The Language of Time in Virginia Woolf's Fiction: Mrs. Dalloway
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Narrativizing Characters in <Em>Mrs. Dalloway</Em>
Narrativizing Characters in Mrs. Dalloway Author(s): Annalee Edmondson Source: Journal of Modern Literature , Vol. 36, No. 1 (Fall 2012), pp. 17-36 Published by: Indiana University Press Stable URL: https://www.jstor.org/stable/10.2979/jmodelite.36.1.17 REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/10.2979/jmodelite.36.1.17?seq=1&cid=pdf- reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Indiana University Press is collaborating with JSTOR to digitize, preserve and extend access to Journal of Modern Literature This content downloaded from 143.107.3.152 on Mon, 28 Oct 2019 13:18:17 UTC All use subject to https://about.jstor.org/terms Narrativizing Characters in Mrs. Dalloway Annalee Edmondson University of Georgia According to critical consensus, Virginia Woolf is the most “inward” of all modern British writers. Even critics who emphasize the socio-political vision of Woolf ’s writing, such as Alex Zwerdling, read the character of Mrs. Dalloway in terms of her “private,” in con- tradistinction to her “public,” self. This essay seeks to question this “private” / “public” split, and argues that Woolf ’s text evinces a privileging of intersubjectivity — the consciousness of other consciousnesses — over subjectivity — an individual’s “private” world as defined apart from any other subjects. -
Re-Thinking Human Life Into Poetry the Waves
Re-thinking Human Life into Poetry Virginia Woolf ’s The Waves By Trine Beate Frigstad A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo In Partial Fulfilment of the Requirements for the MA Degree Spring Term 2008 Claude Monet, Rising tide at Pourville, 1882 Brooklyn Museum, New York Acknowledgements To me, writing this thesis has become a source of inspiration out of which there seems more to draw. Virginia Woolf’s language holds so many treasures that one feels there is always something new and fresh waiting to be brought out. I feel grateful for the opportunities I have had to get to know the author and her works. My interest in her language grew when I was a student of speech and drama in London. I wish to express my gratitude to my adviser, Professor Jakob Lothe, for his positive response, useful advice and encouraging comments. I also wish to thank my husband for his interest and kindness during the period of this work. Nesodden, 1 May 2008 it is a token of some real thing behind appearances; and I make it real by putting it into words. It is only by putting it into words that I make it whole; this wholeness means that it has lost its power to hurt me; it gives me, perhaps because by doing so I take away the pain, a great delight to put the severed parts together. Perhaps this is the strongest pleasure known to me. It is the rapture I get when in writing I seem to be discovering what belongs to what; making a scene come right, making a character come together. -
William Shakespeare's Cymbeline In
Vol. 1, 189-209 ISSN: 0210-7287 «GATHER THOSE FLOWERS»: WILLIAM SHAKESPEARE’S CYMBELINE IN SALVADOR ESPRIU’S MRS. DEATH «Coged aquellas flores»: Cymbeline, de William Shakespeare, en Mrs. Death, de Salvador Espriu Dídac LLORENS CUBEDO Universidad Nacional de Educación a Distancia (UNED) [email protected] Recibido: julio de 2013; Aceptado: agosto de 2013; Publicado: diciembre de 2013 BIBLID [0210-7287 (2013) 3; 189-209] Ref. Bibl. DÍDAC LLORENS CUBEDO. «GATHER THOSE FLOWERS»: WILLIAM SHAKESPEARE’S CYMBELINE IN SALVADOR ESPRIU’S MRS. DEATH. 1616: Anuario de Literatura Comparada, 3 (2013), 189-209 RESUMEN: El poeta catalán Salvador Espriu abre su libro Mrs. Death con un verso de Cymbeline: «Whiles yet the dew’s on ground, gather those flowers». Esta cita nos remite a imágenes y temas clave del poemario, compartidos con la obra de Shakespeare y con Mrs. Dalloway de Virginia Woolf. Al presentar la muerte como liberación, los poemas de Espriu recuerdan a la canción de Guiderius y Arviragus, citada en momentos cruciales de Mrs. Dalloway («Fear no more»). Dos de los temas centrales de la novela, la muerte y la destrucción bélica, lo son también de la poética de Espriu. También merece atención la fascinación que el poeta debió sentir por ciertos personajes de Cymbeline (en especial Posthumus o Cornelius) y el énfasis en la paz y el perdón que domina la última escena de la obra, cercano a las esperanzas de Espriu para Cataluña y España después de la Guerra Civil. © Ediciones Universidad de Salamanca 1616: Anuario de Literatura Comparada, 3, 2013, pp. 189-209 190 DÍDAC LLORENS CUBEDO «GATHER THOSE FLOWERS»: WILLIAM SHAKESPEARE’S CYMBELINE IN SALVADOR ESPRIU’S MRS. -
Mrs Dalloway Theme: a Woman on the Edge
Discovering Literature www.bl.uk/20th-century-literature Teachers’ Notes Curriculum subject: English Literature Key Stage: 4 and 5 Author / Text: Virginia Woolf, Mrs Dalloway Theme: A woman on the edge Rationale Virginia Woolf’s Mrs Dalloway is one of the most innovative novels in the history of the genre. In these activities, students will use manuscript drafts, notebooks and essays to study Woolf’s experimentation with form and use of language during the lengthy process of composition. They will also consider the work in the context of post-First World War Britain, making imaginative links with other aspects of modernism, and producing their own creative writing. Content Literary and historical sources from the site: Manuscript draft of Mrs Dalloway/The Hours (1923–24) Virginia Woolf's travel and literary notebook (1906–09) ‘Street Haunting’, an essay by Virginia Woolf (1930) ‘Mr. Bennett and Mrs. Brown’, an essay by Virginia Woolf (1924) First edition of Ulysses by James Joyce, published by Shakespeare and Company (1922) Recommended reading: Exploring consciousness and the modern: an introduction to Mrs Dalloway by Elaine Showalter Virginia Woolf’s London by David Bradshaw Virginia Woolf and the First World War by David Bradshaw Mrs Dalloway /Virginia Woolf; with an introduction and notes by Elaine Showalter (London: Penguin, 2000) External links: Google Maps, for map of London Checklist of the paintings in the 1910 exhibition, Manet and the Post-Impressionists The British Library | www.bl.uk/20th-century-literature 1 Key questions How does Woolf experiment with form and structure in her writing? How does Mrs Dalloway reflect the changes in society after the First World War? How does Woolf’s writing link to other aspects of modernism? Activities 1) Look at the Manuscript draft of Mrs Dalloway/The Hours (1923–24). -
Phantasies, Motherhood, and Genealogy in the Hours.Pdf
The Wenshan Review of Literature and Culture.Vol 2.2.June 2009.105‐153. Phantasies, Motherhood, and Genealogy in The Hours Yuh-yi Tan ABSTRACT Virginia Woolf has become a model of the foremother in Modernist literature and her works have also had a profound influence on later postmodernist works and various film adaptations. Among Woolf’s works, Mrs. Dalloway offers a visionary interpretation to construct a Kleinian matricentric world to replace Freudian paternal genealogies. Bearing this as a major focus, Michael Cunningham’s The Hours contributes to conceptualize Woolf’s maternal aura into a postmodernist re-interpretation of Woolf’s Mrs. Dalloway by weaving it as a world of female genealogy in the multicultural cities located from the continent to the Untied States. The essay, thus, presents a comprehensive study of Stephen Daldry’s cinematic version, The Hours, along with David Hare’s same name script as the major contexts to concentrate on Woolf’s rhetoric of m/other with psychoanalytic feminist approaches, namely Melanie Klein’s object-relations and Julia Kristeva’s abject. Contrary to the dominant oedipal focused concepts, the genealogical project of psychological mothering, thus, has shaped an alternative view on mapping the possible world of female phantasies. KEY WORDS: phantasies, the paranoid-schizoid position, the depressive position, anxiety-situations, breast, abject * Received: November 9, 2007; Accepted: June 25, 2008 Yuh-yi Tan, Assistant Professor, Center of General Education, National Taipei College of Business, Taipei, Taiwan E-mail: [email protected] 106 The Wenshan Review of Literature and Culture.Vol 2.2.June 2009 This is my right; it is the right of every human being. -
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. -
An Introduction to Virginia Woolf's Mrs Dalloway
An Introduction to Virginia Woolf's Mrs Dalloway By Stephanie Forward Cover illustration courtesy of Stephen Collins This eBook was produced by OpenLearn - The home of free learning from The Open University. It is made available to you under a Creative Commons (BY-NC-SA 4.0) licence. 2 ‘I meant to write about death, only life came breaking in as usual.’ (From Virginia Woolf’s diary, 17 February 1922). The life of Virginia Woolf (1882-1941) Adeline Virginia Stephen was born in 1882, to Leslie Stephen and his second wife Julia. Her father was a distinguished intellectual: an author, literary critic and philosopher; the original editor of the Dictionary of National Biography, and a pioneering mountaineer. Julia had been a model for photographers and Pre-Raphaelite artists, and had worked as a nurse. Virginia had three full siblings, Vanessa, Thoby and Adrian; and four half-siblings. The family lived at 22 Hyde Park Gate, Kensington, where the young girls received home tuition. From 1897-1902 Virginia took classes in Greek, Latin, History and German in the King’s College Department for Ladies, London. She loved to write from an early age, contributing to the family newspaper, The Hyde Park Gate News. 3 Tragedy struck when her mother passed away in 1895. Virginia experienced her first major period of mental illness, and was to suffer from mania and severe depression for the rest of her life. There was further trauma just two years later, when her half-sister, Stella, died. Her father followed in 1904, then her beloved Thoby was taken from her by typhoid fever in 1906. -
The Consequences of Treatment of the Mentally Ill in Virginia Woolf's the Waves and Mrs
SUNY College Cortland Digital Commons @ Cortland Master's Theses 5-2016 Diagnoses by gender: the consequences of treatment of the mentally ill in Virginia Woolf's The Waves and Mrs. Dalloway Erika Nichole Jackson Follow this and additional works at: https://digitalcommons.cortland.edu/theses Part of the Clinical Psychology Commons, Fiction Commons, Gender and Sexuality Commons, Literature in English, British Isles Commons, Personality and Social Contexts Commons, Social Psychology and Interaction Commons, and the Women's Studies Commons Recommended Citation Jackson, Erika Nichole, "Diagnoses by gender: the consequences of treatment of the mentally ill in Virginia Woolf's The Waves and Mrs. Dalloway" (2016). Master's Theses. 14. https://digitalcommons.cortland.edu/theses/14 This Open Access Thesis is brought to you for free and open access by Digital Commons @ Cortland. It has been accepted for inclusion in Master's Theses by an authorized administrator of Digital Commons @ Cortland. For more information, please contact [email protected]. Diagnoses by Gender: The Consequences of Treatment of the Mentally Ill in Virginia Woolf’s The Waves and Mrs. Dalloway By Erika Nichole Jackson A Thesis Submitted in Partial Fulfillment of the Requirements For the Master of the Arts in English Department of English, School of Arts and Sciences STATE UNIVERSITY OF NEW YORK COLLEGE AT CORTLAND May 2016 Jackson 1 “Insanity is purely a disease of the brain…The physician is now the responsible guardian of the lunatic, and must ever remain so.” Sir John Charles Bucknill (1897) Mental illness has consistently been and continues to be a subject that is viewed as taboo by society, especially when it comes to diagnosing a patient. -
Female Visions of the City: an Exploration of Urban Literature Written by Women
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 Female Visions of the City: An Exploration of Urban Literature Written by Women Leah Katherine Rabinowitz Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Literature in English, North America Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Rabinowitz, Leah Katherine, "Female Visions of the City: An Exploration of Urban Literature Written by Women" (2016). Senior Projects Spring 2016. 160. https://digitalcommons.bard.edu/senproj_s2016/160 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Female Visions of the City: An Exploration of Urban Literature written by Women Senior Project Submitted to The Division of Languages and Literature of Bard College by Leah Rabinowitz Annandale-on-Hudson, New York May 2016 PREFACE Before I started to explore female visions of the city within literature I asked my friends to give me their own visions of the city. -
The Ecstatic Moment, Real Time and the Narration of Self in Virginia Woolf’S the Waves
“I Now, I Then”: The Ecstatic Moment, Real Time and the Narration of Self in Virginia Woolf’s The Waves. A Senior Thesis submitted to the Department of English of Haverford College April 7th 2016 Sarah Wingfield Thesis Advisor: Professor Rajeswari Mohan It is not one life that I look back upon; I am not one person; I do not altogether know who I am. (Virginia Woolf, The Waves) …Of these visionary flowers I made a nosegay, bound in such a way / that […] Kept these imprisoned children of the Hours Within my hand. (Percy Bysshe Shelley, ‘The Question’) Let us stop for a moment; let us behold what we have made. Let it blaze against the yew trees. One life. There. It is over. Gone out. (Virginia Woolf, The Waves) For Laura 1991 — 2015 “I cry because everything is so beautiful and so short” (Marina Keegan, The Opposite of Loneliness) On the 27th February 1926, Virginia Woolf began her diary entry by asking perhaps the most daunting of metaphysical questions: “Why is there not a discovery in life? Something one can lay hands on and say ‘this is it’?” (Diaries 207). Indeed, she continued, “what is it? And shall I die before I can find it?” (207). Those unfamiliar with Woolf’s writing would expect (and not unreasonably so) such questions to remain elusive and rhetorical. Yet what one learns upon read- ing not only her novels, but also her autobiographical and critical writings is that Woolf did not dwell, as many of her predecessors did, in the realm of aimless superfluity. -
I Am Rooted, but I Flow': Virginia Woolf and 20Th Century Thought Emily Lauren Hanna Scripps College
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Keck Graduate Institute Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2012 'I Am Rooted, But I Flow': Virginia Woolf and 20th Century Thought Emily Lauren Hanna Scripps College Recommended Citation Hanna, Emily Lauren, "'I Am Rooted, But I Flow': Virginia Woolf and 20th Century Thought" (2012). Scripps Senior Theses. Paper 97. http://scholarship.claremont.edu/scripps_theses/97 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. ‘I AM ROOTED, BUT I FLOW’: VIRGINIA WOOLF AND 20 TH CENTURY THOUGHT by EMILY LAUREN HANNA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MATZ PROFESSOR GREENE APRIL 20, 2012 1 ACKNOWLEDGEMENT It is a pleasure to thank those who made this thesis possible, including Professors Matz, Greene, Peavoy, and Wachtel, whose inspiration and guidance enabled me to develop an appreciation and understanding of the work of Virginia Woolf. I would also like to thank my friends, and above all, my family who helped foster my love of literature, and supported me from the initial stages of my project through its completion. Emily Hanna 2 Table of Contents Introduction 4 Chapter 1 – Conceptual Framework 7 Chapter 2 – Mrs. Dalloway 22 Chapter 3 – To the Lighthouse 34 Chapter 4 – The Waves 50 Conclusion 63 Works Cited 65 3 Introduction If life has a base that it stands upon, if it is a bowl that one fills and fills and fills – then my bowl without a doubt stands upon this memory. -
The Story Which He Never Stops Telling Himself: Autobiography, Narrative Community, and the Deconstruction of Selfhood in Virginia Woolf's the Waves
Andrews University Digital Commons @ Andrews University Honors Theses Undergraduate Research 2015 The Story Which He Never Stops Telling Himself: Autobiography, Narrative Community, and the Deconstruction of Selfhood in Virginia Woolf's The Waves Melodie Roschman Follow this and additional works at: https://digitalcommons.andrews.edu/honors Recommended Citation Roschman, Melodie, "The Story Which He Never Stops Telling Himself: Autobiography, Narrative Community, and the Deconstruction of Selfhood in Virginia Woolf's The Waves" (2015). Honors Theses. 108. https://digitalcommons.andrews.edu/honors/108 This Honors Thesis is brought to you for free and open access by the Undergraduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. J. N. Andrews Honors Program Andrews University HONS 497 Honors Thesis “The story which he never stops telling himself”: Autobiography, Narrative Community, and the Deconstruction of Selfhood in Virginia Woolf’s The Waves Melodie Roschman March 25, 2015 Advisor: Dr. Beverly Matiko Primary Advisor: ___________________________________ Department Chair: __________________________________ Roschman 2 Abstract This paper examines narrative, biography, and selfhood in Virginia Woolf’s The Waves (1931). The novel, a “play-poem,” follows six friends’ monologues from childhood to death. I analyze aspiring writer Bernard from his childhood of telling stories about companions to his inability to narrate his autobiography, arguing that he fails because he has no self to narrate.