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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. -
AWAR of INDIVIDUALS: Bloomsbury Attitudes to the Great
2 Bloomsbury What were the anti-war feelings chiefly expressed outside ‘organised’ protest and not under political or religious banners – those attitudes which form the raison d’être for this study? As the Great War becomes more distant in time, certain actions and individuals become greyer and more obscure whilst others seem to become clearer and imbued with a dash of colour amid the sepia. One thinks particularly of the so-called Bloomsbury Group.1 Any overview of ‘alter- native’ attitudes to the war must consider the responses of Bloomsbury to the shadows of doubt and uncertainty thrown across page and canvas by the con- flict. Despite their notoriety, the reactions of the Bloomsbury individuals are important both in their own right and as a mirror to the similar reactions of obscurer individuals from differing circumstances and backgrounds. In the origins of Bloomsbury – well known as one of the foremost cultural groups of the late Victorian and Edwardian periods – is to be found the moral and aesthetic core for some of the most significant humanistic reactions to the war. The small circle of Cambridge undergraduates whose mutual appreciation of the thoughts and teachings of the academic and philosopher G.E. Moore led them to form lasting friendships, became the kernel of what would become labelled ‘the Bloomsbury Group’. It was, as one academic described, ‘a nucleus from which civilisation has spread outwards’.2 This rippling effect, though tem- porarily dammed by the keenly-felt constrictions of the war, would continue to flow outwards through the twentieth century, inspiring, as is well known, much analysis and interpretation along the way. -
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. -
John Halperin Bloomsbury and Virginia W
John Halperin ., I Bloomsbury and Virginia WooH: Another VIew . i· "It had seemed to me ever since I was very young," Adrian Stephen wrote in The Dreadnought Hoax in 1936, "that anyone who took up an attitude of authority over anyone else was necessarily also someone who offered a leg to pull." 1 In 1910 Adrian and his sister Virginia and Duncan Grant and some of their friends dressed up as the Emperor of Abyssinia and his suite and perpetrated a hoax upon the Royal Navy. They wished to inspect the Navy's most modern vessel, they said; and the Naval officers on hand, completely fooled, took them on an elaborate tour of some top secret facilities aboard the HMS Dreadnought. When the "Dread nought Hoax," as it came to be called, was discovered, there were furious denunciations of the group in the press and even within the family, since some Stephen relations were Naval officers. One of them wrote to Adrian: "His Majesty's ships are not suitable objects for practical jokes." Adrian replied: "If everyone shared my feelings toward the great armed forces of the world, the world [might] be a happier place to live in . .. armies and suchlike bodies [present] legs that [are] almost irresistible." Earlier a similarly sartorial practical joke had been perpetrated by the same group upon the mayor of Cam bridge, but since he was a grocer rather than a Naval officer the Stephen family seemed unperturbed by this-which was not really a thumbing·of-the-nose at the Establishment. The Dreadnought Hoax was harder to forget. -
Reason and Values in Bloomsbury Fiction
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. REASON AND VALUES m BLOOMS BJRY FICTION A thesis presented in partial fulfilment of the requirements for t he degree of Master of Arts in English at Massey University. Diane Wendy Wills 1970 "From these primary qualities, Reasonabl eness and a Sense of' Values, may spring a host of secondaries: a tast e for truth and beauty, tol erance, intellectual honesty, fastidiousness, a sense of humour, good manners, curiosity, a dislike of vulgarity, brutality, and over-emphasis, freedom f'rom superstition and prudery, a fearless acceptance of the good things of life, a desire for complete sel.1' expression and for a liberal education, a contempt for utilitarian ism and philistinism, in two ords • sweetness and light. " { Clive Bell. ) iii, PREPACE When I f'irat began looking at the fiction of the Bloomsbury Group I had 11ttle idea of hat my final argum :t would be. Ne, .,, I find my• aelt measuring the values implicit 1n the novel against t h·· l. ,Jl' sfe of Bloom.sbury a.a erated by outside co tators am. by me;i1)Jl·--= •)f Bloan bury itaelf, and ree.ttirm1ng not on13 th indep dence of mind which indiv- idual m ber retained but th ftwlty jU.UJ?J111C11ts ct oh m outsider he.v b guilty• Thi the 1a to be emaustiv cover- age ot Bloomsbul7 ideas in fiction. -
A Comparative Critical Study of Kate Roberts and Virginia Woolf
CULTURAL TRANSLATIONS: A COMPARATIVE CRITICAL STUDY OF KATE ROBERTS AND VIRGINIA WOOLF FRANCESCA RHYDDERCH A THESIS SUBMITTED FOR THE DEGREE OF PhD UNIVERSITY OF WALES, ABERYSTWYTH 2000 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. 4" Signed....... (candidate) ................................................. z3... Zz1j0 Date x1i. .......... ......................................................................... STATEMENT 1 This thesis is the result of my own investigations, except where otherwise stated. Other sources are acknowledged by footnotes giving explicit references. A bibliography is appended. Signed (candidate) ......... ' .................................................... ..... 3.. MRS Date X11.. U............................................................................. ............... , STATEMENT 2 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. hL" Signed............ (candidate) .............................................. 3Ü......................................................................... Date.?. ' CULTURAL TRANSLATIONS: A COMPARATIVE CRITICAL STUDY OF KATE ROBERTS AND VIRGINIA WOOLF FRANCESCA RHYDDERCH Abstract This thesis offers a comparative critical study of Virginia Woolf and her lesser known contemporary, the Welsh author Kate Roberts. To the majority of -
Love Between the Lines: Paradigmatic Readings of the Relationship Between Dora Carrington and Lytton Strachey Janine Loedolff Th
Love Between The Lines: Paradigmatic Readings of the Relationship between Dora Carrington and Lytton Strachey Janine Loedolff Thesis presented in fulfilment of the requirements for the degree of Master of Arts at the University of Stellenbosch Department of English Faculty of Arts and Social Sciences Supervisor: Dr S.C. Viljoen Co-supervisor: Prof. E.P.H. Hees November 2007 Declaration I, the undersigned, hereby declare that the work contained in this thesis is my own original work and has not previously in its entirety or in part been submitted at any university for a degree. Signature: Date: Copyright ©2008 Stellenbosch University All rights reserved ii Acknowledgements Dr Shaun Viljoen, for teaching me about uncommon lives; My co-supervisor, Prof. Edwin Hees; Mathilda Slabbert, for telling me the story for the first time, and for her inspirational enthusiasm; Roshan Cader, for her encouragement and willingness to debate the finer points of performativity with me; Sarah Duff, for continuously demanding clarity, and for allowing me to stay at Goodenough College; Dawid de Villers, for translations; Evelyn Wiehahn, Neil Micklewood, Daniela Marsicano, Simon Pequeno and Alexia Cox for their many years of love and friendship; Larry Ferguson, who always tells me I have something to say; My father, Johan, and his extended family, for their continual love and support and providing me with a comforting refuge; My family in England – Chicky for taking me to Charleston, and Melanie for making her home mine while I was researching at the British Library; and Joe Loedolff, for eternal optimism, words of wisdom, and most importantly, his kinship. -
Suffrage and Virginia Woolf 121 Actors
SUFFRAGE AND VIRGINIAWOOLF: ‘THE MASS BEHIND THE SINGLE VOICE’ by sowon s. park Virginia Woolf is now widely accepted as a ‘mother’ through whom twenty- ¢rst- century feminists think back, but she was ambivalent towards the su¡ragette movement. Feminist readings of the uneasy relation betweenWoolf and the women’s Downloaded from movement have focused on her practical involvement as a short-lived su¡rage campaigner or as a feminist publisher, and have tended to interpret her disapproving references to contemporary feminists as redemptive self-critique. Nevertheless the apparent contradictions remain largely unresolved. By moving away from Woolf in su¡rage to su¡rage in Woolf, this article argues that her work was in fact deeply http://res.oxfordjournals.org/ rooted at the intellectual centre of the su¡rage movement. Through an examination of the ideas expressed in A Room of One’s Own and Three Guineas and of two su¡rage characters, Mary Datchet in Night and Day and Rose Pargiter in TheYears,it establishes how Woolf’s feminist ideas were informed by su¡rage politics, and illumi- nates connections and allegiances as well as highlighting her passionate resistance to a certain kind of feminism. at Bodleian Library on October 20, 2012 I ‘No other element in Woolf’s work has created so much confusion and disagree- mentamongherseriousreadersasherrelationtothewomen’smovement’,noted Alex Zwerdling in 1986.1 Nonetheless the women’s movement is an element more often overlooked than addressed in the present critical climate. And Woolf in the twentieth- ¢rst century is widely accepted as a ‘mother’ through whom feminists think back, be they of liberal, socialist, psychoanalytical, post-structural, radical, or utopian persuasion. -
The Posthumanistic Theater of the Bloomsbury Group
Maine State Library Digital Maine Academic Research and Dissertations Maine State Library Special Collections 2019 In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group Christina A. Barber IDSVA Follow this and additional works at: https://digitalmaine.com/academic Recommended Citation Barber, Christina A., "In the Mouth of the Woolf: The Posthumanistic Theater of the Bloomsbury Group" (2019). Academic Research and Dissertations. 29. https://digitalmaine.com/academic/29 This Text is brought to you for free and open access by the Maine State Library Special Collections at Digital Maine. It has been accepted for inclusion in Academic Research and Dissertations by an authorized administrator of Digital Maine. For more information, please contact [email protected]. IN THE MOUTH OF THE WOOLF: THE POSTHUMANISTIC THEATER OF THE BLOOMSBURY GROUP Christina Anne Barber Submitted to the faculty of The Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the requirements for the degree Doctor of Philosophy August, 2019 ii Accepted by the faculty at the Institute for Doctoral Studies in the Visual Arts in partial fulfillment of the degree of Doctor of Philosophy. COMMITTEE MEMBERS Committee Chair: Simonetta Moro, PhD Director of School & Vice President for Academic Affairs Institute for Doctoral Studies in the Visual Arts Committee Member: George Smith, PhD Founder & President Institute for Doctoral Studies in the Visual Arts Committee Member: Conny Bogaard, PhD Executive Director Western Kansas Community Foundation iii © 2019 Christina Anne Barber ALL RIGHTS RESERVED iv Mother of Romans, joy of gods and men, Venus, life-giver, who under planet and star visits the ship-clad sea, the grain-clothed land always, for through you all that’s born and breathes is gotten, created, brought forth to see the sun, Lady, the storms and clouds of heaven shun you, You and your advent; Earth, sweet magic-maker, sends up her flowers for you, broad Ocean smiles, and peace glows in the light that fills the sky. -
La Dama Que Se Transformó En Zorro
PERIFÉRICA HOJA DE PROMOCIÓN PARA LIBREROS LA OBRA ESTARÁ EN LIBRERÍAS EL 14 DE ABRIL Una mujer que se convierte en un zorro: se trata de un terrible revés de la fortuna, pero de una extraña belleza. Pero el verdadero tema de esta fascinante novela es qué sucederá luego. Y no deberíamos dejarnos engañar por el título, pues hay más de una transformación en ella. David Garnett LA DAMA QUE SE TRANSFORMÓ EN ZORRO COLECCIÓN «LA RGO RECORRIDO » TRADUCCIÓN DE LAURA SALAS Nº DE PÁGINAS: 128 PVP INCLUIDO IVA : 15,75 € ISBN: 978-84-92865-91-8 Silvia, la protagonista de esta novela tan singular como sabiamente alejada de la cursilería, se casa con el terrateniente Richard Tebrick, tras un breve noviazgo, y después de la luna de miel se instalan en la hermosa finca de Rylands, en el condado de Oxfordshire; la casa de los Tebrick es la única mansión en kilómetros a la redonda. Pocos meses después, una tarde, salen a pasear por el bosquecillo de la colina cercana. Aún se comportan como enamorados: van a todas partes juntos y pasean de la mano. Ese día se oye a lo lejos una jauría de perros y, a continuación, la trompa de los cazadores; así que Richard acelera el paso hasta llegar a la linde del bosque, para no perderse el espectáculo. Desde allí dispondrán de una buena panorámica si los zorros aparecen. Su esposa se queda atrás, y él, tomándola de la mano, casi la arrastra. Antes de que alcancen la linde, ella da un violento tirón acompañado de un alarido y, de inmediato, él vuelve la cabeza… Las historias de transformaciones son una manera de dotar de sentido al mundo, de ver las conexiones que el materialismo de nuestra era pasa por alto, y que pertenecen a un universo ordenado no sólo por la razón, sino también por la imaginación, un universo en el que el cambio es la única constante. -
Diaghilev and London
Diaghilev and London, A Talk by Graham Bennett, Crouch End and District U3A member We are not exactly the best of friends with Russia these days - But just over a century ago, Russia exported something that actually transformed the cultural life of London. This talk is about a quite extraordinary Russian Impresario and two equally extraordinary women who were part of his project The project was a Russian Dance Company that created a revolution in the world of dance, and London was to play a big part in its success. This company is the Ballet Russes. The impresario is Serge Diaghilev, born in 1872 in Perm in deepest Russia, who would create the Ballet Russes. Lydia Lopokova from St Petersburg, born in 1892, one of Diaghilev's star ballerinas. And last but not least, our very own Hilda Munnings from Wanstead in East London, born in 1896. Also to become a vitally important member of the company The story starts in St Petersburg in 1901, the heart of the Russian Empire, at the famous Mariinsky Theatre. Their choreographer Marius Petipa and composer Tchaikovsky had already created masterpieces such as The Sleeping Beauty, The Nutcracker and Swan Lake. These are such familiar names to us today but they were virtually unknown outside Russia at that time. Over in England we were still having a jolly knees up and sing-along at the Music Hall and even in France, ballet had degenerated to a pale shadow of its former glory. In 1901, Lydia Lopokova, just 9 years old, auditioned for a place at the prestigious Imperial Theatre School in St Petersburg.