Virginia Woolf Miscellany, Issue 62, Spring 2003
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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. -
EM Forster's Howards End and Virginia Woolfs Mrs. Dalloway
The Metropolis and the Oceanic Metaphor: E.M. Forster's Howards End and Virginia Woolfs Mrs. Dalloway Melissa Baty UH 450 / Fall 2003 Advisor: Dr. Jon Hegglund Department of English Honors Thesis ************************* PASS WITH DISTINCTION Thesis Advisor Signature Page 1 of 1 TO THE UNIVERSITY HONORS COLLEGE: As thesis advisor for Me~~'Y3 ~3 I have read this paper and find it satisfactory. 1 1-Z2.-03 Date " http://www.wsu.edu/~honors/thesis/AdvisecSignature.htm 9/22/2003 Precis Statement ofResearch Problem: In the novels Howards End by E.M. Forster and Mrs. Dalloway by Virginia Woolf, the two authors illwninate their portrayal ofearly twentieth-century London and its rising modernity with oceanic metaphors. My research in history, cultural studies, literary criticism, and psychoanalytic theory aimed to discover why and to what end Forster and Woolf would choose this particular image for the metropolis itselfand for social interactions within it. Context of the Problem: My interpretation of the oceanic metaphor in the novels stems from the views of particular theorists and writers in urban psychology and sociology (Anthony Vidler, Georg Simmel, Jack London) and in psychoanalysis (Sigmund Freud, particularly in his correspondence with writer Romain Rolland). These scholars provide descriptions ofthe oceanic in varying manners, yet reflect the overall trend in the period to characterizing life experience, and particularly experiences in the city, through images and metaphors ofthe sea. Methods and Procedures: The research for this project entailed reading a wide range ofhistorically-specific background regatg ¥9fSter, W661f~ eity of I .Q~e various academic areas listed above in order to frame my conclusions about the novels appropriately. -
Bloomsbury Scientists Ii Iii
i Bloomsbury Scientists ii iii Bloomsbury Scientists Science and Art in the Wake of Darwin Michael Boulter iv First published in 2017 by UCL Press University College London Gower Street London WC1E 6BT Available to download free: www.ucl.ac.uk/ ucl- press Text © Michael Boulter, 2017 Images courtesy of Michael Boulter, 2017 A CIP catalogue record for this book is available from the British Library. This book is published under a Creative Commons Attribution Non-commercial Non-derivative 4.0 International license (CC BY-NC-ND 4.0). This license allows you to share, copy, distribute and transmit the work for personal and non-commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: Michael Boulter, Bloomsbury Scientists. London, UCL Press, 2017. https://doi.org/10.14324/111.9781787350045 Further details about Creative Commons licenses are available at http://creativecommons.org/licenses/ ISBN: 978- 1- 78735- 006- 9 (hbk) ISBN: 978- 1- 78735- 005- 2 (pbk) ISBN: 978- 1- 78735- 004- 5 (PDF) ISBN: 978- 1- 78735- 007- 6 (epub) ISBN: 978- 1- 78735- 008- 3 (mobi) ISBN: 978- 1- 78735- 009- 0 (html) DOI: https:// doi.org/ 10.14324/ 111.9781787350045 v In memory of W. G. Chaloner FRS, 1928– 2016, lecturer in palaeobotany at UCL, 1956– 72 vi vii Acknowledgements My old writing style was strongly controlled by the measured precision of my scientific discipline, evolutionary biology. It was a habit that I tried to break while working on this project, with its speculations and opinions, let alone dubious data. But my old practices of scientific rigour intentionally stopped personalities and feeling showing through. -
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 -
Works on Giambattista Vico in English from 1884 Through 2009
Works on Giambattista Vico in English from 1884 through 2009 COMPILED BY MOLLY BLA C K VERENE TABLE OF CON T EN T S PART I. Books A. Monographs . .84 B. Collected Volumes . 98 C. Dissertations and Theses . 111 D. Journals......................................116 PART II. Essays A. Articles, Chapters, et cetera . 120 B. Entries in Reference Works . 177 C. Reviews and Abstracts of Works in Other Languages ..180 PART III. Translations A. English Translations ............................186 B. Reviews of Translations in Other Languages.........192 PART IV. Citations...................................195 APPENDIX. Bibliographies . .302 83 84 NEW VICO STUDIE S 27 (2009) PART I. BOOKS A. Monographs Adams, Henry Packwood. The Life and Writings of Giambattista Vico. London: Allen and Unwin, 1935; reprinted New York: Russell and Russell, 1970. REV I EWS : Gianturco, Elio. Italica 13 (1936): 132. Jessop, T. E. Philosophy 11 (1936): 216–18. Albano, Maeve Edith. Vico and Providence. Emory Vico Studies no. 1. Series ed. D. P. Verene. New York: Peter Lang, 1986. REV I EWS : Daniel, Stephen H. The Eighteenth Century: A Current Bibliography, n.s. 12 (1986): 148–49. Munzel, G. F. New Vico Studies 5 (1987): 173–75. Simon, L. Canadian Philosophical Reviews 8 (1988): 335–37. Avis, Paul. The Foundations of Modern Historical Thought: From Machiavelli to Vico. Beckenham (London): Croom Helm, 1986. REV I EWS : Goldie, M. History 72 (1987): 84–85. Haddock, Bruce A. New Vico Studies 5 (1987): 185–86. Bedani, Gino L. C. Vico Revisited: Orthodoxy, Naturalism and Science in the ‘Scienza nuova.’ Oxford: Berg, 1989. REV I EWS : Costa, Gustavo. New Vico Studies 8 (1990): 90–92. -
Off the Pedestal, on the Stage: Animation and De-Animation in Art
Off the Pedestal; On the Stage Animation and De-animation in Art and Theatre Aura Satz Slade School of Fine Art, University College, London PhD in Fine Art 2002 Abstract Whereas most genealogies of the puppet invariably conclude with robots and androids, this dissertation explores an alternative narrative. Here the inanimate object, first perceived either miraculously or idolatrously to come to life, is then observed as something that the live actor can aspire to, not necessarily the end-result of an ever evolving technological accomplishment. This research project examines a fundamental oscillation between the perception of inanimate images as coming alive, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief. Chapters i and 2 consider the literary documentation of objects miraculously coming to life, informed by the theology of incarnation and resurrection in Early Christianity, Byzantium and the Middle Ages. This includes examinations of icons, relics, incorrupt cadavers, and articulated crucifixes. Their use in ritual gradually leads on to the birth of a Christian theatre, its use of inanimate figures intermingling with live actors, and the practice of tableaux vivants, live human figures emulating the stillness of a statue. The remaining chapters focus on cultural phenomena that internalise the inanimate object’s immobility or strange movement quality. Chapter 3 studies secular tableaux vivants from the late eighteenth century onwards. Chapter 4 explores puppets-automata, with particular emphasis on Kempelen's Chess-player and the physical relation between object-manipulator and manipulated-object. The main emphasis is a choreographic one, on the ways in which live movement can translate into inanimate hardness, and how this form of movement can then be appropriated. -
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. -
Author's Name
Cross-Cultural Management Journal Volume XVI, Issue 2 / 2014 Dana BĂDULESCU Alexandru Ioan Cuza University of Iaşi BLOOMSBURY AND Theoretical article SPACE BOUNDARIES Keywords Bloomsbury Monk’s House Charleston Rooms The Omega Workshops Abstract The purpose of this paper is to explore the complex ways in which Bloomsbury artists approached space, challenging and blurring the boundaries between the domestic/private domain and the public sphere, and also between life and art. Looking deep into the private space, these artists posited the self, which was of utmost importance to them, at the intersection between two previously distinct spheres. With their metaphorically charged symbolism of rooms, windows, houses, gardens, on the one hand, and streets, parks, and squares, on the other, Virginia Woolf's novels, diary and essays, E. M. Forster's novels and essays, the paintings of Vanessa Bell and Duncan Grant, and the Omega Workshops organized by the Bloomsbury artists suggest an ambivalent contrast and fusion between the most intimate aspects of the self and the public space. 247 Cross-Cultural Management Journal Volume XVI, Issue 2 / 2014 In her essay “Mr. Bennett and Mrs. sake. What artists like Oscar Wilde and Aubrey Brown” Virginia Woolf famously stated that the Beardsly, or art historians like Walter Pater human character changed around the year 1910. highlighted was a need of the human mind and soul What she meant by this is that a whole set of to be surrounded by beauty. Two decades or so values, norms, customs, attitudes, even life style before the Bloomsbury Group lived up to the same and fashion took a dramatic turn at the end of the principle, the late nineteenth century artists had first decade of the twentieth century. -
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.