Zeitschriftenartikel: „Woolf“

1

Abbott, H. Porter. „Character and Modernism: Reading Woolf Writing Woolf“. New Literary History 24, Nr. 2 (1993): 393. http://dx.doi.org/10.2307/469412.

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2

Pinho, Davi. „O CONTO DE VIRGINIA WOOLF – OU FICÇÃO, UMA CASA ASSOMBRADA“. IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, Nr. 2 (04.12.2019): 03–17. http://dx.doi.org/10.34019/1982-0836.2019.v23.29176.

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O presente artigo se debruça sobre o conto “Casa Assombrada”, coletado no único volume de contos que Virginia Woolf publicou em vida, Monday or Tuesday (1921), para investigar de que maneira seus contos intensificam a crise dos gêneros literários que seus romances encenam, por um lado; e para entender como tal crise é análoga à questão política que assombra toda sua obra, por outro lado: o gênero enquanto questão identitária. Em diálogo com a filosofia e com a crítica woolfiana, este estudo articula essa “crise dos gêneros” (gender x genre) e, ao mesmo tempo, produz uma contextualização histórico-cultural dos contos de Virginia Woolf. Palavras-chave: Virginia Woolf. Conto. Gênero literário. Questões de gênero. Referências AGAMBEN, Giorgio. Elogio da profanação. In: AGAMBEN, Giorgio. Profanações. Tradução Selvino Assman. São Paulo: Boitempo, 2007. p. 65-81 BENJAMIN, Walter. Sobre a linguagem em geral e sobre a linguagem humana. In: Linguagem, tradução, literatura. Tradução João Barrento. Belo Horizonte: Autêntica, 2018 [1916]. p. 9-27. BENZEL, Kathryn N.; HOBERMAN, Ruth. Trespassing boundaries: Virginia Woolf’s Short Fiction. New York: Palgrave MacMillan, 2004. BRAIDOTTI, Rosi. Nomadic theory: The portable Rosi Braidotti. New York: Columbia University, 2011. BRIGGS, Julia. Virginia Woolf, an Inner Life. Londres: Harcourt Brace, 2005. CIXOUS, Hélène. First names of no one. In: SELLERS, Susan (org.). The Hélène Cixous Reader. Londres: Routledge, 1994 [1974]. p. 25-35. DELEUZE, Gilles; GUATTARI, Félix. 28 de novembro de 1947 – Como criar para si um corpo sem órgãos?. Tradução Aurélio Guerra Neto. In: DELEUZE, Gilles; GUATTARI, Félix. Mil Platôs. São Paulo: 34, 1996 [1980]. v. 3. p. 11-34. FOUCAULT, Michel. Docile bodies. In: FOUCAULT, Michel; RABINOW, Paul (ed.). The Foucault reader. Toronto: Penguin, 1984a. p. 179-187. FOUCAULT, Michel. The body of the condemned. In: FOUCAULT, Michel; RABINOW, Paul (ed.). The Foucault reader. Toronto: Penguin, 1984b. p. 170-178. GOLDMAN, Jane. Modernism, 1910-1945, Image to apocalypse. Basingstoke: Palgrave Macmillan, 2004. GOLDMAN, Jane. The Cambridge introduction to Virginia Woolf. Cambridge: Cambridge University, 2006. HARRIS, Wendell. Vision and form: the English novel and the emergence of the story. In: MAY, Charles (ed.). The new short story theories. Athens, Ohio: Ohio University, 1994. p. 181-191. KRISTEVA, Julia. Stabat mater. Tradução A. Goldhammer. In: MOI, Toril (ed.). The Kristeva reader. Oxford: Blackwell, 1986 [1977]. p. 160-187. MATTHEWS, Brander. The philosophy of the short-story. Londres: Forgotten, 2015. [1901]. PEREIRA, Lucia Miguel. Dualidade de Virginia Woolf. In: ______. Escritos da maturidade. Rio de Janeiro: Graphia, 2005. [1944] p. 106-110. SELLERS, Susan (ed.). The Cambridge Companion to Virginia Woolf. 2. ed. Cambridge: Cambridge University, 2010. WOOLF, Leonard. Beginning again: an autobiography of the years 1911 to 1918. New York: Harvest, 1975. [1964] WOOLF, Leonard. Editorial Preface. In: WOOLF, Virginia; WOOLF, Leonard (eds.). Granite and rainbow. Londres: Harcourt, 1958. p. 7-8. WOOLF, Leonard. Foreword. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944. p. v-vi. WOOLF, Virginia. A haunted house. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1921]. p. 3-5. WOOLF, Virginia. A room of one’s own & Three guineas. Londres: Oxford University, 1992 [1929] [1938]. WOOLF, Virginia. A sketch of the past. In: WOOLF, Virginia; SCHULKIND, Jeanne (eds.). Moments of being. London: Harcourt Brace, 1985 [1976]. p. 64-159. WOOLF, Virginia. Casa assombrada. In: WOOLF, Virginia. Contos completos. Tradução Leonardo Fróes. São Paulo: Cosac Naify, 2005 [1921]. p. 162-165. WOOLF, Virginia. Granite and rainbow, ed. Leonard Woolf. Londres: Harcourt, 1958. WOOLF, Virginia. Jacob’s room. Oxford: Oxford University, 2008 [1922]. WOOLF, Virginia. Kew gardens. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1919]. p. 28-36. WOOLF, Virginia. Men and women. In: WOOLF, Virginia; BARRETT, Michele (eds.). Women and writing. Londres: Harcourt, 1979 [1920]. p. 64-68. WOOLF, Virginia. Modern fiction. In: WOOLF, Virginia. The common reader: first series. Londres: Vintage, 2003 [1925]. p. 146-154. WOOLF, Virginia. Monday or Tuesday. Londres: The Hogarth, 1921. WOOLF, Virginia. Night and day. ed. Michael Whitworth. Cambridge: Cambridge University, 2018. WOOLF, Virginia. Professions for women. In: WOOLF, Virginia; WOOLF, Leonard (eds.). The death of the moth and other essays. Londres: Harcourt, 1942 [1931]. WOOLF, Virginia. The complete shorter fiction of Virginia Woolf. ed. Susan Dick. Orlando: Harcourt, 2006 [1985]. WOOLF, Virginia. The diary of Virginia Woolf, ed. Anne Olivier Bell, 5 vols. New York: Penguin, 1979-1985 [1977-1984]. WOOLF, Virginia. The letters of Virginia Woolf, ed. Nigel Nicolson, 6 vols. Londres: The Hogarth, 1975-1980. WOOLF, Virginia. The mark on the wall. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1921]. p. 37-47. WOOLF, Virginia. Thoughts on peace in an air raid. In: ______. The death of the moth and other essays, ed. Leonard Woolf. Londres: Harcourt Brace Jovanovich, 1942. [1940] WOOLF, Virginia. The voyage out. Oxford: Oxford University, 2009 [1915]. WOOLF, Virginia. The waves. Oxford: Oxford University, 1992 [1931].

3

Kord, Catherine, und Hermione Lee. „Virginia Woolf“. Antioch Review 56, Nr. 2 (1998): 242. http://dx.doi.org/10.2307/4613689.

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4

Nadel, Ira. „Oriental Woolf“. Affirmations: of the modern 4, Nr. 1 (19.11.2016): 65. http://dx.doi.org/10.57009/am.37.

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5

Schenk, Leslie, und Hermione Lee. „Virginia Woolf“. World Literature Today 71, Nr. 4 (1997): 797. http://dx.doi.org/10.2307/40153385.

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6

London, Bette, Pamela L. Caughie und Patricia Ondek Laurence. „Postmodern Woolf“. NOVEL: A Forum on Fiction 26, Nr. 2 (1993): 237. http://dx.doi.org/10.2307/1345694.

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7

Parke, Catherine N. „Virginia Woolf“. Thought 63, Nr. 4 (1988): 358–77. http://dx.doi.org/10.5840/thought198863427.

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8

Jones, Ellen Carol. „Figuring Woolf“. MFS Modern Fiction Studies 38, Nr. 1 (1992): 1–14. http://dx.doi.org/10.1353/mfs.0.0512.

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9

Browning, B. W. M. W. N. „Jesmond Woolf“. BMJ 350, may11 14 (11.05.2015): h2486. http://dx.doi.org/10.1136/bmj.h2486.

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10

O'Brien, Nanette. „Political Woolf“. Women: A Cultural Review 28, Nr. 1-2 (03.04.2017): 150–54. http://dx.doi.org/10.1080/09574042.2017.1327755.

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11

Costa, Rute. „Woolf Works“. Women: A Cultural Review 28, Nr. 4 (02.10.2017): 420–22. http://dx.doi.org/10.1080/09574042.2017.1388587.

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12

Morgan, Rod. „After Woolf?“ Criminal Justice Matters 14, Nr. 1 (Dezember 1993): 4–5. http://dx.doi.org/10.1080/09627259308552648.

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13

Parker, Julian. „Cry Woolf“. Computer Fraud & Security 2003, Nr. 10 (Oktober 2003): 4–5. http://dx.doi.org/10.1016/s1361-3723(03)10005-x.

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14

Rivkin, Julie, und Jane Marcus. „Virginia Woolf“. Contemporary Literature 26, Nr. 2 (1985): 232. http://dx.doi.org/10.2307/1207936.

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15

Bartkuvienė, Linara. „Russian paradigm in Virginia Woolf’s (non)fiction: reading Dostoevsky“. Literatūra 50, Nr. 5 (01.01.2008): 22. http://dx.doi.org/10.15388/litera.2008.5.7798.

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Šiame pranešime nagrinėjama Dostojevskio kūrybos įtaka V. Woolf kūrybai. Nors Woolf atsargiai vertino Dostojevskio pasirinktą metodą – anot rašytojos, chaotišką, sunkiai valdomą – dostojevskiškasis polifoniškumas, vis dėlto, įvairiomis formomis įsitvirtino Woolf romanuose, pirmiausia suponuodamas naują personažo kūrimo formą, naują požiūrį į veikėją. Dostojevskio ir Woolf meninių pasaulių dialoge tampa akivaizdu, kad nei Dostojevskio, nei Woolf veikėjas nedomina kaip socialinis ar psichofiziologinis tipas ir individualus charakteris, susidedantis iš įvairių bruožų, leidžiančių skaitytojui atsakyti į klausimą, kas ir koks yra veikėjas, kokia jo socialinė padėtis, ir t. t. Woolf veikėjas domina kaip požiūris, t. y. kaip požiūris į pasaulį ir į save. Toks požiūris į veikėją reikalauja ypatingų vaizdavimo metodų. Kaip Dostojevskiui, taip ir Woolf svarbiau paties veikėjo refleksijos, „savimonės funkcija“. Abu rašytojai kiekvieną veikėjo bruožą įveda į jo paties – t. y. veikėjo – akiratį, „sumeta į jo savimonės tiglį“. Be to, tiek Woolf, tiek ir Dostojevskio skaitytojas mato ne pačią veikėjo tikrovę, bet kaip jis tą tikrovę suvokia. Woolf romanuose, kaip ir Dostojevskio kūryboje, veikėjo paveikslas nėra įprastinis „objektinio veikėjo paveikslas“. Dostojevskio ir Woolf veikėjai yra neįprastai savarankiški romano struktūroje, jų balsai „skamba tartum šalia autoriaus žodžio ir savitai santykiauja su juo bei su tokiais pat pilnakraujais kitų veikėjų balsais“. Tačiau būtų neteisinga sakyti, kad Woolf tiesiogiai perėmė Dostojevskio polifoniškumo principą. Woolf buvo kūrėja, estetė; ji jokiais būdais nebuvo imitatorė. Ji buvo inovatorė. Kita vertus, būtų ne visiškai teisinga sakyti ir tai, kad Dostojevskio polifoniškumas nebuvo viena ar kita forma asimiliuotas Woolf meniniame pasaulyje. Manytume, kad Dostojevskis, kuriuo buvo žavimasi ne tik Rusijoje, bet ir Vakarų Europoje bei Amerikoje buvo stiprus užnugaris Woolf literatūriniams eksperimentams.

16

Humm, Maggie. „Virginia Woolf and photography“. Comunicação e Sociedade 32 (29.12.2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.

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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.

17

Ha, Sujeong. „Two Cities Seen by Flâneur and Flâneuse: Benjamins’ Paris and Woolf’s London“. British and American Language and Literature Association of Korea 147 (31.12.2022): 1–20. http://dx.doi.org/10.21297/ballak.2022.147.1.

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This paper explores how Walter Benjamin and Virginia Woolf reflected on metropolitan city life in early modern period as a flâneur and a flâneuse . In Arcades Project, Benjamin attempts to reassemble ‘thought images’ from former century’s historical fragments in Paris streets of the 1920s and the 1930s and make a new literary montage. As a flâneur, he observes the streets flooded with people and the products to get his insights on the consumerism of capitalist production. Virginia Woolf, on the other hand, describes in her essay “Street Haunting: A London Adventure” a flâneuse who comes to intuitively grasp the two faces of the metropolis where wealth and poverty coexist. In “The Docks of London,” she criticizes surging merchandises of New imperialist capitalism which are born and domesticated by relentless human desire. While street walking enables Benjamin to embody thought images, it gets Woolf to feel freedom as an imaginative individual being. Benjamin searches for the meaning of phantasmagoric ‘merchandises’ on Paris street, but Wolf glances deserted ‘lives of people’ veiled with glittering city lights.

18

Humm, Maggie. „Virginia Woolf e a fotografia“. Comunicação e Sociedade 32 (29.12.2017): 375–85. http://dx.doi.org/10.17231/comsoc.32(2017).2767.

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A partir do ano 2000, o volume da análise crítica sobre Woolf e a sua relação com o visual tem quadruplicado. O trabalho de pesquisa sobre uma Woolf fotográfica – que inclui a interação de outros fotógrafos com Woolf, como Gisèle Freund, ou a minha própria análise dos álbuns de fotos pessoais de Woolf e Bell – mostra como estas mais recentes questões de Woolf e da fotografia são agora um tema absolutamente central em qualquer análise dos estudos de Virginia Woolf, adquirindo uma importância notória se considerarmos o aspeto interdisciplinar da fotografia e do género.

19

Nadel, Ira. „The Russian Woolf“. Modernist Cultures 13, Nr. 4 (November 2018): 546–67. http://dx.doi.org/10.3366/mod.2018.0229.

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Virginia Woolf and Russia has been examined but not fully studied. Entirely overlooked has been her response to Russian cinema and dance, particularly the Ballets Russes. This paper addresses that gap through an account of Woolf's response to, and interest in, both Russian film and dance, while also accounting for how she incorporates her admiration of Dostoevsky, Turgenev and other Russian writers into her work. Her study and translations with the Russian Jewish émigré Samuel Koteliansky, a formative influence on her continuing absorption with matters Russian, is also analyzed, as well as the importance of Russian cinematic techniques, notably sound, drawn in part from such Russian directors as V. I. Pudovkin, as well as montage, originating with Lev Kuleshov and Sergei Eisenstein.

20

Towne, Bethany, und Natalya Reinhold. „Woolf across Cultures“. Women's Review of Books 21, Nr. 10/11 (Juli 2004): 28. http://dx.doi.org/10.2307/3880387.

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21

Harker. „Misperceiving Virginia Woolf“. Journal of Modern Literature 34, Nr. 2 (2011): 1. http://dx.doi.org/10.2979/jmodelite.34.2.1.

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22

Hite, Molly, und James King. „Wallowing in Woolf“. Women's Review of Books 13, Nr. 2 (November 1995): 5. http://dx.doi.org/10.2307/4022305.

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23

Mercier, Christophe. „Virginia Woolf romancière“. Commentaire Numéro 138, Nr. 2 (01.06.2012): 590–92. http://dx.doi.org/10.3917/comm.138.0590.

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24

Corner, Paul. „Stuart J. Woolf“. Modern Italy 26, Nr. 3 (August 2021): 243–44. http://dx.doi.org/10.1017/mit.2021.42.

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25

Abel, Elizabeth, und Brenda R. Silver. „Big Bad Woolf“. Women's Review of Books 17, Nr. 7 (April 2000): 6. http://dx.doi.org/10.2307/4023397.

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26

Beja, Morris, und Lyndall Gordon. „Woolf: Another Biography“. NOVEL: A Forum on Fiction 20, Nr. 1 (1986): 88. http://dx.doi.org/10.2307/1345623.

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27

Fowler, Rowena. „Virginia Woolf: Lexicographer“. English Language Notes 39, Nr. 3 (01.03.2002): 54–70. http://dx.doi.org/10.1215/00138282-39.3.54.

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28

Hussey, Mark. „Virginia Woolf (review)“. MFS Modern Fiction Studies 47, Nr. 2 (2001): 504–6. http://dx.doi.org/10.1353/mfs.2001.0030.

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29

Woolf, Lawrence D. „Comments from Woolf“. Physics Teacher 37, Nr. 6 (September 1999): 326–27. http://dx.doi.org/10.1119/1.880301.

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30

ELLMANN, MAUD. „The Woolf Woman“. Critical Quarterly 35, Nr. 3 (September 1993): 86–100. http://dx.doi.org/10.1111/j.1467-8705.1993.tb00490.x.

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31

Matz, J. „Woolf as Translator“. NOVEL A Forum on Fiction 46, Nr. 2 (01.06.2013): 328–31. http://dx.doi.org/10.1215/00295132-2088211.

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32

Price, Kate. „Woolf and science“. Women: A Cultural Review 16, Nr. 1 (Januar 2005): 108–25. http://dx.doi.org/10.1080/09574040500045979.

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33

Humm, M. „Beauty and Woolf“. Feminist Theory 7, Nr. 2 (01.08.2006): 237–54. http://dx.doi.org/10.1177/1464700106064422.

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34

Visel, Robin. „Virginia Woolf Icon“. Women's Studies International Forum 24, Nr. 2 (März 2001): 256–57. http://dx.doi.org/10.1016/s0277-5395(01)00156-x.

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35

VINEN, RICHARD. „Comment on Woolf“. Contemporary European History 12, Nr. 3 (August 2003): 338–41. http://dx.doi.org/10.1017/s0960777303001255.

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I read Professor Woolf's erudite and ambitious article with great interest. The central argument of the piece – that writing a history of Europe is an impossibly complicated, but still worthwhile, enterprise that would involve the interrelation of many different kinds of history – is one that we would probably all accept. I am more more sceptical about three subplots in Woolf's essay.

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White, David, und Patrick Cassan. „Woolf meets Cockerel?“ Liverpool Law Review 19, Nr. 1 (März 1997): 9–28. http://dx.doi.org/10.1007/bf02810628.

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37

Stewart, Jim, und Brenda R. Silver. „Virginia Woolf Icon“. Modern Language Review 97, Nr. 4 (Oktober 2002): 943. http://dx.doi.org/10.2307/3738637.

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38

Black, G. „J H Woolf“. BMJ 351, Nr. 20 7 (20.11.2015): h6098. http://dx.doi.org/10.1136/bmj.h6098.

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39

Weintraub, Stanley. „Who's Afraid of Virginia Woolf? Virginia Woolf and G. B. S.“ SHAW The Annual of Bernard Shaw Studies 21, Nr. 1 (2001): 41–62. http://dx.doi.org/10.1353/shaw.2001.0038.

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40

Lenska, S. V. „Impressionistic poetics of the short stories „Kew Gardens” by W. Woolf and „Intermezzo” by M. Kotsyubynsky“. Bulletin of Luhansk Taras Shevchenko National University, Nr. 3 (341) (2021): 114–24. http://dx.doi.org/10.12958/2227-2844-2021-3(341)-114-124.

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The article compares two examples of modernist short stories of the early twentieth century – „Kew Gardens” by the British writer W. Woolf and „Intermezzo” by the Ukrainian writer M. Kotsyubynsky. Such a comparative study has been carried out for the first time. Most researchers associate Woolfe with „stream of consciousness” literature, but in the short story „Kew Gardens” we see signs of impressionist poetics. “Intermezzo” by M. Kotsiubynsky is traditionally regarded as an example of impressionism. In both texts, the narration is in the first person, there are elements of the „stream of consciousness”; the opposition of social and natural worlds is shown. The narrators in both short stories enjoy the contemplation of nature. The English literary writing contains a fragmentary composition, combining disparate, unrelated episodes. In the Ukrainian text, we observe the internal evolution of the main character-narrator, who is internally reborn in the bosom of nature, filled with new forces. Differences between short stories: Virginia Woolf depicts several visitors to London’s Kew Gardens; Kotsyubinsky creates an autobiographical image of the writer, who is reborn under the influence of nature. In both literary writings, sound, visual, tactile images play an important role, in particular, images of flowers, a snail (W. Woolf), summer fields, the sun, larks, three white shepherd dogs (M. Kotsyubinsky). Both literary writings are examples of the psychological mood of the modernist novella. A comparative analysis of the two texts allows us to compare the Ukrainian literary process with world trends.

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Neves, Caroline Resende, und Nícea Helena de Almeida Nogueira. „VIRGINIA WOOLF E SEU PAPEL COMO CRÍTICA LITERÁRIA“. IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, Nr. 2 (04.12.2019): 28–38. http://dx.doi.org/10.34019/1982-0836.2019.v23.29178.

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Em 2019, Um teto todo seu celebrou seus 90 anos de publicação e Três guinéus foi traduzido e publicado no Brasil pela primeira vez. Esses dois eventos, mais a participação na palestra A room of my own (Um teto todo meu) organizado pelo Durham Book Festival (Festival do Livro de Durham), onde os participantes discutiram os desafios que as escritoras ainda enfrentam nos dias atuais, nos inspirou a publicar o presente artigo, para analisar o papel de Virginia Woolf como crítica e apresentar algumas de suas teorias mais relevantes. Palavras-chave: Virginia Woolf. Autoria feminina. Crítica feminista. Um teto todo seu. Três guinéus. Referências ALMEIDA, Márcia de. Cosima: à procura de um lugar de afirmação da autoria feminina. 2009. Juiz de Fora. Disponível em: http://www.ufjf.br/ppgletras/files/2009/11/COSIMA-%C3%80-PROCURA-DE-UM-LUGAR-DE-AFIRMA%C3%87%C3%83O-DA-AUTORIA-FEMININA-Marcia.pdf. Acesso em: 11 set. 2015. COMPAGNON, Antoine. O demônio da teoria: literatura e senso comum. Tradução Cleonice Paes Barreto Mourão e Consuelo Fortes Santiago. 2. ed. Belo Horizonte: UFMG, 2010. DERRIDA, Jacques. Essa estranha instituição chamada literatura: uma entrevista com Jacques Derrida. Tradução Marileide Dias Esqueda. Belo Horizonte: UFMG, 2014. GILBERT, Sandra M.; GUBAR, Susan. No man’s land: the word of wars. New Haven: Yale University, 1988. v. 1. GOLDMAN, Jane. The Cambridge introduction to Virginia Woolf. Cambridge: Cambridge University, 2008. LEE, Hermione. Virginia Woolf. New York: Vintage Books, 1999. LEHMANN, John. Vidas literárias: Virginia Woolf. Rio de Janeiro: Jorge Zahar, 1989. MARSH, Nicholas. Virginia Woolf: the novels. Basingstoke: Palgrave Macmillan, 1998. MOI, Toril. Introduction: Who’s afraid of Virginia Woolf? Feminist readings of Woolf. In: ______. Sexual/Textual Politics. 2. ed. London: Routledge, 2002. p. 1-18. NEVES, Caroline R. Virginia Woolf e o espaço autobiográfico em Os anos. Orientadora: Nícea Helena Nogueira. 2018. 117 f. Dissertação (Mestrado em Letras: Estudos Literários) – Faculdade de Letras, Universidade Federal de Juiz de Fora, 2018. OLIVEIRA, Maria Aparecida de. A representação feminina na obra de Virginia Woolf: um diálogo entre o projeto político e o estético. Orientadora: Maria Clara Bonetti Paro. 2013. 253 f. Tese (Doutorado em Estudos Literários) – Faculdade de Ciências e Letras, Universidade Estadual Paulista Júlio Mesquita Filho (Unesp), Araraquara, 2013. ROSEMBERG, Molly. Foreword. In: WOOLF, Virginia. A room of my own. London: The Royal Society of Literature, 2019. p. 2-3. SHOWALTER, Elaine. A literature of their own: British women novelists from Brontë to Lessing. Princeton: Princeton University, 1999. SHOWALTER, Elaine. Criticism in the wilderness. Critical Inquiry, Chicago, v. 8, n, 2, p. 179-205, 1981. WOOLF, Virginia. A room of one’s own and Three Guineas. Oxford: Oxford University, 2015. ______. O valor do riso e outros ensaios. Tradução e organização Leonardo Froés. São Paulo: Cosac Naify, 2014. ______. Um teto todo seu. Tradução Vera Ribeiro. Rio de Janeiro: Nova Fronteira, 2004. ______. Women & writing. London: The Women’s Press, 1979.

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Malamud, Randy, und Kathy J. Phillips. „Virginia Woolf against Empire“. South Atlantic Review 60, Nr. 3 (September 1995): 140. http://dx.doi.org/10.2307/3201150.

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Fleming, Bruce. „Woolf Cubs: Current Fiction“. Antioch Review 52, Nr. 4 (1994): 549. http://dx.doi.org/10.2307/4613031.

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Wood, Alice. „Virginia Woolf, Mrs. Dalloway“. Variants, Nr. 12-13 (31.12.2016): 267–70. http://dx.doi.org/10.4000/variants.401.

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Broughton, Panthea Reid, und Eric Warner. „Virginia Woolf: 'The Waves'“. Yearbook of English Studies 20 (1990): 327. http://dx.doi.org/10.2307/3507613.

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Ionescu, Doina. „Virginia Woolf and Astronomy“. Culture and Cosmos 13, Nr. 02 (Oktober 2009): 43–61. http://dx.doi.org/10.46472/cc.0213.0207.

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This paper is a short investigation of the interconnections between the life and work of Virginia Woolf, an outstanding modernist British writer, and a pervasive popular interest in astronomy in the 1920s and 1930s in Britain. The study seeks to explore the roots and development of Virginia Woolf’s passion for astronomy and the way in which some of the popular discourses on astronomy of her epoch are reflected in her writings.

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Hussey, Mark, und Thomas C. Caramagno. „Virginia Woolf and Madness“. PMLA 104, Nr. 1 (Januar 1989): 75. http://dx.doi.org/10.2307/462333.

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Lindley, Arthur, und Sherron E. Knopp. „Virginia Woolf and Sapphism“. PMLA 103, Nr. 5 (Oktober 1988): 812. http://dx.doi.org/10.2307/462520.

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Marcus, Jane, Harold Bloom, Morris Beja, Susan Merrill Squier, Pamela J. Transue, Alex Zwerdling, Lucio P. Ruotolo et al. „Lycanthropy: Woolf Studies Now“. Tulsa Studies in Women's Literature 8, Nr. 1 (1989): 101. http://dx.doi.org/10.2307/463883.

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Woolf, Steven H., und Robert E. Johnson. „WOOLF AND JOHNSON RESPOND“. American Journal of Public Health 95, Nr. 8 (August 2005): 1306—b—1307. http://dx.doi.org/10.2105/ajph.2004.060756.

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