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Thanks Stuart, Mark and Christine for starting the stimulating conversation on Jacob's shoes and Anne Marie Batzinger for the moving historization of shoes of Jews in Hungary (I also remember abandoned piles in railway cars in the Holocaust
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<div dir="ltr"><div class="gmail_default" style="">Thanks Stuart, Mark and Christine for starting the stimulating conversation on Jacob's shoes and Anne Marie Batzinger for the moving historization of shoes of Jews in Hungary (I also remember abandoned piles in railway cars in the Holocaust Museum). Indeed, shoes are not "one thing." It reminds me of Proust's remark in <i style="">Swann's Way</i> about the importance of certain "material objects" in life:</div><div class="gmail_default" style="">
<div class="gmail-page" title="Page 316" style="">
<div class="gmail-layoutArea" style="">
<div class="gmail-column" style="">
<p style=""><span style="font-family:AGaramondPro">And so it is with our own past. It is a labour in vain to attempt to recapture it:
all the efforts of our intellect must prove futile. The past is hidden somewhere
outside the realm, beyond the reach of intellect, in some material object (in the
sensation which that material object will give us) of which we have no inkling.
And it depends on chance whether or not we come upon this object before we
ourselves must die (59-60).</span></p><p style=""><span style="color:rgb(0,0,250);font-family:AGaramondPro">And so it is with Woolf: she has reached out into the past and found a material object revelatory of Jacob's life--his shoes--in which he has lived his days in Cambridge, the war, middle-class life. Just as the shoes are "empty" of Jacob--"She held out a pair of Jacob's old shoes"--so is the "shawl" of Mrs. Ramsay. It once "soothed" the children when cast over the skull, or improved the look of the shabby house, or protected Rose or warmed herself.: it protected the family. But after Prue's death, the protection, "the f</span>old<span style="color:rgb(0,0,250);font-family:AGaramondPro"> of the shawl loosened," and when Mrs. McNab sees it in the ruined house, the shawl "loosened"--its protection of the family, the house, indeed, the nation--"and swung to and fro </span>."</p><p style="">Pat Laurence</p><p style=""><br></p><p style=""><br></p>
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</div></div></div><br><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Sun, Jul 31, 2022 at 7:09 AM Christine Froula via Vwoolf <<a href="mailto:vwoolf@lists.osu.edu">vwoolf@lists.osu.edu</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">
<div style="font-size:1px;color:rgb(255,255,255);line-height:1px;height:0px;max-height:0px;opacity:0;overflow:hidden;display:none">
Many thanks for your wonderful post, Stuart, so thoughtful and thought-provoking in regard to connections between private memorializing by way of relics left by the deceased and museum curation. Similar questions come into play in both domains
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<p>Many thanks for your wonderful post, Stuart, so thoughtful and
thought-provoking in regard to connections between private
memorializing by way of relics left by the deceased and museum
curation. Similar questions come into play in both domains at
their respective scales: what to keep? what to toss? what to give
away? what to show? what to pass on? In both domains, those who
remember and value the deceased selectively invest meaning and
value in objects that evoke the (natural; existential; human;
social) time lived and experienced by the dead, with ND providing
a hinge between them in depicting public (readers, historians,
citizens, etc) and private (family, friends, heirs, etc)
memories/memorials/sentimental journeys. Ditto for JR to the
extent that the book itself is a public/published memorial to its
actual inspiration, Thoby Stephen, as well as to the "lost
generation"--all those young lives who marched into WWI; JR's s
creation involved analogous analytic and selective practices,
implicit in the invented "narrative mode which foregrounds
the selection, artifice, and experience of the exhibited example".
I agree that VW's depicted shoes and boots retain all the pathos
of life lived in time, evoking all the life and time the wearer
trudged through as memento mori and so much more, no less than Van
Gogh's boots do, even when she's highlighting the persistence of
objects beyond death and human contemplation thereof, as in the
comic contrast between Katharine's bored custodianship and the
American tourist's "dumb" contemplation. The pathos of Betty
Flanders's gesture, Katharine's burden of ancestral fame, and the
American pilgrim seems to me perfectly compatible with the
material and cultural questions raised by public "museology"
(wonderful word!--never used it before).</p>
<p>Christine<br>
</p>
<div>On 7/31/2022 5:17 AM, Stuart N. Clarke
via Vwoolf wrote:<br>
</div>
<blockquote type="cite">
<div style="font-size:1px;color:rgb(255,255,255);line-height:1px;height:0px;max-height:0px;opacity:0;overflow:hidden;display:none">
I recently read this article: NASH, John, "Exhibiting the
Example: Virginia Woolf's Shoes", Twentieth_Century_Literature,
2013, LIX,2:283-308 “My focus is on Night and Day, Jacob’s Room
and the essays and reviews of literary
</div>
<div dir="ltr">
<div style="font-size:12pt;font-family:Calibri;color:rgb(0,0,0)">
<div>I recently read this article:</div>
<div> </div>
<div>NASH, John, "Exhibiting the Example: Virginia Woolf's
Shoes", Twentieth_Century_Literature, 2013, LIX,2:283-308</div>
<div> </div>
<div>“My focus is on Night and Day, Jacob’s Room and the
essays and reviews of literary</div>
<div>tourism (or literary geography, as she also called it).</div>
<div>“In these works, Woolf often associates shoes with
particular museological</div>
<div>contexts so that they become for her a kind of shorthand
by which</div>
<div>she questions practices of exhibition and
exemplification—issues that go</div>
<div>to the heart of her career-long concern with modes of
representation</div>
<div>and perception. Shoes feature less as personal memorials
(heavy with the</div>
<div>weight of pathos) and more as figures in a narrative mode
which foregrounds</div>
<div>the selection, artifice, and experience of the exhibited
example.”</div>
<div> </div>
<div>The author certainly knows his Woolf. When we come to
ND:</div>
<div> </div>
<div>‘jadedness and disaffection</div>
<div>now define Katharine’s relationship with the great men of
the past;</div>
<div>this time it is the visitor, an “American lady who had
come to be shown</div>
<div>the relics” (331), who singles out the slippers. “‘What!
His very own</div>
<div>slippers!’ Laying aside the manuscript, she hastily
grasped the old shoes,</div>
<div>and remained for a moment dumb in contemplation of them”
(333).</div>
<div>The writers’ shoes have become the focus of a satire on
the “sentimental</div>
<div>journeys” (“Howarth” 5) of the literary tourist’s “dumb”
admiration and</div>
<div>despoiling “grasp.”’</div>
<div> </div>
<div>The scene is sufficiently extensive, providing enough
material for us to discuss/argue about Woolf’s “real” views
about the relics of the dead. So, the scene can arguably
fit the author’s contention.</div>
<div> </div>
<div>However, when we come to “Jacob’s Room”, all we have is:</div>
<div> </div>
<div>‘“What am I to do with these, Mr. Bonamy?”</div>
<div>‘She held out a pair of Jacob’s old shoes.’</div>
<div> </div>
<div>These are the last 2 lines of the book There isn’t an
immediate Woolfian context for interpretation, except the
whole book.</div>
<div> </div>
<div>The reader may be puzzled, of course. Jacques-Émile
Blanche recounted that while staying at</div>
<div>the Belgrave Hotel in London in 1925:</div>
<div>“I had left some of my papers and books in the
reading-room when I was called away</div>
<div>to answer a telephone call. [. . .] When I returned I
found two women turning over</div>
<div>the pages of a book that belonged to me. One of them was
saying to the other: ‘Can</div>
<div>you make anything of it? Have you heard of the writer? It
really makes you think</div>
<div>you’ve gone off your head! Was that boy Jacob killed in
the War? And what’s all that</div>
<div>about *boots*?” </div>
<div> </div>
<div>Nonetheless, critics are generally agreed that this is a
moment of pathos, or, as Nash puts it, there is “a long
critical history in Woolf</div>
<div>studies which emphasizes metonymy and pathos in the
closing scene.” He specifically names Bill Brown, Alex
Zwerdling, Laura Marcus, and Robert Reginio.</div>
<div> </div>
<div>Instead, he argues “against this critical consensus ...
Instead, this essay asks *why* shoes came to seem so
important</div>
<div>to Woolf and finds the answer in her critique of literary
tourism.”</div>
<div> </div>
<div>This is all very well, but no one reading JR for even the
umpteenth time could possibly deduce from the text that when
Mrs Flanders asks, “What am I to do with these, Mr.
Bonamy?”, there could possibly be a hidden critique of
‘museology’. You may use JR as yet another example of
Woolf’s fascination with shoes and boots, but it is absurd
to gainsay the pathos of the last 2 lines of the novel. You
don’t have to be persuaded by the pathos, but what can be
intended by Woolf except some form of pathos?</div>
<div> </div>
<div>Stuart</div>
<div> </div>
<div> </div>
<div> </div>
<div> </div>
</div>
</div>
<br>
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