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Zeitschriftenartikel zum Thema "Woolf, Virginia, 1882-1941 Criticism and interpretation":
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Khoshkam, Sara, und Mehdi Amiri. „A Road to Ecocritical Insight in Virginia Woolf’s To the Lighthouse“. Studies in Linguistics and Literature 6, Nr. 4 (01.11.2022): p92. http://dx.doi.org/10.22158/sll.v6n4p92.
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This article is going to study the ecocritical conception in Virginia Woolf’s (1882-1941) novel, To the Lighthouse (TL) (1927). This is an ecocritical reading which uses Lawrence Buell (1939- ) and Derek Wall’s (1965- ) ideas of ecocriticism. Lawrence Buell defined eco-criticism as the study of the relationships between literature and environment in an environmentalist praxis or as a critical insurgency mainly focused on the issue rather than methodology like what cultural studies of identity and body have done. Writers create their works under the influence of environment and nature and a literary work is not created void of nature. Literary works beyond of concepts and contents which are addressed by writers indicate the interaction of human and nature. Wall believes that ecology in particular and the environmental sciences in general have demonstrated how closely one’s species is connected to all other in a web or net of life connections. To the Lighthouse (TL) takes place in a summerhouse near the sea and its main goal is traveling to the Lighthouse amid the sea. There are many natural parts and nature’s elements which are studied in detail to reveal the relation of ecocriticism and literature. This article studies the close relation of man and nature and notes that there is an intimate relation between them. There is a bilateral relation between nature and man; they affect each other in several ways. Woolf’s To the Lighthouse is a good context to portray ecocriticism and green cultural studies. Woolf constructs a remarkable and moving examination of the complex tensions and allegiances of family life from the seemingly trivial postponement of a visit to a nearby lighthouse.
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Dissertationen zum Thema "Woolf, Virginia, 1882-1941 Criticism and interpretation":
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Brûlé, Michel 1964. „Partie critique: Réflexion sur "L'art du roman" de Virginia Woolf ;Partie création: ... Dent pour dent“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59534.
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In the first segment of the critical part of my thesis, my thought lays on "L'art du roman" of Virginia Woolf. In the second part, while recognizing certain qualities in the critical work of the English writer, I take side in favor of the literary theories of Celine and Sartre. In the last part of this text, I am exposing my views according to which the Quebec's literature would have greater advantage of being more "engage". The creating part of my thesis takes shape as a "roman engage". The story is about a disillusioned nationalist Quebecer, graduate and unemployed, who decides to change his personality to be like an English Canadian to better start his career in Toronto. Though all the sustained efforts he made to become Canadian, he realizes that he is first and above Quebecer. In ... Dent pour dent, the political message plays a fundamental role, but the esthetical aspects like humor, repetition and rythm are in the first place.
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Polychronakos, Helen. „Reflecting Woolf : Virginia Woolf's feminist politics and modernist aesthetics“. Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30201.
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No study of Virginia Woolf can do justice to the complexity of her life and work without taking into account the numerous contradictions present in her thought. Though Woolf is recognized as a revolutionary contributor to the development of modernism, it is also important to remember that she was born in 1882 and that the nineteenth century also left its mark on her. The first chapter will examine this double sensibility. The second chapter will trace the development of Woolf's modernist aesthetic. She was obviously rebelling against the realism valued by her Victorian and Edwardian predecessors when she conceived of a literary style capable of abstracting from purely formal elements a more "profound reality" than that captured by objective and representational descriptions. Despite this revolutionary tendency, she constructs a hierarchy of "realities" that is somewhat elitist in its mysticism and runs counter to the revolutionary feminist and Marxist thought evident in so much of her work. The last chapter will examine the contradictions that riddle Woolf's feminist writings.
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Sandison, Jennifer Madden. „Reflections of self : the mirror image in the work of Virginia Woolf“. Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64108.
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Vézina, Anne-Marie. „La femme dans l'oeuvre de Colette et de Virginia Woolf /“. Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65916.
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Dale-Jones, Barbara. „An examination of dreams and visions in the novels of Virginia Woolf“. Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002266.
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This thesis explores the importance of the visionary experience in five novels by Virginia Woolf. In her fiction, Woolf portrays the phenomenal world as constantly changing and she uses the cycles of nature and the passing of time as a terrifying backdrop against which the mutability and transience of human life are set. Faced with the inevitability of change and the fact of mortality, the individual seeks moments of permanence. These stand in opposition to flux and lead to the experience of a visionary intensity. Woolf's presentation of time as a qualitative phenomenon and her stress on the importance of memory as a function which allows for the intermingling of past and present make possible the narrative rendering of moments which contradict perpetual change and the rigours of sequential time. Moments of stillness 'occur in the midst of and in spite of process and allow for individual contact with an experience that defies the relentless progression of time. Necessary for this experience is not only memory but also the imagination, a faculty which has the power to perceive patterns of harmony in the midst of the chaos that characterises the phenomenal realm. Fundamental to Woolf's writing, however, is the acknowledgement that visions are fleeting, as are the glimpses of meaning that emerge from them. Therefore, while several of her novels describe the artistic effort to create a structured order as a defense against change, Woolf uses the artist's struggle as a metaphor for the difficulties attached to describing the enigma that is life. None of her artist figures is able to formulate a construction that either sums up life or provides a permanence of vision. This study presents a chronological examination of the novels in order to demonstrate that the changing forms of Woolf's fiction trace the evolution of a style that accurately portrays both the workings of the human mind and the insubstantial and fragmentary nature of life. The chronology also reveals that her novels develop in terms of their presentations of the visionary experience. Woolf's final novel incorporates into its central vision the paradoxical fact of the permanence of time's progression and acknowledges that, beyond the individually mutable life, is a continuum that links pre-history to the future. This notion, which is explored in part in the earlier novels, but developed completely in Between the Acts, suggests that consolation can be found in the greater cycles of existence despite the fact of individual mortality.
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Wright, Elizabeth Helena. „Virginia Woolf and the dramatic imagination“. Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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Sautter, Sabine. „Irrationality and the development of subjectivity in major novels by William Faulkner, Hermann Broch, and Virginia Woolf“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0017/NQ55379.pdf.
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Stewart, Janice 1966. „Violent femmes : identification and the autobiographical works of Virginia Woolf, Radclyffe Hall, and Emily Carr“. Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36712.
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The questions posed and examined in Violent Femmes take their genesis from psychoanalytic arguments which contend that identity is not a stable monadic thing but rather a continuing process of engagement and negotiation between the self and others. Sigmund Freud, Melanie Klein, D. W. Winnicott, and Christopher Bollas, amongst others, have noted the temporary, coalitional, and provisional nature of the ways in which identity is apprehended and experienced. This thesis expands upon such a theoretical framework of identity formation to specifically question the ways in which the formation and maturation of an artistic identity may, in part, be predicated upon the psychological capacity to enact violence within the realm of the imaginary. Violent Femmes examines the complex relationship between psychological violence and artistic identity as that relationship is recorded in the autobiographical writings of Virginia Woolf, Radclyffe Hall, and Emily Carr. This project traces the written vestiges of Woolfs, Hall's, and Carr's individual internalised struggles to formulate an artistic identity in specific relationship with an already established 'model' of artistic creativity and identity. Woolfs, Hall's, and Carr's struggles to claim a personal artistic identity, in some ways from their individual model of the artist, are waged within the minds of the authors themselves. However, the violence enacted within their imaginations---the violence perpetrated against the models of the artist---is thrust into the external world, not only within the writings of these three women, but also by the ways in which each author resolves or fails to resolve her own violent conflict with her imaginary model of the artist.
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Griffin, Lisa Myfanwy. „'Imperfect adumbrations' : boys, men, and masculinities in the work of Virginia Woolf“. Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11907.
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This thesis will suggest how Woolf scholarship's rich exploration of Virginia Woolf's representations of girls, women and femininities may be complemented by more systematic feminist study of constructs of masculinities, as they appear in her work. Elaborating the concept of the ‘private brother', the figure of a form of maleness that the daughters of educated men ‘have reason to respect', but that Three Guineas' narrator stipulates is ‘sunk' by men's exposure to society and replaced by the ‘monstrous male', my thesis will focus particularly on the representations of boys, men and masculinities in To the Lighthouse, Between the Acts and Woolf's biography Roger Fry, though I will additionally use material from Woolf's essays, diaries and letters, as well as from Mrs Dalloway, The Years and The Pargiters. The first section of my thesis will supplement feminist critiques of the education received by upper-middle-class English boys in Woolf's texts by exploring her representations of young male (inter)subjectivities in the process of being ‘sunk.' In the second section, I will complicate the narrative trajectories often indicated for these characters in Woolf criticism by proposing that Woolf understood this sinking process as always incomplete: I will argue that Woolf's adult male characters, even her patriarchs, professors and otherwise educated men, vacillate continually between stances that might be characterised as monstrous maleness and private brotherliness–in both ‘public' and intimate settings–as one of the preconditions of social existence.
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De, Santa Jessica E. „Accounting for taste : the poetics of food and flavour in Virginia Woolf’s novels“. Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11825.
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This thesis argues that tasting appears as an act of creative empathy and of knowledge acquisition in Virginia Woolf's writing. First contextualising my discussion within Woolf's own reading of the aesthetic and literary history of ‘taste', I then use Cixous' essay ‘Extreme Fidelity' (renamed ‘The Author in Truth') as a theoretical entryway to passages from The Voyage Out, Jacob's Room, A Room of One's Own, Mrs Dalloway, To the Lighthouse, The Waves, and Orlando which centralise the role of gustatory pleasure in creativity and epistemology. Cixous elaborates an oral, ‘poetic' and feminine ontology rooted in a receptivity to sensual pleasure, a concept that assists my reading of Woolf in several aspects. I suggest that in Woolf, both literal and figurative experiences of taste contribute to physical and psychic repletion, consequently eliciting empathy with the other (Cixous' term). This empathy which originates in the body constitutes an epistemological source distinct from intellectual or emotional intelligences, but one equally integral to the creative process. I assert that empathy features in Woolf as an extension or enlargement of the imagination through which a subject incorporates knowledge of alterity, but without consuming the other - as in the act of tasting. This ideation differs from notions of empathy as an analogical mapping or projection of self onto other. I discuss the ways in which a ‘gustatory epistemology' informs Woolf's approach to her craft, shapes the interrelationships of her characters, and materialises stylistically in her development of a ‘poetic' prose language.
Buchteile zum Thema "Woolf, Virginia, 1882-1941 Criticism and interpretation":
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Goldman, Jane. „Virginia Woolf (1882-1941): Aesthetics“. In Edinburgh Encyclopaedia of Modern Criticism and Theory, 680–91. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9780748672554-088.
