Abstract
In Virginia Woolf Icon, Brenda Silver shows how Virginia Woolf became an icon in the 1960s – as opposed to merely a writer – largely because of the success of Edward Albee’s play, Who’s Afraid of Virginia Woolf in 1962 and its movie adaptation by Mike Nichols in 1966, and how that partly stems from the fear she inspired as a highbrow British female writer – and still does: Occuring across the cultural terrain, whether in academic discourses, the intellectual media, or mass / popular culture, ...
Highlights
Virginia Woolf for the common comics reader: Caroline Picard’s appropriation of The Voyage Out in The Graphic Canon 3
The first volume of her letters, edited by Nigel Nicolson and Joanne Trautmann, The Letters of Virginia Woolf, was published in 1975, and the first volume of her diary, edited by Anne Olivier Bell, Quentin’s wife, in 1977. This was the first of five volumes, the last published in 1984, editing Virginia Woolf’s complete diary, giving access to much more intimate or contentious entries than the selection edited by Leonard Woolf in 1953, A Writer’s Diary, which focused on her intellectual life as a reader and a writer
At a moment when the education of women was developing and fear of feminism growing, Women’s Studies cristalized on “British, born into the intellectual aristocracy, Virginia Woolf” who “represents par excellence the rentier class identified with European cultural systems” (Silver 52) because she allowed American academics to oppose themselves to European and British Academia
Summary
From top to bottom of the scale of cultural values, is what Brenda Silver has called the “versioning” of Virginia Woolf, a marketing term that refers to the offer of wide range of products declined into higher- to lower-value models It is with such “‘versioning’ of Virginia Woolf –the production of multiple versions of her texts and her image” (Silver xvi) – in mind, that I would like to look at Caroline Picard’s graphic adaptation of her first novel, The Voyage Out (1915), which was published in the third and final volume of an anthology of world literature edited by Russ Kick, The Graphic Canon.
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