Relevant bibliographies by topics / A room of one's own (Woolf)

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Academic literature on the topic 'A room of one's own (Woolf)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "A room of one's own (Woolf)"

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Mao, Douglas. "Rebecca West and the Origins of A Room of One's Own." Modernist Cultures 9, no. 2 (October 2014): 186–212. http://dx.doi.org/10.3366/mod.2014.0083.

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This essay argues that Virginia Woolf's treatment of the wellsprings of valid art in A Room of One's Own (1929) is significantly indebted to Rebecca West's exploration of similar questions in “The Strange Necessity” (1928). Noting substantial evidence that Woolf was familiar with West's text by the time she wrote Room, the essay observes that both authors argue for the power of material conditions in art-making even as they work to deflect charges of succumbing to a reductive or soul-deadening materialism. In mounting this proactive defense, West relies in part upon a peripatetic narrator whose reflections on art are interwoven with savorings of quotidian experience; Woolf adapts this device to the distinct but cognate purposes of Room.
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Pearsall, Cornelia D. J. "Whither, Whether, Woolf: Victorian Poetry and A Room of One's Own." Victorian Poetry 41, no. 4 (2003): 596–603. http://dx.doi.org/10.1353/vp.2004.0019.

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Colorado Prieto, Natalia. "Virginia Woolf: The Translations of "A Room of One's Own" and "Three Guineas" to Construct a Feminine Genealogy." Epos : Revista de filología, no. 35 (May 25, 2020): 81. http://dx.doi.org/10.5944/epos.35.2019.25503.

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En este artículo se lleva a cabo un análisis comparativo de las traducciones al español de los ensayos feministas A Room of One’s Own y Three Guineas de Virginia Woolf, así como un estudio de la correlación entre las ideas feministas de Woolf y la situación de las mujeres españolas en el momento en el que las traducciones fueron publicadas y en la actualidad. El objetivo de este trabajo es determinar hasta qué punto las decisiones de los traductores influyeron en la transmisión del mensaje que pretendía transmitir Woolf, y la conexión entre dichas traducciones y la situación de las mujeres en España en el momento que fueron publicadas. El enfoque de la traducción de Newmark (1988) y Holmes (1988), junto con la teoría de la traducción feminista, forman el marco teórico. Los resultados de este estudio demuestran la relevancia de las ideas feministas de Woolf y el papel esencial de la traducción en la construcción de una genealogía femenina.
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Gan, Wendy. "Solitude and Community: Virginia Woolf, Spatial Privacy and A Room of One's Own." Literature & History 18, no. 1 (May 2009): 68–80. http://dx.doi.org/10.7227/lh.18.1.5.

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Vanita, Ruth. "Plato, Wilde, and Woolf: The Poetics of Homoerotic “Intercourse” inA Room of One's Own." Journal of Lesbian Studies 14, no. 4 (July 19, 2010): 415–31. http://dx.doi.org/10.1080/10894161003677141.

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Kwon, Seokwoo. "Dual voice and submerged authorial intention in Virginia Woolf 's A Room of One's Own." LINGUA HUMANITATIS 23, no. 1 (June 30, 2021): 103–18. http://dx.doi.org/10.16945/2021231103.

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Thạch Thị, Cương Quyền. "From the female writer in A Room of One’s Own to the female reader in The Reader: feminist voices." Science & Technology Development Journal - Social Sciences & Humanities 5, no. 2 (June 25, 2021): 1056–65. http://dx.doi.org/10.32508/stdjssh.v5i2.583.

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Virginia Woolf (1882-1941) is the pioneers of the very first movement of feminism. Her work A Room of One's Own (1929) shows gender discrimination with discourse of feminism and of literary creativeness, and also thoughts for fighting for gender equality. For Woolf, a liberal writer is the one who has his/her own room to work and is adequately educated. Despite of the wide gap of generation, the novel The Reader (1995) by Bernhard Schlink (1944-) continued with feminism from the view of female readers. It also shows his view point of a liberal reader who has the right to participate in literary reception. As a continuation of Woolf, Schlink argues that the very basic step to all to become a free reader is to educate, to eliminate illiteracy and to foster cultural and social knowledge. It can be seen that the feminist voices in these two works have much in common, creating a deep feminist dialogue. We believe that link between them as well as between the works and the readers can evoke further feminist voices and discourses, contributing to the development of this approach.
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Oliveira, Maria Aparecida de. "VIRGINIA WOOLF E A CRÍTICA FEMINISTA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 18–27. http://dx.doi.org/10.34019/1982-0836.2019.v23.29177.

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O presente artigo estabelece as relações entre a A room of one’s own e a crítica feminista, observando como essa tem revisto e ressignificado o ensaio de Virginia Woolf. Serão problematizadas questões como a exclusão feminina dos espaços públicos, das esferas políticas e, consequentemente, da literatura e da história. Depois disso, abordaremos a personagem Judith Shakespeare. Por último, duas questões problematizadas serão tratadas nesta análise, a primeira refere-se à tradição literária feminina e a segunda refere-se à própria frase feminina. Palavras-chave: Crítica feminista, Judith Shakespeare, tradição literária feminina. Referências AUERBACH, E. Brown Stocking. In: ______. Mimesis: a representação da realidade na literatura ocidental. São Paulo: Perspectiva, 1971. BARRETT, M. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993. ______ (ed.). Women and writing. London: The Women’s Press, 1979. BOWLBY, R. Feminist destinations and further essays on Virginia Woolf. Edinburgh: Edinburgh University, 1997. ______. Walking, women and writing: Virginia Woolf as flâneuse. In: ARMSTRONG, I. (ed.). New Feminist discourses: critical essays on theories and texts. London: Routledge, 1992. CAUGHIE, P. L. Virginia Woolf & postmodernism literature in quest and question of itself. Urbana: University of Illinois, 1991. COELHO, N. N. Dicionário crítico de escritoras brasileiras. São Paulo: Escrituras, 2002. ______. A literatura feminina no Brasil contemporâneo. São Paulo: Siciliano, 1993. GILBERT, S. Woman’s Sentence. Man’s Sentencing: Linguistic Fantasies in Woolf and Joyce. In: MARCUS, J. Virginia Woolf and the Bloomsbury: A Centenary. Bloomington: Indiana UP, 1987. GILBERT, S.; GILBERT, S. Shakespeare’s sisters: feminist essays on women poets. Bloomington: Indiana University, 1979. ______. The madwoman in the attic: the woman writer in the nineteenth-century literary imagination. New Haven: Yale University, 2000. ______. The war of words. vol.1 of No man’s land: the place of the woman writer in the twentieth century. New Haven: Yale University, 1988. HUSSEY, M. Virginia Woolf: A to Z. New York: Oxford University, 1995. JONES, S. Writing the woman artist: essays on poetics, politics, and portraiture. Pennsylvania: University of Pennsylvania, 1991. MARCUS, J. Art and anger: reading like a woman. Columbus: Ohio State University, 1988. ______. Virginia Woolf and the languages of the patriarchy. Bloomington: Indiana University, 1987a. MINOW-PINKNEY, M. Virginia Woolf and the problem of the subject: feminine writing in the major novels. New Brunswick: Rutgers University, 2010. MOERS, E. Literary women: the great writers. New York: Doubleday, 1976. MUZART, Z. L. Escritoras brasileiras do século XIX. Florianópolis: Mulheres, 2005. OLSEN, T. Silences. New York: Seymour Lawrence, 1978. RICH, A. Of woman born: motherhood as experience and institution. New York: W W. Norton, 1995. ROSENBAUM, S.P. Women and fiction: the manuscript versions of A room of one’s own. Oxford: Blackwell, 1992. SHOWALTER, E. Feminist criticism in the wilderness. In: GILBERT, S.; GUBAR, S. Feminist literary theory and criticism. New York; London: W. W. Norton, 2007. SNAITH, A. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Oxford: Oxford University, 2015. STETZ, M. D. Anita Brookner: Woman writer as reluctant feminist. In: ______. Writing the woman artist: essays on poetics, politics and portraiture. Pennsylvania: University of Pennsylvania, 1991. WALKER, A. In search of our mother’s gardens. In: ______. In search of our mother’s gardens: womanist prose. San Diego: Harcourt Brace Jovanovich, 1983. WOOLF, V. A room of one’s own and Three guineas. Introd. Anna Snaith. Oxford: Oxford University, 2015. WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993.
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Schmidt, Katharina. "Money and a Room of One’s Own?! A Feminist Deconstruction of the Situation of Female Jazz Musicians 1960–1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 81–93. http://dx.doi.org/10.5450/ejm.2017.16.5780.

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‘What does it take for a woman to be able to write a novel?' asks Virginia Woolf in A Room of One's Own. The answer is surprisingly mundane: She needs money and a room of her own. Although Woolf writes at length about passion and talent, she concludes that material preconditions are actually more crucial. Similarly, the present article argues that there has been no lack of interest in jazz among female musicians, but a lack of socially accepted possibilities for professionalisation. This article endeavours to deconstruct some of the socio-cultural contexts and frameworks of music-making in a feminist way. To this end, the most crucial findings from semi-structured interviews with Norma Winstone, Sidsel Endresen, Aki Takase and Uschi Brüning are presented and discussed. To contextualise the interviews, Bourdieu's analyses of the academic and literary fields will be referred to with relation to the institutionalisation of jazz, while questions of canonicity and historiography will be discussed, as well as questions surrounding performativity and corporeality. Linking up with research surrounding these issues in other musical styles, this article attempts to map and contextualise the debate about gender and the arts in its complex, sometimes controversial and even paradoxical dynamic.
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Mignot, Élise. "Le pronom personnel one dans A Room of One’s Own de Virginia Woolf." Etudes de stylistique anglaise, no. 9 (March 1, 2015): 9–29. http://dx.doi.org/10.4000/esa.779.

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Dissertations / Theses on the topic "A room of one's own (Woolf)"

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Olefalk, Hanna. "A Body of One's Own : A Comparison Between Woolf's A Room of One's Own and Moran's How To Be a Woman." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31874.

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In this essay the author compares Virginia Woolf’s A Room of One’s Own (1928) to Caitlin Moran’s How To Be a Woman (2012). The two texts have both been described as feminist manifests of their time. The essay focuses on differences and similarities between the two texts, mainly focusing on the authors’ reasons for writing their texts and on the rhetoric they use to reach the audience. The comparison shows that there are many similarities between the texts, given the historical context they were written in. For instance, both Woolf and Moran use humor as rhetorical means and they both see cooperation between women and men as the solution for a better future.
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Sriratana, Verita. ""Making room" for one's own : Virginia Woolf and technology of place." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3458.

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This thesis offers an analysis of selected works by Virginia Woolf through the theoretical framework of technology of place. The term “technology”, meaning both a finished product and an ongoing production process, a mode of concealment and unconcealment in Martin Heidegger's sense, is used as part of this thesis's argument that place can be understood through constant negotiations of concrete place perceived through the senses, a concept based on the Heideggerian notion of “earth”, and abstract place perceived in the imagination, a concept based on the Heideggerian notion of “world”. The term “technology of place”, coined by Irvin C. Schick in The Erotic Margin: Sexuality and Spatiality in Alteritist Discourse (1999), is appropriated and re-interpreted as part of this thesis's adoption and adaptation of Woolf's notion of ideal biographical writing as an amalgamation of “granite” biographical facts and “rainbow” internal life. Woolf's granite and rainbow dichotomy is used as a foreground to this thesis's proposed theoretical framework, through which questions of space/place can be examined. My analysis of Flush (1933) demonstrates that place is a technology which can be taken at face value and, at the same time, appropriated to challenge the ideology of its construction. My analysis of Orlando (1928) demonstrates that Woolf's idea of utopia exemplifies the technological “coming together”, in Heidegger's term, of concrete social reality and abstract artistic fantasy. My analysis of The Years (1937) demonstrates that sense of place as well as sense of identity is ambivalent and constantly changing like the weather, reflecting place's Janus-faced function as both concealment and unconcealment. Lastly, my analysis of Woolf's selected essays and marginalia illustrates that writing can serve as a revolutionary “place-making” technology through which one can mentally “make room” for (re-)imagining the lives of “the obscure”, often placed in oblivion throughout the course of history.
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Jayakrishna, Louise. "The Exclusion of Working-Class Women in Virginia Woolf's A Room of One's Own." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7462.

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In Virginia Woolf’s A Room of One’s Own the narrator clearly expresses her rage and resentment exposing the absence and exclusion of women through history and she also focuses on the unfair position of women in her contemporary society. The narrator encourages women to emancipate themselves and to be aware of the idiosyncratic nature of society that restricts them to the private sphere. The aim of this paper is to offer a different interpretation of A Room of One’s Own and demonstrate how Woolf excludes contemporary working-class women from partaking in her feminist message. In order to demonstrate the exclusion of working-class women three major perspectives have been integrated throughout the text: readings of A Room of One’s Own, a historical aspect including classism, and the significance of Woolf’s biographical background. My analysis highlights Woolf’s unintentional class bias, her ladylike manner, and the centrality of financial independence in A Room of One’s Own and displays how these features entail the exclusion of working-class women. The conclusion demonstrates that the amalgamation of the three perspectives mentioned above provides a nuanced and critical reading of A Room of One’s Own.
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Gallagher, Maureen. "Thinking Back through Our Fathers: Woolf Reading Shakespeare in Orlando and a Room of One's Own." unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-07112008-152735/.

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Thesis (M.A.)--Georgia State University, 2008.
Title from file title page. Randy Malamud, committee chair; Meg Harper, Paul Schmidt, committee members. Electronic text (61 p.) : digital, PDF file. Description based on contents viewed Oct. 3, 2008. Includes bibliographical references (p. 58-61).
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Holman, Crystal Gail. "The Dilemma of Woolf's Androgyny: A Close Look at Androgyny in A Room of One's Own and Orlando." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0719101-133906/restricted/holman0731.pdf.

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Johansson, Ellen. "Chained Thoughts Broken by Chains of Thought : An Analysis of the Narrative Style Used in Virginia Woolf's A Room of One's Own." Thesis, Karlstad University, Faculty of Arts and Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-276.

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Abstract

Chained Thoughts Broken by Chains of Thought

An Analysis of the Narrative Style Used in Virginia Woolf’s A Room of One’s Own

The purpose of this essay is to analyse the narrative style used in Virginia Woolf’s A Room of One’s Own in order to show in which ways it supports and reinforces the author’s arguments in her quest for a more equal society. One of the most prominent stylistic means applied by Woolf is her ‘train of thought’, linking one reflection to another like wagons in a railway convoy or like loops in a chain (therefore also sometimes referred to as ‘chain of thought’ in dictionaries). By examining how different rhetorical devices are applied within this train or chain of thought and in which ways these strategies are linked to the main elements of persuasion (ethos, pathos and logos) in Aristotelian Rhetoric, I have found that one of Woolf’s central themes - the resentment against confinement and the advocacy of androgyny or mixed-gendered thinking - is mirrored in her style. It reflects the author’s call to resist society’s restrictions by its unrestricted combination of different rhetorical strategies; this mixture of stylistic, partly gender-neutral devices helps her to create a common ground where she can reach and appeal to both genders in a very effective and innovative way, thus enabling her chain of thoughts to break some of our chained thoughts.

Ellen Johansson

Engelska C

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Barnickel, Amy J. "A screen of one's own the TPEC and feminist technological textuality in the 21st century." Doctoral diss., University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4520.

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In this dissertation, I analyze the 20th century text, A Room of One's Own, by Virginia Woolf (2005), and I engage with Woolf's concept of a woman's need for a room of her own in which she can be free to think for herself, study, write, or pursue other interests away from the oppression of patriarchal societal expectations and demands. Through library-based research, I identify four screens in Woolf's work through which she viewed and critiqued culture, and I use these screens to reconceptualize "a room of one's own" in 21st Century terms. I determine that the new "room" is intimately and intricately technological and textual and it is reformulated in the digital spaces of blogs, social media, and Web sites. Further, I introduce the new concept of the technologized politically embodied cyborg, or TPEC, and examine the ways 21st Century TPECs are shaping U.S. culture in progressive ways.
ID: 030423289; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (Ph.D.)--University of Central Florida, 2010.; Includes bibliographical references (p. 216-225).
Ph.D.
Doctorate
Department of English--Texts and Technology
Arts and Humanities
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Guigou, Issel M. "Women Creators: Artistry and Sacrifice in the Novels of Virginia Woolf." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2250.

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This thesis examines different facets of feminine artistry in Virginia Woolf's novels with the purpose of defining her conception of women artists and the role sacrifice plays in it. The project follows characters in "Mrs. Dalloway," "To the Lighthouse," and "Between the Acts" as they attempt to create art despite society's restrictions; it studies the suffering these women experience under regimented institutions and arbitrary gender roles. From Woolf’s earlier texts to her last, she embraces the uncertainty of identity, even as she portrays the artist’s sacrifice in the early-to-mid twentieth century, specifically as the creative female identity fights to adapt to male-dominated spaces. Through a close-reading approach coupled with biographical and historical research, this thesis concludes that although the narratives of Woolf's novels demand the woman artist sacrifice for the sake of pursuing creation, Woolf praises the attempt and considers it a crueler fate to live with unfulfilled potential.
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Stenemo, Lina. "Virginia Woolf : Lobbyist for Intellectual Freedom, Creativity, and Individuality in A Room of One’s Own and Other Works of Non-Fiction." Thesis, Södertörn University College, School of Language and Culture, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-115.

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Blomgren, Linnea. "A room of one's own : woven structures." Thesis, Konstfack, Textil, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5425.

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I have explored the combination of sound, textile and space. How can one create textiles to use as sound dampening material in an arts and craft practice? To enhance the architectural aspect of textile as one of the five building materials I have chosen to weave walls. Walls don´t have to be straight or go from floor to ceiling but they should somehow create room and divide the space. I felt the need of walls working within Konstfack because of the distraction of fellow students in the open space classroom. Torn walls tells a story, we see the left traces. These traces I wanted to convert into woven textile. Sounds of people and objects in public spaces bounces between hard surfaces often without dampening, this creates an environment that causes stress and distraction. In Virginia Wolf´s essay “A room of Ones Own” (1929) she points at how important it is to create a workspace for the professional you, to take place and be part of the public realm. A big part of this master project has been making the actual materials to build with and executing fibre. Does the material do the job of sound absorption? Wool and silk both have a fibrous cell, which is suitable for sound absorption they also have low flammability and is biodegradable; therefore I chose to work mainly with these fibres. I share my knowledge through the experience of the space I create. How to create o Room of one´s own in an open office.
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Books on the topic "A room of one's own (Woolf)"

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Marcus, Jane. Virginia Woolf, Cambridge and A room of one's own: "the proper upkeep of names". London: Cecil Woolf, 1996.

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A room of one's own: Women writers and the politics of creativity. New York: Twayne Publishers, 1995.

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Woolf, Virginia. A room of one's own. Paris: Feedbooks, 2014.

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Woolf, Virginia. A room of one's own. London: Bloomsbury Publishing, 1993.

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Woolf, Virginia. A room of one's own. London: Flamingo, 1994.

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Woolf, Virginia. A room of one's own. Edited by Smith Jenifer. Cambridge: Cambridge University Press, 1995.

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Woolf, Virginia. A room of one's own. San Diego: Harcourt Brace Jovanovich, 1989.

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Woolf, Virginia. A room of one's own. Orlando, Fla: Harcourt, 2005.

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Woolf, Virginia. A room of one's own. [New York]: Snowball Publishing, 2012.

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Woolf, Virginia. A room of one's own. New York: Harcourt, Brace, Jovanovich, 1989.

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Book chapters on the topic "A room of one's own (Woolf)"

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Nünning, Vera. "Woolf, Virginia: A Room of One's Own." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17432-1.

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Hanson, Clare. "Imaginary Lives: Orlando and A Room of One’s Own." In Virginia Woolf, 94–125. London: Macmillan Education UK, 1994. http://dx.doi.org/10.1007/978-1-349-23381-6_4.

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Bell, Quentin. "A Room of One’s Own and Three Guineas." In Virginia Woolf and Fascism, 13–20. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230554542_2.

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Seeley, Tracy. "Flights of Fancy: Spatial Digression and Storytelling in A Room of One’s Own." In Locating Woolf, 31–45. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230223011_2.

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Friedman, Susan Stanford. "A Room of One's Own in the World: The Pre-life and After-life of Shakespeare's Sister." In A Companion to Virginia Woolf, 189–201. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118457917.ch14.

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Shaw, Marion. "Virginia Woolf: Mrs Dalloway and A Room of One’s Own." In Literature in Context, 155–69. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-04191-3_11.

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Wilson, Kabe, and Susan Stanford Friedman. "Of Words, Worlds and Woolf: Recycling A Room of One's Own into Of One Woman or So." In Recycling Virginia Woolf in Contemporary Art and Literature, 55–85. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003144649-3.

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Sullivan, Melissa. "The “Keystone Public” and Virginia Woolf: A Room of One’s Own, Time and Tide, and Cultural Hierarchies." In Virginia Woolf and the Literary Marketplace, 167–79. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230114791_11.

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Moran, Patricia. "“Cock-a-doodle-dum”: Desmond MacCarthy, Sexology, and the Writing of A Room of One’s Own." In Virginia Woolf, Jean Rhys, and the Aesthetics of Trauma, 19–46. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230601857_2.

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O’Hara, Daniel T. "The Self-Revising Muse: On the Spirit of the Unborn Creator in A Room of One’s Own." In Virginia Woolf and the Modern Sublime: The Invisible Tribunal, 83–104. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137580061_7.

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Conference papers on the topic "A room of one's own (Woolf)"

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Liu, BO. "Virginia Woolf and a Room of One's Own." In 3d International Conference on Applied Social Science Research (ICASSR 2015). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icassr-15.2016.144.

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"A Room of One's Own: The Virtual Study Room as an Information Services Delivery Model." In iConference 2014 Proceedings: Breaking Down Walls. Culture - Context - Computing. iSchools, 2014. http://dx.doi.org/10.9776/14115.

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