Contents

pp v-vi

Introduction to Interdisciplinary/Multidisciplinary Woolf

pp vii-xiii

Acknowledgments

pp xiv-xiv

List of Abbreviations

pp xv-xvi

History, Materiality, Multiplicity

pp 1-1

Multidisciplinary Woolf / Multiple Woolfs?

pp 2-12

Woolf, History, Us

pp 13-19

“Full of Experiments and Reforms”: Virginia Woolf, John Maynard Keynes, and the Impossibility of Economic Modeling

pp 20-26

Desiring Statues and Ambiguous Sexualities in Jacob's Room

pp 27-34

Challenging the Family Script: Woolf, the Stephen Family, and Victorian Evangelical Theology

pp 35-40

History as Scaffolding: Woolf's Use of The Times in The Years

pp 41-49

Vincent van Gogh, Virginia Woolf, and Old Shoes: A Cross-Cultural Iconography of Historical Truama from the Great War to the Iraq War

pp 50-56

Stopped at the Border: Virginia Woolf and the Criminalization of Dissent in Democratic Societies

pp 57-67

“Q. And babies? A. And babies”: On Pacifism, Visual Truama, and the Body Heap

pp 68-72

Photography, History, and Memoir of the Spanish Civil War: Interdisciplinary Views

pp 73-78

Patterns, Practices, Principles

pp 79-79

“Waving to Virginia”

pp 80-94

Woolf, Defoe, Derrida: Interdisciplinary dogs—or the canine aesthetics and (gender) politics of creativity

pp 95-101

“The law is on the side of the normal”: Virginia Woolf as Crip Theorist

pp 102-108

A Healing Centre of One's Own: Woolf's Legacy and Public Responses to Child Abuse

pp 109-118

Sunflower Suture: Disseminating the Garden in The Years

pp 119-126

“One Must Be Scientific”: Natural History and Ecology in Mrs. Dalloway

pp 127-131

Clarissa's Glacial Skepticism: John Tyndall and “Deep Time” in Mrs. Dalloway

pp 132-137

Apollonian Illusion and Dionysian Truth in Mrs. Dalloway

pp 138-142

Art, Influence, Embodiment

pp 143-143

“Time has whizzed back an inch or two on its reel”: Relating Virginia Woolf and Emily Carr through Vintage Postcards, Lily Broscoe, Mrs. McNab, and the Cinematic Time of To the Lighthouse

pp 144-163

Speaking Citizen to Citizen in a Time of War: Miss La Trobe's Use of Parabasis in her Historical Pageant

pp 164-170

Work as Salvation: Eureka's Angel in the House, A Dircetor's Experience

pp 171-176

Drawing as Thinking: A Visual Response to To the Lighthouse

pp 177-182