Bibliography of Woolf Studies Published in 2003 (With Addenda for Previous Years). Updated and Corrected January 2004
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It Is Time for Virginia Woolf
TREBALL DE FI DE GRAU Tutor/a: Dra. Ana Moya Gutierrez Grau de: Estudis Anglesos IT IS TIME FOR VIRGINIA WOOLF Ane Iñigo Barricarte Universitat de Barcelona Curso 2018/2019, G2 Barclona, 11 June 2019 ABSTRACT This paper explores the issue of time in two of Virginia Woolf’s novels; Mrs Dalloway and To the Lighthouse. The study will not only consider how the theme is presented in the novels but also in their filmic adaptations, including The Hours, a novel written by Michael Cunningham and film directed by Stephen Daldry. Time covers several different dimensions visible in both novels; physical, mental, historical, biological, etc., which will be more or less relevant in each of the novels and which, simultaneously, serve as a central point to many other themes such as gender, identity or death, among others. The aim of this paper, beyond the exploration of these dimensions and the connection with other themes, is to come to a general and comparative conclusion about time in Virginia Woolf. Key Words: Virginia Woolf, time, adaptations, subjective, objective. Este trabajo consiste en una exploración del tema del tiempo en dos de las novelas de Virginia Woolf; La Señora Dalloway y Al Faro. Dicho estudio, no solo tendrá en cuenta como se presenta el tema en las novelas, sino también en la adaptación cinematográfica de cada una de ellas, teniendo también en cuenta Las Horas, novela escrita por Michael Cunningham y película dirigida por Stephen Daldry. El tiempo posee diversas dimensiones visibles en ambos trabajos; física, mental, histórica, biológica, etc., que cobrarán mayor o menor importancia en cada una de las novelas y que, a su vez, sirven de puntos de unión para otros muchos temas como pueden ser el género, la identidad o la muerte entre otros. -
Postgraduate English: Issue 13
Protopopova Postgraduate English: Issue 13 Postgraduate English www.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 13 March 2006 Editors: Ollie Taylor and Kostas Boyiopoulos Virginia Woolf’s Versions of Russia Darya Protopopova* * University of Oxford ISSN 1756-9761 1 Protopopova Postgraduate English: Issue 13 Virginia Woolf’s Versions of Russia Darya Protopopova University of Oxford Postgraduate English, Issue 13, March 2006 Virginia Woolf’s main source of knowledge about Russia was Russian literature. She was interested in the discoveries made by Russian nineteenth-century novelists in the sphere of transferring the depths of human mind into literary narrative. Early in her life she started reading Tolstoy; she became one of the first English admirers of Dostoevsky when Constance Garnett made the first major English translation of Dostoevsky’s novels between 1912 and 1920.[1] In one of her letters she confesses that it is from Tolstoy that the modernists ‘had to break away’.[2] Her reviews of translations from Russian were never solely about Russian literature: she felt it necessary while writing on the literature of Russian people, to comment on the Russian national character. In her 1917 article on Sergei Aksakov, the Russian nineteen-century writer, she denotes ‘the shouts of joy and the love of watching’ as ‘the peculiar property of the Russian people’.[3] Woolf never visited Russia, but her learning about Russian nation from its texts is one of the many examples of her exploring the world through fiction. Her involvement in reviewing and publishing Russian literature (between 1917 and 1946 The Hogarth Press published fifteen translations from Russian)[4] required keeping herself up to date with the political and social events in contemporaryRussia. -
Virginia Woolf
READING Virginia Woolf Virginia Woolf was one of the greatest English writers of all time. She was a modernist writer and some of her most famous experimental novels are Jacob's Room, Mrs Dalloway and To the Lighthouse. She was born in London on 25 January, 1882. Her father, Leslie Stephen, was a very educated man. He was part of the “intellectual aristocracy” of Victorian England. Virginia Woolf had two brothers, one sister, two stepbrothers and two stepsisters. All eight children lived with their parents and a few servants at 22 Hyde Park Gate, Kensington. The family usually spent summer holidays at Talland House in St Ives, Cornwall. This house was very important for Virginia's imagination. Virginia Woolf never went to school but she could use her father's large library and she decided to become a writer. Her brothers Thoby and Adrian went to Cambridge. There they met many intelligent young men. Some of them later became Virginia's friends. Virginia Woolf's mother died in 1895 and Virginia had her first nervous breakdown. After her father's death Virginia moved to 46 Gordon Square, Bloomsbury. In 1912, she married Leonard Woolf and they decided to earn money by writing and journalism. Virginia finished her first novel in 1913. Its name was The Voyage Out and it was quite conventional. The book was published by Duckworth & Co in 1915. In 1917, the Woolfs bought a small printing press. Virginia wrote, published and printed. A lot of Virginia Woolf's friends died in the 1930s. After the start of the Second World War she and her husband moved to the country. -
Virginia Woolf's Journey to the Lighthouse a Hypertext Essay Exploring Character Development in Jacob’S Room, Mrs
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2011 Virginia Woolf's Journey to the Lighthouse A hypertext essay exploring character development in Jacob’s Room, Mrs. Dalloway, and To the Lighthouse Laura Christene Miller [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Literature in English, British Isles Commons Recommended Citation Miller, Laura Christene, "Virginia Woolf's Journey to the Lighthouse A hypertext essay exploring character development in Jacob’s Room, Mrs. Dalloway, and To the Lighthouse" (2011). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1463 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. 1 Laura Miller Virginia Woolf’s Journey to the Lighthouse: A hypertext essay exploring character development in Jacob’s Room, Mrs. Dalloway, and To the Lighthouse Eng 498: Honors Thesis Project Spring 2011 Director: Dr. Seshagiri Second Reader: Dr. Papke 2 Content The intended format for this essay is as a hypertext. I have printed out the webpages making up -
Literary Studies
LITERARY 2020 STUDIES LITERARY STUDIES Contents Gothic 2 Periodical & Print Culture 39 Shakespeare & Renaissance 7 Theory 41 Eighteenth Century & Romanticism 13 Postcolonial 48 Victorian 17 American & Atlantic 49 Modernism 24 Scottish 57 Twentieth Century 33 Arabic 65 Poetry 36 How to Order 71 Music & Sound 37 Letter from the team We’re kicking 2020 off with the publication of a new textbook in American and Atlantic Literature, Transatlantic Rhetoric: Speeches from the American Revolution to the Suffragettes by Tom Wright (pg 52), which presents over 70 speeches from a range of activists, politicians, fugitive slaves and preachers. We’re thrilled to be expanding our Edinburgh Companions to Literature and the Humanities series with volumes in the fields of Gothic Studies (pg 4), Modernism (pg 25), Refugee Studies (pg 33) and Music & Sound (pg 38). Our Edinburgh Critical Studies in Victorian Culture series is bustling with 11 new volumes as well as 8 releasing in paperback (pg 20-23). Look out for The Edinburgh History of Reading publishing in April 2020 in 4 volumes: Early Readers, Modern Readers, Subversive Readers and Common Readers (pg 40). Providing a cultural history and political critique of Scottish Devolution, Scott Hames brings us the thought-provoking The Literary Politics of Scottish Devolution: Voice, Class, Nation (pg 58). PS. Check out the new volumes in the critical editions of Scottish writers John Galt, John Gibson Lockhart, James Boswell as well as Walter Scott’s Poetry (pg 60 onwards). Jackie Jones Michelle Houston Ersev Ersoy Carla Hepburn Kirsty Andrews Editorial Editorial Editorial Marketing Marketing James Dale Eliza Wright Rebecca Mackenzie Production Production Design Cover image: Reading on a Windy Day, Illustration by Bila in ‘Blanco y Negro’. -
Between the Acts Article
‘On different levels ourselves went forward’ : pageantry, class politics and narrative form in Virginia Woolf’s late writing Harker, B http://dx.doi.org/10.1353/elh.2011.0019 Title ‘On different levels ourselves went forward’ : pageantry, class politics and narrative form in Virginia Woolf’s late writing Authors Harker, B Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/11555/ Published Date 2011 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. ‘On different levels ourselves went forward’: pageantry, class politics and narrative form in Virginia Woolf’s late writing. Ben Harker In August 1936 the Rodmell village branch of the Labour Party held its monthly meeting in the usual venue, Monk’s House, the home of Leonard and Virginia Woolf. Those present included the Woolfs, the village postman Mr Fears and his wife, farm- worker Mr Hubbard, the Woolfs’ domestic servant Louie Everest (branch secretary) and her husband Bert, a labourer at the nearby cement works.1 A number of the assembled activists were also the Woolfs’ employees and tenants, and entrenched class dynamics rubbed against more egalitarian objectives: as recently as the 1929 General Election Virginia Woolf had been jolted by the realisation that she and her servants wanted the same side to win, reflecting in her diary that ‘to be ruled by Nelly [Boxall] and Lottie [Hope] would be a disaster.’2 As Raymond Williams points out it in his essay ‘The Bloomsbury Fraction’, the Woolfs’ circle had never been the politically disengaged aesthetes often caricatured by the left. -
Beyond, Beside, and Between the Acts: Woolf, Derrida, and the Politics of a Middle Voice
Woolf, Derrida, and the Politics of a Middle Voice BEYOND, BESIDE, AND BETWEEN THE ACTS WOOLF, DERRIDA, AND THE POLITICS OF A MIDDLE VOICE By CHRISTY CARLSON, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the degree Master of Arts McMaster University © Copyright by Christy Carlson, August 1991 MASTER OF ARTS (1991) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Beyond, Beside, and Between the Acts: Woolf, Derrida, and the Politics of a Middle Voice AUTHOR: Christy Carlson, B.A. (University of Toronto) SUPERVISOR: Dr. Mary O'Connor NUMBER OF PAGES: v, 108 ii Abstract In this thesis, I examine the discourses of Virginia Woolf and Jacques Derrida each from the perspective of the other in an attempt to discuss the insights and limitations of each theory. I begin by considering each writer's version of what I will call the middle voice, a notion that serves as the point of departure for my examination of the linguistic processes of graft and disengagement in both Woolf and Derrida. Turning to the philosophical and political problems that arise when these writers put their versions of the middle voice into practice, I discuss their mutual desire (and inevitable failure) to oppose and displace totalization. Despite the similarity of these projects, however, I argue that they arise from distinct relations to subjectivity and, as a result, different imperatives. Next, I consider the (non)principle that permits and enables these notions (that is, the ungraspable because always already divided origin and the decentralizing or (self)effacing self): the logic of supplementarity. -
Novel to Novel to Film: from Virginia Woolf's Mrs. Dalloway to Michael
Rogers 1 Archived thesis/research paper/faculty publication from the University of North Carolina at Asheville’s NC DOCKS Institutional Repository: http://libres.uncg.edu/ir/unca/ Novel to Novel to Film: From Virginia Woolf’s Mrs. Dalloway to Michael Cunningham’s and Daldry-Hare’s The Hours Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in Literature at The University of North Carolina at Asheville Fall 2015 By Jacob Rogers ____________________ Thesis Director Dr. Kirk Boyle ____________________ Thesis Advisor Dr. Lorena Russell Rogers 2 All the famous novels of the world, with their well known characters, and their famous scenes, only asked, it seemed, to be put on the films. What could be easier and simpler? The cinema fell upon its prey with immense rapacity, and to this moment largely subsists upon the body of its unfortunate victim. But the results are disastrous to both. The alliance is unnatural. Eye and brain are torn asunder ruthlessly as they try vainly to work in couples. (Woolf, “The Movies and Reality”) Although adaptation’s detractors argue that “all the directorial Scheherezades of the world cannot add up to one Dostoevsky, it does seem to be more or less acceptable to adapt Romeo and Juliet into a respected high art form, like an opera or a ballet, but not to make it into a movie. If an adaptation is perceived as ‘lowering’ a story (according to some imagined hierarchy of medium or genre), response is likely to be negative...An adaptation is a derivation that is not derivative—a work that is second without being secondary. -
The World Without a Self
The World Without a Self Virginia Woolf and the Novel by fames Naremore New Haven and London, Yale University Press, r973 Copyright © z973 by Ya/,e University. All rights reserved. This book may not be reproduced, in whole or in part, in any form (except by reviewers for the public press), without written permission from the publishers. Library of Congress catalog card number: 72-9z3z5 International standard book number: o-300-oz594-z Designed by Sally Sullivan and set in Unotype Granjon type, Printed in the United States of America by The Colonial Press Inc., Clinton, Massachusetts. Published in Great Britain, Europe, and Africa by Yale University Press, Ltd., London. Distributed in Canada by McGill-Queen's University Press, Montreal; in Latin America by Kaiman & Polan, Inc., New York City; in Austra/,asia and Southeast Asia by John Wiley & Sons Austra/,asia Pty. Ltd., Sydney; in India by UBS Publishers' Distributors Pvt., Ltd., Delhi; in .fapan by .fohn Weatherhill, Inc., Tokyo. For Rita and Jay What art was there, known to love or cunning, by which one pressed into those secret chambers? What device for becoming, like waters poured into one jar, one with the object one adored? Lily Briscoe in To the Lighthouse "How describe the world seen without a self?" Bernard in The Waves Contents Acknowledgments xi 1 Introduction 1 2 A Passage from The Voyage Out 5 3 The Artist as Lover: The Voyage Out Continued 30 4 Virginia W 001£ and the Stream of Consciousness 60 5 Mrs. Dal.loway 77 6 To the Lighthouse rr2 7 The Waves 151 8 Orlando and the "New Biography" 190 9 The "Orts and Fr-agments" in Between the Acts 219 ro Conclusion 240 ·Bibliography 249 Index 255 Acknowledgments Portions of this book have appeared in Novel: A Forum on Fiction, and in The Ball State University Forum. -
Feminism in the Work of Virginia Woolf 20
Masaryk University Faculty of Education Department of English Language and Literature English Language and Literature Regina Blatová Orlando: Feminism in the work of Virginia Woolf Bachelor’s Diploma Thesis Supervisor: Mgr. Jiří Šalamoun, Ph.D. 2018 Bibliografický záznam Blatová, Regina. Feminism in the work of Virginia Woolf: bakalářská práce. Brno: Masarykova univerzita, Fakulta pedagogická, Katedra anglického jazyka a literatury, 2018. 60 s. Vedoucí bakalářské práce Mgr. Jiří Šalamoun, Ph.D. Bibliography Blatová, Regina. Feminism in the work of Virginia Woolf: bachelor thesis. Brno: Masaryk University, Faculty of Education, Department of English Language and Literature, 2018. 60 pages. The supervisor of the bachelor thesis Mgr. Jiří Šalamoun, Ph.D. Anotace Tato práce se zabývá tématem feminismu v díle Virginie Woolf. Teoretická část práce se zaměřuje na biografii Virginie Woolf, její literární činnost a historii feminismu s důrazem na období tzv. první vlny feminismu. Analytická část se ve svém úvodu věnuje postoji Virginie Woolf k feministickému hnutí a představuje její eseje zabývající se feministickou tematikou, jmenovitě “A Room of One Own’s” a “Three Guineas”. Stěžejní část analýzy tvoří výklad románu Orlando z pohledu feminismu, zahrnující témata jako androgynie, genderové role a ženský oděv. V rámci jednotlivých kapitol je na dějové linii románu vysvětlen pohled Virginie Woolf na tehdejší roli ženy ve společnosti a kritiku společenských konvencí. Práce zkoumá, jak se v průběhu historie vyvíjela pozice žen ve Velké Británii a jak společenské konvence ovlivnily životy žen. Abstract This thesis deals with a topic of feminism in the works of Virginia Woolf. The theoretical part of the thesis focuses on the biography of Virginia Woolf, her literary work, and the history of feminism with emphasis on the period of the so-called First-wave feminism. -
Angelica Garnett, Ou Le Difficile Héritage De Bloomsbury, Florence Noiville, Le Monde, 8 Juin 2001 a Forcalquier, on L'appelle « L'anglaise »
Angelica Garnett, ou le difficile héritage de Bloomsbury, Florence Noiville, Le Monde, 8 juin 2001 A Forcalquier, on l'appelle « l'Anglaise ». Pour la trouver, il faut gravir des rues aux noms fanés – rue Mercière, rue Violette –, continuer vers la citadelle, marcher en direction d'une chapelle romane à demi enfouie sous les coquelicots et les orties, jusqu'à ce que surgisse enfin une maison basse contemplant tranquillement la chaîne du Lubéron. Une maison qui sent la peinture et l'essence de térébenthine. Il y a des couleurs, des craies partout, des huiles fines de chez Sennelier, des fusains épars, des pots de vernis « bistrot » et de fixatif, des pinceaux en bataille sur un exemplaire du TLS... « Excusez-moi, je dois emballer ce dessin. C'est pour une exposition que je fais à Londres. » Elle lève les yeux vers vous, deux grands yeux bleus très pâles : c'est alors qu'on la reconnaît... « l'Anglaise ». Ce que l'on voit à cet instant, c'est cette fameuse photo de Virginia Woolf par Gisèle Freund : la transparence, la mélancolie du regard, l'ovale si bien dessiné du visage. Fille de l'artiste Vanessa Bell, l'aînée de la famille Stephen, et du peintre Duncan Grant, Angelica Garnett est la nièce de Virginia Woolf. A 82 ans, elle vit en Provence depuis 1984 : « Je connaissais bien la France, j'avais déjà eu une maison dans le Lot et j'avais toujours voulu y vivre. Je voulais aussi me séparer de Charleston qui me prenait trop et m'empêchait de peindre. Je voulais échapper à ça, échapper à tout, aux Anglais aussi. -
Virginia Woolf's Materteral Form Reynolds, R
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch Aunthood and Narrative Voice: Virginia Woolf’s Materteral Form Reynolds, R. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Ms Rosemary Reynolds, 2020. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Aunthood and Narrative Voice: Virginia Woolf’s Materteral Form Rosemary Jean Reynolds Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature School of Humanities, University of Westminster April 2020 1 ABSTRACT It is rare to find an area of Virginia Woolf’s work that has not had, in some form, critical attention. Yet this thesis is the first study, of any length, which takes aunts in Woolf’s writing as its focus. This thesis starts by asking the question, why are there so many aunts in Woolf’s writing? This initial enquiry leads to a consideration of the position of aunthood in British culture during Woolf’s lifetime, and argues that the discourse surrounding the 1907 Deceased Wife’s Sister’s Marriage Act is emblematic of the aunt’s unique position between inside, and outside, the family. Using this historicist research alongside existing poststructuralist Woolf scholarship, this thesis develops a new way to read Woolf’s innovation in narrative form. It develops a theory of the materteral which takes into account the aunt’s specific historical position at the time, and Woolf’s personal conception of aunthood as expressed in her private writing as well as her fiction.