Siga este link para ver outros tipos de publicações sobre o tema: Orlando (Woolf, Virginia).
Teses / dissertações sobre o tema "Orlando (Woolf, Virginia)"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 29 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Orlando (Woolf, Virginia)".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja as teses / dissertações das mais diversas áreas científicas e compile uma bibliografia correta.
1
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.
Texto completo da fonte
2
Vila, 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.
Texto completo da fonteResumo:
Made available in DSpace on 2014-06-12T18:34:14Z (GMT). No. of bitstreams: 2
arquivo8189_1.pdf: 2465450 bytes, checksum: 6d07fd333d2d853ad275d5991b569f38 (MD5)
license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5)
Previous issue date: 2003This 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
3
Hastings, Sarah. "Sex, gender, and androgyny in Virginia Woolf's mock-biographies "Friendships Gallery" and Orlando". Cleveland, Ohio : Cleveland State University, 2008.
Encontre o texto completo da fonteResumo:
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.
4
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.
Texto completo da fonteResumo:
Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-11T11:57:03Z
No. of bitstreams: 1
soniamariacostafajardo.pdf: 913658 bytes, checksum: d0908cb96a049994caf209fade188bdd (MD5)Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-11T13:24:02Z (GMT) No. of bitstreams: 1 soniamariacostafajardo.pdf: 913658 bytes, checksum: d0908cb96a049994caf209fade188bdd (MD5)
Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-11T13:24:20Z (GMT) No. of bitstreams: 1 soniamariacostafajardo.pdf: 913658 bytes, checksum: d0908cb96a049994caf209fade188bdd (MD5)
Made available in DSpace on 2017-05-11T13:24:20Z (GMT). No. of bitstreams: 1 soniamariacostafajardo.pdf: 913658 bytes, checksum: d0908cb96a049994caf209fade188bdd (MD5) Previous issue date: 2017-03-24
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.
5
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/.
Texto completo da fonteResumo:
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.
6
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.
Texto completo da fonteResumo:
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.
7
Blomdahl, 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.
Texto completo da fonteResumo:
This essay is a close reading of Virginia Woolf’s Orlando: a Biography that focuses on representation of gender in the novel and the possible response it elicits in the reader. The essay argues that the implied reader of Orlando - as manifested in the novel - is a feminist one, as well as it explores the possibility of this implied feminist reader being a female. The reasons as to why this could be are extensively examined by analyzing the main character Orlando as he metamorphoses from an English nobleman into a grown woman. To support the thesis, the essay looks both into reader response criticism and feminist criticism to clarify what an implied reader actually is. The similarities between Orlando and “A Room of One’s Own” are also touched upon as these suggest that the implied reader is a feminist. The essay then takes a closer look at the narrator of the novel and what this narrator suggests about the identity of the implied reader of the novel. In addition to this it is also concluded that s/he controls the reader’s perception of Orlando’s gender in the novel, and that this also echoes the ideals presented in “A Room of One’s Own”. The essay concludes that the implied reader of Orlando indeed is a feminist, but not necessarily a female one.
8
Castle, 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.
Texto completo da fonteResumo:
This thesis examines the way in which the fictional biographies of Virginia Woolf, Orlando and Flush, prefigure central tenets of postmodern fiction. To demonstrate the postmodern elements present in Orlando and Flush, this thesis focuses on how the fictional biographies exhibit three postmodern characteristics: concern for historiography, extensive use of parody, and the denaturalization of cultural assumptions. Born from Woolf’s desire to revolutionize biography by incorporating elements of fiction alongside historical fact, these two novels parallel later works of historiographic metafiction in several key respects. Woolf’s extensive use of parody in Orlando and Flush prefigures how postmodern parody foregrounds the many ways in which all narratives are inherently constructions. Woolf also expresses a postmodern attitude by denaturalizing cultural assumptions about sexual difference and social class. When taken together, these three traits reveal how Orlando and Flush possess an ontological philosophy indicative of postmodern literature.
9
Jones, 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/.
Texto completo da fonteResumo:
Clothing reinforces gender roles culturally assigned to men and women by emphasizing individuals? biological sex and encouraging them to behave in specific ways based on their sex. However, individuals can manipulate their clothing to challenge the gender roles assigned to them. The primary characters in Wilkie Collins?s The Woman in White and Virginia Woolf?s Orlando wear gender-deviant clothing to point out the constructed nature of gender and to assert their own identities independent of specific gender roles.
10
Pinto, Fernando Bruno da Silva Beleza Correia, e 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.
Texto completo da fonteResumo:
Nesta dissertação analisa-se comparativamente os modelos de desconstrução do sujeito em Orlando de Virginia Woolf e na sua adaptação para o cinema pela realizadora Sally Potter. Partindo de abordagens críticas anteriores da novela - informadas por teorias pós-estruturalistas e pós-modernas, que fornecem alguns dos pressupostos iniciais - realiza-se uma leitura do texto de Virginia Woolf à luz do paradigma de desconstrução queer das identidades normativas, na linha do pensamento teórico de Judith Butler. Esta análise permite uma re-leitura da novela e serve de base para um modelo de interpretação comparatista da re-escrita cinematográfica realizada por Sally Potter, também este apontando para uma crítica de uma visão essencialista e heteronormativa das identidades.
11
Pinto, Fernando Bruno da Silva Beleza Correia, e 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.
Texto completo da fonteResumo:
Nesta dissertação analisa-se comparativamente os modelos de desconstrução do sujeito em Orlando de Virginia Woolf e na sua adaptação para o cinema pela realizadora Sally Potter. Partindo de abordagens críticas anteriores da novela - informadas por teorias pós-estruturalistas e pós-modernas, que fornecem alguns dos pressupostos iniciais - realiza-se uma leitura do texto de Virginia Woolf à luz do paradigma de desconstrução queer das identidades normativas, na linha do pensamento teórico de Judith Butler. Esta análise permite uma re-leitura da novela e serve de base para um modelo de interpretação comparatista da re-escrita cinematográfica realizada por Sally Potter, também este apontando para uma crítica de uma visão essencialista e heteronormativa das identidades.
12
Hastings, 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.
Texto completo da fonte
13
Gallagher, 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/.
Texto completo da fonteResumo:
Thesis (M.A.)--Georgia State University, 2008.Title 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).
14
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.
Texto completo da fonteResumo:
This thesis looks at the Virginia Woolf's critique of the previous portrayal of characters in fiction and her adaptation of a new narrative style in order to convey a modern realism. Two of her novels include an intrusive narrator that serves to argue for the creation of a new form of representation of the character in the novel. Through the creation of distance and the parody of the genre, Woolf provides the reader a picture of their relationship with the character in the novel.
15
Barros, 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.
Texto completo da fonteResumo:
BARROS, Francisco Rafael Silva. Orlando e a tradução da personagem para as telas. 2012. 125f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-19T12:07:26Z No. of bitstreams: 1 2012_dis_frsbarros.pdf: 2691800 bytes, checksum: 06dba16e18916313999cad64e26c99d5 (MD5)
Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-19T14:03:25Z (GMT) No. of bitstreams: 1 2012_dis_frsbarros.pdf: 2691800 bytes, checksum: 06dba16e18916313999cad64e26c99d5 (MD5)
Made available in DSpace on 2014-05-19T14:03:25Z (GMT). No. of bitstreams: 1 2012_dis_frsbarros.pdf: 2691800 bytes, checksum: 06dba16e18916313999cad64e26c99d5 (MD5) Previous issue date: 2012
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.
16
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.
Texto completo da fonte
17
Michon, 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.
Texto completo da fonte
18
Beynel, 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.
Texto completo da fonteResumo:
Dans des contextes communs de guerres et de révolutions scientifiques, les représentations qui fondent, et parfois hantent, l’imaginaire d’auteurs de l’époque baroque et du début du vingtième siècle présentent des similitudes. Images d’un monde renversé, où les espaces, les êtres et les instants se reflètent, où l’instabilité et la mutabilité sont des lois régissant toute chose, les scènes et décors des trois œuvres du corpus se substituent à l’harmonie du monde, celle du Créateur, telle que la Bible la décrit. Espace, personnages, temps vécu apparaissent à travers un prisme qui renvoie à leurs doubles, diffractés, reflétés d’abord dans la machine de la mémoire involontaire. La réalité se change dès lors en réalités, les lieux en impressions d’un ailleurs, les amis en chimères, tous faisant l’objet d’études et d’interprétations sans cesse réévaluées. Dans une écriture où les vues s’accumulent et se superposent, Marcel Proust et Virginia Woolf n’en finissent pas de prolonger les impressions, circonvolutions, arabesques qui diffèrent sans cesse la conclusion du récit, au profit du spectacle d’événements sensibles et de voyages de héros à travers les strates du temps vécu. Personnages en mouvement, Orlando et le Narrateur courent à la recherche de la chair du temps, qu’ils semblent trouver dans leur ombre et dans le frisson d’un instant, selon des modalités extatiques que Le Bernin ou Le Caravage ont représentées dans leur art respectif. Faits de mondes d’apparences, d’illusions, Sodome et Gomorrhe, Le Temps retrouvé ou Orlando ne sont pourtant pas des textes faisant l’apologie du scepticisme et du renoncement à une certaine forme d’essence : encore faut-il qu’elle soit éclatante et advienne dans la beauté d’une image qui traduise la coïncidence d’une vision éphémère et d’une création poétique offerte aux temps à venirIn 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
19
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.
Texto completo da fonteResumo:
I denna jämförande studie analyseras vad det androgyna gör med identiteten och det kreativa skapandet i romanerna Orlando av Virginia Woolf och How to be both av Ali Smith. Analysen görs utifrån Virginia Woolfs tanke om ”the androgynous mind” samt Judith Butlers teori om performativitet. Studien visar att Virginia Woolf `s tanke med ”the androgynous mind” går att finna i Orlando och How to be both utifrån vad det androgyna tillför konsten och identiteten i de båda romanerna. Studien visar också att Butlers teori om performativitet som här använts för att undersöka och jämföra vad som sker när protagonisterna ”spelar” sina nya könsidentiteter går att finna i båda romanerna.
20
Weber, 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.
Texto completo da fonteResumo:
For almost a century, Virginia Woolf has enchanted readers all over the world with her novel about the gender fluid and time travelling character Orlando. British director Sally Potter adapted Orlando into film in 1992, and her adaptation has since gained immense fame and a continuous presence in world cinema. Potter's Orlando has been the object of a great deal of scholarly interest. However, previous research has predominantly focused on questions of gender and sexuality. Considerably underdiscussed is the film's fascinating conception of time and space. This thesis therefore sets out to analyze Sally Potter's Orlando in order to demonstrate how time and space is shaped in the film. Theories developed by George Bluestone and André Bazin form the theoretical framework of this thesis. Through a close reading of the film, this thesis demonstrates that Potter establishes an unconventional temporality and spatiality through constructing a nonlinear, often contradictory temporality conveyed through contrasts between the organic and the fantastic, the real and the fictitious. Furthermore, the analysis finds that spatiality in Potter's Orlando is presented as multidimensional, allowing certain characters the possibility to inhabit a "fluid spatiality". Through presenting the past and the present as fused, Potter's Orlando can be understood through the optics of Bluestone's concept of "the flux of time" and Henri Bergsons la durée réelle. Simultaneously, breaks in the narrative presented through intertitles can be read as representing Bergsons idea of l'étendu, while also establishing a tangible spatiality.
21
Wilson, 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.
Texto completo da fonte
22
Qian-fang, Huang, e 黃千芳. "WOMEN''S TRAVELS IN VIRGINIA WOOLF''S THE VOYAGE OUT AND ORLANDO". Thesis, 2003. http://ndltd.ncl.edu.tw/handle/65105341190541547119.
Texto completo da fonteResumo:
碩士國立高雄師範大學
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.
23
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.
Texto completo da fonteResumo:
The focus of this Diploma Thesis is the work of Virginia Woolf as a representative of the literary modernism in England between the two World Wars. The Thesis also deals with the diaries of the famous writer, and it defines the basic philosophical concepts in the modernist experiment (concept of time, stream of consciousness technique) on the basis of the reading and analysis of her late novels.
24
Dykstra, 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.
Texto completo da fonteResumo:
This thesis considers the treatment of early twentieth-century intersex bodies in Virginia Woolf’s Orlando and William Faulkner’s Absalom, Absalom!. It takes into special account the prevalence of eugenic discourse during the modernist period, noticing eugenicists’ interest in categorical imperatives for the purposes of statistical analysis and surgical alteration. Their aims were human perfectibility. This thesis argues Orlando and Absalom, Absalom! imagine bodies existing, loving, and dreaming in between male and female, and outside of the violence of surgical “correction.”
25
Oliveira, 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.
Texto completo da fonteResumo:
Dissertação de mest., Literatura Comparada, Faculdade de Ciências Sociais e Humanas, Universidade do Algarve, 2005A 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.
26
Huang, Pei-Wei, e 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.
Texto completo da fonteResumo:
碩士靜宜大學
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.
27
"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.
Texto completo da fonteResumo:
by Kung Siu Bing.Thesis (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
28
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.
Texto completo da fonteResumo:
Ce mémoire de maîtrise porte sur une poétique de l’excès dans Orlando de Virginia Woolf et Nightwood de Djuna Barnes comme une stratégie combattant la tendance qu’a le modernisme à dévaloriser l’écriture des femmes comme étant trop ornementale. J’expose comment Ezra Pound, T.S. Eliot, et Wyndham Lewis tentent de récupérer la notion du détail afin d’affirmer une poétique masculin. Je fais appel également aux oeuvres de l’architecte autrichien Adolf Loos qui souligne sa dénonciation de l’ornement comme régressif. Dans Orlando et Nightwood, je considère l’excès associé au corps. Je soutiens que, dans ces textes, les corps dépassent les limites de la représentation moderniste. Je considère aussi comment Orlando et Nightwood font apparaître la narration comme ornement et écrivent excessivement l’histoire et le temps. Pour conclure, je propose une façon de lire l’excès afin de reconceptualiser le potentiel de production de la signification dans des textes modernistes.My 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.
29
Zheng, Jenq-Nan, e 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.
Texto completo da fonteResumo:
碩士靜宜大學
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.