{"id":3931,"date":"2023-12-10T13:41:29","date_gmt":"2023-12-10T11:41:29","guid":{"rendered":"http:\/\/etudes-woolfiennes.org\/?p=3931"},"modified":"2024-04-23T10:27:40","modified_gmt":"2024-04-23T08:27:40","slug":"newsletter-n7","status":"publish","type":"post","link":"https:\/\/etudes-woolfiennes.org\/?p=3931","title":{"rendered":"Newsletter n\u00b07"},"content":{"rendered":"\n
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Che-res ami-es woolfien-nes,<\/em><\/p>\n\n\n\n

Ces derniers temps, <\/em>je pense aux mots de Virginia Woolf, not\u00e9s dans son journal le 18 janvier 1915, alors que la 1\u00e8re guerre mondiale s’emballait : \u00ab The future is dark, which is the best thing the future can be, I think. \u00bb Et je pense \u00e0 ce que Rebecca Solnit dit de cette citation et de l’espoir qu’elle porte dans <\/em>Men Explain Things to Me : \u00ab I argue that you don’t know if your actions are futile; that you don’t have the memory of the future; that the future is indeed dark, which is the best thing it could be; and that, in the end, we always act in the dark. \u00bb<\/em><\/p>\n\n\n\n

Ces derniers temps, je retourne aux images paisibles peintes par Kabe Wilson<\/u><\/a> qui font saillir ce qui perdure et convoquent ce que l\u2019on ne voit pas, au large, les t\u00e2ches vineuses de canots renvers\u00e9s et des gouffres amn\u00e9siques. Dans son journal, publi\u00e9 dans <\/em>The Modernist Review<\/u><\/a>, Wilson d\u00e9taille ses affiliations, ses craintes et ce qui maintient vivant :<\/em><\/p>\n\n\n\n

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March 9th. Started painting. Will call it \u2018Newhaven Lighthouse\u2019 to link with Bell\u2019s, and one I saw titled after Rottingdean Windmill even though it\u2019s just a tiny figure on the horizon \u2013 excited to channel that. Feeling uncomfortable making the Channel look still and beautiful. Mind wanders to migrant ships crossing further down, people drowning, or arriving and getting imprisoned. Indefinitely. Remembering a friend\u2019s colleague saying the Eurostar should be sent through the tunnel to mow down the migrants to stop them coming. Trying not to think about that, I\u2019m painting to stay positive.<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Kabe Wilson, Newhaven Lighthouse<\/em>, 2020<\/p>\n\n\n\n

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Je vous souhaite une paisible fin d\u2019ann\u00e9e.<\/em><\/p>\n\n\n\n

Ad\u00e8le<\/em><\/p>\n\n\n\n

N\u2019h\u00e9sitez pas \u00e0 relayer et partager cette publication et, surtout, n\u2019oubliez pas de nous faire part de vos d\u00e9couvertes, parutions ou activit\u00e9s !<\/em><\/p>\n\n\n\n

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Converser<\/h2>\n\n\n\n

Au printemps dernier, la galerie londonienne Campoli Presti<\/u><\/a> mit \u00e0 l\u2019honneur les conversations d\u2019Anna Boghiguian qui explorent ses lectures des \u0153uvres de Clarice Lispector et Virginia Woolf. Le magazine Frieze<\/u><\/em><\/a> en fait un compte-rendu.<\/p>\n\n\n\n

Gros \u00e9v\u00e8nement de la rentr\u00e9e, l\u2019exposition Bring No Clothes<\/em> \u00e0 Charleston, orchestr\u00e9e par Charlie Porter et port\u00e9e aux nues dans la presse. On peut lire interview, comptes-rendus et essais dans le Guardian<\/u><\/em><\/a>, le Financial Times<\/u><\/em><\/a>, le magazine Another<\/u><\/em><\/a>, The New Yorker<\/u><\/em><\/a>, le New York Times<\/u><\/em><\/a>, The Conversation<\/u><\/em><\/a>, entre autres.<\/p>\n\n\n\n

L\u2019adaptation d\u2019Orlando<\/em> par Paul B. Preciado est d\u00e9sormais disponible sur Arte<\/u><\/em><\/a>. On en parle dans le Literary Hub<\/u><\/em><\/a> et Pajiba<\/u><\/em><\/a>. Plus une interview pour le Los Angeles Times<\/u><\/em><\/a>.<\/p>\n\n\n\n

La romanci\u00e8re Catherine Lacey dialogue avec l\u2019\u0153uvre woolfienne dans son dernier roman Biography of X<\/u><\/em><\/a>.<\/p>\n\n\n\n

Anne-Laure Rigeade et Val\u00e9rie Favre coorganise \u00ab A Room of One\u2019s Own<\/em> et les sciences humaines et sociales \u00bb<\/u><\/a>, un s\u00e9minaire \u00e0 la fois en ligne et en pr\u00e9sentiel.<\/p>\n\n\n\n

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Prolonger<\/h2>\n\n\n\n

Literature Cambridge<\/u><\/a> poursuit son cycle de relectures woolfiennes.<\/p>\n\n\n\n

Mercredi 20 d\u00e9cembre, France 5<\/u><\/a> diffuse Un doc \u00e0 soi<\/em> sur Virginia Woolf \u00e0 21h05.<\/p>\n\n\n\n

Comment analyser le \u00ab content warning \u00bb d\u00e9sormais en exergue de l\u2019\u00e9dition am\u00e9ricaine de To the Lighthouse <\/em>? Brian Dixon propose des pistes de r\u00e9flexion dans The Conversation<\/u><\/em><\/a> et Tom Slater pour The Spectator<\/u><\/em><\/a>.<\/p>\n\n\n\n

Julia Sirmons revient sur les adaptations filmiques d\u2019Orlando<\/em> pour la LA Review of Books<\/u><\/em><\/a>.<\/p>\n\n\n\n

Joanna Biggs publie A Life of One\u2019s Own. Nine Women Writers Begin Again<\/em>, que le Washington Post<\/u><\/em><\/a> et le Guardian<\/u><\/em><\/a> recensent.<\/p>\n\n\n\n

P\u00e8lerinage litt\u00e9raire<\/u><\/a> : balade en Cornouailles sur les pas de Woolf propos\u00e9 autour de St Yves.<\/p>\n\n\n\n

Le tournage de Night and Day<\/u><\/em><\/a> a d\u00e9but\u00e9 cet \u00e9t\u00e9 sous la direction de Tina Gharavi.<\/p>\n\n\n\n

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Relire journaux et publications originales<\/h2>\n\n\n\n

Pour le Guardian<\/u><\/em><\/a>, Hermione Lee fait retour sur la republication de l\u2019int\u00e9grale des journaux parue chez Granta cette ann\u00e9e. Geoff Dyer en fait de m\u00eame pour The Paris Review<\/u><\/em><\/a>.<\/p>\n\n\n\n

Harriet Baker se penche quant \u00e0 elle sur le journal de 1917 pour The Paris Review<\/u><\/em><\/a>.<\/p>\n\n\n\n

Un exemplaire de The Voyage Out<\/em> ayant appartenu \u00e0 Woolf a \u00e9t\u00e9 retrouv\u00e9 \u00e0 Sydney. Accessible en ligne, il contient de nombreuses annotations sur lesquelles reviennent le Guardian<\/u><\/em><\/a> et le Literary Hub<\/u><\/em><\/a><\/p>\n\n\n\n

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Stefania Arcara, \u00ab Il bacio di Sally. Erotismo, lesbismo e femminismo in Mrs Dalloway<\/em> di Virginia Woolf \u00bb, Manastabal. Feminismo materialista<\/u><\/em><\/a>, 2023<\/p>\n\n\n\n

Val\u00e9rie Favre, \u00ab Faulty Woolf? Exploring the Fault Lines of Virginia Woolf\u2019s Heritage in the British Statue Wars \u00bb, EBC<\/em> 64<\/u><\/a>, 2023<\/p>\n\n\n\n

Charlie Porter, Bring No Clothes. Bloomsbury and the Philosphy of Fashion<\/u><\/em><\/a>, Penguin, 2023<\/p>\n\n\n\n

Gabi Reigh, Virginia\u2019s Sisters. An Anthology of Women\u2019s Writing<\/u><\/em><\/a>, Aurora Metro Books, 2023<\/p>\n\n\n\n

Virginia Woolf, Kew Gardens<\/u><\/em><\/a>, trad. A. Desarthes, ill. J. Khoo, Reliefs, 2023<\/p>\n\n\n\n

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Cotisations<\/h2>\n\n\n\n

Pour rappel, la Soci\u00e9t\u00e9 des \u00c9tudes Woolfiennes ne peut fonctionner sans votre aide : manifestations et publications n\u2019existent que par vos contributions (25\u20ac\/15\u20ac). Contactez la tr\u00e9sori\u00e8re pour en savoir davantage<\/u><\/a> ou renouveler votre cotisation.<\/p>\n\n\n\n

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Che-res ami-es woolfien-nes, Ces derniers temps, je pense aux mots de Virginia Woolf, not\u00e9s dans son journal le 18 janvier 1915, alors que la 1\u00e8re guerre mondiale s’emballait : \u00ab The future is dark, which is the best thing the future can be, I think. \u00bb Et je pense \u00e0 ce que Rebecca Solnit dit de cette citation […]<\/p>\n","protected":false},"author":2,"featured_media":3941,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[48],"tags":[],"class_list":["post-3931","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-newsletter"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/3931","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3931"}],"version-history":[{"count":10,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/3931\/revisions"}],"predecessor-version":[{"id":4167,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/posts\/3931\/revisions\/4167"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=\/wp\/v2\/media\/3941"}],"wp:attachment":[{"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3931"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3931"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etudes-woolfiennes.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3931"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}