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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. -
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). -
Virginia Woolf's Carlylean Pilgrimages
Revisiting a Great Man’s House: Virginia Woolf’s Carlylean Pilgrimages MARIE LANIEL LTHOU G H MANY EARLY TWENTIETH -CENTURY WRITERS TEND TO disparage Thomas Carlyle’s moral earnestness, emphatic A hero-worship, and stern authoritarianism, most of them also feel strangely compelled to express ambivalent feelings of involuntary allegiance towards the Victorian sage. Enveloped in spiritual turmoil, Bertrand Russell found comfort by reading Carlyle’s account of his own religious crisis in Sartor Resartus (1833– 34) and felt obliged to acknowledge that he was oddly “moved by rhetoric which [he] could not accept. Carlyle’s ‘Everlasting No’ and ‘Everlasting Yea’ seemed to me very splendid, in spite of my thinking that at bottom they were nonsense” (27). Such remarks help to explain Carlyle’s curiously cloaked influence in the novels of the period, ranging from E. M. Forster’s A Room with a View (1908) to D. H. Lawrence’s Women in Love (1920). In these circumstances, it was perhaps inevitable that James Joyce should recognize the advent of Carlylean rhetoric as a momentous stage in the development of English prose writing by including a true-to-life, if slightly irreverent, impersonation of the Victorian prophet in the “Oxen of the Sun” chapter in Ulysses (1922). Of all modernist writers, Virginia Woolf (1882–1941) was perhaps the most reluctant to acknowledge any debt towards Carlyle. Throughout her life she was impervious to his egotistical rhetoric and critical of his authoritarian streak. In a letter to Margaret Llewelyn-Davies (23 January 1916), Woolf derides his oracular tone and dismisses his gloomy insights as the ravings of a misguided prophet: “I’ve been reading Carlyle’s Past and Present, and wondering whether all his rant has made a scrap CSA 24 2008 118 CARLYLE STUDIE S ANNUAL of difference practically” (Letters 2: 76). -
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. -
Sosyal Bilimler Enstitüsü Dergisi………………………………………
Celal Bayar Üniversitesi CBÜ SOSYAL BİLİMLER DERGİSİ Yıl : 2013 Cilt :11 Sayı :2 EXPERIMENTAL MODERNISM: THE SUBVERSION OF ROMANCE FORMULAS AND THE DISMANTLING OF REALIST REPRESENTATION OF THE CITY IN VIRGINIA WOOLF’S NIGHT AND DAY Araş. Gör. Dr. Çiğdem ALP Çanakkale Onsekiz Mart Üniversitesi, Fen Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü ABSTRACT Virginia Woolf’s second novel, Night and Day (1919), has generally been conceived as a typical example of the traditional English novel, which is characterized by the realistic rendering of common life and ordinary people. Some aspects of the book such as chronological order, omniscient narrator, and the traditional plot of love and marriage undoubtedly point to the realist tradition that the novel resides in. However, it is misleading to evaluate the text simply as a realist work because the narrative strategies Woolf employs throughout the book subvert the earlier literary conventions and signal the commencement of modernist literature that has changed the form and content of the English novel in the following decades. Throughout this work, Woolf questions both social and literary conventions by subverting romance formulas and describing psychologically-perceived London. While the subverted romance structure exposes the established views on gender and marriage, the portrayal of London through the consciousness of the characters prevents the novel from being a wholly realist work. The aim of this paper is to analyze how Woolf challenges traditional form and subject matter, and hence lays the ground for her later modernist works. Keywords: Virginia Woolf, Night and Day, realism, modernism, romance, city, feminism MODERNIZME GEÇİŞ: VIRGINIA WOOLF’UN NIGHT AND DAY ROMANINDA ROMANS GELENEĞİNİN VE REALİZMIN YIKIMI ÖZ Virginia Woolf’un ikinci romanı Night and Day (1919), edebiyat eleştirmenleri tarafından genellikle realist İngiliz romanın tipik bir örneği olarak kabul edilir. -
Selected Primary Bibliography (In Chronological Order of Publication)
selected primary bibliography (in chronological order of publication) major works The Voyage Out. London: Duckworth, 1915; New York: Doran, 1920. Night and Day. London: Duckworth, 1919; New York: Doran, 1920. Jacob’s Room. London: Hogarth, 1922; New York: Harcourt, 1923. Mrs Dalloway. London: Hogarth, 1925; New York: Harcourt, 1925. To the Lighthouse. London: Hogarth, 1927; New York: Harcourt, 1927. Orlando: A Biography. London: Hogarth, 1928; New York: Harcourt, 1928. A Room of One’s Own. London: Hogarth, 1929; New York: Harcourt, 1929. The Waves. London: Hogarth, 1931; New York: Harcourt, 1931. Flush: A Biography. London: Hogarth, 1933; New York: Harcourt, 1933. The Years. London: Hogarth, 1937; New York: Harcourt, 1937. Three Guineas. London: Hogarth, 1938; New York: Harcourt, 1938. Roger Fry: A Biography. London: Hogarth, 1940; New York: Harcourt, 1941. Between the Acts. London: Hogarth, 1941; New York: Harcourt, 1941. essays and shorter fiction The Mark on the Wall. London: Hogarth, 1917. Kew Gardens. London: Hogarth, 1919. Monday or Tuesday. London: Hogarth, 1921; New York: Harcourt, 1921. Mr Bennett and Mrs Brown. London: Hogarth, 1924. The Common Reader. London: Hogarth, 1925; New York; Harcourt, 1925. The Common Reader, Second Series. London: Hogarth, 1932; The Second Common Reader. New York: Harcourt, 1932. The Death of the Moth and Other Essays. Ed. Leonard Woolf. London: Hogarth, 1942; New York: Harcourt, 1942. A Haunted House and other Short Stories. London: Hogarth, 1944; New York: Harcourt, 1944. The Moment and Other Essays. Ed. Leonard Woolf. London: Hogarth, 1947; New York, Harcourt, 1948. 253 254 palgrave advances in virginia woolf studies The Captain’s Death Bed and Other Essays. -
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. -
“A Grievous Necessity”: the Subject of Marriage in Transatlantic Modern Women’S Novels: Woolf, Rhys, Fauset, Larsen, and Hurston
UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ “A GRIEVOUS NECESSITY”: THE SUBJECT OF MARRIAGE IN TRANSATLANTIC MODERN WOMEN’S NOVELS: WOOLF, RHYS, FAUSET, LARSEN, AND HURSTON A dissertation submitted to the Division of Research and Advanced Studies of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Ph.D.) in the Department of English and Comparative Literature of the College of Arts and Sciences 2004 by Kristin Kommers Czarnecki B.A., University of Notre Dame 1991 M.A., Northwestern University 1997 Committee Chair: Arlene Elder ABSTRACT “A GRIEVOUS NECESSITY”: THE SUBJECT OF MARRIAGE IN TRANSATLANTIC MODERN WOMEN’S NOVELS: WOOLF, RHYS, FAUSET, LARSEN, AND HURSTON My dissertation analyzes modern women’s novels that interrogate the role of marriage in the construction of female identity. Mapping the character of Clarissa in The Voyage Out (1915), “Mrs. Dalloway’s Party” (1923), and primarily Mrs. Dalloway (1925), I highlight Woolf’s conviction that negotiating modernity requires an exploratory yet protected consciousness for married women. Rhys’s early novels, Quartet (1929), After Leaving Mr. Mackenzie (1931), Voyage in the Dark (1934), and Good Morning, Midnight (1939), portray women excluded from the rite of marriage in British society. Unable to counter oppressive Victorian mores, her heroines invert the modernist impulse to “make it new” and face immutability instead, contrasting with the enforced multiplicity of identity endured by women of color in Fauset’s Plum Bun (1929) and Larsen’s Quicksand (1928) and Passing (1929).