Abstract

When Ann Banfield argued in The Phantom Table1 that the debate about modernism should take into account its revolutionary conception of the objects of sensation, and turned to Bertrand Russell’s 1914 theory of knowledge to do so, she challenged on the one hand the critics’ near ignorance of the Cambridge Apostles’ influence on Bloomsbury, and on the other, the “assumption of contemporary understanding of modernism—that the only philosophy of relevance to twentieth-century art and literature is continental.”2 Following her example, daunting as it may be, I will challenge this last assumption and argue that the philosophy of relevance to the understanding of Woolf’s work is not necessarily continental but British.My ..