'Intellectual freedom depends on material things. Poetry depends on intellectual freedom. And women have always been poor...'In these two classic essays of feminist literature, Woolf argues passionately for women's intellectual freedom and their role in challenging the drive towards fascism and conflict. In A Room of One's Own she explores centuries of limitations placed on women, as well as celebrating the creative achievements of the women writers who overcame these obstacles. In this first history of women's writing, she describes the importance of education, financial independence, and equality of opportunity to creative freedom. Three Guineas was written under the threat of fascism and impending war. A radical articulation of Woolf's pacifist politics, it investigates the causes of gender inequalities and the ways in which women's historic outsider position make them crucial in the prevention of war. Both these works started life as talks to groups of young women, and their engaging wit and informality establish Woolf as one of the twentieth-century's greatest essayists. Their arguments continue to reverberate in feminist discourse to this day.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Interwar Britain--called the 'age of noise'--witnessed a pervasive preoccupation with 'unwanted' sound. With the rising hum of air and road traffic, the roar of industry, and the reverberations of newly popular sound technologies, everyday urban din became an increasingly urgent subject of interrogation. Practitioners across the arts and sciences sought to listen in to, represent, and regulate the causes and effects of excess or disruptive sound. Noise was one of the pre-eminent frameworks for conceptualizing modernity and its effects. Writing Noise in Interwar Britain explores this multi-disciplinary preoccupation and argues for its connection to the sonic legacy of the First World War. The extreme decibel levels of the conflict brought about not only a concern with the effects of noise on minds and bodies, but a reconceptualization of the material effects of everyday sound. Modernist writers were at the forefront of this sonic-mindedness and derived creative fuel from tuning in to the noisescapes found in war zones, cities, factories, domestic spaces, and the countryside. In this way, literary fiction is not only a key source of auditory history but a site in which definitions of unwanted or resistant sound were rehearsed. Sound became noise and vice versa. This volume brings literary studies into conversation with the history of medicine, technology, and industrial psychology to demonstrate the importance of noise to understandings of technological modernity and the racial, gender, and class politics of national identity of this period. Noise is about power: its designation can be a silencing technique brought to bear on marginalized individuals or communities as much as it can be a mode of protest against those very measures.

Interwar Britain--called the 'age of noise'--witnessed a pervasive preoccupation with 'unwanted' sound. With the rising hum of air and road traffic, the roar of industry, and the reverberations of newly popular sound technologies, everyday urban din became an increasingly urgent subject of interrogation. Practitioners across the arts and sciences sought to listen in to, represent, and regulate the causes and effects of excess or disruptive sound. Noise was one of the pre-eminent frameworks for conceptualizing modernity and its effects. Writing Noise in Interwar Britain explores this multi-disciplinary preoccupation and argues for its connection to the sonic legacy of the First World War. The extreme decibel levels of the conflict brought about not only a concern with the effects of noise on minds and bodies, but a reconceptualization of the material effects of everyday sound. Modernist writers were at the forefront of this sonic-mindedness and derived creative fuel from tuning in to the noisescapes found in war zones, cities, factories, domestic spaces, and the countryside. In this way, literary fiction is not only a key source of auditory history but a site in which definitions of unwanted or resistant sound were rehearsed. Sound became noise and vice versa. This volume brings literary studies into conversation with the history of medicine, technology, and industrial psychology to demonstrate the importance of noise to understandings of technological modernity and the racial, gender, and class politics of national identity of this period. Noise is about power: its designation can be a silencing technique brought to bear on marginalized individuals or communities as much as it can be a mode of protest against those very measures.

Interwar Britain--called the 'age of noise'--witnessed a pervasive preoccupation with 'unwanted' sound. With the rising hum of air and road traffic, the roar of industry, and the reverberations of newly popular sound technologies, everyday urban din became an increasingly urgent subject of interrogation. Practitioners across the arts and sciences sought to listen in to, represent, and regulate the causes and effects of excess or disruptive sound. Noise was one of the pre-eminent frameworks for conceptualizing modernity and its effects. Writing Noise in Interwar Britain explores this multi-disciplinary preoccupation and argues for its connection to the sonic legacy of the First World War. The extreme decibel levels of the conflict brought about not only a concern with the effects of noise on minds and bodies, but a reconceptualization of the material effects of everyday sound. Modernist writers were at the forefront of this sonic-mindedness and derived creative fuel from tuning in to the noisescapes found in war zones, cities, factories, domestic spaces, and the countryside. In this way, literary fiction is not only a key source of auditory history but a site in which definitions of unwanted or resistant sound were rehearsed. Sound became noise and vice versa. This volume brings literary studies into conversation with the history of medicine, technology, and industrial psychology to demonstrate the importance of noise to understandings of technological modernity and the racial, gender, and class politics of national identity of this period. Noise is about power: its designation can be a silencing technique brought to bear on marginalized individuals or communities as much as it can be a mode of protest against those very measures.

London's literary and cultural scene fostered newly configured forms of feminist anticolonialism during the modernist period. Through their writing in and about the imperial metropolis, colonial women authors not only remapped the city, they also renegotiated the position of women within the empire. This book examines the significance of gender to the interwoven nature of empire and modernism. As transgressive figures of modernity, writers such as Jean Rhys, Katherine Mansfield, Una Marson and Sarojini Naidu brought their own versions of modernity to the capital, revealing the complex ways in which colonial identities 'traveled' to London at the turn of the twentieth century. Anna Snaith's original study provides an alternative vantage point on the urban metropolis and its artistic communities for scholars and students of literary modernism, gender and postcolonial studies, and English literature more broadly.

The Years is perhaps Virginia Woolf's most politically and historically embedded novel. It covers a period of intense social change from the 1880s to the 1930s, making direct reference to suffrage, Irish Home Rule, the First World War and anti-semitism. The novel's composition history is unusually complex; the text changed radically from its inception in 1931 to its publication in 1937. This edition provides readers with a fully collated and annotated text. It includes a substantial introduction that charts the composition process, a detailed chronology and full annotation of all historical, cultural and topographical references. All variants from extant galley and page proofs, as well as editions of the novel produced in Woolf's lifetime, are included, and reveal the significant and crucial changes Woolf made even in the months before publication.

What does it mean to write in and about sound? How can literature, seemingly a silent, visual medium, be sound-bearing? This volume considers these questions by attending to the energy generated by the sonic in literary studies from the late nineteenth century to the present. Sound, whether understood as noise, music, rhythm, voice or vibration, has long shaped literary cultures and their scholarship. In original chapters written by leading scholars in the field, this book tunes in to the literary text as a site of vocalisation, rhythmics and dissonance, as well as an archive of soundscapes, modes of listening, and sound technologies. Sound and Literature is unique for the breadth and plurality of its approach, and for its interrogation and methodological mapping of the field of literary sound studies.

What does it mean to write in and about sound? How can literature, seemingly a silent, visual medium, be sound-bearing? This volume considers these questions by attending to the energy generated by the sonic in literary studies from the late nineteenth century to the present. Sound, whether understood as noise, music, rhythm, voice or vibration, has long shaped literary cultures and their scholarship. In original chapters written by leading scholars in the field, this book tunes in to the literary text as a site of vocalisation, rhythmics and dissonance, as well as an archive of soundscapes, modes of listening, and sound technologies. Sound and Literature is unique for the breadth and plurality of its approach, and for its interrogation and methodological mapping of the field of literary sound studies.

What does it mean to write in and about sound? How can literature, seemingly a silent, visual medium, be sound-bearing? This volume considers these questions by attending to the energy generated by the sonic in literary studies from the late nineteenth century to the present. Sound, whether understood as noise, music, rhythm, voice or vibration, has long shaped literary cultures and their scholarship. In original chapters written by leading scholars in the field, this book tunes in to the literary text as a site of vocalisation, rhythmics and dissonance, as well as an archive of soundscapes, modes of listening, and sound technologies. Sound and Literature is unique for the breadth and plurality of its approach, and for its interrogation and methodological mapping of the field of literary sound studies.

'Intellectual freedom depends on material things. Poetry depends on intellectual freedom. And women have always been poor...'In these two classic essays of feminist literature, Woolf argues passionately for women's intellectual freedom and their role in challenging the drive towards fascism and conflict. In A Room of One's Own she explores centuries of limitations placed on women, as well as celebrating the creative achievements of the women writers who overcame these obstacles. In this first history of women's writing, she describes the importance of education, financial independence, and equality of opportunity to creative freedom. Three Guineas was written under the threat of fascism and impending war. A radical articulation of Woolf's pacifist politics, it investigates the causes of gender inequalities and the ways in which women's historic outsider position make them crucial in the prevention of war. Both these works started life as talks to groups of young women, and their engaging wit and informality establish Woolf as one of the twentieth-century's greatest essayists. Their arguments continue to reverberate in feminist discourse to this day.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Interwar Britain--called the 'age of noise'--witnessed a pervasive preoccupation with 'unwanted' sound. With the rising hum of air and road traffic, the roar of industry, and the reverberations of newly popular sound technologies, everyday urban din became an increasingly urgent subject of interrogation. Practitioners across the arts and sciences sought to listen in to, represent, and regulate the causes and effects of excess or disruptive sound. Noise was one of the pre-eminent frameworks for conceptualizing modernity and its effects. Writing Noise in Interwar Britain explores this multi-disciplinary preoccupation and argues for its connection to the sonic legacy of the First World War. The extreme decibel levels of the conflict brought about not only a concern with the effects of noise on minds and bodies, but a reconceptualization of the material effects of everyday sound. Modernist writers were at the forefront of this sonic-mindedness and derived creative fuel from tuning in to the noisescapes found in war zones, cities, factories, domestic spaces, and the countryside. In this way, literary fiction is not only a key source of auditory history but a site in which definitions of unwanted or resistant sound were rehearsed. Sound became noise and vice versa. This volume brings literary studies into conversation with the history of medicine, technology, and industrial psychology to demonstrate the importance of noise to understandings of technological modernity and the racial, gender, and class politics of national identity of this period. Noise is about power: its designation can be a silencing technique brought to bear on marginalized individuals or communities as much as it can be a mode of protest against those very measures.

Interwar Britain--called the 'age of noise'--witnessed a pervasive preoccupation with 'unwanted' sound. With the rising hum of air and road traffic, the roar of industry, and the reverberations of newly popular sound technologies, everyday urban din became an increasingly urgent subject of interrogation. Practitioners across the arts and sciences sought to listen in to, represent, and regulate the causes and effects of excess or disruptive sound. Noise was one of the pre-eminent frameworks for conceptualizing modernity and its effects. Writing Noise in Interwar Britain explores this multi-disciplinary preoccupation and argues for its connection to the sonic legacy of the First World War. The extreme decibel levels of the conflict brought about not only a concern with the effects of noise on minds and bodies, but a reconceptualization of the material effects of everyday sound. Modernist writers were at the forefront of this sonic-mindedness and derived creative fuel from tuning in to the noisescapes found in war zones, cities, factories, domestic spaces, and the countryside. In this way, literary fiction is not only a key source of auditory history but a site in which definitions of unwanted or resistant sound were rehearsed. Sound became noise and vice versa. This volume brings literary studies into conversation with the history of medicine, technology, and industrial psychology to demonstrate the importance of noise to understandings of technological modernity and the racial, gender, and class politics of national identity of this period. Noise is about power: its designation can be a silencing technique brought to bear on marginalized individuals or communities as much as it can be a mode of protest against those very measures.

Interwar Britain--called the 'age of noise'--witnessed a pervasive preoccupation with 'unwanted' sound. With the rising hum of air and road traffic, the roar of industry, and the reverberations of newly popular sound technologies, everyday urban din became an increasingly urgent subject of interrogation. Practitioners across the arts and sciences sought to listen in to, represent, and regulate the causes and effects of excess or disruptive sound. Noise was one of the pre-eminent frameworks for conceptualizing modernity and its effects. Writing Noise in Interwar Britain explores this multi-disciplinary preoccupation and argues for its connection to the sonic legacy of the First World War. The extreme decibel levels of the conflict brought about not only a concern with the effects of noise on minds and bodies, but a reconceptualization of the material effects of everyday sound. Modernist writers were at the forefront of this sonic-mindedness and derived creative fuel from tuning in to the noisescapes found in war zones, cities, factories, domestic spaces, and the countryside. In this way, literary fiction is not only a key source of auditory history but a site in which definitions of unwanted or resistant sound were rehearsed. Sound became noise and vice versa. This volume brings literary studies into conversation with the history of medicine, technology, and industrial psychology to demonstrate the importance of noise to understandings of technological modernity and the racial, gender, and class politics of national identity of this period. Noise is about power: its designation can be a silencing technique brought to bear on marginalized individuals or communities as much as it can be a mode of protest against those very measures.

London's literary and cultural scene fostered newly configured forms of feminist anticolonialism during the modernist period. Through their writing in and about the imperial metropolis, colonial women authors not only remapped the city, they also renegotiated the position of women within the empire. This book examines the significance of gender to the interwoven nature of empire and modernism. As transgressive figures of modernity, writers such as Jean Rhys, Katherine Mansfield, Una Marson and Sarojini Naidu brought their own versions of modernity to the capital, revealing the complex ways in which colonial identities 'traveled' to London at the turn of the twentieth century. Anna Snaith's original study provides an alternative vantage point on the urban metropolis and its artistic communities for scholars and students of literary modernism, gender and postcolonial studies, and English literature more broadly.

The Years is perhaps Virginia Woolf's most politically and historically embedded novel. It covers a period of intense social change from the 1880s to the 1930s, making direct reference to suffrage, Irish Home Rule, the First World War and anti-semitism. The novel's composition history is unusually complex; the text changed radically from its inception in 1931 to its publication in 1937. This edition provides readers with a fully collated and annotated text. It includes a substantial introduction that charts the composition process, a detailed chronology and full annotation of all historical, cultural and topographical references. All variants from extant galley and page proofs, as well as editions of the novel produced in Woolf's lifetime, are included, and reveal the significant and crucial changes Woolf made even in the months before publication.

What does it mean to write in and about sound? How can literature, seemingly a silent, visual medium, be sound-bearing? This volume considers these questions by attending to the energy generated by the sonic in literary studies from the late nineteenth century to the present. Sound, whether understood as noise, music, rhythm, voice or vibration, has long shaped literary cultures and their scholarship. In original chapters written by leading scholars in the field, this book tunes in to the literary text as a site of vocalisation, rhythmics and dissonance, as well as an archive of soundscapes, modes of listening, and sound technologies. Sound and Literature is unique for the breadth and plurality of its approach, and for its interrogation and methodological mapping of the field of literary sound studies.

What does it mean to write in and about sound? How can literature, seemingly a silent, visual medium, be sound-bearing? This volume considers these questions by attending to the energy generated by the sonic in literary studies from the late nineteenth century to the present. Sound, whether understood as noise, music, rhythm, voice or vibration, has long shaped literary cultures and their scholarship. In original chapters written by leading scholars in the field, this book tunes in to the literary text as a site of vocalisation, rhythmics and dissonance, as well as an archive of soundscapes, modes of listening, and sound technologies. Sound and Literature is unique for the breadth and plurality of its approach, and for its interrogation and methodological mapping of the field of literary sound studies.

What does it mean to write in and about sound? How can literature, seemingly a silent, visual medium, be sound-bearing? This volume considers these questions by attending to the energy generated by the sonic in literary studies from the late nineteenth century to the present. Sound, whether understood as noise, music, rhythm, voice or vibration, has long shaped literary cultures and their scholarship. In original chapters written by leading scholars in the field, this book tunes in to the literary text as a site of vocalisation, rhythmics and dissonance, as well as an archive of soundscapes, modes of listening, and sound technologies. Sound and Literature is unique for the breadth and plurality of its approach, and for its interrogation and methodological mapping of the field of literary sound studies.