Recycling Virginia Woolf in Contemporary Art and Literature exam>ines Woolf’s life and oeuvre from the perspective of recycling and pro>vides answers to essential questions such as: Why do artists and writers recycle Woolf’s texts and introduce them into new circuits of meaning? Why do they perpetuate her iconic fgure in literature, art and popular culture? What does this practice of recycling tell us about the endurance of her oeuvre on the current literary, artistic and cultural scene and what does it tell us about our current modes of production and consumption of art and literature?
This volume offers theoretical defnitions of the concept of recycling applied to a multitude of specifc case studies. The reasons why Woolf’s work and authorial fgure lend themselves so well to the notion of recy>cling are manifold: frst, Woolf was a recycler herself and had a personal theory and practice of recycling; second, her work continues to be a
prolifc compost that is used in various ways by contemporary writers and artists; fnally, since Woolf has left the original literary sphere to permeate popular culture, the limits of what has been recycled have ex>panded in unexpected ways. These essays explore today’s trends of fab>ricating new, original artefacts with Woolf’s work, which thus remains completely relevant to our contemporary needs and beliefs
Table of Contents
Foreword Mark Hussey
Introduction: On Recycling Virginia Woolf in Contemporary Art and Literature (Anne-Laure Rigeade, Monica Latham and Caroline Marie)
Part I: Recycling and Composting
Chapter 1: Virginia Woolf’s Radical Vision of Recycling (Christine Reynier)
Chapter 2: Virginia Woolf and Compost (Supriya Chaudhuri)
Part II: Recycling Woolf in Visual Arts
Chapter 3: Of Words, Worlds and Woolf: Recycling A Room of One’s Own into Of One Woman or So
(Kabe Wilson and Susan Stanford Friedman)
Chapter 4: Recycling/Upcycling the Iconic Woolf? Negotiating Woolf as a Literary and Feminist Icon in Kabe Wilson’s Of One Woman or So, by Olivia N’Gowfry (Valérie Favre)
Chapter 5: Recycling Virginia Woolf’s Remembrance (Gérard Lebègue and Anne-Laure Rigeade)
Part III: Recycling Woolf On Stage
Chapter 6: Dancing Woolf Back to Life: Woolf Works as Critical and Artistic Recycling (Elisa Bolchi)
Chapter 7: Cooking and Recycling in Irina Brook’s Shakespeare’s Sister ou La Vie Matérielle (Théâtre Nationale de Nice 2015): For a Relational Aesthetics (Pascale Sardin)
Chapter 8: ‘Reading Physical’: Strategies for Recycling and Performing Woolf’s Works in the English Literature Classroom (Jean-Rémi Lapaire)
Part IV: Recycling Woolf as a Textual Icon
Chapter 9: Katharine Smyth’s All the Lives We Ever Lived: Seeking Solace in Virginia Woolf: Recycling Virginia Woolf’s To the Lighthouse as Therapy and Homage (Monica Latham)
Chapter 10: To the Lighthouse: Recycling, Remixing, Iconising (Anne-Laure Rigeade)
Chapter 11: ‘Something Rich and Strange?’: Drowning, Resurfacing and Recycling in Biofiction About Woolf (Bethany Layne)
Part V: Recycling Woolf in Popular Culture
Chapter 12: ‘I Am Made and Remade Continually. Different People Draw Different Words From Me.’ Reading #WoolfLiteraryTattoos as Recycling (Caroline Marie)
Chapter 13: Becoming an Earthly Star: The Popularisation of Virginia Woolf in the World of Virtual Astrology (Cristina Carluccio)
Conclusion: ‘The Words’ (Christine Froula)
Monica Latham is Professor of English Literature at Université de Lorraine in Nancy, France.
Caroline Marie is Senior Lecturer at Université Paris 8, France, where she teaches English Literature.
Anne-Laure Rigeade teaches French language and literature at Sciences Po Reims, France.