The ways of teaching literacy skill on the material of V. Woolf works

1.2. Writer Virginia Woolf considered a success
Hermione Lee cites a number of extracts from Woolf's writings that many, including Lee, would consider offensive, and these criticisms can be traced back as far as those of Wyndham Lewis and Q. D. Leavis in the 1920s and 1930s.^[347] Other authors provide more nuanced contextual interpretations, and stress the complexity of her character and the apparent inherent contradictions in analysing her apparent flaws.^[349] She could certainly be off-hand, rude and even cruel in her dealings with other authors, translators and biographers, such as her treatment of Ruth Gruber. Some authors^[who?], particularly postcolonial feminists dismiss her (and modernist authors in general) as privileged, elitist, classist, racist, and antisemitic.
Woolf's tendentious expressions, including prejudicial feelings against disabled people, have often been the topic of academic criticism:^[347]
The first quotation is from a diary entry of September 1920 and runs "[t]he fact is the lower classes are detestable." The remainder follow the first in reproducing stereotypes standard to upper-class and upper-middle class life in the early twentieth century: "imbeciles should certainly be killed"; "Jews" are greasy; a "crowd" is both an ontological "mass" and is, again, "detestable"; "Germans" are akin to vermin; some "baboon faced intellectuals" mix with "sad green dressed negroes and negresses, looking like chimpanzees" at a peace conference; Kensington High St. revolts one's stomach with its innumerable "women of incredible mediocrity, drab as dishwater"
Though accused of anti-semitism, the treatment of Judaism and Jews by Woolf is complex and far from straightforward. She was happily married to a Jewish man but often wrote about Jewish characters using stereotypical archetypes and generalisations. For instance, she described some of the Jewish characters in her work in terms that suggested they were physically repulsive or dirty. On the other hand, she could criticise her own views: "How I hated marrying a Jew — how I hated their nasal voices and their oriental jewelry, and their noses and their wattles — what a snob I was: for they have immense vitality, and I think I like that quality best of all" (Letter to Ethel Smythe 1930). These attitudes have been construed to reflect, not so much anti-semitism, but tribalism; she married outside her social grouping, and Leonard Woolf, too, expressed misgivings about marrying a gentile. Leonard, "a penniless Jew from Putney", lacked the material status of the Stephens and their circle.
While travelling on a cruise to Portugal, she protested at finding "a great many Portuguese Jews on board, and other repulsive objects, but we keep clear of them".^[358] Furthermore, she wrote in her diary: "I do not like the Jewish voice; I do not like the Jewish laugh." Her 1938 short story, The Duchess and the Jeweller (originally titled The Duchess and the Jew) has been considered anti-semitic.
Yet Woolf and her husband Leonard came to despise and fear the 1930s fascism and antisemitism. Her 1938 book Three Guineas^[348] was an indictment of fascism and what Woolf described as a recurring propensity among patriarchal societies to enforce repressive societal mores by violence.
Though at least one biography of Virginia Woolf appeared in her lifetime, the first authoritative study of her life was published in 1972 by her nephew Quentin Bell. Hermione Lee's 1996 biography Virginia Woolf^[291] provides a thorough and authoritative examination of Woolf's life and work, which she discussed in an interview in 1997. In 2001, Louise DeSalvo and Mitchell A. Leaska edited The Letters of Vita Sackville-West and Virginia Woolf. Julia Briggs's Virginia Woolf: An Inner Life (2005) focuses on Woolf's writing, including her novels and her commentary on the creative process, to illuminate her life. The sociologist Pierre Bourdieu also uses Woolf's literature to understand and analyse gender domination. Woolf biographer Gillian Gill notes that Woolf's traumatic experience of sexual abuse by her half-brothers during her childhood influenced her advocacy of protection of vulnerable children from similar experiences. The intense scrutiny of Virginia Woolf's literary output (see Bibliography) has inevitably led to speculation as to her mother's influence, including psychoanalytic studies of mother and daughter. Woolf states that, "my first memory, and in fact it is the most important of all my memories"  is of her mother. Her memories of her mother are memories of an obsession, starting with her first major breakdown on her mother's death in 1895, the loss having a profound lifelong effect. In many ways, her mother's profound influence on Virginia Woolf is conveyed in the latter's recollections, "there she is; beautiful, emphatic ... closer than any of the living are, lighting our random lives as with a burning torch, infinitely noble and delightful to her children".
Woolf described her mother as an "invisible presence" in her life, and Ellen Rosenman argues that the mother-daughter relationship is a constant in Woolf's writing. She describes how Woolf's modernism needs to be viewed in relationship to her ambivalence towards her Victorian mother, the centre of the former's female identity, and her voyage to her own sense of autonomy. To Woolf, "Saint Julia" was both a martyr whose perfectionism was intimidating and a source of deprivation, by her absences real and virtual and premature death. Julia's influence and memory pervades Woolf's life and work. "She has haunted me," she wrote.
"Recently, studies of Virginia Woolf have focused on feminist and lesbian themes in her work, such as in the 1997 collection of critical essays, Virginia Woolf: Lesbian Readings, edited by Eileen Barrett and Patricia Cramer." In 1928, Virginia Woolf took a grassroots approach to informing and inspiring feminism. She addressed undergraduate women at the ODTAA Society at Girton College, Cambridge and the Arts Society at Newnham College with two papers that eventually became A Room of One's Own (1929). Woolf's best-known nonfiction works, A Room of One's Own (1929)  and Three Guineas (1938), examine the difficulties that female writers and intellectuals faced because men held disproportionate legal and economic power, as well as the future of women in education and society, as the societal effects of industrialisation and birth control had not yet fully been realised. In The Second Sex (1949), Simone de Beauvoir counts, of all women who ever lived, only three female writers—Emily Brontë, Woolf and "sometimes" Katherine Mansfield— have explored "the given."
Who's Afraid of Virginia Woolf? is a 1962 play by Edward Albee. It examines the structure of the marriage of an American middle-aged academic couple, Martha and George. Mike Nichols directed a film version in 1966, starring Elizabeth Taylor and Richard Burton. Taylor won the 1966 Academy Award for Best Actress for the role.
Me! I'm Afraid of Virginia Woolf, a 1978 TV play, references the title of the Edward Albee play and features an English literature teacher who has a poster of her. It was written by Alan Bennett and directed by Stephen Frears.
The artwork The Dinner Party (1979) features a place setting for Woolf.
The 1996 album Poetic Justice, by British musician Steve Harley, contains a tribute to Woolf, specifically her most adventurous novel, in its closing track: "Riding the Waves (for Virginia Woolf)".
Michael Cunningham's 1998 Pulitzer Prize-winning novel The Hours focused on three generations of women affected by Woolf's novel Mrs Dalloway. In 2002, a film version of the novel was released starring Nicole Kidman as Woolf. Kidman won the 2003 Academy Award for her portrayal.
Susan Sellers' novel Vanessa and Virginia (2008) explores the close sibling relationship between Woolf and her sister, Vanessa Bell. It was adapted for the stage by Elizabeth Wright in 2010 and first performed by Moving Stories Theatre Company.
Priya Parmar's 2014 novel Vanessa and Her Sister also examined the Stephen sisters' relationship during the early years of their association with what became known as the Bloomsbury Group.
An exhibition on Virginia Woolf was held at the National Portrait Gallery from July to October 2014.
In the 2014 novel The House at the End of Hope Street, Woolf is featured as one of the women who has lived in the titular house.
Virginia is portrayed by both Lydia Leonard and Catherine McCormack in the BBC's three-part drama series Life in Squares (2015).
On 25 January 2018, Google showed a doodle celebrating her 136th birthday.
In many Barnes & Noble stores, Woolf is featured in Gary Kelly's Author Mural Panels, an imprint of the Barnes & Noble Author brand that also features other notable authors like Hurston, Tagore, and Kafka.
The 2018 film Vita and Virginia depicts the relationship between Vita Sackville-West and Woolf, portrayed by Gemma Arterton and Elizabeth Debicki respectively.
A number of Virginia Woolf's works have been adapted for the screen, and her play Freshwater (1935) is the basis for a 1994 chamber opera, Freshwater, by Andy Vores. The final segment of the 2018 Anthology film London Unplugged is adapted from her short story Kew Gardens. Septimus and Clarissa, a stage adaptation of Mrs. Dalloway was created and produced by the New York-based ensemble Ripe Time (www.ripetime.org) in 2011 at the Baruch Performing Arts Center. It was adapted by Ellen McLaughlin and directed and devised by Rachel Dickstein. It was nominated for a 2012 Drama League award for Outstanding Production, a Drama Desk nomination for Outstanding Score (Gina Leishman) and a Joe A. Calloway Award nomination for outstanding direction (Rachel Dickstein.)
Virginia Woolf is known for her contributions to twentieth-century literature and her essays, as well as the influence she has had on literary, particularly feminist criticism. A number of authors have stated that their work was influenced by Virginia Woolf, including Margaret Atwood, Michael Cunningham, Gabriel García Marquez, and Toni Morrison. Her iconic image is instantly recognizable from the Beresford portrait of her at twenty (at the top of this page) to the Beck and Macgregor portrait in her mother's dress in Vogue at forty-four (see image) or Man Ray's cover of Time magazine (see image) at 55. More postcards of Woolf are sold by the National Portrait Gallery, London than any other person. Her image is ubiquitous, and can be found on tea towels to T-shirts.
Virginia Woolf is studied around the world, with organisations such as the Virginia Woolf Society, and The Virginia Woolf Society of Japan. In addition, trusts—such as the Asham Trust—encourage writers in her honour. Although she had no descendants, a number of her extended family are notable.
In 2013, Woolf was honoured by her alma mater of King's College London with the opening of the Virginia Woolf Building on Kingsway, with a plaque commemorating her time there and her contributions (see image), together with this exhibit depicting her accompanied by a quotation "London itself perpetually attracts, stimulates, gives me a play & a story & a poem" from her 1926 diary. Busts of Virginia Woolf have been erected at her home in Rodmell, Sussex and at Tavistock Square, London where she lived between 1924 and 1939.
In 2014 Woolf was one of the inaugural honorees in the Rainbow Honor Walk, a walk of fame in San Francisco's Castro neighbourhood noting LGBTQ people who have "made significant contributions in their fields."
A women's co-working space in Singapore, "Woolf Works", opened in 2014 and was named after Woolf in tribute to the essay A Room of One's Own, which essay has many other things named after it (see the essay's article).
A campaign launched by Aurora Metro Arts and Media is looking to erect a statue of Virginia Woolf in Richmond, where she lived for ten years. The statue, which already has planning permission, will consist of Woolf reclining on a bench overlooking the river Thames