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"In or about December 1985, Virginia Woolf criticism changed" (Caughie 1991, 1). Thus begins my book, Virginia Woolf and Postmodernism (1991), which demonstrates how postmodern and poststructuralist theories can change, and have changed, the way we read Woolf—that is, the kinds of questions that motivate our readings, the objectives that guide our analyses, and the contexts in which we place her works. 1985 was the year Toril Moi published Sexual/Textual Politics and first articulated the opposition between French feminist theory and Anglo-American feminist criticism, establishing "feminist postmodernism" as a new methodology that disrupted the cultural consensus among feminist critics of the 1970s. In her introduction, "Who's Afraid of Virginia Woolf?", Moi interrogates the "theoretical assumptions about the relationship between aesthetics and politics" that made so many American feminist critics resistant to Woolf's modernist style. Relying on a "realist aesthetic," these critics, Moi argues, assess Woolf's writing and politics in terms of whether "the right content [is] represented in the correct realist form" (Moi 1985, 3-4, 7). (The relationship between form and content, as we will see, is one of the first casualties of a poststructuralist critical reading.) In contrast, Moi locates Woolf's politics "precisely in her textual practice" (16), focusing on the politics of language rather than on the politics expressed by Woolf's language. Although Moi's rigid division between the French and the Anglo-Americans may lead to reductive readings, in which all American feminists are represented by Elaine Showalter, Moi was the first to articulate the difference French theory makes for feminist literary criticism. What this change in thinking means for reading Woolf is the subject of this chapter.

Passing has once again become a hot topic in contemporary popular culture and a major trope for our critical and professional activity. One thinks of Danzy Senna's Caucasia (1998); Philip Roth's The Human Stain (2000) and the 2003 film version directed by Robert Benton; and in literary and cultural criticism, Gayle Wald's Crossing the Line: Racial Passing in Twentieth-Century U.S. Literature and Culture (2000), Kathleen Pfeiffer's Race Passing and American Individualism (2003), and Brooke Kroeger's Passing: When People Can't Be Who They Are (2003), to name only a few examples. In Passing and Pedagogy I explore this concept largely in terms of contemporary culture and criticism. Yet the echo of Johnson's words in Lawrence's disavowal—I don't want to be John Collier—has led me to consider more carefully the emergence of passing, as I have refigured it, in modernism. In that Newberry seminar, I was struck by how the difference between the artistic and the touristic use of other cultures was often lost upon students as it was upon many modernists themselves. For example, in the 1920s, artists, writers, art patrons, anthropologists, and entrepreneurs came together in the southwest to promote "a romantic mix of archeology, art, tourism, and politics," as Desley Deacon writes in her biography, Elsie Clews Parsons: Inventing Modern Life. While they sought ways to incorporate native art and culture into Western lives without "patronizing, appropriating, or destroying" it, such a project was necessarily fraught with ambiguity: cultural preservation depended on Western tourism, and spiritual renewal meant "going native." In the Newberry seminar, we read works by and about Elsie Clews Parsons and D. H. Lawrence in Taos; Sergei Eisenstein and Langston Hughes in Mexico; Claude McKay and Josephine Baker in France; and Zora Neale Hurston and Melville Herskovitz in the Caribbean. We studied the music of John Alden Carpenter, the photography of Edward Weston, the drawings of Miguel Covarrubias, and the dance of Katherine Dunham. ...

On the day of her party in June 1923, Clarissa Dalloway worries about her attraction to beauty in the face of a political and humanitarian crisis: He [Richard] was already halfway to the House of Commons, to his Armenians, his Albanians, having settled her on the sofa, looking at his roses. And people would say, "Clarissa Dalloway is spoilt." She cared much more for her roses than for the Armenians. Hunted out of existence, maimed, frozen, the victims of cruelty and injustice (she had heard Richard say so over and over again)—no, she could feel nothing for the Albanians, or was it the Armenians? But she loved her roses (didn't that help the Armenians?). (MD 120) This passage resonates with our contemporary situation, evoking as it does the recent fighting in Kosovo, which was in the news when I proposed an MLA paper on the topic of this special issue, as well as recent writings that explicitly or implicitly link beauty with social justice. By way of answering my title question—"How do we keep desire from passing with beauty?"—I want to discuss several works that reiterate Clarissa's question, especially in relation to the crisis of responsibility that is said to follow in the wake of postmodern theories and cultural criticism.

Virginia Woolf and Postmodernism argues not that Virginia Woolf is a postmodernist but that postmodern assumptions about art can account for her narrative innovations and feminist politics better than conventional modernist and feminist approaches to her works. In rethinking many of the prominent aesthetic and critical positions of her day, Woolf anticipated many postmodernist tenets. This book helps us to understand how and why she came to hold such views, and how we might change our reading of Woolf and narrative literature in turn. Pamela Caughie brings together pragmatism and postmodern theory to move critical inquiry, particularly feminist criticism and narrative theory, in new directions. Using all of Virginia Woolf's novels, as well as her criticism and nonfiction essay s, this volume offers a unique reading of Woolf through it unrelenting pursuit of a pragmatically reoriented feminist thinking.

Abstract
This article describes the launch symposium of the Lili Elbe Digital Archive held at Loyola University Chicago in February 2020. The Lili Elbe Digital Archive presents the life narrative of Lili Elbe, one of the most iconic figures in the history of gender variance, along with supplementary materials such as letters and newspaper articles. The symposium offered a queer-friendly, trans-inclusive space where trans, queer, and cisgender scholars and students across disciplines, universities, and generations came together to commemorate Lili's life and the work of the archive. This review examines the transfeminist pedagogy of the archive team and the symposium.

Cover page -- Halftitle page -- Series page -- Title page -- Copyright page -- Dedication -- EDITORIAL PREFACE TO MODERNIST ARCHIVES -- CONTENTS -- CONTRIBUTORS -- ACKNOWLEDGMENTS -- ARCHIVAL SOURCES -- NOTE ON THE EDITION -- CHRONOLOGY -- Introduction -- PART I: A SHORT LIFE OF LILI ELBE -- PART II: A SHORT HISTORY OF SEXOLOGY -- PART III: MAN INTO WOMAN AND MODERNIST LIFE WRITING -- PART IV: COMPOSITIONAL AND PUBLICATION HISTORY -- PART V: CONTRIBUTORS' ESSAYS -- Corpus -- MAN INTO WOMAN -- LIST OF ILLUSTRATIONS -- Introduction -- Foreword -- I -- II -- III -- IV -- V -- VI -- VII -- VIII -- IX -- X -- XI -- XII -- XIII -- XIV -- XV -- XVI -- XVII -- XVIII -- XIX -- XX -- XXI -- XXII -- DUSK -- Textual Notes -- New Essays on Man Into Woman -- The Binary Bind: Inversion, Intersexuality and Interest in a Very Queer Künstlerroman -- WHEN IS "ENOUGH" ENOUGH? -- AUTOGRAPHY AS TECHNOLOGY OF THE SELF -- TROPES AND CONSEQUENCES -- A QUEER KÜNSTLERROMAN? -- NOTES -- Current and Historical Notions of Sexed Embodiment and Transition in Relation to Lili Elvenes -- NOTES -- Man into Woman: A Modernist Experimental Genre -- NOTES -- Magic and Medicine: Man into Woman and Anthropology -- WYNDHAM LEWIS AND THE "TRANSFORMED SHAMAN" -- ANTHROPOLOGY AS THINKING ABOUT GENDER -- NOTES -- Getting the Lili We Deserve? Telling a Different Story of Lili Elbe through the Portraits of Gerda Wegener -- THE CONTESTED HISTORY OF MAN INTO WOMAN -- REPRODUCING WELL-KNOWN CINEMATIC TROPES -- LILI THE SELF-ASSURE MODEL -- A QUEER UNIVERSE -- LESBIAN POSSIBILITIES -- EXIT: GETTING THE LILI WE DESERVE? -- NOTES -- A Pretty Knot of Lilies: Disentangling Lili Elbe's longue durée in Pop Culture -- THE IMAGE COMMODITY LILI: SEXING UP SEXUAL INDETERMINACY -- THE TRAGIC-TRANSGENDER LILI: SUFFERING FOR SEXUAL INDETERMINACY -- NOTES -- BIBLIOGRAPHY -- INDEX.