Dissertations / Theses on the topic 'Orlando (Woolf, Virginia)'
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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.
Full textVila, Nova de Moraes Hazin Marli. "Aspectos do duplo em Orlando de Virginia Woolf e em Orlanda de Jacqueline Harpman." Universidade Federal de Pernambuco, 2003. https://repositorio.ufpe.br/handle/123456789/7652.
Full textThis study presents a comparative analysis between Virginia Woolf s Orlando and Jacqueline Harpman s Orlanda. It takes as a starting point the fact that Harpman houses Woolf s novel inside her own text and plays overtly with parody, citation, allusion, and mise en abyme, techniques which had already been used by Woolf. The analysis points out the way Harpman transcontextualizes the structural elements in Woolf s novel and reexamines questions that had been raised by Woolf almost seventy years ago. This research goes beyond the technical features to demonstrate that the heart of the matter may reside in human being s eagerness to be accepted as a multiple self, what leads the analysis into studying the mythical representations of the double. After demonstrating the way Harpman transcontextualizes the key elements in Woolf s novel, the analysis follows the itinerary of the double in both narratives, focusing primarily on Narcissus and the Androgyne and secondarily on other mythical figures like Apollo and Daphne
Hastings, Sarah. "Sex, gender, and androgyny in Virginia Woolf's mock-biographies "Friendships Gallery" and Orlando." Cleveland, Ohio : Cleveland State University, 2008.
Find full textAbstract. 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.
Fajardo, Sônia Maria Costa. "Orlando, de Virginia Woolf: desconstruindo as fronteiras de gênero." Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/4221.
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Esta dissertação de mestrado busca refletir sobre a importância da interface entre os Estudos Literários e os Estudos de Gênero, a partir da análise de Orlando, uma biografia, de Virginia Woolf, cujo personagem principal, Orlando, desafia as fronteiras entre o masculino e o feminino, ao passar por uma transformação sexual, de forma natural. O enredo dessa biografia ficcional permite traçar pontos de interseção entre as considerações sobre androginia, não-linearidade, flexibilidade e mutabilidade dos sexos promovidas por Woolf. Para a análise da proposta inusitada de Woolf, que constrói a metamorfose de Orlando, foram utilizados os estudos de Um teto todo seu (2014), de Virginia Woolf, e A crítica feminista no território selvagem, de Elaine Showalter (1994). Para a realização da congruência de Orlando, uma biografia, com os Estudos de Gênero, tornou-se essencial a compreensão dos conceitos elaborados por Simone de Beauvoir, em O segundo sexo, v. 2: a experiência vivida, (1967); Joan Scott, em Gênero: uma categoria útil de análise histórica (1995) e Judith Butler, em Problemas de gênero: feminismo e subversão da identidade (2003). A flexibilidade e as variações de gênero suscitadas por Woolf contrapõem-se aos rígidos conceitos construídos para o masculino e para o feminino, assim como a característica inalterável da sexualidade. Em 1928, com Orlando, uma biografia, Virginia Woolf antecipou a questão de gênero, tão atual e pertinente na busca do respeito às liberdades e na extinção dos formatos preestabelecidos que insistem em determinar o comportamento mais intrínseco dos indivíduos.
This present Master's Thesis aims to reflect upon the importance of the correlation between Literary Studies and Gender Studies, based on the analysis of Orlando, a biography, by Virginia Woolf, in which the main character, Orlando, defies the borders between male and female, when transforming himself sexually, in a natural way. The plot of the fictional biography allows to trace intersection points concerning androgyny, non-linearity, flexibility and changeability of gender, created by Woolf. For the analysis of Woolf's unusual proposal, which constructs Orlando's metamorphosis, the following studies were used: A room of One's Own (2014), by Virginia Woolf, and Criticism and the Wilderness (1994), by Elaine Showalter. To accomplish the congruency of Orlando, a biography, with Gender Studies, it is essential to comprehend the concepts proposed by Simone de Beauvoir, in The Second Sex, v. 2: a living experience, (1967); Jon Scott, in Gender: a useful category of Historical Analysis (1995) and Judith Butler, in Gender Problems: Feminism and Subversion of Identity (2003). The flexibility and gender variations expressed by Woolf contrast with the strict concepts once built concerning male and female, as well as the unchangeable characteristic of the sexuality. In 1928, with Orlando, a biography, Virginia Woolf anticipated the gender issue, so recent and pertinent in the search for respect to the liberty and the extinction of the preestablished forms that insist on determining the most inherent behaviour of the individuals.
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/.
Full textThe 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.
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.
Full textBlomdahl, Alexandra. "Virginia Woolf's Orlando and the Feminist Reader : Feminist Reader Response Theory in Orlando: a Biography." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-32476.
Full textCastle, Jacob C. "Virginia Woolf’s Fictional Biographies, Orlando and Flush, as Prefigures of Postmodernism." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3158.
Full textJones, Joanna Medlin. "Challenging Gender Roles in Wilkie Collins?s The Woman in White and Virginia Woolf?s Orlando." NCSU, 2005. http://www.lib.ncsu.edu/theses/available/etd-07082005-094556/.
Full textPinto, Fernando Bruno da Silva Beleza Correia, and Ana Luísa Amaral. "Passing between : problemáticas da identidade em Orlando de Virginia Woolf e na adaptação de Sally Potter." Master's thesis, Porto : [Edição do Autor], 2009. http://hdl.handle.net/10216/20357.
Full textPinto, Fernando Bruno da Silva Beleza Correia, and Ana Luísa Amaral. "Passing between : problemáticas da identidade em Orlando de Virginia Woolf e na adaptação de Sally Potter." Dissertação, Porto : [Edição do Autor], 2009. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000196412.
Full textHastings, Sarah. "Sex, Gender, and Androgyny in Virginia Woolf’s Mock-Biographies “Friendships Gallery” and Orlando." Cleveland State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1232075301.
Full textGallagher, Maureen. "Thinking Back through Our Fathers: Woolf Reading Shakespeare in Orlando and a Room of One's Own." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-07112008-152735/.
Full textTitle from file title page. Randy Malamud, committee chair; Meg Harper, Paul Schmidt, committee members. Electronic text (61 p.) : digital, PDF file. Description based on contents viewed Oct. 3, 2008. Includes bibliographical references (p. 58-61).
Gohn, Merritt. "Kept at a Distance: The Role of the Intrusive Narrator in Virginia Woolf's Critique of the Portrayal of the Character in the Novel." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1179.
Full textBarros, Francisco Rafael Silva. "Orlando e a tradução da personagem para as telas." www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/8085.
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The following study analyses the translation of the novel/biography Orlando (1928), by Virginia Woolf, to its homonymous film adaptation in 1993, directed by Sally Potter. Orlando tells the story of an English nobleman who owns the gift of literary writing and lives for more than three hundred years, changing his sex, from male to female. The focus of our research is the translation of the main character, Orlando, from novel to film: we outlined some aspects of his/her personality to understand him/her actions throughout the novel/biography, and also considered some external aspects that complement or are part of his/her construction. Then, we submit the film character to the same process, to compare both. In order to do so, we started from a prior historical contextualization of the objects and their contexts of production. Our research is based on Itamar Even-Zohar’s polysystem theory (1978), the concept of translation as rewriting, by Andre Lefevere (2007), Antonio Candido’s study of the fictional character (2007), and Jacques Aumont’s studies about the aesthetics of cinema (1995). We do not intend to evaluate any of the objects (novel and movie), or to say that one is better than another. However, we aim to demonstrate what was the contribution of the character of the novel/biography to the construction of the film character, and to what extent the film character contributes and influences to the new readers of Woolf’s book. Primarily, we are aware that the construction of the character in the novel/biography is linked to two fundamental points: Vita Sackville-West, to whom the novel is dedicated, and the desire of freedom (intellectual and financial) to the writer, a relevant theme in Woolf’s speeches and writings of that decade. Sally Potter deals with her character’s immortality and freedom desire in a different way: her focus turns into implications of social and post-colonial issues, turning Orlando from an initial British identity to a more universal one. This research is sponsored by Fundação Cearense de Apoio ao Desenvolvimento Científico e Tecnológico – FUNCAP.
O presente trabalho analisa a tradução do romance/biografia Orlando (1928), de Virginia Woolf para as telas, no filme homônimo de 1993, da diretora Sally Potter. Orlando conta a história de um nobre inglês que cultiva o dom da escrita literária, vive por mais de trezentos anos e que sofre uma mudança de sexo, do masculino para o feminino. O foco da nossa pesquisa é a tradução da personagem principal, da literatura para o cinema: delineamos alguns traços de sua personalidade para compreendê-lo dentro do romance/biografia, como também consideramos alguns aspectos externos que o complementam ou fazem parte da sua construção; posteriormente, submetemos a personagem cinematográfica ao mesmo processo a fim de compararmos ambos. Para tal, partimos de uma prévia contextualização histórica dos objetos e de seus contextos de criação. Nossa pesquisa é fundamentada na teoria dos polissistemas de Itamar Even-Zohar (1978), no conceito de tradução como reescritura de André Lefevere (2007), no estudo da personagem de ficção de Antonio Candido (2007) e nos estudos de estética do cinema, de Jacques Aumont (1995). Não pretendemos com esta pesquisa lançar juízo de valor comparativo a nenhuma das obras, muito menos chegar a afirmar que uma é melhor em detrimento da outra. Todavia, almejamos demonstrar qual a contribuição da personagem do romance/biografia na construção da personagem cinematográfica e em que medida esta contribui e influencia na ampliação de novos leitores do livro de Woolf. A priori, compreendemos que a construção da personagem do romance/biografia está ligada a dois pontos fundamentais: Vita Sackville-West, a quem o romance é dedicado, e ao desejo de libertação (intelectual e financeira) da escritora, tema recorrente nas palestras e escritos de Woolf naquela década. Partimos da ideia de que Sally Potter trabalha a imortalidade e o desejo de liberdade de sua personagem de maneira diferente: seu foco se volta para o social e para implicações pós-coloniais, trazendo-a de uma personalidade de identidade britânica para uma mais universal. Esta pesquisa é financiada pela Fundação Cearense de Apoio ao Desenvolvimento Científico e Tecnológico – FUNCAP.
Holman, Crystal Gail. "The Dilemma of Woolf's Androgyny: A Close Look at Androgyny in A Room of One's Own and Orlando." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0719101-133906/restricted/holman0731.pdf.
Full textMichon, René. "Dualités identitaires et littérature spéculaire étude comparée portant sur Orlando de Virginia Woolf, El hablador de Mario Vargas Llosa, L'enfant de sable de Tahar BenJelloun /." Lille : A.N.R.T. Université de Lille III, 1996. http://dds.crl.edu/CRLdelivery.asp?tid=12169.
Full textBeynel, Julie. "Jeux de miroirs et dédoublements dans Sodome et Gomorrhe et Le Temps retrouvé de Marcel Proust, et dans Orlando de Virginia Woolf : modernisme et "baroquisme"." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN050/document.
Full textIn common contexts of wars and scientific revolutions, the representations that melt, and sometimes haunt, the imaginary of writers of the Baroque and early twentieth century are similar. Images of an inverted world, where spaces, beings and moments are reflected, where instability and mutability are laws governing everything, the scenes and scenery of the three works of the corpus replace the harmony of the world that of the Creator, as the Bible describes it.Space, characters, lived time appear through a prism that refers to their double, diffracted, reflected first in the machine of involuntary memory. Reality is then changed into realities, places into impressions of an elsewhere, friends in chimeras, all subject to studies and interpretations constantly reevaluated.In a writing where views accumulate and overlap, Marcel Proust and Virginia Woolf endlessly prolong the impressions, convolutions, arabesques that constantly differ the conclusion of the story, in favor of the spectacle of sensitive events and hero journeys through the strata of lived time.Characters in motion, Orlando and the Narrator run in search of the flesh of time, which they seem to find in their shadow and in the thrill of a moment, according to ecstatic modalities that Bernini or Caravaggio represented in their art respective.Facts of worlds of appearances, of illusions, Sodom and Gomorrah, The Time found or Orlando are not however texts making the apology of the skepticism and the renunciation of a certain form of essence: it is still necessary that it be brilliant and come into the beauty of an image that reflects the coincidence of an ephemeral vision and a poetic creation offered to the times to come
Gulding, Malin. ""Male, Female or Both"? : En Jämförande Analys av hur det Androgyna Påverkar Identiteten och Konsten i Orlando av Virginia Woolf och How to be both av Ali Smith." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74317.
Full textWeber, Minon. ""Do not fade, do not wither, do not grow old" : En adaptionsanalys av tid och rum i Sally Potters Orlando (1992)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-104376.
Full textWilson, Aimee A. "Holding hands with Virginia Woolf a map of Orlando's functional subversion /." View electronic thesis, 2008. http://dl.uncw.edu/etd/2008-1/wilsona/aimeewilson.pdf.
Full textQian-fang, Huang, and 黃千芳. "WOMEN''S TRAVELS IN VIRGINIA WOOLF''S THE VOYAGE OUT AND ORLANDO." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/65105341190541547119.
Full text國立高雄師範大學
英語學系
91
This thesis attempts to explore different perspectives of women’s travels in Virginia Woolf’s The Voyage Out and Orlando. The Voyage Out was Woolf’s first novel, which was published in 1915. It is not only an imaginary but also a female initiation novel. In the novel, Woolf borrows the plot of Marlow’s journey in Heart of Darkness and adapts it into Rachel Vinrace’s growing sexual knowledge in The Voyage Out. In The Voyage Out, Rachel’s quest for marriage and female sexuality leads to her final death. Moreover, Woolf creates an imaginary setting Santa Marina in South America, which allows Rachel Vinrace to explore her repressed sexuality. On the other hand, Woolf projects her personal travel experience into creating Orlando. From her personal record, we know that Woolf went to Turkey. One was in 1910 but she wrote nothing about it. The other was in 1906 when she was twenty-four years old. In Orlando, Constantinople becomes the setting for Orlando’s self exile and sex change. Orlando’s travel to Turkey makes him/her transcend the limited perspective of either pure masculinity or femininity in the masculine society. Therefore, we know the exotic location of Rachel’s journey and Orlando’s sex transformation represent new type of female travels. Chapter One tries to distinguish the difference between male and female travel writings. As we know, a travel has long been a gendered activity, which underlines a difference between men and women. Especially in the colonial contexts, women travelers view travel writings as the records of the individual against social conventions. Because of their marginalized position, they regard their works as individual and feminine, vastly different from the male writers’ expression of their colonial and national attitudes. Chapter Two intends to explore the relation between female travels and masculine imperialism. As a female traveler, Woolf presents perspectives different from those of male traveling. In The Voyage Out, Woolf sets the novel in the colonial context and further investigates the masculine colonial attitude that the westerners exhibit in the process of their exploration of the virgin land. Moreover, Woolf tries to liberate women travelers from the cultural constraint and explore different possibilities for women. Therefore, Rachel’s exploration in The Voyage Out supplies alternative space for women. In Chapter Three, the psychology of female travelers will be analyzed, especially Rachel Vinrace’s in The Voyage Out, as well as the influence of her travel and even her final death. In this novel, Woolf depicts Rachel Vinrace’s travel is journey to a female heart of darkness, which reveals the fearful depths of repressed female sexuality. Therefore, Freudian psychological analyses such as “On Dreams,” “The Uncanny” and “The Ego and the Id” are employed in exploring Rachel Vinrace’s sexual anxiety, dreams and inner desires. Chapter Four focuses on how Woolf depicts women’s sexual and textual travels in Orlando, especially the androgynous Orlando and his/her encounter in the foreign land. In this novel, Orlando’s journey suggests gender crossing and cultural border crossing. Orlando’s transgression of the boundary of sex actually takes place in the Eastern world of Constantinople and his/her androgynous experience liberates his/her different selves from the constraint of masculine history, society and language. In this way, androgyny opens up new possibilities for women and brings different changes in sexual and textual spheres. Chapter Five offers a brief summary of Woolf’s writing features and how she expertly employs them in her masterpieces, The Voyage Out and Orlando.
KRAMELOVÁ, Lucie. "The Concept of Time in Virginia Woolf´s Novels (Orlando, The Waves)." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-187625.
Full textDykstra, Dykerman Katelyn Jane. "“Sex was some forgotten atrophy”: Imagining intersex in Woolf’s Orlando and Faulkner’s Absalom, Absalom!" 2012. http://hdl.handle.net/1993/8474.
Full textOliveira, Lígia Isabel Guerreiro Lopes de. "Travestismos e intertextualidades em Orlando de Virginia Woolf e na obra homónima de Sally Potter." Master's thesis, 2005. http://hdl.handle.net/10400.1/1708.
Full textA presente dissertação pretende dar atenção a uma leitura particularizada de alguns aspectos e conceitos específicos presentes em Orlando de Virginia Woolf bem como do modo como eles são trabalhados na obra fílmica homónima de Sally Potter. O travestismo, usado no sentido literal e no sentido metafórico, será o fio condutor do trabalho. O travestismo será perspectivado como elemento que desafia a ordem simbólica; como terceiro que simultaneamente põe em causa o pensamento binário e a ideia de uma identidade fixa e imanente. Ele actua como proporcionador de um espaço de possibilidade, onde as restrições sociais e culturais podem ser questionadas. O uso metafórico de travestismo estará directamente relacionado com o hibridismo que o romance de Virginia Woolf encerra. Assim sendo, a miscigenação de estilos, de vozes e de discursos existente em Orlando levaram-nos à teoria de Mikhail Bakhtin e de Linda Hutcheon, que, assim, guiarão a nossa leitura quer do objecto literário quer do objecto fílmico. Conceitos como “polifonia”, “plurilinguismo”, “dialogismo” e “intertextualidade” (a palavra de Julia Kristeva para o termo bakhtiniano de “dialogismo”) serão, pois, úteis na análise que pretendemos levar a cabo no texto literário e no texto fílmico, na medida em que ambos estão em diálogo e interacção permanente com outros textos. Outro dos argumentos em que nos baseamos, no decurso do trabalho, é precisamente o carácter reflexivo que o romance e o filme contêm. É este cunho reflexivo que lhes permite re-analisar a literatura e o cinema, ao mesmo tempo que re-vêem o mundo com um olhar renovado e fresco.
Huang, Pei-Wei, and 黃珮瑋. "Virginia Woolf''s New Woman: Rites / Rights of Passage in The Voyage Out and Orlando." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/11334085795613362709.
Full text靜宜大學
英國語文學系研究所
99
The thesis discusses Virginia Woolf’s creation of a new set of rites of passage for British women of her time in her two works, The Voyage Out and Orlando: A Biography. Adopting Sara Mills’ analysis of the effect of the discourses of femininity and colonialism on women travel writers and theories on the patterns of rites of passage, the thesis aims to draw an outline of Woolf’s rites of passage which is to fit her idea of a new woman image. Through the life events of the two protagonists, Rachel Vinrace in The Voyage Out and Orlando in Orlando, Woolf distorts the conventional social rites of passage in British patriarchal society and experiments with new patterns and transitional stages of development. Especially using the themes of transsexualism and transvestism in Orlando, Woolf suggests that her new woman image is to have androgynous characteristics. The androgynous knowledge thus helps the protagonist in Orlando to complete the rites of passage and to become the new woman who ultimately transcends the sex boundaries and female confinements for British women in the early twentieth century Britain. The introduction explains the relationship between Woolf’s two novels and patterns of rites of passage, which also involve the discourses of femininity and colonialism discussed in Sara Mills’ Discourses of Difference: An Analysis of Women’s Travel Writing and Colonialism. The experiences of both protagonists are generally summarized with Van Gennep’s three-part construction of rites of passage, and they show Woolf’s distortion and transgression of traditional passage boundaries as well. Chapter One focuses on the problematic status of the young woman Rachel Vinrace in Woolf’s early work The Voyage Out. Being pressured and confined by the British patriarchal norms, young Rachel as a result fails to accomplish the enlightenment journey to a colonized island and a projected successful return to England with new awareness: that is, her death abruptly ends her completion of the rites of passage. Chapter Two examines Woolf’s treatment of the British masculinity and male superiority represented by the male Orlando. Through a series of certain life crises and satires of the protagonist, Woolf undermines the British male and imperial authority with a severe criticism of patriarchal orthodoxy. However, the male Orlando could also be read as a connection in Woolf’s work between Rachel’s problematic situation and the female Orlando’s return to England. Chapter Three is an analysis of the female Orlando’s breakthrough within the British imperial and patriarchal society. By using her androgynous knowledge, Woolf enables Orlando to have a play at transsexualism as well as transvestism, and to complete the new rites of passage with full rights to transcend gender distinctions. Chapter Four concludes that Woolf’s “new woman” results from her deconstruction of conventional rites of passage and her construction of an idealistic human androgynous state in her characters. And with this image of a new woman, Woolf reviews women’s limitations in British society and seeks the liberation of potential for British women in the early twentieth century.
"Gender identity and androgyny in Shuang shen 雙身 (Dual Bodies), Orlando, A room of one's own and The illusionist." 1999. http://library.cuhk.edu.hk/record=b5890047.
Full textThesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 114-121).
Abstract and appendix in English and Chinese.
by Kung Siu Bing.
Abstract --- p.iii
Acknowledgement --- p.v
Abbreviations used for the four literary works --- p.vi
Chapter Chapter 1 --- Introduction --- p.1
Chapter Chapter 2 --- Femininity and Masculinity --- p.14
Chapter Chapter 3 --- Androgyny --- p.51
Chapter Chapter 4 --- Sex,Gender and Sexual Identity --- p.80
Chapter Chapter 5 --- Multiple Selves --- p.102
Chapter Chapter 6 --- Conclusion --- p.112
Works Cited --- p.114
Appendix I Chinese version of quotations of Shuang Shen --- p.122
Appendix II Table of major characters of Shuang Shen and The Illusionist --- p.126
Taylor, Benjamin. "Waxing Ornamental : Reading a Poetics of Excess in Virginia Woolf’s Orlando and Djuna Barnes’s Nightwood." Thèse, 2015. http://hdl.handle.net/1866/12529.
Full textMy thesis explores a poetics of excess in Virginia Woolf’s Orlando and Djuna Barnes’s Nightwood as a strategy through which the authors combat modernism’s devaluation of women’s writing for being overly ornamental, detailed, and/or artificial. I examine how the critical writings of Ezra Pound, T.S. Eliot, and Wyndham Lewis attempt to reclaim the notion of detail for a masculine-oriented poetic project, and I look at how Austrian architect Adolf Loos’s work condemns ornament as backward and regressive. In treating Orlando and Nightwood directly, I consider the novels’ excessive and ornamental construction of bodies and how these bodies exceed the limits of existing modernist paradigms for representation. I also discuss narration as ornamentation in Orlando and Nightwood and how these novels excessively inscribe history and time. My conclusion proposes a practice of reading excess that rethinks this concept and its potential for producing meaning in modernist texts.
Zheng, Jenq-Nan, and 鄭正男. "The Dynamics/Desire of Moving Subjects/Subjectivities in Female Writing: In the Case Studies of Virginia Woolf''s Orlando and Angela Carter''s The Passion of New Eve." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/fgv6q9.
Full text靜宜大學
英國語文學系研究所
90
In my thesis, I will focus on the works of two female writers, Virginia Woolf and Angela Carter. In the first chapter, I will explain under what concerns that I chose Woolf''s humorous novel, Orlando, and Carter''s grotesque novel, The Passion of New Eve, to undertake the discussions of sex/gender issues,female writers’writing strategies, and the controversies of feminism. In terms of the transformation of literary movements and feminist issues, the two novels are to be compared and contrasted in their specific concerns with female subjectivity. By augmenting the problematic recognition and construction of patriarchal subjectivity, Woolf and Carter have staged the farces of carnivalesque metamorphosis of subjectivity in order to destabilize the prescribed epistemology of masculinity and femininity. In my thesis, I will argue that the moving subject/subjectivity enables the journeyer to experience the dialectics between home-staying and journeying-out, and domesticity and herohood. From the dichotomized sets that typicalize the male and the female,I will problematize the (patriarchal) construction of masculinity and femininity. Along with the act of journey, the politics of moving implements the dynamic potentiality of transforming subjectivities. In Chapter Two, I will explore the possible literary sisterhood writing and how it is thematically performed between the novelsof Virginia Woolf and Angela Carter. In Chapter Three, I aim to undertake the discussions of problematic expectations of sex/gender evolution in the case of Orlando’s shifting and inclusive identities. Via discussing the sex/gender identities of the modernistic Orlando, I will reinvestigate the traditional way sex peremptorily prescribes its counterpart, gender. Then, in Chapter Four, I shall continue the sex/gender debate by presenting the postmodernistic sex/gender theory that terms gender a functional status quo that is able to determine one’s sexuality/sexualities. The sex/gender disputes, as I take on in the light of postmodernism, emphasize the fantastic deconstruction/reconstruction of sexuality and gendered exteriority, leading the quest for subjectivity into a labyrinth. In chapter five, the reconciliation of sex-gender philosophy from different theoretical frameworks and the eradication of camp-competition are my main synthesis in order to offer a tentative solution to the conflict of different sex/gender philosophies. Both writers appear optimistic in developing the female sbjectivity/subjectivities through weaving more female texts.