Neighbourly Injuries: Proximity in Tort Law and Virginia Woolf’s Theory of Suffering

2012 marks the 80th anniversary of Donoghue v Stevenson, a case that is frequently cited as the starting-point for a genealogy of negligence. This genealogy starts with the figure of the neighbour, from which, as Jane Stapleton eloquently describes, a ??golden thread?? of vulnerability runs into the present (Stapleton 2004, 135). This essay examines the harms made visible and invisible through the neighbour figure, and compares the law??s framework to Virginia Woolf??s subtle re-imagining and theorisation of responsibility in her novel Mrs. Dalloway (1925). I argue that Woolf critiques and supplements the law??s representations of suffering. Woolf was interested in interpreting harms using a framework of neighbourly responsibility, but was also critical of the kinds of proximities recognised by society. Woolf made new harms visible within a framework of proximity: in this way, we might think of Woolf??s work as theorizing a feminist aesthetic of justice, and as providing an alternate genealogy of responsibility to Donoghue v Stevenson.     

‘Modernist Madonnas’: Dorothy Todd,Madge Garland and Virginia Woolf

During the 1920s Vogue magazine in the UK was transformed from a society paper into a magazine of high modernism and the avant‐garde. The editor was Dorothy Todd. Todd was assisted by her protégée and lover, the Australian‐born Madge Garland. During this period Garland and Todd developed friendships with Virginia Woolf, other members of Bloomsbury, writers such as Rebecca West and artists such as Marie Laurencin. Madge Garland also developed friendships with artists, couturiers and intellectuals in both Paris and London. Dorothy Todd was sacked from Vogue in 1926 because of what was perceived by Conde Nast as its rather too bohemian direction. Todd’s career never recovered from this blow. Garland, however, went on to become a leading fashion journalist, businesswoman and textile expert. In 1947 she was appointed to the Royal College of Art, London, as the first Professor of Fashion Design. In the last stage of her career Garland wrote a number of books about art, fashion history and gardening. This article considers the lives and achievements of Dorothy Todd and Marjorie Garland, and their involvement with Virginia Woolf as her fashion advisors, editors and acquaintances. The article also examines the way in which Vogue celebrated the work of non‐Bloomsbury members and explores Marjorie Garland’s major contribution to fashion journalism, history and teaching in the UK.     

Virginia Stephen at the Dr Williams’s Library

This article considers the implications of Virginia Stephen’s membership of the foremost library of Protestant nonconformity in London—the Dr Williams’s Library. Drawing on research in the library’s archives, the author focuses on the original record of Stephen’s membership in the 1905 ‘Index of Readers’. While paying close attention to the semantic specificities of the record itself, this article also positions Stephen’s individual record in the wider context of the community of readers this index documents. The article explores the degree to which Stephen’s encounter with the predominantly female and scholarly, but also distinctly lower-middle-class and professional readership of the Dr Williams’s Library may have influenced the concerns of her 1909 short story ‘Memoirs of a Novelist’ and her first novel, The Voyage Out.     

‘Blackberrying in the Sun’? Modernism and the Ageing Woman in Rhys’s Good Morning,Midnight, Woolf’s Mrs Dalloway and Sackville-West’s All Passion Spent

Jean Rhys, Virginia Woolf and Vita Sackville-West break with tradition in re-envisioning the aging woman. No longer content with representing the forlorn dowager or the redundant females of Gaskell’s Cranford, these writers challenge earlier representations while also confronting modernism itself. Instead of focusing on youth, they ‘make it [modernism] new’ by carefully detailing the various ways ageism and sexism make us ‘the other’, as they speak out against the interlocking oppressions of ageism and sexism. Whereas Rhys underscores what it means to be an impoverished, aging woman, Woolf and Sackville-West shift their concerns to the ways in which their characters come to terms with aging. For Woolf, there is both a sense of mourning and a sense of celebration as Clarissa attempts to unite her world through her ‘offering’ of parties that ‘defy’ the Gods. In contrast, Sackville-West’s dutiful Lady Slane claims her independence for the first time in her life, as she refuses the ways in which her children infantilize her.     

Harriet Clisby’s ‘Sketches of Australia’: travel writing and colonial refigurations in Boston’s Woman’s Journal

During the late nineteenth century, the British-born Australian physician Harriet Clisby became involved in the vibrant social reform circles of Boston, Massachusetts. Her ‘Sketches of Australia’, a journalistic series of travel writings, were published in the reform-oriented Woman’s Journal in 1873. This series provides insight into the discursive construction of Australian colonial society in a transnational context. Thematically, the ‘Sketches’ explored questions of geography, culture, class, labor, ethnicity, race, and gender, often embracing popular scientific discourses about race and universalist visions of women’s rights. While such perspectives were common among Anglophone social reformers of the era, Clisby also portrayed Australia as a multiracial nation of immigrants rather than as a collection of white settler colonies. By making colonial Australia accessible for a specifically American readership, the ‘Sketches’ also established a sense of a budding international relationship between Australia and the United States prior to the twentieth century.     

Elizabeth von Arnim’s The Pastor’s Wife: A Reassessment

Abstract

The Pastor’s Wife (1914) may seem at first reading simply another depiction of a woman struggling for liberation in the decades following the work of Thomas Hardy and Henrik Ibsen, being the story of how Ingeborg Bullivant escapes from an English patriarchal home, only to find herself trapped in another one in Germany. The novel, however, marks a turning point in Elizabeth von Arnim’s career; it is a novel that looks back to previous themes while anticipating those to come. It demonstrates, with comedy and bitterness, themes of alienation and exile; satirizes German codes and class; and provides a lyrical Romantic vision of the natural world. It also presents the married woman as a prisoner in a way that anticipates Vera (1921). The novel can also stand alone as an underrated classic that plays an important part in the history of English literature. Published at the beginning of high modernism, it shows, unlike the work of some canonized writers of the time, a fusion of realism and modernism. This essay argues that the novel is a proto-feminist work that is radical in its portrayal of women’s experience and influenced by literary naturalism in its childbirth scenes, but pessimistic about possibilities for change. The essay shows how the novel is modernist in its depiction of the alienated experience of the city; uses nineteenth-century realism in its narrative structure and comedy; and yet is forward-looking in its use of endings. A book that begins as a comedy but ends as a tragedy, The Pastor’s Wife deserves equal recognition with the work of H. G. Wells and E. M. Forster, writers with whom von Arnim was connected and by whom she was influenced.     

Ma Rainey’s phonograph

This essay engages a series of performance routines by the blues artist Gertrude “Ma” Rainey, as a way of critiquing the epistemological tenets of sound reproduction technology. Between 1923 and 1925 Gertrude “Ma” Rainey carried out an elaborate quasi-burlesque performance routine in which she sang while hidden inside a giant phonograph; this routine precisely references and troubles the legacy of black sounds and bodies and their conflicted forms of capture andembodiment through sonic technologies. I think about how black sounds and bodies have been rendered as documentary objects within sonic and visual performance contexts and how this history is both referenced and complicated in Ma Rainey’s performances. I argue further that Rainey’s performance illustrates how sonic technologies always require, what I term black documentary embodiment, through the sonic and the visual. To this end I illustrate how reducing black art to an evidentiary object was central to the phonograph’s material and epistemological construction. In addition to analyzing Rainey’s performance I briefly engage the contemporaneous visual culture of the blues as a means to trace the legacy of black documentary embodiment within a longer visual-sonic tradition.     

Discrimination and Mexican-Origin Adolescents’ Adjustment: The Moderating Roles of Adolescents’, Mothers’, and Fathers’ Cultural Orientations and Values

Drawing on García Coll et al.’s integrative framework and the risk and resilience model, this study examined the relationships between adolescents’ perceived discrimination and psychosocial adjustment and the moderating roles of adolescents’, mothers’, and fathers’ cultural orientations and values, and adolescent gender in a sample of 246 Mexican-origin families. Using multilevel modeling with data from mothers, fathers, seventh graders (M _age = 12.8 years; SD = .57 year) and older siblings (M _age = 15.7 years; SD = 1.5 years), findings revealed that perceived discrimination was positively related to depression, risky behaviors, and deviant peer affiliations. In addition, parents’ cultural orientations and values and adolescent gender moderated the relationships between perceived discrimination and some indicators of adjustment. These findings suggest that parents’ cultural orientations and values can serve as protective and vulnerability factors in the associations between Mexican-origin adolescents’ perceived discrimination and their psychosocial adjustment.