing?
- “A Certain Hold on Haddock and Sausage”: Dining Well in Virginia Woolf's Life and Work
- Moments of Aging: Revising Mother Nature in Virginia Woolf's Mrs. Dalloway
- Homeless in Nature: Solitary Trampings and Shared Errantry in Cornwall, 1905
- “Walking over the bridge in a willow pattern plate”: Virginia Woolf and the Exotic Landscapes
- Mining with the Head: Virginia Woolf, Henry David Thoreau, and Exploring the Self Through Nature
- Virginia Woolf as Mountaineer
- “It was an uncertain spring”: Reading Weather in The Years
- Transforming Nature: Orlando as Elegy
- “Nature, who has played so many queer tricks upon us”: Digging Granite and Chasing Rainbows with Virginia Woolf
- Sundered Waters: Isolated Consciousness and Ostensible Communion in Woolf's Narration
- “To give the moment whole”: The Nature of Time and Cosmic (Comm)unity in Virginia Woolf's The Waves
- Spengler's The Decline of the West and Intellectual Quackery: Checking the Climate with Leonard Woolf and W.B Yeats
- Listening-in, Tuning Out: Leonard Woolf's Criticism of the BBC During the 1930s
- Notes on Contributors
- Conference Program
Moments of Aging: Revising Mother Nature in Virginia Woolf's Mrs. Dalloway
- Frontmatter
- Table of Content
- Introduction to Woolf and the Natural World
- Acknowledgments
- List of Abbreviations
- Ecofeminism, Holism, and the Search for Natural Order in Woolf
- “We Make Life”: Vibration, Aesthetics, and the Inhuman in The Waves
- “The Real World”: Virginia Woolf and Ecofeminism
- Virginia and Leonard, as I Remember Them
- “Everything tended to set itself in a garden”: Virginia Woolf's Literary and Quotidian Flowers: A Bar-Graphical Approach
- Taking Her Fences: The Equestrian Virginia Woolf
- The Metaphysics of Flowers in The Waves: Virginia Woolf's “Seven-Sided Flower” and Henri Bergson's Intuition
- Crowding Clarissa's Garden
- The Flesh of Citizenship: Red Flowers Grew
- The Besieged Garden: Nature in Virginia Woolf's Mrs. Dalloway and Willa Cather's One of Ours
- Virginia Woolf: Natural Olympian: Swimming and Diving as Metaphors for Writing
- “This, I fancy, must be the sea”: Thalassic Aesthetics in Virginia Woolf's Writing
- Wild Swimming
- The Woolf, the Horse, and the Fox: Recurrent Motifs in Jacob's Room and Orlando
- The Dogs that Therefore Woolf Follows: Some Canine Sources for A Room of One's Own in Nature and Art
- “The Bird is the Word”: Virginia Woolf and W.H. Hudson, Visionary Ornithologist
- Evolution, History, and Flush; or, The Origin of Spaniels
- “Lappin and Lapinova”: A Woolf in Hare's Clothing?
- “A Certain Hold on Haddock and Sausage”: Dining Well in Virginia Woolf's Life and Work
- Moments of Aging: Revising Mother Nature in Virginia Woolf's Mrs. Dalloway
- Homeless in Nature: Solitary Trampings and Shared Errantry in Cornwall, 1905
- “Walking over the bridge in a willow pattern plate”: Virginia Woolf and the Exotic Landscapes
- Mining with the Head: Virginia Woolf, Henry David Thoreau, and Exploring the Self Through Nature
- Virginia Woolf as Mountaineer
- “It was an uncertain spring”: Reading Weather in The Years
- Transforming Nature: Orlando as Elegy
- “Nature, who has played so many queer tricks upon us”: Digging Granite and Chasing Rainbows with Virginia Woolf
- Sundered Waters: Isolated Consciousness and Ostensible Communion in Woolf's Narration
- “To give the moment whole”: The Nature of Time and Cosmic (Comm)unity in Virginia Woolf's The Waves
- Spengler's The Decline of the West and Intellectual Quackery: Checking the Climate with Leonard Woolf and W.B Yeats
- Listening-in, Tuning Out: Leonard Woolf's Criticism of the BBC During the 1930s
- Notes on Contributors
- Conference Program
Summary
I WAS IN A QUEER MOOD, THINKING MYSELF VERY OLD: BUT NOW I AM A WOMAN AGAIN—AS I ALWAYS AM WHEN I WRITE. (D3: 231)
Scholars have documented and discussed well Virginia Woolf 's use of mirrors and glass as devices that key readers into what she calls moments of being. Critics from Harold Bloom to Hermione Lee have explicated her life and writing, thoroughly commenting on issues of identity, perception, and time, among others. In similar measure, feminist critics from Kathleen Woodward to Anne M. Wyatt–Brown have initiated a new conversation on Woolf that includes issues of aging in the context of Woolf 's life and work. Just as feminist scholars continue to cultivate insights on aging, so too should critics discuss the devices used by Woolf to explore, analyze, and comment on the phenomenon of aging. In Mrs. Dalloway (1925), Woolf revises the Mother Nature archetype to better fit her perceptions and experiences of aging. In doing so, she employs nature imagery as vantages into particular moments of being that portend the social retrogressions and psychological devaluations of aging women—instances we might call moments of aging.
Diverse cultures throughout prehistory and recorded history have incorporated a feminine understanding of nature and earth into their mythologies, spiritual practices, and arts. Although there are a few exceptions, dominating discourses construct the Mother Nature archetype as a young woman. For example, Tellus or Terra Mater in Roman mythology, whose name literally translates to “Mother Earth,” is painted in a fl oor mosaic inside a Roman villa in Sentinum. A youthful Tellus reclines with her off spring, the four seasons, while Aion (the god of time) stands centered inside of a golden ribbon streaming the signs of the zodiac. Th ough that's only one example, the archetype of nature as feminine pervades and crosses cultural, geographic, and chronological boundaries.
Carl Jung defines an archetype as “psychic contents that have not yet been submitted to conscious elaboration” (4). The conscious elaboration of an archetype develops into that archetype's historical formula. As Mother Nature has been associated with the earth, harvests, growth, and fertility, those psychic contents have transformed into a highly defined concept rigidly connected to the idea of youth.
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- Virginia Woolf and the Natural World , pp. 163 - 168Publisher: Liverpool University PressPrint publication year: 2011