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A Journey into the "Undiscovered Countries": Virginia Woolf's Illness and Creativity
Heonjoo Sohn (손현주) 한국제임스조이스학회 2006 제임스조이스저널 Vol.12 No.2
A Journey into the "Undiscovered Countries":Virginia Woolf’s Illness and creativity Heon joo Sohn In her essay, "On Being Ill"(1931), Virginia Woolf observes that illness discloses the "undiscovered countries" in our minds with the police of reason "off duty". Like an explorer of the unknown territories, in her writing she investigates the uncharted parts of her mind that are opened by illness. Woolf made an interesting analogy between her experiences of illness and her writing practice, adopting terms of adventure and risk. She compares writing activity to diving into "seas of horror"(D1 20: 16 Jan. 1915) or to sending "parachutists into these remote places" of her mind (D5 289: 29 May 1940). I believe that Woolf’s illness and her attempt to explore the unknown part of her mind in her writing are closely related. Suffering from mental and physical illnesses, Woolf tried to sublimate the painful experiences into creativity. The relationship between her illness and creativity is a complex one. It seems that while her writing activity seems to have some therapeutic effects on her suffering, Woolf’s pursuit of a new mode of writing which she hoped to be more amenable to women by means of exploring the unknown may have aggravated her already precarious health. In this study, I ventured to look into Woolf’s daring expedition to these "undiscovered countries" in her mind and how such an exploration affected her literary experimentation and shaped her writing by reading "On Being Ill," and A Room of One’s Own, along with her autobiographical writings including her diary, with a particular reference to Julia Kristeva’s theoretical discussion of abjection.
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손현주(Heonjoo Sohn) 한국노어노문학회 2020 노어노문학 Vol.32 No.1
영국의 대표적인 모더니스트 작가 버지니아 울프는 에세이 “현대 소설”에서 모더니즘 작가의 존재 목적을 천명했다. 소설의 목적은 “삶”을 그려내는 것인데, 삶의 외연이 아니라 인간 심리의 내면을 조명해야 한다는 것이다. 그러기 위해서 작가는 이제까지의 문학적 관습에서 벗어나, 새로운 주제를 새로운지금까지와는 다른 시각으로 접근해야 한다고 주장했다. 울프는 소설의 새로운 주제와 시각을 개척한 선구적 예를 러시아 작가들에게서 찾았다. 톨스토이와 도스토옙스키, 체홉 등의 러시아 작가들은 인간의 내면을 탐구하고 그것을 묘사하는데 있어 새로운 서사의 가능성을 열어주었다. 이들 러시아 작가들은 울프의 모더니스트 문학 이론과 기법적 실험에 지대한 영향을 주었다. 이글은 울프의 소설 『올란도』를 통해 울프와 러시아 문학, 러시아 문화 전반의 관계를 탐색해 보고자 하는 시도이다. 『올란도』는 울프가 연인 비타 셱빌웨스트를 모델로 삼아 쓴 전기형식의 판타지 소설로, 무려 400여년을 살면서 남자에서 여자로 변신하는 주인공 올란도의 생애를 그렸다. 주인공 올란도는 셰익스피어와 같은 시인이 되기를 꿈꾸었고 마침내 “참나무”라는 시집을 출판하는데 성공한다. 울프는 올란도라는 가상의 인물을 통해 연인 비타가 꿈꾸었던 것들, 즉 위대한 문학적 성취와 더불어 현실에서 비타가 여성이기 때문에 상속받을 수 없었던 대장원 놀(Knole)을 상속받게 해주었던 것이다. 비타의 아들 나이젤 니콜슨(Nigel Nicolson)은 이 작품을 “문학사상 가장 길고 멋진 연애편지(the longest and most charming love-letter in literature)”라고 평했다(Nicolson 186). 그런데 이 작품에 울프가 새겨넣은 것은 비타에 대한 사랑뿐만 아니라 그녀가 오랫동안 간직해온 러시아 문학에 대한 열정이기도 했다. 소설 『올란도』는 비타 셱빌웨스트에게 바치는 연애편지이자 또한 울프가 문학적 영감을 불어넣어 준 러시아문학에 바치는 러브레터이기도 하다. 이 글은 소설 『올란도』를 통해 러시아 문학과 예술이 울프의 예술세계와 삶에 끼친 영향을 살펴보고자 한다. Virginia Woolf declared in her essay "Modern fiction"(1921) the of the modern writers and how they should write or what she hopes for them to write. They should express “life,” which escapes when one attempts to capture in one’s art. The modern writers should look into the dark region of human psychology and the Russian writers excel in exploring the mysterious place. Woolf argues that there is no “proper stuff for fiction” which we used to believe in. Instead, the writer should venture out from the literary convention to find new materials for fiction and see them in new eyes. Woolf found a pioneering example of the novel’s new theme and vision in Russian writers, such as Tolstoy, Dostoevsky, Chekhov, and others. These Russian writers had a profound impact on Woolf’s modernist aesthetics and technical experiments. This paper is an attempt at exploring the relationship between Woolf and Russian literature and Russian culture as a whole, by reading Orlando. Orlando is a mock biography of a fictive personality Orlando based on Vita Sackville-West, with whom Woolf had a romantic relationship. In this fantasy novel, Orlando has lived for 400 years, transforming from a man to a woman in the middle, and then eventually succeeded in having her poem published at the end of the novel. By allowing Orlando to inherit the grand property, Knole, which in reality Vita could not because she was a woman, Woolf made Vita’s heart’s desire come true. Vita’s son, Nigel Nicholson, described the novel as “the longest and most charming love-letter in literature.” Orlando may be Woolf’s love letter to Vita, but it could also be recognized as her Russian love letter in which her long-held passion for Russian literature and culture is inscribed. The paper is an attempt to examine the impact of Russian literature and art on Wolf’s work and life by reading Orlando.
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손현주 ( Heonjoo Sohn ) 한국제임스조이스학회 2015 제임스조이스저널 Vol.21 No.1
Flush is a biography of a cocker spaniel owned by Victorian poetess Elizabeth Barrett Browning. It has been treated as an underdog in Woolf oeuvre. Although it was the bestseller among her books when published, nobody has taken it seriously until the recent critical attentions to it in terms of ecocriticism, eco-feminism, or animal right movement along with the issue of biography. I would like to read Flush in the light of Woolf’s idea, a “new biography.” In her essay “New Biography” Woolf explores possibilities of a new direction biography as a genre could take, considering Lytton Strachey’s The Eminent Victorians and Harold Nicolson’s Some People as possible candidates. I would like to argue that the very reason Flush has been neglected in scholarly criticism is what makes the work truly subversive and experimental. That is, it was written as a “joke” on Lytton Strachey and his ground-breaking work, The Eminent Victorians after the exhaustion of completing The Waves. It seems possible that such light-heartedness and freedom a “joke“ endows helped Woolf experiment with her new ideas with less critical self-consciousness and restraints. Woolf purported an idea of writing “lives of the obscure” that not only the prominent and the eminent but also the obscure men and women deserve a written life in their own rights. In Flush, by writing a biography of a coker spaniel, Woolf seems to go one step further to suggest that even the non-human may deserve one. She is also trying to construct a world experienced through the sense of smell instead of sight and sound, which is the usual sensual experiences employed in literary description. Thus, twisting the homocentric perspective of life, Woolf subverts the generic conventions of biography with the hope of finding a “new biography.”
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