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1
Frotscher, Mirjam M. „Virginia Woolf“. Technische Universität Dresden, 2015. https://ul.qucosa.de/id/qucosa%3A15358.
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Virginia Woolf (1882–1941) war eine englische Schriftstellerin, Verlegerin, Essayistin, Tagebuchverfasserin, sowie Literatur- und Kulturkritikerin, die als Wegbereiterin der literarischen Moderne gilt. In zahlreichen kritischen Essays und Romanen reflektiert sie die geteilten Lebens- und Bildungssphären der Geschlechter und kritisiert die materiellen Umstände der durch das Geschlecht determinierten sozialen Rolle. Eine genderfokussierte kritische Rezeption von Woolfs Texten, welche sich mit weiblichem Schreiben und Lesen, Frauengeschichtsschreibung und weiblicher Ästhetik befassen, findet seit Mitte der 1970er Jahre statt.
2
Frotscher, Mirjam M. „Virginia Woolf“. Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219530.
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Virginia Woolf (1882–1941) war eine englische Schriftstellerin, Verlegerin, Essayistin, Tagebuchverfasserin, sowie Literatur- und Kulturkritikerin, die als Wegbereiterin der literarischen Moderne gilt. In zahlreichen kritischen Essays und Romanen reflektiert sie die geteilten Lebens- und Bildungssphären der Geschlechter und kritisiert die materiellen Umstände der durch das Geschlecht determinierten sozialen Rolle. Eine genderfokussierte kritische Rezeption von Woolfs Texten, welche sich mit weiblichem Schreiben und Lesen, Frauengeschichtsschreibung und weiblicher Ästhetik befassen, findet seit Mitte der 1970er Jahre statt.
3
Katayama, Aki. „History repeats itself : Woolf, Green, Rhys and Woolf again“. Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327501.
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4
Bas, Judith Hall. „Post-Impressionist Woolf“. Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1998. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.A.)--Kutztown University of Pennsylvania, 1998.Source: Masters Abstracts International, Volume: 45-06, page: 2840. Typescript. Abstract precedes thesis as preliminary leaves [1]-2. Includes bibliographical references (leaves 104-106).
5
Vondrak, Amy Margaret Edmunds Susan. „Strange things: Hemingway, Woolf, and the fetish (Ernest Hemingway, Virginia Woolf)“. Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.
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6
Adams, Kat Russell Richard Rankin. „"More attachment to life & larger" Orlando and Woolf's theories of fiction /“. Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5282.
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7
Murrie, Greg. „The death of Rachel Vinrace : a psychological and sociological study of Virginia Woolf's The voyage out /“. Title page, contents and abstract only, 1990. http://web4.library.adelaide.edu.au/theses/09ARM/09armm984.pdf.
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8
Guest, Dorinda. „Virginia Woolf : Embracing Death“. Thesis, University of Kent, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499842.
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9
Hastings, Sarah. „Sex, gender, and androgyny in Virginia Woolf's mock-biographies "Friendships Gallery" and Orlando“. Cleveland, Ohio : Cleveland State University, 2008.
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Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (Mar. 17, 2009). Includes bibliographical references (p. 48-49). Available online via the OhioLINK ETD Center. Also available in print.
10
Cheng, Oi-yee. „Marriage and women's identity in the novels of Virginia Woolf“. Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161471.
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11
Yates, Andrea L. „Riding the hyphen : Derrida--Woolf /“. View online ; access limited to URI, 2006. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3222141.
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12
Scaramuzza, Filho Mauro. „Kew Gardens, de Virginia Woolf“. reponame:Repositório Institucional da UFPR, 2009. http://hdl.handle.net/1884/20251.
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13
Li, Boting, und 李博婷. „Leonard Woolf: towards a literarybiography“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45697735.
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14
Veyna, Alejandra. „Virginia Woolf and Literary Impressionism“. Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/440.
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15
Roe, Sue. „Virginia Woolf, writing and gender“. Thesis, University of Kent, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383896.
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16
Lloyd, Mandy. „Virginia Woolf and early childhood“. Thesis, University of Newcastle upon Tyne, 2009. http://hdl.handle.net/10443/3143.
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The chapters of this thesis analyse Virginia Woolf's novels and private writing, concentrating largely on the representation of early childhood symbols and language in her work. The aim of this thesis was to try to discover why Woolf used the perambulator motif so frequently in her novels. Counting the frequency of images in literary texts is usually one aspect of scholarship which can be fruitless but there are occasions when the results can be startling; for example the fact that the motif of the perambulator dominates almost all of her novels. In her novels, there is generally a surface narrative but I have looked beneath the surface at the multitude of symbols and language from early childhood that she uses. Underpinning all of this is the fact that Woolf never had children of her own. Chapter one begins with a description of Woolf's own early childhood, which she wrote extensively about, using various sources, most notably Hyde Park Gate News. An indispensable reference for trying to glean an understanding of Woolf's early development is 'A Sketch of the Past' which can be found within the collection entitled Moments of Being. Memoirs such as this, her diaries and letters, also provided useful evidence to assist me in the analysis of her childhood. Moments of Being was central to Woolf's fiction and experience and it is within her memoirs, in particular that we discover the remembered world of childhood, both in 22 Hyde Park Gate, London and Talland House, St. Ives. Woolf's relationship with her father and mother will be examined and a separate discussion will explore the effect her parents had on her writing, focusing mainly on The Years and To the Lighthouse. Interwoven with this will be an examination of the concept of memory; the fallibility of memory, current psychological theories of memory as well as Freud's notion of screen memories and their importance in relation to Woolf's own childhood memories. Chapter two focuses exclusively on childhood language and Woolf's use of pre-verbal language and nursery rhymes in her fiction. Three of her later novels show the prominence of pre-verbal language and provide the best examples of the nursery rhyme motif. The Waves is considered as it was this novel that Woolf used to break free from the constraints of plot and characterisation: she began to experiment with pre-verbal rhythms. Two other novels The Years and Between the Acts are analysed in relation to the nursery rhyme motif. Chapter three begins with an examination of the reasoning behind Leonard Woolf's decision for the couple not to have children. Reading Virginia Woolf's work alongside her letters and diaries reveals how closely related the theme of children/childhood was in her own life. This is an area of her writing which warrants investigation in relation to the prominence of the perambulator motif and which advances our understanding of Woolf's own experience as a writer, sister, wife, aunt, daughter and childless woman. The final chapter is divided into two sections allowing discussion of the nursemaid and the perambulator: both significant motifs from early childhood that Woolf utilises in her novels. The two fictional nursemaids focused on in this section are Mrs Constable in The Waves and the figure of the nurse in Mrs Dalloway who is found on a bench in Regent's Park. The short story 'Nurse Lugton's Golden Thimble' will also be examined. Chapter four looks in closer details at the technologies of childhood and the reoccurrence of the perambulator motif in her novels. Starting with Night and Day this section considers, in chronological order, each reference to the perambulator and suggests why Woolf has given prominence to this particular symbol. There will also be a brief discussion of The Voyage Out and why this is the only book that has no perambulator motif. My thesis presents a new way of approaching Woolf's work and a small glimpse into the wishes and regrets of this renowned literary figure.
17
Guier, Emily J. „Remembering the future community and immunity in Virginia Woolf's The years /“. Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1939245961&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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18
Esser, Daniela. „Meta-Woolf Biofiktionen und re-writes als zeitgenössische literarische Versionen von Virginia Woolf und ihren Werken“. Trier Wiss. Verl. Trier, 2008. http://www.wvttrier.de.
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19
Wright, Elizabeth Helena. „Virginia Woolf and the dramatic imagination“. Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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20
McEwin, Emma. „Virginia Woolf and the visual arts /“. Title page and introduction only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arm1423.pdf.
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21
Ranatunga, Gayanthi. „Kipling, Woolf, and Orwell: literary ethnographers“. Thesis, Wichita State University, 2011. http://hdl.handle.net/10057/5194.
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The beginning of the 20th century was marked by a need for a departure, for Britain, from
the Victorian sentiments of a bygone era, foremost among which were the soon-to-be antiquated
thoughts about her colonies and colonial subjects. Because that moment was quite past the high
noon of the British Empire, and yet, it was still significant enough geographically for the sun to
never have to set on it, its shadows were looming long and haunting. At this juncture, it became
the calling of a few to insist on a restatement of what it meant to be British in the larger context
of the world, much of which she still commanded.
Some of the more vocal proponents for reconfiguring Britain in the new world context
were writers. Among them Rudyard Kipling, Leonard Woolf, and George Orwell are seen as
heralds and disseminators of thought prominent from the 1900s till World War II, which resulted
in the dismantling of the Empire. Kim, The Village in the Jungle, and Burmese Days, the novels
of the respective authors discussed within the following pages, are as much cultural delineations
of alterity, as they are portraits of the British entrenched haplessly to their colonial missions.
Using Edward Said’s Orientalism and Homi Bhaba’s theory of hybridity, the point of
convergence between the British colonial mission and its subjects coupled with the curious
tendency to not see it as a confluence can be seen as the wellspring of most perceptions and
misperceptions of the “Other” or the Oriental. This “othering” is seen at various degrees in the
three novels, and with the exception of Kipling in Kim, Woolf and Orwell in their novels
question, rather self-reflexively, the effect on the Briton of this “othering”. While Kipling’s is the
rallying cry to a slowly unraveling Empire, Woolf and Orwell raise their voices in dissent
understanding that what is unraveling is not just a geographical mandate but also a moral one.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of English.
22
Handley, V. „Access to justice : the Woolf reforms“. Thesis, University of Manchester, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542416.
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Donovan, Anna Gay. „Virginia Woolf : a language of looking“. Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324071.
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The aim of this thesis is to trace a 'language of looking' in some of Virginia Woolfs texts. I have taken Woolfs short story entitled 'The Lady in the Looking-Glass: A Reflection' as a point of departure and principle theme. This story provides models for a serious questioning of the ways we look at women and how that looking deten»ines their representation. In turn that representation is shown to structure and inform our ways of looking. Each paragraph of the story is taken as a starting point for a chapter of the thesis. Thus, each of the ten paragraphs of the story becomes, as it were, the epigraph of the chapter that follows. Each chapter moves out from the specific problematics offered by 'The Lady in the Looking-Glass: A Reflection' to other works by Woolf, and beyond. My readings of 'The Lady in the Looking-Glass: A Reflection' show Woolf to be exploring different ways of getting to 'know' the Lady, to ascertain her 'truth'. The aptness and inadequacy of description, the giving of facts and the detail of imaginings, the insights of perception and the blindness of rhetoric, are all revealed as the story and the thesis unfold. The ways in which a woman can be regarded, spoken of, but never 'truly' represented, is examined. Each chapter focuses upon how, in consecutive paragraphs, Woolf attempts to create a convincing character that can be caught and turned to words. The very difficulties of representation are seen to be written into Woolfs text as the narrative moves from one speculative moment to another. In order to explore the issues raised in the short story I engage with other of Woolfs writings. Using close readings of her work, psychoanalytic concepts, critical writings, Surrealist thought and photographic model, I work to show just how vital are the 'signs' of looking in Woolf's texts.Finally the failures of language are realised as I look at how Woolfs awareness of the complexities and nuances of the visual demonstrates a negative, self-destructive impulse as well as a positive, life-enhancing moment of becoming. Woolfs search for the best words with which to portray the Lady of her story is echoed by my own struggle to find the right words with which to reveal the intricate network of 'looks' that adds yet another dimension to the enigmatic and challenging works of the Lady we know as Virginia Woolf.
24
Koulouris, Lambrotheodoros. „Virginia Woolf : Hellenism, Greekness and loss“. Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413888.
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25
Marie, Caroline. „Virginia Woolf : le roman du spectacle“. Paris 4, 2003. http://www.theses.fr/2003PA040246.
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A l'instar d'Orlando, The Waves, The Years et Between the Acts, les arts du spectacle au début du XXe siècle sont polymorphes et en pleine métamorphose. Cette analyse met en évidence des similitudes entre les romans et les pièces connues de Virginia Woolf. Elle convoque surtout les grandes théories du spectacle qui marquent la modernité pour confronter les stratégies narratives et polémiques mises en œuvre par la romancière à la palette de techniques utilisées par les dramaturges, les scénographes et les cinéastes de son temps. En effet, c'est moins le théâtre que la théâtralité, moins les spectacles que la spectacularité qui fertilisent le roman woolfien. Les traits spectaculaires transférables au genre de la fiction forment au sein des romans un riche réseau sémiotique. Ils font des romans la scène de multiples transformations, un champ d'action et d'expression ainsi qu'un espace de distanciation et de libération. Ils participent à la dimension métanarrative de l'oeuvre woolfienAt the turn of the twentieth century, the performing arts are polymorphous and ever-evolving, just as Virginia Woolf's novels, especially Orlando, The Waves, The Years and Between the Acts. This study highlights similarities between these novels and some plays that Woolf had read or seen. First and foremost, it refers to major modern theatrical theories to compare Woolf's narrative and polemical strategies with those of the playwrights, scenographers and film-makers of her time, whether she knew these conceptions or not. Indeed theatricality and spectacularity, defined as systems of traits that may be transferred to other artistic genres, shape Woolf's fiction more than specific plays. As a web of effective metaphors theatricality and spectacularity partake to the creation of meaning in the novels. They bring about the motives of transformation, action and expressivity while allowing for distanciation and critical awareness
26
Smith, Amy Charlotte. „Powerful mysteries myth and politics in Virginia Woolf /“. Diss., Online access via UMI:, 2007.
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27
Montera, Paola Boisson Claude. „Articulation et implicite étude contrastive des connecteurs logiques /“. Lyon : Université Lumière Lyon 2, 2006. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2006/montera_p.
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28
Hotho-Jackson, Sabine. „Zwischen Tradition und Moderne : Geschichte bei Virginia Woolf /“. Heidelberg : C. Winter, 1990. http://catalogue.bnf.fr/ark:/12148/cb355679021.
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Diss.--Fachbereich Historisch-Philologische Wissenschaften--Göttingen--Georg-August-Universität, 1988/89. Titre de soutenance : Geschichte und ihre Medien zwischen Tradition und Moderne. Darstellung, Substanz und Bedeutung von Geschichte in ausgewählten Texten Virginia Woolfs.
29
Jin, Guanglan. „East meets West : Chinese reception and translation of Virginia Woolf /“. View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3367993.
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Tsang, Ching-man Irene. „Gender and gender roles in Virginia Woolf“. Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B38598747.
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31
Tsang, Ching-man Irene, und 曾靜雯. „Gender and gender roles in Virginia Woolf“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38598747.
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Potts, Gina Marie Vitello. „Nomadic subjects : the writing of Virginia Woolf“. Thesis, Birkbeck (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444550.
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Abbs, Carolyn. „Virginia Woolf: A mosaic of nonverbal arts“. Thesis, Abbs, Carolyn (2001) Virginia Woolf: A mosaic of nonverbal arts. PhD thesis, Murdoch University, 2001. https://researchrepository.murdoch.edu.au/id/eprint/52930/.
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My thesis recognizes Virginia Woolf's writing to be composed of a mosaic of multiple art forms such as painting, film, dance, clothes and textiles accentuating the nonverbal in writing. I argue throughout that the nonverbal was of great importance to Woolf in order to create the subject and the feelings and sensations of corporeality. While the depiction of the subject as opposed to the directly delineated character is part of the modernist project in general, Woolf s feminist agenda is incorporated into her aestheticism and forms her very specific modernism. I regard her writing to be a political creative practice that renders a bodily closeness, a corporeality, that is accrued by the accentuation of multiple senses through writing. In addition, I argue how women as subjects in Woolf's political creative practice are portrayed as movement as opposed to mere spatiality.
This does not mean that the subject does not have a space but rather, that she operates as an unrestricted body and mobile spatiality. Taking into account a certain historicity and Woolf s social milieu, in particular members of the Bloomsbury group, various artistic connections and none the least her sister Vanessa Bell, I suggest that Woolf while remaining faithful to her profession of writing was fascinated with other art forms. She was forever intrigued how nonverbal arts could convey meaning and these traits became part of her experimentation. Painting enables an initial potential spatiality for the subject but a spatiality that can be extended beyond. Simultaneously, there is the experience of viewing a painting in that this is not merely a visual experience but rather, it is involved with other senses; in particular the tactile. The fluidity of cinema causes an emotion of the subject that is mobile while movement is extended by the kinaesthetic qualities of dance to convey the sensuality and rhythm of bodily movement. Clothes and textiles in many ways incorporate the previous art forms but clothes and textiles are especially significant in creating closeness. It seems that via clothes and textiles, and in particular the memory of her mother, Woolf was able to fictionalize memory as perception and re-create the feelings and sensations of closeness of/to the body.
34
Jakubowicz, Karina. „Gardens in the work of Virginia Woolf“. Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10046712/.
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This thesis constitutes the first major study of gardens in the work of the writer, Virginia Woolf. Using a wide range of published and unpublished sources, it considers how this space impacted on her plot, style, form and the presentation of certain themes. It focuses in particular on four of Woolf’s works, The Voyage Out (1915), ‘Kew Gardens’ (1919), Mrs Dalloway (1925) and Between the Acts (1941). By analysing texts that span the length of Woolf’s career, this research also charts her development as a writer in relation to her use of space and landscape. Woolf’s work has already been read within the context of urban locations, and more recently critics have analysed her work in relation to rural environments, but this research attempts to bypass this dichotomy by focusing on a location that exists across urban and rural spheres. In doing so, it generates an innovative perspective on space in Woolf’s writing, one that explores a location not normally associated with literary modernism.
35
Cassigneul, Adèle. „Voir, observer, penser : Virginia Woolf et la photo-cinématographie“. Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20048.
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Partant de l'influence de la photographie victorienne de Julia Margaret Cameron, de la photographie et du cinéma d'avant-garde des années 1920 et de la production photographique de Virginia Woolf elle-même (albums de Monk's House), cette étude pose l'hypothèse que l'écriture de Virginia Woolf s'en inspire pour devenir à la fois photographique et cinématographique, photo-cinématographique. Explorant le texte comme dispositif complexe, nous analysons la plasticité de sa prose à travers motifs et stratégies de représentation afin de voir dans quelle mesure photographie et cinéma réforment et reforment le texte woolfien, dans ses modalités formelles et esthétiques, ainsi que dans sa portée éthique et politique. Après avoir replacé l'œuvre dans son contexte moderniste et souligné l'importance du rôle joué par la Hogarth Press, qui permet à l'écrivaine d'intégrer des images en texte, nous mettons en évidence le cinématisme de ses œuvres à travers l'exploration photo-filmique de la ville moderne et la structuration en montage du flux de conscience. Nous considérons ensuite le battement anachronique des fluctuations temporelles qui structurent l'œuvre dans ses phénomènes mémoriels de hantise et de survivance, l'image faisant retour en texte dans une durée contractée (instantané) ou dilatée (défilé d'images), à la fois personnelle et intime, collective et historique. Nous envisageons enfin le texte comme un espace de négociation subversif où l'image permet à l'auteure de prendre position "poéthiquement", alors que sont mis en scène des personnages atypiques à l'identité inassignableThis study contends that Virginia Woolf's writing draws its inspiration from Julia Margaret Cameron's Victorian photographs, the 1920s avant-garde photography and cinema, and Woolf's own Monk's House Albums, making her work at once photographic and cinematographic, or photo-cinematographic. Exploring the Woolfian text as a complex representation device, I examine the plasticity of its prose and narrative strategies to show how photography and cinema help to shape its aesthetic, but also ethical and political contents. This thesis first places Woolf's works in their modernist context and underlines the part played by the Hogarth Press, enabling Woolf to include images in her texts. I then shed light on the kinematic aspect of her work by analysing the photo-filmic exploration of the London scene and the montage of stream of consciousness. The third part probes into the anachronic rhythm of fluctuating time, emphasising the haunting aspects of memory through surviving images that condense their temporality in the instant (snapshot) or unroll it (streaming images) ; thus time achieves a personal and intimate, but also collective and historical dimension. Finally, I look at the Woolfian text as a subversive place of negotiation inhabited by eccentric characters with elusive identities and in which images help the author to make a "poethical" stand
36
Pillière, Linda. „Etude linguistique de quelques propriétés du style de Virginia Woolf“. Paris 4, 1997. http://www.theses.fr/1997PA040329.
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Le but de cette thèse est d'étudier le style de Virginia Woolf d'un point de vue linguistique et d'expliquer comment divers effets de style peuvent coexister chez le même auteur. A partir d'une sélection de citations trouvées chez les critiques littéraires et de ce que dit l'auteur, deux termes se dégagent : la fluidité et la fragmentation. Après avoir analysé ces deux termes, nous procédons à une étude approfondie de trois extraits des romans de Virginia Woolf : un extrait de "Jacob's room" où l'effet semble plutôt "fragmenté", un extrait de "Mrs Dalloway" (exemple du style "fluide") et un extrait de "The years" où les deux effets coexistent. Il ressort de nos analyses que certains procédés langagiers sont communs aux trois textes que nous regroupons en conclusion de cette partie. Ensuite, nous entreprenons une analyse plus fine des marqueurs grammaticaux et élargissons notre étude en comparant nos résultats avec la technique romanesque de Virginia Woolf dans d'autres romans. Nous examinons la notion de récit et comment Woolf brise la linéarité du récit par l'absence de séquence, la rupture et l'inversion, dans son désir de rendre compte de la complexité du réel. Les annexes offrent d'autres exemples de ces procédés. En conclusion, nous constatons que la remise en question de la linéarité, loin de détruire tous les liens, permet à l'auteur de tisser d'autres relations et notamment des relations paradigmatiques. De même, si les termes de fluidité et de fragmentation s'appliquent bien à des passages isoles, ils n'offrent qu'une vision partielle du style woolfien, l'effet global étant une interaction des divers éléments qui se modifient au fur et à mesure que le texte avanceThis thesis aims to present a lexicogrammatical study of Virginia Woolf’s style, and to explain how apparently contradictory stylistic effects can coexist in an author's work. A survey of Woolf’s critics, and comments made by the author herself, reveal that two terms are often applied to her style : fluidity and fragmentation. After analysing these two concepts we undertake a detailed analysis of three extracts from her novels. The extract from "Jacob's room" offers an illustration of her fragmented style, the passage from "Mrs Dalloway" is an example of her fluid style and the one from "The years" illustrates the coexistence of both effects. The stylistic traits common to all three texts are studied in the third chapter, as is the predominant role of repetition. The final chapter offers a closer study of certain lexicogrammatical items present in the three extracts and other novels by Virginia Woolf. The concept of narrative and the methods used by Woolf to break the linear sequence of narrative are examined. The absence of sequence, both temporal and causal, the rupture of sequence and the inversion of sequence are each studied in turn, and the various lexicogrammatical elements pertaining to them. Other examples feature in a table at the end of the thesis. From this analysis we realise that breaking textual linearity does not necessarily lead to all cohesive ties disappearing. On the contrary, other ties and links appear within the text, notably paradigmatic relations. We conclude that an overall stylistic effect is a combination of different elements interacting and modifying each other and, while fragmentation or fluidity may exist within a passage studied in isolation, within the larger framework of Woolf's works the effect may be very different
37
Filho, Lindberg S. Campos. „Estética modernista e patriarcado capitalista: um estudo sobre Orlando de Virginia Woolf“. Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-17102017-150721/.
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O objetivo principal desta dissertação de mestrado é uma leitura do romance Orlando: A biography (1928) de Virginia Woolf a partir do levantamento de uma hipótese interpretativa do processo de construção do romance. Basicamente, procura-se investigar como acontece a seleção, organização e articulação dos materiais sociais e estéticos envolvidos na sua produção de modo a reconstruir momentos-chave da obra, bem como a propor códigos interpretativos. No primeiro capítulo há uma análise dos dispositivos formais que constituem a narração com intuito de revelar os conteúdos sócio-históricos que eles carregam. Já no capítulo dois identifica-se na dialética entre forma e conteúdo do romance duas formações ideológicas antagônicas: a figuração do patriarcado capitalista que organiza a experiência coletiva de maneira autoritária e da estética da modernização cultural que emerge em oposição à primeira. As considerações finais retomam os principais pontos trabalhados nos capítulos anteriores e propõem que o projeto de Woolf tematiza a amplitude da interioridade com o intuito de gerar uma compensação simbólica para crescente desumanização da vida no período entreguerras. Identifica-se, assim, ao menos duas linhas de força da narrativa modernista: uma que aposta na subjetivação e outra na objetivação do processo artístico. Esta dissertação propõe que Woolf se filia à primeira linhagem.The central objective of this dissertation is a reading of the novel Orlando: A biography (1928) by Virginia Woolf from an interpretative hypothesis of its construction process. Basically, it seeks to investigate how the selection, organisation and articulation of the social and aesthetic materials involved in its production takes place, in a such a way that it is possible to reconstruct the work\'s key moments as well as to propose interpretative codes. In the first chapter there is an extensive analysis of the formal devices that constitute the narrative; in chapter two it is identified in the novel\'s dialectics of form and content two antagonist ideological formations: the figuration of capitalist patriarchy which organises colective experience in an authoritarian way and the aesthetic of cultural modernisation that rises in opposition to the former. Finally, in the conclusion, all the main points discussed in the previous chapters are summarized and it proposes that Woolf\'s project thematizes the human interiority\'s amplitude in order to create a symbolic compensation for the increasing dehumanization of social life in the interwar period. Thus, we identify two modernist paths: one that places centrality on subjectivization and another on objectivization of the artistic process. This dissertation supposes that Woolf belongs to the first lineage.
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Johansen-Halsaunet, Rikke. „Androgynitet og bevissthetsstrøm : Virginia Woolfs Mrs Dalloway og Orlando fra roman til film“. Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26540.
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Denne oppgaven er en tekst- og adaptasjonsanalyse av to romaner av Virginia Woolf, Mrs Dalloway og Orlando, med vekt på transformasjonene fra litterært verk til film. Prosjektet undersøker hva som skjer når disse tekstuniversene blir transponert til kunstneriske billed/lyd-utrykk, og gjør med dette en komparativ analyse av romanforelegget i forhold til filmversjonen. Med utgangspunkt i en påstand om at modernistiske verker vanskelig lar seg transponere til andre medier, undersøker oppgaven hvilke grep som er blitt gjort i disse filmatiseringene. Fokuset ligger på å finne ut hvilke filmatiske hovedgrep som er blitt tatt i bruk, for å fremstille Woolfs fiksjonsuniverser. Målet med studien er å undersøke om det oppstår en meningsendring i de filmatiske ekvivalentene til foreleggene. I tillegg blir det gjort tekstanalyser av romanene, som undersøker deres språk, stil, tone og tema. Siden det er verker av Virginia Woolf som blir undersøkt, er det særlig interessant å konsentrere seg om typiske «woolfske» kompositorisk-stilistiske grep. Tekstanalysen av Mrs Dalloway tar for seg Woolfs bruk av «stream of consciousness»-teknikken for å fremstille indre tankemonologer hos karakterene. Dette er også hovedfokuset i filmanalysen, som tar for seg de filmatiske virkemidlene for å fremstille indre tale hos karakterene og hvordan filmen greier å erstatte romanens indre diskurs ved bruk av audio-visuelle virkemidler. I tekstanalysen av Orlando ligger fokuset på tematikken og sjangerkonvensjoner. Romanens ukonvensjonelle forhold til protagonistens kjønn og alder, samt dens tilknytning til Woolfs relasjon med Vita Sackville-West, blir belyst både i tekstanalysen og i filmanalysen. I transponeringen til filmmediet er det interessant og studere hvordan romanens ironi og parodi kommer til utrykk.
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Richter, Yvonne. „A critic in her own right taking Virginia Woolf's literary criticism seriously /“. unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-04162009-164658/.
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Thesis (M.A.)--Georgia State University, 2009.Title from file title page. Randy Malamud, committee chair; Paul Schmidt, Lee Anne Richardson, committee members. Description based on contents viewed Aug. 13, 2009. Includes bibliographical references (p, 91-97).
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Ke, Lingxiang. „Les Lettres de Virginia Woolf comme laboratoire d’écriture“. Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30040/document.
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Cette thèse explore l'esthétique des écrits épistolaires de Woolf. Pour cet auteur, les lettres sont un vaste champ d'expérimentation de ses théories originales d'écriture, un espace où elle peut développer sa propre technique narrative et perfectionner son style moderne. Les lettres sont aussi un espace qui lui permet de trouver sa voix et sa position en tant qu'auteur ainsi que son moi. Dans les six volumes de lettres privées de Woolf, nous explorons d'abord la façon dont elles décrivent la vie quotidienne, riche et intense, de l'auteur. A travers des échanges fréquents avec ses destinataires, Woolf redéfinit le genre épistolaire. En dehors de leur fonction informative, les lettres offrent des descriptions artistiques de la vie et des gens qui sont composées d'une manière particulière, souvent irriguées par d'autres arts (peinture, cinéma, musique ou théâtre). Cette forme de représentation transforme le plus privé des genres en un genre public, dialogique et intermédial. L'intimité et le désir de se protéger en même temps que de s'exposer incitent Woolf à développer ce qu'elle nomme un style de « transparence centrale », méthode de représentation ou de suggestion qui lui permet d'exprimer l'émotion et de se représenterThis dissertation means to explore the aesthetics of Woolf's epistolary writing. For Woolf, letters become a vast field, a free space for experimenting her original theories of writing, developing her unique techniques and perfecting her style of modern writing. They also provide a space for finding her authorial voice, position and self. Delving into the six volumes of Woolf's private letters, we first explore how they depict the author's daily life, its wealth and intensity. Through her exchanges with her numerous addressees, Woolf redefines the epistolary genre: apart from their informative function, letters offer artistic descriptions of life and people, which are composed by Woolf in a specific manner, often fuelled by various other arts—painting, cinema, music, or drama. Such a representation transforms the most private epistolary genre into a public, dialogical and inter-medial genre. Intimacy and self-protectiveness, together with a desire for self-exposure stimulate Woolf to develop a style of “central transparency”—her figurative or suggestive method that enables her to express emotion and represent herself
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Félix, Claude-Alain. „Une étude sur la personnalité de Virginia Woolf“. Montpellier 1, 1993. http://www.theses.fr/1993MON11169.
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MOSTFA, MOHAMED ALI. „Temps et personne dans les vagues de virginia woolf“. Lyon 2, 1994. http://www.theses.fr/1994LYO20019.
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Le but de cette these, intitulee temps et personne dans les vagues de virginia woolf, est de proposer une lecture a ce texte a partir de quelques reflexions linguistiques. Ainsi comme le titre le suggere la premiere partie de ce travail se donne comme champ d'analyse les temps verbaux et leur repartitions dans le texte. Les analyses dans cette partie nous ont conduit a degager l'ensemble des relations qu'entretiennent ce que j'ai appele interludes at chapitres dans les vagues sur le plan temporel. La deuxieme partie traite les pronoms personnels "je" et "tu" dans les "chapitres". Cette etude nous a permis de reflechir sur les differents rapport qui existent entre les acteurs d'une part et les acteurs et leurs enoncesThe aim of this thesis intitled tense and person in the waves of virginia woolf, is to propose an other way of reading to the text in the light of linguistics reflextions. The first part studies the use of the tenses and their distribution in the text. The analysis in this part helped us to distangle the differents relations that exist between what i called interludes and chapters on temporal level. The second part focuses on the use of personal pronouns i and you in the "chapters". This study leads us to think about the differents relations that take place between the characters on the one hand, and the characters and their statements on the other
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Mraz, David Michael. „Reading masculinity in Virginia Woolf''s The waves“. Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1260994491.
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Thesis (M.A.)--Cleveland State University, 2009.Abstract. Title from PDF t.p. (viewed on Dec. 18, 2009). Includes bibliographical references (p. 53-54). Available online via the OhioLINK ETD Center and also available in print.
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Totev, Stela Kostova. „Variation on motherhood in Woolf, Lawrence, and Joyce“. Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6445.
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Woolf, Lawrence, and Joyce all have a deep interest in the problem of the mother, and especially in the problem of the mother figured as a problem of the self. The main focus of their work is the identity of the self and how problematic it is to find or preserve that identity. In this quest, they raise some of the general concerns of modernism about origins. Since origins are a major aspect of self-definition, here is where the problem of motherhood begins. This thesis explores the mother figure as seen through the psychoanalytical lens of Freud. By using such Freudian concepts as narcissism, melancholy, and the death instinct, it focuses on the mother figure as she relates to the child or child figures, to the world, and to her own function as a mother and shows how Woolf, Lawrence, and Joyce cooperate with Freud in defining for mothers a central role in the modern self's investigations of its origins. For Woolf, Lawrence, and Joyce, the mother figure is something other than a specific person. Although the actual mother in the novels I study is physically out of reach, she is still present as a psychological projection of the self, so that even though the self can grow out of its biological need for the mother, it is impossible to grow out of the epistemological need for her. Thus, my analyses of the mother figure are concerned with what the mother is not, or should not be---since inheritance, history, and identity can emerge only if there is something beyond the mother as a specific person, some continuity leading from the mother outward to what is beyond her. And it is precisely this function of continuity, rather than the individual physical experience of having a child, that I define as motherhood proper. All three authors investigate the relationship of a specific female human being to motherhood, and the degree to which the mother as a concrete human being is more, less, or other than motherhood, as well as the ways in which motherhood is something more than the individual. The mother figure is ontologically dead/unavailable as origin for Woolf, physically dead/sexually unavailable for Lawrence, and historically dead/unavailable as inheritance for Joyce. For Woolf, there are doubts that the mother ever existed in the past (lack of continuity); for Lawrence, that she exists in the present (lack of contemporaneity); and for Joyce, that she will be reincarnated in the future (lack of chronology). But in all three of them, motherhood emerges as problematic and ambivalent, and, if its status and authority are restored, it is only through the struggle and growth of the individual self.
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Eriksson, Charlotte. „Katherine Mansfield och Virginia Woolf : Masker och självidentiteter“. Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44885.
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This paper investigates the relationship between the two modernist writers Katherine Mansfield and Virginia Woolf. The two authors had a frail and complicated friendship that influenced their fiction and fictional characters more than the general public knows. My paper investigates how Woolf can have found her fictional story ideas direct from their friendship. With a comparative theory I’m finding and giving examples of how their friendship is reflected in their fictional stories, and I’m backing up my examples with citations from their own diaries, letters and notebooks. Another important part in my paper is the theme of masks and multiple identities. The two authors both expressed the need to hide behind different masks in order to please the society and their surroundings. This feeling, and this theme of multi pleidentities, also shines through in their fiction, and I will exemplify it with parts from their novels and short stories, and also develop my own thoughts on why they felt the need to use these false masks.
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Hargreaves, Tracy. „Virginia Woolf and twentieth century narratives of androgyny“. Thesis, Queen Mary, University of London, 1994. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1444.
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This historically contextualised work investigates Virginia Woolf's often contested theory of the androgynous writing mind. The work draws on early twentieth century discourses prevalent within sexology and psychoanalysis as a means of investigating Woolf's work. This is offset against readings of recent theorizations of sex and gender which accentuate the limitations of the conceptual schema used by early twentieth century theorists. Since her writing life was framed by two world wars (between publication of The Voyage Out in 1915 and the posthumous publication of her last novel, Between the Acts in 1941) much of this work analyses modernist literature, particularly women's writing, in relation to ideologies that sought both to privilege and to denigrate war-time constructions of masculinity and male sexuality. I argue that androgyny was introduced as a metaphor for writing in A Room of One's Own as a way of controlling militant feminism and male sexuality. At the same time that it sought conservatively to suppress sexual politics in writing, it was itself an autoerotic figure, based upon mythological and psycho-sexual discourses that either transcended the political dynamics of the time, or relied upon rhetorical constructions then associated with the unconscious. As Woolf constantly negotiates between embracing and wishing to escape from the various implications of sexual difference, this work traces the relationship that Woolf establishes between patriarchal society, women's sexuality and pre-war and post-war constructions of gender. These constructions are always, for Woolf, intrinsically bound up in her writing praxis, which I trace through her unpublished, extant manuscripts. I argue that because Woolf never abandoned the trope that she had invented for symbolising writing and the subjectivity of the writer, her writing, as it engaged with the encroaching political dynamics of the 1930s became increasingly more arcane. Although she believed that art could somehow transcend the political debates during the 1930s, her reluctance to abandon the once auto-erotic figure that she had developed in the 1920s figured what she began to call "mental chastity. " Woolf's retort to politics was, finally, to eclipse history and go back to the beginning, to the primeval and pre-history. This dissertation engages with the mythical, psychoanalytic, cultural and sexual dynamics of Woolf's work and her context.
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Tippin, Robert Eric. „Playing modern : essaying, 1880-1920, Wilde, Chesterton, Woolf“. Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290416.
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Between 1880 and 1920, both urban England and essays published in urban England underwent seismic shifts and splits, as population grew, education and technology advanced, and periodical publishing expanded. The city grew both larger in size and smaller in units of comprehensibility, and many of its people were (or were perceived by certain thinkers to be) less free and more instrumental. The periodical essay too grew more common and, at the same time, smaller in size, less free, and more instrumental, as it developed closer ties with journalism, with the industrial city, and with readers of all classes. By an examination of various forms of essaying in the period, this thesis argues that the essay's transitions parallel modernity's transitions, not only because the essay reflects or enacts or follows trends in modernity, but also because modernity at the time was conditioned by the essay's way of thinking through its form and cannot be fully understood without reference to the activities of the urban periodical essay at the time. The essay between 1880 and 1920 was a highly social genre, and this sociability manifested in a number of ways this thesis will explore. Its periodical context allowed it a ritual, patterning relationship with its readers; its brevity and limitations pushed it into dialectical, double-glancing modes of thought that complemented its fragmented setting; its tendency to direct attention away from its own form gave it a unique, constitutive role in literary modernisms; its material connections to new technologies implicated it in new doubts concerning urban modernity, and its massed readership embroiled it in fears over anti- or a-intellectual over-simplification. This thesis tells the stories of the periodical essay, in London, as an actor in modernity's transitions, by examining four concepts central to both the essay and to emergent modernity: play, the trick, doubt, and wisdom. These concepts are treated, primarily, through the work of three writers-Oscar Wilde, G. K. Chesterton, and Virginia Woolf-all of whom, in their styling of the essay, embody different moments and essayistic registers in the transitions of modernity and reveal the cross-fertilising relationship between essaying and what is meant by 'the modern'.
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Walczyk, Kayla. „Melancholy Aesthetics:: Experiencing Loss in Woolf and Duras“. Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:107892.
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Thesis advisor: Kevin OhiThesis advisor: Kayla Walczyk
Fiction, in that it need not position itself at a safe distance from melancholia in order to point at with a theoretical probe, presents a more accurate vision of the melancholic structure. Instead of simply describing and defining melancholia, fiction can inhabit the space of the pathology. In this way, it can perform the consuming and debilitating suffering that ensues after the experience of an inexpressible loss. In doing so, it can force the reader to experience in the act of reading what it would be like to meet melancholia in all its disturbing allure and destructive capacities. Certain fictional representations of loss, in the way they pull their readers into a melancholic vortex, profoundly enact the difficulties that result in this encounter. The capacity of fiction to render the melancholic structure in all its complexity is evident in Marguerite Duras’ The Ravishing of Lol Stein and in Virginia Woolf’s To the Lighthouse. In the way these texts perform the dynamics of the melancholic structure, they push beyond the precipice of where scientific language is forced to stop. This reading of The Ravishing of Lol Stein and To the Lighthouse is not an attempt to psychoanalyze fictional characters or the authors who created them; such a study is highly speculative and relatively unproductive. It is an attempt to recognize how melancholy seems to be functioning in and performed by these texts, and in this interpretive schema, recognizing how fiction can do what theory cannot
Thesis (BA) — Boston College, 2018
Submitted to: Boston College. College of Arts and Sciences
Discipline: Departmental Honors
Discipline: English
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Owen, Meirion. „Arnold Bennett, Virginia Woolf : fiction, form and experiment“. Thesis, Keele University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536749.
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Boisset, Pestourie Marie-Claire. „L'écriture du silence dans l'oeuvre de Virginia Woolf“. Lyon 2, 1998. http://www.theses.fr/1998LYO20002.
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Il y a une ecriture du silence dans l'oeuvre de virginia woolf : on en trouve des traces tres marquantes dans toute la fiction, du debut a la fin, a tous les stades de sa composition, mais aussi, declinee de diverses manieres, dans les lettres, le journal, et jusque dans les ecrits journalistiques. Loin d'etre un simple theme, le silence est partie prenante du travail de l'ecriture (la fiction servant ici de point focal) : respiration, inspiration, scansion, pause, coupure ou interruption, plein ou vide, il fait partie integrante de la dimension esthetique de cette ecriture. Glorifie, le silence peut revetir une aura de mystere, une dimension metaphysique toute paradoxale chez un auteur repute (et parfois meme auto proclamee) athee. S'il n'est guere possible de parler de mysticisme au sens le plus conventionnel du terme chez woolf, l'idee d'une ecriture "mystique", ou plus precisement negative (au sens ou l'on parle, comme en photographie, de philosophie ou de theologie "negative") s'impose a la lecture de plus d'un texte. La ou les mots, quelle que soit leur force, ne rencontrent que defaite, l'ecriture contourne la diffuculte en montrant de facon indirecte ce qu'elle veut faire sentir, absence, blanc et vide servant alors de revelateur (ou de faire valoir) pour faire signe quand meme, en direction de ce qui constitue la charpente meme du monde, presence (being) qui surgit parfois dans un moment miracle. L'ecriture woolfienne s'interesse par predilection a tout ce qui reste par essence hors de portee du langage ordinaire, "etre" quasi innommable (et auquel d'autres donneraient peut-etre le nom de dieu), mais surtout esprit de realite et de vie (c'est-a-dire aussi la mort). L'ecriture du silence derive d'un desir visceral de dire la verite sur les choses (de l'amour et du corps, aussi), les divers obstacles a la mise en oeuvre de ce geste grandiose et brillant, tout a fait desespere mais toujours vivant, se traduisent par une infinite d'effets sur un tissu de silenceThere is a texture of silence in virginia woolf's writing, not only in her "novels", from the beginning to the end and at all stages of their composition, but also in a variety of ways in her letters, diaries and essays. Far from being merely a theme, silence is an operative part of the writing (the fiction being at the centre of our analysis), in that it provides it with breathing, inspiration, rhythmical patterns, pauses, breaks and interruptions, whether full to the brim or empty at the core : it plays a crucial role in the aesthetic outlook of the texts. Some of them have a veritable aura of mystery, a luminous indication of the peculiar metaphysical dimension of the work of an author well-known, and even self-proclaimed, as an atheist. Even though the term "mysticism" in the traditional sense seems little relevant to her texts, it still remains that in many respects her writing works negatively (i. E. , by reference to the sense used in the field of photography, with the same implications as for negative theology or philosophy) : where words cannot go, however strong they may be, this writing shows indirectly what cannot be said straightforwardly. The emptiness of silence or blanks thus serve as an agent of revelation, pointing out towards the "scaffolding" of the world, a presence (or being) which surges out of the surface level of the text in a miracle moment (or moment of being). Paradoxically, woolf's writing is devoted to what is intrinsically beyond its reach, whether it be uneasily addressed as unnameable "being" (where other writers would speak of god), or else as the spirit of reality or life itself (which also includes death). Woolf's writing derives from an ingrained desire to tell the ultimate truth (about love, about sexuality and the body too), the various obstacles to the production of this work of a genius, utterly desperate yet wholly alive at the same time, all contribute to the making of a brilliant, infinitely diverse writing of silence