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Статті в журналах з теми "Woolf"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 7 вересня 2024

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1

Siyuan, Li. "The Stream-of-Consciousness in The Mark on the Wall." Communications in Humanities Research 27, no. 1 (January 3, 2024): 120–25. http://dx.doi.org/10.54254/2753-7064/27/20232148.

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The chaos and destruction brought about by World War I prompted people to seek new forms of expression. In the 20th century when Woolf lived, women were greatly constrained, and they had almost no time of their own. However, this was also the period when the first wave of feminism began to emerge. By studying Woolf's work, we can see that the pioneers of modernism and feminism had completely different views and perspectives from people who hold traditional techniques. Woolf is famous for her stream-of-consciousness technique; therefore, it is necessary to examine how she uses this technique to express her thoughts in The Mark on the Wall, her first venture into the realm of stream-of-consciousness. This paper examines Woolfs attenuation of narrative time and her use of a single character, I. In addition, I suggest that the images and personal pronouns used by Woolf also demonstrate her pursuit of freedom and her feminism. Studying Woolf's first stream-of-consciousness short story The Mark on the Wall is essential for understanding Woolfs early writing as well as tracing her evolution as a writer.

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2

Abbott, H. Porter. "Character and Modernism: Reading Woolf Writing Woolf." New Literary History 24, no. 2 (1993): 393. http://dx.doi.org/10.2307/469412.

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3

Pinho, Davi. "O CONTO DE VIRGINIA WOOLF – OU FICÇÃO, UMA CASA ASSOMBRADA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 03–17. http://dx.doi.org/10.34019/1982-0836.2019.v23.29176.

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Анотація:

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].

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4

Bartkuvienė, Linara. "Russian paradigm in Virginia Woolf’s (non)fiction: reading Dostoevsky." Literatūra 50, no. 5 (January 1, 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.

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5

Humm, Maggie. "Virginia Woolf and photography." Comunicação e Sociedade 32 (December 29, 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.

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6

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 (December 31, 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.

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7

Kord, Catherine, and Hermione Lee. "Virginia Woolf." Antioch Review 56, no. 2 (1998): 242. http://dx.doi.org/10.2307/4613689.

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8

Nadel, Ira. "Oriental Woolf." Affirmations: of the modern 4, no. 1 (November 19, 2016): 65. http://dx.doi.org/10.57009/am.37.

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9

Schenk, Leslie, and Hermione Lee. "Virginia Woolf." World Literature Today 71, no. 4 (1997): 797. http://dx.doi.org/10.2307/40153385.

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10

London, Bette, Pamela L. Caughie, and Patricia Ondek Laurence. "Postmodern Woolf." NOVEL: A Forum on Fiction 26, no. 2 (1993): 237. http://dx.doi.org/10.2307/1345694.

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11

Parke, Catherine N. "Virginia Woolf." Thought 63, no. 4 (1988): 358–77. http://dx.doi.org/10.5840/thought198863427.

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12

Jones, Ellen Carol. "Figuring Woolf." MFS Modern Fiction Studies 38, no. 1 (1992): 1–14. http://dx.doi.org/10.1353/mfs.0.0512.

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13

Browning, B. W. M. W. N. "Jesmond Woolf." BMJ 350, may11 14 (May 11, 2015): h2486. http://dx.doi.org/10.1136/bmj.h2486.

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14

O'Brien, Nanette. "Political Woolf." Women: A Cultural Review 28, no. 1-2 (April 3, 2017): 150–54. http://dx.doi.org/10.1080/09574042.2017.1327755.

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15

Costa, Rute. "Woolf Works." Women: A Cultural Review 28, no. 4 (October 2, 2017): 420–22. http://dx.doi.org/10.1080/09574042.2017.1388587.

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16

Morgan, Rod. "After Woolf?" Criminal Justice Matters 14, no. 1 (December 1993): 4–5. http://dx.doi.org/10.1080/09627259308552648.

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17

Parker, Julian. "Cry Woolf." Computer Fraud & Security 2003, no. 10 (October 2003): 4–5. http://dx.doi.org/10.1016/s1361-3723(03)10005-x.

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18

Rivkin, Julie, and Jane Marcus. "Virginia Woolf." Contemporary Literature 26, no. 2 (1985): 232. http://dx.doi.org/10.2307/1207936.

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19

Humm, Maggie. "Virginia Woolf e a fotografia." Comunicação e Sociedade 32 (December 29, 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.

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20

Argyrides, Patty. "Hauntingly Beautiful: Embodied Reading, Virginia Woolf, and Woolf Works." Journal of Modern Literature 46, no. 4 (June 2023): 23–42. http://dx.doi.org/10.2979/jml.2023.a908972.

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Abstract: As the last two decades have seen a steady increase of contemporary choreographers drawing on modernist literature, interdisciplinary modernist studies must create new and additional lines of communication not only across disciplines, but also including the public arts sector. In 2017, I attended the Royal Ballet's revival of Woolf Works , a ballet based on the life and works of Virginia Woolf and interviewed choreographer Wayne McGregor and dramaturg Uzma Hameed. I draw on my background as a former dancer to explore how we can use McGregor's choreographic and Hameed's dramaturgic approach to analyze the ballet and the embodied aspects of Woolf's writing. By focusing on the first section of Woolf Works ("I now, I then"), and Woolf's novel Mrs. Dalloway , I consider the ways in which the characters of Clarissa and Septimus embody predominant themes in the novel: memory, trauma versus peace, support, and time.

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21

Argyrides, Patty. "Hauntingly Beautiful: Embodied Reading, Virginia Woolf, and Woolf Works." Journal of Modern Literature 46, no. 4 (June 2023): 23–42. http://dx.doi.org/10.2979/jmodelite.46.4.02.

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Abstract: As the last two decades have seen a steady increase of contemporary choreographers drawing on modernist literature, interdisciplinary modernist studies must create new and additional lines of communication not only across disciplines, but also including the public arts sector. In 2017, I attended the Royal Ballet's revival of Woolf Works , a ballet based on the life and works of Virginia Woolf and interviewed choreographer Wayne McGregor and dramaturg Uzma Hameed. I draw on my background as a former dancer to explore how we can use McGregor's choreographic and Hameed's dramaturgic approach to analyze the ballet and the embodied aspects of Woolf's writing. By focusing on the first section of Woolf Works ("I now, I then"), and Woolf's novel Mrs. Dalloway , I consider the ways in which the characters of Clarissa and Septimus embody predominant themes in the novel: memory, trauma versus peace, support, and time.

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22

Nadel, Ira. "The Russian Woolf." Modernist Cultures 13, no. 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.

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23

Towne, Bethany, and Natalya Reinhold. "Woolf across Cultures." Women's Review of Books 21, no. 10/11 (July 2004): 28. http://dx.doi.org/10.2307/3880387.

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24

Harker. "Misperceiving Virginia Woolf." Journal of Modern Literature 34, no. 2 (2011): 1. http://dx.doi.org/10.2979/jmodelite.34.2.1.

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25

Hite, Molly, and James King. "Wallowing in Woolf." Women's Review of Books 13, no. 2 (November 1995): 5. http://dx.doi.org/10.2307/4022305.

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Mercier, Christophe. "Virginia Woolf romancière." Commentaire Numéro 138, no. 2 (June 1, 2012): 590–92. http://dx.doi.org/10.3917/comm.138.0590.

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27

Corner, Paul. "Stuart J. Woolf." Modern Italy 26, no. 3 (August 2021): 243–44. http://dx.doi.org/10.1017/mit.2021.42.

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28

Abel, Elizabeth, and Brenda R. Silver. "Big Bad Woolf." Women's Review of Books 17, no. 7 (April 2000): 6. http://dx.doi.org/10.2307/4023397.

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29

Beja, Morris, and Lyndall Gordon. "Woolf: Another Biography." NOVEL: A Forum on Fiction 20, no. 1 (1986): 88. http://dx.doi.org/10.2307/1345623.

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30

Fowler, Rowena. "Virginia Woolf: Lexicographer." English Language Notes 39, no. 3 (March 1, 2002): 54–70. http://dx.doi.org/10.1215/00138282-39.3.54.

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31

Hussey, Mark. "Virginia Woolf (review)." MFS Modern Fiction Studies 47, no. 2 (2001): 504–6. http://dx.doi.org/10.1353/mfs.2001.0030.

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32

Woolf, Lawrence D. "Comments from Woolf." Physics Teacher 37, no. 6 (September 1999): 326–27. http://dx.doi.org/10.1119/1.880301.

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33

ELLMANN, MAUD. "The Woolf Woman." Critical Quarterly 35, no. 3 (September 1993): 86–100. http://dx.doi.org/10.1111/j.1467-8705.1993.tb00490.x.

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34

Matz, J. "Woolf as Translator." NOVEL A Forum on Fiction 46, no. 2 (June 1, 2013): 328–31. http://dx.doi.org/10.1215/00295132-2088211.

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35

Price, Kate. "Woolf and science." Women: A Cultural Review 16, no. 1 (January 2005): 108–25. http://dx.doi.org/10.1080/09574040500045979.

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36

Humm, M. "Beauty and Woolf." Feminist Theory 7, no. 2 (August 1, 2006): 237–54. http://dx.doi.org/10.1177/1464700106064422.

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37

Visel, Robin. "Virginia Woolf Icon." Women's Studies International Forum 24, no. 2 (March 2001): 256–57. http://dx.doi.org/10.1016/s0277-5395(01)00156-x.

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38

VINEN, RICHARD. "Comment on Woolf." Contemporary European History 12, no. 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, and Patrick Cassan. "Woolf meets Cockerel?" Liverpool Law Review 19, no. 1 (March 1997): 9–28. http://dx.doi.org/10.1007/bf02810628.

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Stewart, Jim, and Brenda R. Silver. "Virginia Woolf Icon." Modern Language Review 97, no. 4 (October 2002): 943. http://dx.doi.org/10.2307/3738637.

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Black, G. "J H Woolf." BMJ 351, no. 20 7 (November 20, 2015): h6098. http://dx.doi.org/10.1136/bmj.h6098.

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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, no. 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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Weintraub, Stanley. "Who's Afraid of Virginia Woolf? Virginia Woolf and G. B. S." SHAW The Annual of Bernard Shaw Studies 21, no. 1 (2001): 41–62. http://dx.doi.org/10.1353/shaw.2001.0038.

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Neves, Caroline Resende, and Nícea Helena de Almeida Nogueira. "VIRGINIA WOOLF E SEU PAPEL COMO CRÍTICA LITERÁRIA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 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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Cramer, Patricia Morgne. ""Everyone chooses their love after their own fashion": The Waves as a Modernist Symposium." Journal of Modern Literature 46, no. 4 (June 2023): 43–62. http://dx.doi.org/10.2979/jmodelite.46.4.03.

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Abstract: In A Room of One's Own , when Virginia Woolf urges women writers to expose the "dark spots" in men's psychology, she signals her own intentions for The Waves . In The Waves , Woolf targets men's masculinity, elite educations, brutalized boyhoods (at public schools), and their too-easy belonging to literary traditions as causes of male writers' truncated creativity. Louis, Bernard, and Neville exhibit the writerly disabilities Woolf associates with virility in Room . They are also linked to T.S. Eliot, Desmond MacCarthy, and Lytton Strachey, and to modernist experimentalism, realism, and homosexual Hellenism, respectively. In The Waves , Woolf differentiates her aesthetics not only from the "materialists"—H.G. Wells, John Galsworthy, and Arnold Bennett—but her Georgian "allies" as well—Eliot, MacCarthy, and Strachey prominent among them.

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Cramer, Patricia Morgne. ""Everyone chooses their love after their own fashion": The Waves as a Modernist Symposium." Journal of Modern Literature 46, no. 4 (June 2023): 43–62. http://dx.doi.org/10.2979/jml.2023.a908973.

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Анотація:

Abstract: In A Room of One's Own , when Virginia Woolf urges women writers to expose the "dark spots" in men's psychology, she signals her own intentions for The Waves . In The Waves , Woolf targets men's masculinity, elite educations, brutalized boyhoods (at public schools), and their too-easy belonging to literary traditions as causes of male writers' truncated creativity. Louis, Bernard, and Neville exhibit the writerly disabilities Woolf associates with virility in Room . They are also linked to T.S. Eliot, Desmond MacCarthy, and Lytton Strachey, and to modernist experimentalism, realism, and homosexual Hellenism, respectively. In The Waves , Woolf differentiates her aesthetics not only from the "materialists"—H.G. Wells, John Galsworthy, and Arnold Bennett—but her Georgian "allies" as well—Eliot, MacCarthy, and Strachey prominent among them.

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Oliveira, Maria Aparecida de. "VIRGINIA WOOLF E A CRÍTICA FEMINISTA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 18–27. http://dx.doi.org/10.34019/1982-0836.2019.v23.29177.

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O presente artigo estabelece as relações entre a A room of one’s own e a crítica feminista, observando como essa tem revisto e ressignificado o ensaio de Virginia Woolf. Serão problematizadas questões como a exclusão feminina dos espaços públicos, das esferas políticas e, consequentemente, da literatura e da história. Depois disso, abordaremos a personagem Judith Shakespeare. Por último, duas questões problematizadas serão tratadas nesta análise, a primeira refere-se à tradição literária feminina e a segunda refere-se à própria frase feminina. Palavras-chave: Crítica feminista, Judith Shakespeare, tradição literária feminina. Referências AUERBACH, E. Brown Stocking. In: ______. Mimesis: a representação da realidade na literatura ocidental. São Paulo: Perspectiva, 1971. BARRETT, M. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993. ______ (ed.). Women and writing. London: The Women’s Press, 1979. BOWLBY, R. Feminist destinations and further essays on Virginia Woolf. Edinburgh: Edinburgh University, 1997. ______. Walking, women and writing: Virginia Woolf as flâneuse. In: ARMSTRONG, I. (ed.). New Feminist discourses: critical essays on theories and texts. London: Routledge, 1992. CAUGHIE, P. L. Virginia Woolf & postmodernism literature in quest and question of itself. Urbana: University of Illinois, 1991. COELHO, N. N. Dicionário crítico de escritoras brasileiras. São Paulo: Escrituras, 2002. ______. A literatura feminina no Brasil contemporâneo. São Paulo: Siciliano, 1993. GILBERT, S. Woman’s Sentence. Man’s Sentencing: Linguistic Fantasies in Woolf and Joyce. In: MARCUS, J. Virginia Woolf and the Bloomsbury: A Centenary. Bloomington: Indiana UP, 1987. GILBERT, S.; GILBERT, S. Shakespeare’s sisters: feminist essays on women poets. Bloomington: Indiana University, 1979. ______. The madwoman in the attic: the woman writer in the nineteenth-century literary imagination. New Haven: Yale University, 2000. ______. The war of words. vol.1 of No man’s land: the place of the woman writer in the twentieth century. New Haven: Yale University, 1988. HUSSEY, M. Virginia Woolf: A to Z. New York: Oxford University, 1995. JONES, S. Writing the woman artist: essays on poetics, politics, and portraiture. Pennsylvania: University of Pennsylvania, 1991. MARCUS, J. Art and anger: reading like a woman. Columbus: Ohio State University, 1988. ______. Virginia Woolf and the languages of the patriarchy. Bloomington: Indiana University, 1987a. MINOW-PINKNEY, M. Virginia Woolf and the problem of the subject: feminine writing in the major novels. New Brunswick: Rutgers University, 2010. MOERS, E. Literary women: the great writers. New York: Doubleday, 1976. MUZART, Z. L. Escritoras brasileiras do século XIX. Florianópolis: Mulheres, 2005. OLSEN, T. Silences. New York: Seymour Lawrence, 1978. RICH, A. Of woman born: motherhood as experience and institution. New York: W W. Norton, 1995. ROSENBAUM, S.P. Women and fiction: the manuscript versions of A room of one’s own. Oxford: Blackwell, 1992. SHOWALTER, E. Feminist criticism in the wilderness. In: GILBERT, S.; GUBAR, S. Feminist literary theory and criticism. New York; London: W. W. Norton, 2007. SNAITH, A. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Oxford: Oxford University, 2015. STETZ, M. D. Anita Brookner: Woman writer as reluctant feminist. In: ______. Writing the woman artist: essays on poetics, politics and portraiture. Pennsylvania: University of Pennsylvania, 1991. WALKER, A. In search of our mother’s gardens. In: ______. In search of our mother’s gardens: womanist prose. San Diego: Harcourt Brace Jovanovich, 1983. WOOLF, V. A room of one’s own and Three guineas. Introd. Anna Snaith. Oxford: Oxford University, 2015. WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993.

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Fatemeh Sadat Basirizadeh, Shiva Zaheri Birgani, and Narges Raoufzadeh. "Concept of Time in Virginia Woolf’s To the Lighthouse: Bergsonian Study." LingLit Journal Scientific Journal for Linguistics and Literature 2, no. 2 (June 24, 2021): 67–74. http://dx.doi.org/10.33258/linglit.v2i2.460.

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Time is an important element in modern literature, has always been one of the most important themes of Virginia Woolf’s novels. The purpose of this paper is to look at Woolf treatment of the movement of time within the conscious mind in the novel in title of To the Light House by Virginia Woolf. One conclusion drawn from this study is that Woolf began to use time as a literary element, thereby decreasing her development of plot and characterization. A second conclusion is that she was greatly influenced by the philosophy of Henri Bergson and that consequently her writing increasingly reflects the fluid movement of time within consciousness. This paper demonstrates that Virginia Woolf used time as a formal element of narrative to show the relationship of time to human consciousness; and she never overlooked the fact that time moves human beings toward death. For Woolf, life is characterized by endless variety and movement. Its exquisite beauty is enhanced by knowing that we humans live short lives and lose everything when we die.

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Vega Alonso, Beatriz. "<p>EL BORRADO LÉSBICO Y LA CONCIENCIA DE CLASE EN VIRGINIA WOOLF EN MANHATTAN (2014), DE MAGGIE GEE</p>." RAUDEM. Revista de Estudios de las Mujeres 11 (December 20, 2023): 31–48. http://dx.doi.org/10.25115/raudem.v11i1.9173.

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Este artículo se centra en el análisis de dos de los temas tratados en la novela Virginia Woolf en Manhattan (2014) de Maggie Gee: la sexualidad y el privilegio de clase, que son dos de las cuestiones más controvertidas en torno a la figura de Woolf. El objetivo es revisar las expresiones lesbófobas presentes en la novela así como analizar las reflexiones sobre la diferencia de clase que Gee plantea desde la ficción y a través del legado de Woolf.

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Malamud, Randy, and Kathy J. Phillips. "Virginia Woolf against Empire." South Atlantic Review 60, no. 3 (September 1995): 140. http://dx.doi.org/10.2307/3201150.

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