By Susan David Bernstein
Roomscape explores a selected website - the studying Room of the British Museum - as an area of resourceful strength on the subject of the emergence of contemporary girls writers in Victorian and early twentieth-century London. Drawing on archival fabrics, Roomscape is the 1st research to combine documentary, historic, and literary resources to check the importance of this house and its assets for ladies who wrote translations, poetry, and fiction. This ebook demanding situations an evaluation of the interpreting Room of the British Museum as a bastion of sophistication and gender privilege, a picture proven through Virginia Woolf's A Room of One's personal. Roomscape additionally questions the price of privateness and autonomy in structures of girl authorship. instead of viewing interpreting and writing as solitary, Roomscape investigates the general public, social, and spatial dimensions of literary creation. the consequences of this research achieve into the present electronic period and its differences of practices of analyzing, writing, and archiving. besides an appendix of striking readers on the British Museum from the final centuries, the booklet contributes to scholarship on George Eliot, Amy Levy, Eleanor Marx, Clementina Black, Constance Black Garnett, Christina Rossetti, Mathilde Blind, and Virginia Woolf.
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Extra resources for Roomscape: Women Writers in the British Museum from George Eliot to Virginia Woolf (Edinburgh Critical Studies in Victorian Culture)
Example text
I told her that translation of Kama Sutra was locked up, in the Library, and is refused to women. ’ (qtd in First and Scott 1980: 136). The British Museum library had a ‘Suppressed Cupboard’ for obscene and libellous material (Johnson 1993: 40). 12 The letter about Marx and the Kamasutra addressed to Schreiner was signed ‘Yours Maggie’, likely written by Margaret Harkness, also a friend of Marx and a regular reader at the British Museum whose journalism and fiction chronicled the living conditions of the East End poor (Johnson 1993: 42).
Darwin 2003: 288) Darwin and Lewes maintain that any historical account is provisional and partial, based on incomplete records in a ‘slowly-changing language’. This theory of catalogical knowledge, whether the uneven and perforated records of nature or culture through found fossils or found texts, informs my own reading of the Reading Room of the British Museum archives, including applications and signatures, indexes and catalogues. Catalogical reading, or viewing external and easily accessible markers, can reproduce forms of knowledge about women in the Reading Room of the British Museum.
9 This comprehensive survey of a subject was thus a visual experience, a virtual spectacle as one of the early forms of illusionary space entertainments. The circular panorama transformed fixed and localised perspectives and instead supported transient observations (Vadillo 2005: 31–7). The design of the 1857 Reading Room of the British Museum, with its lofty glass-windowed dome, and the shelves of 80,000 books encircling the room for three storeys, offers a visual analogy of arcades. Those three bands of bookshelves, with the twenty windows of the clerestory and the oculus at the pinnacle, created a vision of a ‘universe supported by text’ with a symbolic lamp of knowledge at the top shedding light equally on books and readers below (Curtis 2002: 211).
