Dominant Vertebrates or The Bound Book which Binds Into Bondage: McLuhan’s Constellations and Nebulae in Resonant Acoustic Space
Michel Foucault has said that power is “constructed and functions on the basis of particular powers, myriad of issues... more Michel Foucault has said that power is “constructed and functions on the basis of particular powers, myriad of issues and myriad of effects of power" (1980, 188). In other words, power is divined from multifarious institutions, practices and categories. To speak briefly, “Forms”. Macluhan states that "The Gutenberg Galaxy is intended to trace the ways in which the forms of experience and of mental outlook and expression have been modified, first by the phonetic alphabet and then by typographic printing." (1) The mosaic approach becomes the only relevant one, for in order to attain an auditory field beyond the phonetic alphabet and print, McLuhan must fragment the looking glass of print media, which values and enforces a theoretical, linear, individual approach. To do otherwise would be to sabotage his own project. The form of McLuhan’s book is, in a sense, its essence. Following this device, this essay will take a critical applicative approach rather than a reflective one, entering the auditory field and resonating with McLuhan’s text, as opposed to observing it from a unitary point of view.
The Music of Silence. Towards an Impossible Literature through Beckett and Woolf
Published as Working Paper 13 in Working Papers. Significant Forms. The Rhetoric of Modernism. Aalborg University.Aalborg 2001
‘Logan Pearsall Smith and Orlando'
Review of English Studies 55 (2004): 598-604.
Many of the words and opinions of Nick Greene in Virginia Woolf’s Orlando (1928), and those of his later incarnation... more
Many of the words and opinions of Nick Greene in Virginia Woolf’s Orlando (1928), and those of his later incarnation Sir Nicholas Greene, derive from Logan Pearsall Smith’s pamphlet The Prospects of Literature (Hogarth Press, 1927). Greene and Smith share opinions about the relation of the author to the marketplace, and share the ideal of la gloire. Smith’s pamphlet had its origins in a disagreement with Virginia Woolf dating from 1924, when she first wrote for the London edition of Vogue.
This was a spin-off from Virginia Woolf (Authors in Context) (OUP, 2005). Unfortunately one of the main indexing services failed to index this issue of RES, so this article may have been neglected.
'Common Readers and Critics: Virginia Woolf in Conversation'
by Alice Wood
Published in Virginia Woolf Bulletin 32 (2009).
'"Chaos. Slaughter. War Surrounding Our Island.": Virginia Woolf in the Daily Worker'
by Alice Wood
Published in Virginia Woolf Miscellany 76 (2009).
'Made to Measure: Virginia Woolf in Good Housekeeping Magazine'
by Alice Wood
Published in Prose Studies: History, Theory, Criticism 32:1 (2010).
The Play of Jealousy in Virginia Woolf's Mrs Dalloway
Sharma, Brahma Dutta, 'The Play of Jealousy in Virginia Woolf's Mrs Dalloway', Creative Writing and Criticism, IX, 1 (October 2011), pp.38-43.
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Seen by:Por uma Historiografia do Modernismo: O Caso da Competitividade nas Literaturas Anglófonas
The present text brings and comments on a series of dichotomies and conflicts that ravaged the English language... more
The present text brings and comments on a series of dichotomies and conflicts that ravaged the English language modernists. The context of creation of their works is introduced
and external conflicts are highlighted, such as the world wars and their social, cultural and artistic implications, so as to reach the internal conflicts, those motivated by the anxiety and the disorientation that stemmed from that turbulent era and that generated a number of injurious observations among writers, i.e., the invectives which are the focus of this investigation. Based on oral and printed documents, this sagacious, oftentimes unhealthy, competition explored by Anglophone Modernists the likes of Virginia Woolf, Gertrude Stein, Ezra Pound, James Joyce, T. S. Eliot and William Carlos Williams, among others, is presented through the search of a balance between historical-scientific rigor and good humor.
A Tale of Two Texts: Or, How One Might Edit Virginia Woolf’s To the Lighthouse.
pdf image file from Woolf Studies Annual 10 (2004), 1-30.
122 views
Seen by:The Fore-Self: Being Oriented Toward the Possible
Presented at the Ryerson-Concordia graduate conference in December 2011. Re-re-edited for submission. Thanks to Dr. David Morris for comments.
This paper was written to elucidate the relationship between the senses, following the phenomenological claim... more
This paper was written to elucidate the relationship between the senses, following the phenomenological claim (Merleau-Ponty 1945) that each sense constitutes a discrete spatial ‘level’, a unique ‘world’. The evidence for this claim is found in the experience of dis-ability – in particular, the process of either losing the use of a sensory faculty (Cole 1998), or regaining the use of one through surgery – yet it poses a challenge to the typical understanding we have of the senses, which is their perfect harmony and agreement in perception. From this tension the question arises: how do the senses unify in experience, if they do not share an identical spatial structure? Following Merleau-Ponty’s analysis, I have argued that the senses do not comprise a structural (organic) unity, but rather are united by way of an anticipatory structure, a pre-conscious and pre-personal familiarity with the world. To elucidate this notion (and further, to indicate the radical revision of the subject-object binary which it contains) I have introduced the term “Fore-”Self, which makes reference to a similar anticipatory structure proposed by Heidegger (1927), which he termed the “Fore-Structure” of the understanding.
However, Heidegger goes on to claim that: “That which is disclosed in understanding – that which is understood – is already accessible in such a way that its ‘as-which’ can be made to stand out explicitly.” This, he says, “constitutes the interpretation.” This claim marks the point at which Merleau-Ponty departs from Heidegger’s claim; for although Merleau-Ponty would agree that a phenomenological interrogation of what is tacitly understood brings the “Fore-”Structure into view, he would disagree that such a system can (or should) be made explicit, or rendered determinate. The anticipatory structure of the pre-personal is no more transparent to personal existence, than the senses are transparent amongst themselves.
By explicating the unity of the senses as conceived by Merleau-Ponty, my paper charts the conceptual evolution of the “Fore-”Structure toward its emergence in the pre-personal, and makes a methodological amendment to Heidegger’s proposed system of ‘interpretation’. In place of an interpretation that aims to render explicit the relation between the senses (and by extension, the relation between the personal and the pre-personal), I argue for an elabouration of these relations along the structure of the metaphor. The metaphor functions by bringing two contradictory variables into a meaningful relationship, without collapsing their internal difference into a relationship of homogeneity, and without rendering their contents determinate. As such, the metaphor is uniquely suited to the task of comprehending not only the unity of the senses, but also the unity of self: the relationship of our conscious life to ‘that always obscure part of ourselves’ [php207], through which we become oriented toward the possible.
"Something Highly Contraband": Woolf, Female Sexuality and the Victorians
by Deborah Hunn
published in AUSTRALASIAN VICTORIAN STUDIES JOURNAL, Volume 1 - Victorian Bodies. 1995.
"Jacques Derrida in Virginia Woolf: Death, Loss and Mourning in Jacob's Room"
The essay will appear in the 2011 edition of Pacific Coast Philology (Vol:46, 2011, pp. 65-79)
In this essay, I offer a reading of Virginia Woolf’s Jacob’s Room (1922). I explore a number of derrida's concepts... more In this essay, I offer a reading of Virginia Woolf’s Jacob’s Room (1922). I explore a number of derrida's concepts such as “voice,” “unsuccessful mourning,” “signature” and “trace.” If you can't get hold of a copy through your library email me: T.Koulouris@brighton.ac.uk
Robertson, J. (March, 1990). Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Her Work by Louise de Salvo. Boston: Beacon Press. The Review Issue 1990 Comptes rendus. (19), 1, 36-37. Resources For Feminist Research/Documentation sur la recherche feministe. Toronto.
Sole authored book review.
A review of Louise de Salvo's work on the sexual abuse in childhood of Virginia Woolf. A review of Louise de Salvo's work on the sexual abuse in childhood of Virginia Woolf.
Borderline Personalities: Woolf Reviews Kapp
in Anna Burrells, Steve Ellis, Deborah Parsons and Kathryn Simpson (editors) Woolfian Boundaries: Selected Papers from the Sixteenth Annual Conference (Clemson University Digital Press, 2007), 127-137.

