Larsson observe something that is rarely noted: that Woolf not only sarcastic about the idea of th

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In "Walking in Virginia Woolf's London" approaching Lisbeth Larsson Virginia Woolf's oeuvre by focusing on how London where emerging as social scene, geographical realities and urban fantasy.
In London during the autumn could see a large exhibition of Virginia Woolf at the National Portrait Gallery. One gets a glimpse of her interest in fashion - in 1925, she was indeed a model for Vogue - and for modern art, particularly Cézanne. It would be modern and modernity was for her concentrated in London, the city she never ceased to be fascinated by. The numerous portraits showing her usually seated or standing but rarely in motion, which is a deficiency. "Virginia crystal ski Woolf loved to walk around in London, to discover and rediscover crystal ski the city again. 'It is my life's passion,' she wrote in a letter. "
This I read in Lisbeth Larsson's crystal ski new book, "Walking in Virginia Woolf's London" (Atlantis), where the image of Woolf and modernity deepened. Larsson crystal ski is a literature professor in Gothenburg, previously known for his studies of female authors in the Swedish tradition victoria benedictsson and Marika Stiernstedt. Now she leaves thus Sweden and deals with one of modern literature's most read and written about authorship. She manages crystal ski the extensive comments literature with elegance, draws it if necessary but clearly mark their own position. The line she pulls through the entire oeuvre is thus of walks in London, west, modernity, crystal ski movement. Needless to say - because it is Woolf and because it is Lisbeth Larsson - it is also about gender, femininity and masculinity. Larsson observe a dream: that a woman should be able to walk arm in arm with a man on the streets of London. But it is rarely if ever possible: the sidewalks are too narrow, urban congestion of awkward, and woman and the man goes too rarely in tact.
London walks coated with a variety crystal ski of maps and references to network maps showing Woolf different addresses and her favorite walking, as well as the addresses and movement in the novels. It involves all nine novels (including "biography" of the dog Flush), and as far as I know, the first time that we get a briefing on the Swedish from the first novel "The Way Out" to the last, posthumously published "Interlude". An essay, crystal ski which also borders on fiction, is cited often, as one already understands from the title: "To stroll around the streets. A London Adventure ". In addition, preferred Woolf extensive essäistik, crystal ski letters and diaries in about commenting literature: crystal ski on demand.
The map is thus Larsson's gear and I think she is the first Swedish example of the "cartography" which has become an interesting feature of the international comparative literature. Or almost the first: 2004, Anita Persson's Guide "Walk with Strindberg," as with maps and photographs and quotes demonstrates Strindberg walks. Larsson writes, however, no guide but a classic literary analysis oriented towards the content and tendency. crystal ski The maps will take her to help in their close readings and thus differs from the "cartography" big name, Franco Moretti, who in the "Atlas of the European crystal ski Novel" engaged "remote reading" when he spots in the 1800's of the novel's key locations and tendencies. In Larsson's case, the map becomes interesting when it becomes analytical operations, which it mainly gets in the early novel "Night and Day", in Woolf's modernist breakthrough with "Mrs Dalloway", and in the late novel "The years". Both London and the maps have less importance in "Orlando", "waves" and "Interlude" and hardly any significance at all in the masterpiece "Towards the lighthouse", which also will be relatively summarily treated. crystal ski
The map demonstrates at least two important components of Woolf's writing: the promenade and thus the movement; addresses and thus the city of London as a "scene" that social crystal ski and geographical reality, but also as "London", a fantasy about modern life's possibilities and impossibilities. In addition, like Larsson say something about Woolf's development: crystal ski not only her vital contribution to the modernist novel and gender politics, but also her realism, her political critique of colonialism and war and, not least, the criticism of the subject.
Larsson observe something that is rarely noted: that Woolf not only sarcastic about the idea of the one-piece entity which was a Victorian heritage, but also actively criticize and moreover, the authorship time, dissolves the subject of the collective. She does the humorous crystal ski way in "Orlando", where the protagonist not only live through all time, but also get a sex change with time. And in a so to speak poetically way in "waves", where people slipping in and out of each other, even more obvious in the last two books, "Years" and "Interlude".
In the "Intermezzo" as Woolf left almost finished before the suicide in 1941, London has disappeared crystal ski and the map been sidelined, individuals have become crystal ski to a queue