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

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Published: 4 June 2021

Last updated: 1 February 2022

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1

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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Neves, Caroline Resende, and Nícea Helena de Almeida Nogueira. "VIRGINIA WOOLF E SEU PAPEL COMO CRÍTICA LITERÁRIA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 28–38. http://dx.doi.org/10.34019/1982-0836.2019.v23.29178.

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Em 2019, Um teto todo seu celebrou seus 90 anos de publicação e Três guinéus foi traduzido e publicado no Brasil pela primeira vez. Esses dois eventos, mais a participação na palestra A room of my own (Um teto todo meu) organizado pelo Durham Book Festival (Festival do Livro de Durham), onde os participantes discutiram os desafios que as escritoras ainda enfrentam nos dias atuais, nos inspirou a publicar o presente artigo, para analisar o papel de Virginia Woolf como crítica e apresentar algumas de suas teorias mais relevantes. Palavras-chave: Virginia Woolf. Autoria feminina. Crítica feminista. Um teto todo seu. Três guinéus. Referências ALMEIDA, Márcia de. Cosima: à procura de um lugar de afirmação da autoria feminina. 2009. Juiz de Fora. Disponível em: http://www.ufjf.br/ppgletras/files/2009/11/COSIMA-%C3%80-PROCURA-DE-UM-LUGAR-DE-AFIRMA%C3%87%C3%83O-DA-AUTORIA-FEMININA-Marcia.pdf. Acesso em: 11 set. 2015. COMPAGNON, Antoine. O demônio da teoria: literatura e senso comum. Tradução Cleonice Paes Barreto Mourão e Consuelo Fortes Santiago. 2. ed. Belo Horizonte: UFMG, 2010. DERRIDA, Jacques. Essa estranha instituição chamada literatura: uma entrevista com Jacques Derrida. Tradução Marileide Dias Esqueda. Belo Horizonte: UFMG, 2014. GILBERT, Sandra M.; GUBAR, Susan. No man’s land: the word of wars. New Haven: Yale University, 1988. v. 1. GOLDMAN, Jane. The Cambridge introduction to Virginia Woolf. Cambridge: Cambridge University, 2008. LEE, Hermione. Virginia Woolf. New York: Vintage Books, 1999. LEHMANN, John. Vidas literárias: Virginia Woolf. Rio de Janeiro: Jorge Zahar, 1989. MARSH, Nicholas. Virginia Woolf: the novels. Basingstoke: Palgrave Macmillan, 1998. MOI, Toril. Introduction: Who’s afraid of Virginia Woolf? Feminist readings of Woolf. In: ______. Sexual/Textual Politics. 2. ed. London: Routledge, 2002. p. 1-18. NEVES, Caroline R. Virginia Woolf e o espaço autobiográfico em Os anos. Orientadora: Nícea Helena Nogueira. 2018. 117 f. Dissertação (Mestrado em Letras: Estudos Literários) – Faculdade de Letras, Universidade Federal de Juiz de Fora, 2018. OLIVEIRA, Maria Aparecida de. A representação feminina na obra de Virginia Woolf: um diálogo entre o projeto político e o estético. Orientadora: Maria Clara Bonetti Paro. 2013. 253 f. Tese (Doutorado em Estudos Literários) – Faculdade de Ciências e Letras, Universidade Estadual Paulista Júlio Mesquita Filho (Unesp), Araraquara, 2013. ROSEMBERG, Molly. Foreword. In: WOOLF, Virginia. A room of my own. London: The Royal Society of Literature, 2019. p. 2-3. SHOWALTER, Elaine. A literature of their own: British women novelists from Brontë to Lessing. Princeton: Princeton University, 1999. SHOWALTER, Elaine. Criticism in the wilderness. Critical Inquiry, Chicago, v. 8, n, 2, p. 179-205, 1981. WOOLF, Virginia. A room of one’s own and Three Guineas. Oxford: Oxford University, 2015. ______. O valor do riso e outros ensaios. Tradução e organização Leonardo Froés. São Paulo: Cosac Naify, 2014. ______. Um teto todo seu. Tradução Vera Ribeiro. Rio de Janeiro: Nova Fronteira, 2004. ______. Women & writing. London: The Women’s Press, 1979.

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Gilbert, Nora. "A Servitude of One’s Own." Nineteenth-Century Literature 69, no. 4 (March 1, 2015): 455–80. http://dx.doi.org/10.1525/ncl.2015.69.4.455.

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Nora Gilbert, “A Servitude of One’s Own: Isolation, Authorship, and the Nineteenth-Century British Governess” (pp. 455–480) Much has been written, both during the Victorian era and in recent literary and cultural-historical criticism, about the plight of the nineteenth-century British governess, a plight that is largely attributed to her uncomfortable position of “status incongruence,” as M. Jeanne Peterson has usefully labeled it. Because the governess was deemed inferior to the family she worked for but superior to the family’s domestic servants, her free time was not uncommonly spent on her own—even, more specifically, in a room of her own. And, just as Virginia Woolf would envision in her landmark feminist treatise, the activity that this isolated, educated woman habitually and productively turned to was the activity of writing. Almost all resident governesses relied on letter writing as their primary source of connection to the outside world, but many also expressed their thoughts and opinions in the form of journals, diaries, memoirs, advice manuals, essays, poems, and works of fiction. Bringing together a diverse sampling of fictional and nonfictional accounts of the governess’s relationship to authorship (and paying particular attention to the novels and letters of Charlotte and Anne Brontë, our best-known and most culturally resonant governesses-turned-authoresses), this essay outlines the ways in which the governess, both as an iconic figure and as a real, writing woman, influenced the formal, stylistic, and thematic development of nineteenth-century women’s literature.

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Omar Sharif, Chowdhury. "Epiphany of Woolf: Close Reading of the Last Four Paragraphs of A Room of One’s Own." Cross-Currents: An International Peer-Reviewed Journal on Humanities & Social Sciences 7, no. 1 (January 30, 2021): 41–44. http://dx.doi.org/10.36344/ccijhss.2021.v07i01.004.

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Filizola, Marcela. "A linha que atravessa o quadro: da solidão à intimidade em “To the lighthouse’." Cadernos de Letras da UFF 29, no. 58 (July 12, 2019): 217–34. http://dx.doi.org/10.22409/cadletrasuff.2019n58a621.

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Este artigo tem como objetivo investigar a questão da linguagem e da arte em To the Lighthouse, de Virginia Woolf, ressaltando os movimentos de aproximação e afastamento, solidão e intimidade que apontam para a permeabilidade da vida. Com o intuito de analisar a ligação entre as mulheres no romance, busca-se refletir sobre a noção de precariedade desenvolvida por Judith Butler (Quadros de guerra) em diálogo com o ensaio A Room of One’s Own.

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Klinman, Judith P. "Moving Through Barriers in Science and Life." Annual Review of Biochemistry 88, no. 1 (June 20, 2019): 1–24. http://dx.doi.org/10.1146/annurev-biochem-013118-111217.

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This first serious attempt at an autobiographical accounting has forced me to sit still long enough to compile my thoughts about a long personal and scientific journey. I especially hope that my trajectory will be of interest and perhaps beneficial to much younger women who are just getting started in their careers. To paraphrase from Virginia Woolf's writings in A Room of One's Own at the beginning of the 20th century, “for most of history Anonymous was a Woman.” However, Ms. Woolf is also quoted as saying “nothing has really happened until it has been described,” a harbinger of the enormous historical changes that were about to be enacted and recorded by women in the sciences and other disciplines. The progress in my chosen field of study—the chemical basis of enzyme action—has also been remarkable, from the first description of an enzyme's 3D structure to a growing and deep understanding of the origins of enzyme catalysis.

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Bengoechea, Mercedes, and Caroline Wilson. "Book Review: EMBODYING THE SEXED SUBJECT IN A ROOM OF ONE'S OWN Virginia Woolf, translation by Maria Milagros Rivera Garretas Un cuarto propio (A Room of One's Own) Madrid: horas y Horas, Colección La Cosecha de Nuestras Madres, 2003, 152 pp., ISBN 84-96004-02-3." European Journal of Women's Studies 16, no. 2 (May 2009): 185–90. http://dx.doi.org/10.1177/1350506808101766.

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Ruotolo, Lucio. "Women & Fiction: The Manuscript Versions of A Room of One's Own, and: Leonard and Virginia Woolf as Publishers: The Hogarth Press, 1917-41 (review)." MFS Modern Fiction Studies 39, no. 2 (1993): 395–97. http://dx.doi.org/10.1353/mfs.0.0779.

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Pinho, Davi. "O CONTO DE VIRGINIA WOOLF – OU FICÇÃO, UMA CASA ASSOMBRADA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 03–17. http://dx.doi.org/10.34019/1982-0836.2019.v23.29176.

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O presente artigo se debruça sobre o conto “Casa Assombrada”, coletado no único volume de contos que Virginia Woolf publicou em vida, Monday or Tuesday (1921), para investigar de que maneira seus contos intensificam a crise dos gêneros literários que seus romances encenam, por um lado; e para entender como tal crise é análoga à questão política que assombra toda sua obra, por outro lado: o gênero enquanto questão identitária. Em diálogo com a filosofia e com a crítica woolfiana, este estudo articula essa “crise dos gêneros” (gender x genre) e, ao mesmo tempo, produz uma contextualização histórico-cultural dos contos de Virginia Woolf. Palavras-chave: Virginia Woolf. Conto. Gênero literário. Questões de gênero. Referências AGAMBEN, Giorgio. Elogio da profanação. In: AGAMBEN, Giorgio. Profanações. Tradução Selvino Assman. São Paulo: Boitempo, 2007. p. 65-81 BENJAMIN, Walter. Sobre a linguagem em geral e sobre a linguagem humana. In: Linguagem, tradução, literatura. Tradução João Barrento. Belo Horizonte: Autêntica, 2018 [1916]. p. 9-27. BENZEL, Kathryn N.; HOBERMAN, Ruth. Trespassing boundaries: Virginia Woolf’s Short Fiction. New York: Palgrave MacMillan, 2004. BRAIDOTTI, Rosi. Nomadic theory: The portable Rosi Braidotti. New York: Columbia University, 2011. BRIGGS, Julia. Virginia Woolf, an Inner Life. Londres: Harcourt Brace, 2005. CIXOUS, Hélène. First names of no one. In: SELLERS, Susan (org.). The Hélène Cixous Reader. Londres: Routledge, 1994 [1974]. p. 25-35. DELEUZE, Gilles; GUATTARI, Félix. 28 de novembro de 1947 – Como criar para si um corpo sem órgãos?. Tradução Aurélio Guerra Neto. In: DELEUZE, Gilles; GUATTARI, Félix. Mil Platôs. São Paulo: 34, 1996 [1980]. v. 3. p. 11-34. FOUCAULT, Michel. Docile bodies. In: FOUCAULT, Michel; RABINOW, Paul (ed.). The Foucault reader. Toronto: Penguin, 1984a. p. 179-187. FOUCAULT, Michel. The body of the condemned. In: FOUCAULT, Michel; RABINOW, Paul (ed.). The Foucault reader. Toronto: Penguin, 1984b. p. 170-178. GOLDMAN, Jane. Modernism, 1910-1945, Image to apocalypse. Basingstoke: Palgrave Macmillan, 2004. GOLDMAN, Jane. The Cambridge introduction to Virginia Woolf. Cambridge: Cambridge University, 2006. HARRIS, Wendell. Vision and form: the English novel and the emergence of the story. In: MAY, Charles (ed.). The new short story theories. Athens, Ohio: Ohio University, 1994. p. 181-191. KRISTEVA, Julia. Stabat mater. Tradução A. Goldhammer. In: MOI, Toril (ed.). The Kristeva reader. Oxford: Blackwell, 1986 [1977]. p. 160-187. MATTHEWS, Brander. The philosophy of the short-story. Londres: Forgotten, 2015. [1901]. PEREIRA, Lucia Miguel. Dualidade de Virginia Woolf. In: ______. Escritos da maturidade. Rio de Janeiro: Graphia, 2005. [1944] p. 106-110. SELLERS, Susan (ed.). The Cambridge Companion to Virginia Woolf. 2. ed. Cambridge: Cambridge University, 2010. WOOLF, Leonard. Beginning again: an autobiography of the years 1911 to 1918. New York: Harvest, 1975. [1964] WOOLF, Leonard. Editorial Preface. In: WOOLF, Virginia; WOOLF, Leonard (eds.). Granite and rainbow. Londres: Harcourt, 1958. p. 7-8. WOOLF, Leonard. Foreword. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944. p. v-vi. WOOLF, Virginia. A haunted house. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1921]. p. 3-5. WOOLF, Virginia. A room of one’s own & Three guineas. Londres: Oxford University, 1992 [1929] [1938]. WOOLF, Virginia. A sketch of the past. In: WOOLF, Virginia; SCHULKIND, Jeanne (eds.). Moments of being. London: Harcourt Brace, 1985 [1976]. p. 64-159. WOOLF, Virginia. Casa assombrada. In: WOOLF, Virginia. Contos completos. Tradução Leonardo Fróes. São Paulo: Cosac Naify, 2005 [1921]. p. 162-165. WOOLF, Virginia. Granite and rainbow, ed. Leonard Woolf. Londres: Harcourt, 1958. WOOLF, Virginia. Jacob’s room. Oxford: Oxford University, 2008 [1922]. WOOLF, Virginia. Kew gardens. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1919]. p. 28-36. WOOLF, Virginia. Men and women. In: WOOLF, Virginia; BARRETT, Michele (eds.). Women and writing. Londres: Harcourt, 1979 [1920]. p. 64-68. WOOLF, Virginia. Modern fiction. In: WOOLF, Virginia. The common reader: first series. Londres: Vintage, 2003 [1925]. p. 146-154. WOOLF, Virginia. Monday or Tuesday. Londres: The Hogarth, 1921. WOOLF, Virginia. Night and day. ed. Michael Whitworth. Cambridge: Cambridge University, 2018. WOOLF, Virginia. Professions for women. In: WOOLF, Virginia; WOOLF, Leonard (eds.). The death of the moth and other essays. Londres: Harcourt, 1942 [1931]. WOOLF, Virginia. The complete shorter fiction of Virginia Woolf. ed. Susan Dick. Orlando: Harcourt, 2006 [1985]. WOOLF, Virginia. The diary of Virginia Woolf, ed. Anne Olivier Bell, 5 vols. New York: Penguin, 1979-1985 [1977-1984]. WOOLF, Virginia. The letters of Virginia Woolf, ed. Nigel Nicolson, 6 vols. Londres: The Hogarth, 1975-1980. WOOLF, Virginia. The mark on the wall. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1921]. p. 37-47. WOOLF, Virginia. Thoughts on peace in an air raid. In: ______. The death of the moth and other essays, ed. Leonard Woolf. Londres: Harcourt Brace Jovanovich, 1942. [1940] WOOLF, Virginia. The voyage out. Oxford: Oxford University, 2009 [1915]. WOOLF, Virginia. The waves. Oxford: Oxford University, 1992 [1931].

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García-Alcaide, María. "Anónimo era una mujer." Arte y Políticas de Identidad 24 (June 28, 2021): 132–47. http://dx.doi.org/10.6018/reapi.484781.

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“Anónimo era una mujer”, escribió Virginia Woolf en su libro Una habitación propia. Recuperamos su cita con el objetivo de comprender cómo la literatura ha estado siempre ligada al hombre, mientras que la mujer permanecía en un plano invisible a lo largo de la Historia. Las escritoras firmaban bajo pseudónimo, escondiendo sus nombres por miedo, vergüenza o presión social; algunas permitían el intrusismo de sus maridos, quienes se otorgaban los méritos de sus obras, y otras simplemente caían en el olvido. Es necesario recuperar la memoria para darles el lugar que se merecen, especialmente en el ámbito educativo, donde los libros de texto están repletos de literatura masculina mediante la cual el alumnado aprende a amar, sentir o llorar como lo hacían Lorca, Neruda o Benedetti, aniquilando así una visión feminista en todos los planos en los que progresar signifique también conocer cómo aman, sienten o lloran las mujeres. "Anonymous was a woman," wrote Virginia Woolf in her book A Room of one's own. We recover her quote with the aim of understanding how literature has always been linked to men, while woman remained in the background throughout history. Women writers signed under pseudonyms, hiding their names out of fear, shame or social pressure; some of them allowed the intrusion of their husbands, who gave themselves credit for their works, and others simply fell into oblivion. It is necessary to recover their memory in order to give them the place they deserve, especially in the educational field, where textbooks are full of male literature through which students learn to love, feel or cry as Lorca, Neruda or Benedetti did, thus annihilating a feminist vision at all levels where progress means also knowing how women love, feel or cry.

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Gómez Sobrino, Isabel. "La correspondencia epistolar y la poesía de Ernestina de Champourcin y Carmen Conde: «Una habitación propia» como taller de autenticidad estética." Castilla. Estudios de Literatura, no. 8 (August 15, 2017): 436. http://dx.doi.org/10.24197/cel.8.2017.436-458.

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En el presente ensayo se estudia la relación entre la correspondencia epistolar de Ernestina de Champourcin y Carmen Conde con la simultánea escritura de sus poemas. A la luz del concepto de habitación propia como espacio imprescindible y necesario para la creación literaria expresado por Virginia Woolf en A Room of One’s Own, las cartas sirven como habitación propia donde ambas poetas pretenden conseguir su autenticidad estética coartada por la sociedad patriarcal en los comienzos del siglo XX en España. La presencia del interlocutor, el desdoblamiento del yo poético y los poemas metapoéticos confluyen en la obligación por parte de la crítica de posicionar el epistolario de las poetas en primer plano, ya que éste sirve como taller y espacio libre para el desarrollo de la estética de las poetas.

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MÉKOUAR-HERTZBERG, Nadia. "INTIMIDADES CONECTADAS. REFLEXIONES SOBRE UN CUARTO PROPIO CONECTADO, DE REMEDIOS ZAFRA." Signa: Revista de la Asociación Española de Semiótica 29 (April 8, 2020): 147. http://dx.doi.org/10.5944/signa.vol29.2020.27168.

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Resumen: Proponemos una lectura de Un cuarto propio conectado(Zafra), centrado en la cuestión de la intimidad en el contexto de desarrolloacelerado e irreversible de Internet. En la estela de Woolf, el cuarto propiosigue siendo un lugar propicio para la emergencia de intimidades femeninasy feministas, centros de gestión del yo y de las relaciones de poder. Sinembargo, la dinámica y la forma de esa intimidad evolucionan bajo elimpulso de la digitalización. Veremos cómo, a medio camino entre ensayo,autobiografía y cuento, el texto de Zafra configura una nueva cartografíade la intimidad, de sus fronteras y de sus funciones. Abstract: We propose an analysis of Un cuarto propio conectado(Zafra), focused on the issue of privacy in the context of the acceleratedand irreversible development of the Internet. In the wake of Woolf, thenotion of a room of one’s own continues to be the very place where the emergence of feminine and feminist intimacies becomes possible, a center of management for the self and power relationships. However, the dynamics and form of intimacy have evolved through digitalization. We will see how, halfway between an essay, an autobiography and a short story, Zafra’s text maps out a new cartography of intimacy, its borders and its functions.

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Basirizadeh, Fatemeh Sadat, and Mahnaz Soqandi. "A Comparative Study of the Psychoanalytical Portrayal of the Women Characters by Virginia Woolf and Zoya Pirzad." Britain International of Humanities and Social Sciences (BIoHS) Journal 1, no. 1 (July 9, 2019): 1–8. http://dx.doi.org/10.33258/biarjohs.v1i1.8.

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Looking backwards at a century of capricious discourses, now after another turn of the century, one easily comes to the common point in all Feministic discourses; which all are as efforts to prove women's presence and their equality to men in various aspects of life. The passage of the decades did not mutate the nature of all these feminine studies; just have posed the topic in diverse areas; for the whole body of the Feminist dialogisms and ideas were appointed by patriarchal discourses. This indicates that the current feminist dialogisms are not totally feminine discourses, rather, feminine-masculine ones formed out of men's mischievousness saving their patriarchal authority which changes the discourses to a masculine/feminine relation. However, what nowadays Feminism, as a school of thought, needs is a feminine intuition, that is a moment of feminine epiphany, by which not only women will be able to reach a new understanding of femininity but men also will recognize the essence/existence of females. Discussing Virginia Woolf’s dialogism in ‘A Room of One’s Own’ and two novels by Zoya Pirzad (Persian narratives of a highly male dominated society) the study concludes that Feminism needs an intuitive feminine epiphany; an epiphany that both sexes should come to in a society, to enable the school of feminism to come to a purely feminine dialogics and be released from all the mischievous feminine-masculine discourses.

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Gillespie, Diane, Beth Rigel Daugherty, Eileen Barrett, Clare Hanson, Mark Hussey, James King, Kathy J. Phillips, Beth Carole Rosenberg, Ruth Saxton, and Jean Tobin. "A Woolf of One's Own." Rocky Mountain Review of Language and Literature 50, no. 2 (1996): 169. http://dx.doi.org/10.2307/1348233.

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24

Barton, Anna. "LONG VACATION PASTORALS: CLOUGH, TENNYSON, AND THE POETRY OF THE LIBERAL UNIVERSITY." Victorian Literature and Culture 42, no. 2 (March 10, 2014): 251–66. http://dx.doi.org/10.1017/s1060150313000417.

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In the opening passage ofA Room of One's Own, Virginia Woolf catches herself, and is subsequently caught out, in a moment of reflection on the banks of a river, within the grounds of a barely fictionalised “Oxbridge University”:Here then was I (call me Mary Beton, Mary Seton, Mary Carmichael or by any name you please – it is not a matter of any importance) sitting on the banks of a river a week or two ago in fine October weather, lost in thought. That collar I have spoken of, women and fiction, the need of coming to some conclusion on a subject that raises all sorts of prejudices and passions, bowed my head to the ground. To the right and left bushes of some sort, golden and crimson, glowed with the colour, even it seemed burnt with the heat, of fire. On the further bank the willows wept in perpetual lamentation, their hair about their shoulders. The river reflected whatever it chose of sky and bridge and burning tree, and when the undergraduate had oared his boat through the reflections they closed again, completely, as if he had never been. There one might have sat the clock round lost in thought. (6–7)In this fictional account of her trespass on university property, Woolf forges a close association between the environment in which she does her thinking and what she thinks, so that body, mind, and text are shown to be engaged in the same work. Her thoughts, she suggests, have a physical weight: they bow her head to the ground. The landscape bows with her so that a momentarily surreal vista of flaming leaves and long-haired trees is at once the place she is sitting and the space of her imagination, and the “reflections” through which the undergraduate oars take on a double meaning as the boat floats through her consciousness and back out again. The interruption of the beadle causes her to lose her train of thought: it is a fish that jumps and then disappears back into the river. This reverie, which rehearses the lecture's central argument concerning the material conditions required for gender equality, identifies the university as a case in point. Oxbridge is experienced by Woolf's fictional avatar as a place where intellectual freedom is achieved within a series of carefully regulated spaces, and her essay balances the attraction and acknowledged value of these exclusive spaces against the experience of her own exclusion. As so often in her work, the geography of Woolf's prose is haunted by the Victorians, whose lyric voices she can only half hear as she sits at a college window. Her essay therefore invites a return to nineteenth-century accounts of university life that pay attention to the material, or formal, delineations of the university.

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Zhang, Yueran. "A Room of One's Own." Iowa Review 44, no. 1 (March 2014): 159–74. http://dx.doi.org/10.17077/0021-065x.7456.

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Cornut-Gentille D'arcy, Chantal. "‘A ROOM OF ONE'S OWN’?" Cultural Studies 23, no. 5-6 (September 2009): 855–72. http://dx.doi.org/10.1080/09502380903208015.

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27

Pfaus, James G. "A Room of One's Own." Journal of Sexual Medicine 8, no. 2 (February 2011): 335–36. http://dx.doi.org/10.1111/j.1743-6109.2010.02185.x.

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Llewellyn-Jones, Rosie. "A room of one's own." Systems Research 10, no. 3 (January 16, 2007): 75–78. http://dx.doi.org/10.1002/sres.3850100311.

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Maroda, Karen J. "A Room of One's Own." Contemporary Psychology: A Journal of Reviews 42, no. 2 (February 1997): 142–43. http://dx.doi.org/10.1037/000595.

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30

Fish, Laura. "Woman in the Mirror: Reflections." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 7 (May 1, 2015): 92. http://dx.doi.org/10.12681/syn.16199.

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In A Room of One’s Own (1929) Virginia Woolf asserts: “Women have served all these centuries as looking-glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size”. (34) The use of the mirror is key to Woolf’s arguments about the position of women in general and in particular that of women writers. Complicating Woolf’s view less than a century later, I examine how black women function as looking-glasses in a dual way: as blacks, we shared the past (and now share the current) fate of black people reflecting the “darker” side of white people, as many whites projected onto blacks the unacknowledgeable traits of their own nature. The mirror is also key then to the way in which racial oppression has been analysed in literature. My paper offers an account, by way of selected examples from the history of our literature, of indicating how the mirror has been essential to how black British women are viewed and reflected back. I suggest that the misshapen image in the looking glass created by white people and also black men, allows them to see an inflated reflection of themselves, to assume false feelings of superiority, and to perpetuate oppression against us. I focus on Mary Prince, Mary Seacole, Una Marson, Joan Riley and Helen Oeyemi–authors whose work either anticipates or relates to Woolf’s notion of mirroring, by seeking ways to addressor overcome the situation in which we are placed. The texts explored not only trace the development of the tradition of our writing - the shift from being represented to representing ourselves– but also present a range of cultural and political views and identify three recurring themes: firstly, the denigration in our portrayal; secondly, the assumed superiority white people and black men adopt over us; and thirdly our resistance in remonstrating against such treatment and exposure.

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Nozen, SeyedehZahra, Bahman Amani, and Fatemeh Ziyarati. "Blooming of the Novel in the Bloomsbury Group: An Investigation to the Impact of the Members of Bloomsbury Group on the Composition of the Selected Works of Virginia Woolf and E.M. Forster." International Journal of Applied Linguistics and English Literature 6, no. 7 (October 10, 2017): 323. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.323.

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“For masterpieces are not single and solitary births; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice…”. Woolf’s belief has been put to the test in the Bloomsbury Group and this paper intends to investigate the validity of her claim through a critical analysis of the selected works of its novelist members. In a central part of London during the first half of the twentieth century a group of intellectual and literary writers, artists, critics and an economist came together which later on was labeled as Bloomsbury group. The group’s members had an influential role in blooming novel in a different form of expression and profoundly affect its literary figures, Virginia Woolf and E.M. Forster, in the composition of their fictions The Waves, A Room of One’s Own, To the Lighthouse and Forster’s A Room with a view and Howards End. The formation of Bloomsbury circle acted as a bridge from the Victorian bigotries and narrow-mindedness to the unbounded era of modernism as they searched for universal peace, individual liberalism and human accomplishments due to ideal social norms. They freely exchanged their views on variety of subjects without any limitation. The reasons behind their popularity compared to several contemporary groups were their innumerable works, the clarification of their lives through their diaries, biographies and autobiographies and their diverse kinds of activities such as criticism, painting, politics and literary writings. They were adherents of truth, goodness, enjoyment of beautiful object, intrinsic values, aesthetics, friendship and personal relationship. Intellectual intimacy and cooperation can be considered as the main attribute of its members as they collaborate with each other and employ the fundamental tenets of the group within their works. The modern style of its artists as post-impressionist highly affects the narration technique of its literary figures. These novelists tried to narrate the verbal utterances in a visual way as if the whole of the story is depicted on a canvas. Furthermore, this paper tries to discover the role of the non-literary (painters and critics) members of the group in blooming and forming of a different and novel kind of narration technique, namely ‘stream of consciousness’, through the visual impact of the painter and the discussion method of critic members of the group.

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Wong, Lisa Lai-ming. "Voices from a Room of One's Own." Modern China 32, no. 3 (July 2006): 385–408. http://dx.doi.org/10.1177/0097700406288241.

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33

Alexander, Sally. "Room of One's Own: 1920s Feminist Utopias." Women: A Cultural Review 11, no. 3 (January 2000): 273–88. http://dx.doi.org/10.1080/09574040010007733.

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34

Cusick, Anne. "Clinical research: A room of one's own." Australian Occupational Therapy Journal 50, no. 1 (March 2003): 44–47. http://dx.doi.org/10.1046/j.1440-1630.2003.00355.x.

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COPPLE, PEGGY J. "A Room of One's Own and the Pogo Factor." American Journal of Diseases of Children 147, no. 12 (December 1, 1993): 1277. http://dx.doi.org/10.1001/archpedi.1993.02160360019003.

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36

Fernald, Anne. "A Room of One's Own, Personal Criticism, and the Essay." Twentieth Century Literature 40, no. 2 (1994): 165. http://dx.doi.org/10.2307/441801.

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Bj⊘rgum, Jorunn. "Dreams of the old country: A room of one's own." Scandinavian Journal of History 17, no. 1 (January 1992): 45–64. http://dx.doi.org/10.1080/03468759208579228.

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Thomas, Sue. "Battlefield and sky: Sex‐consciousness ina room of one's own." Women: A Cultural Review 7, no. 2 (September 1996): 160–75. http://dx.doi.org/10.1080/09574049608578271.

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39

Coppa, Francesca. "An Editing Room of One's Own: Vidding as Women's Work." Camera Obscura: Feminism, Culture, and Media Studies 26, no. 2 (2011): 123–30. http://dx.doi.org/10.1215/02705346-1301557.

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40

Moran, Patricia. "Cock‐a‐doodle‐Dum: Sexology anda room of one's own." Women's Studies 30, no. 4 (August 2001): 477–98. http://dx.doi.org/10.1080/00497878.2001.9979391.

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Chesnokova, Lesya V. "“A Room of One's Own”: The local aspect of privacy." Izvestiya of Saratov University. New Series. Series: Philosophy. Psychology. Pedagogy 21, no. 1 (March 24, 2021): 57–61. http://dx.doi.org/10.18500/1819-7671-2021-21-1-57-61.

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The article deals with the local aspect of privacy, embodied in a human dwelling. The aim of the research is to philosophically analyze the local aspect of privacy, to identify its essential characteristics. The study is based on an integrated approach that includes logical, hermeneutic-interpretive and comparative methods. The novelty of the work lies in the conceptualization of the socio-philosophical phenomenon of local privacy. The presence of a private space closed from the eyes of the public gives an individual a sense of security and peace. In many cultures, the house is endowed with special symbolism, being a reflection of a human body, an expanded image of “Self”. A home designed according to one’s own taste, in which loved ones live and personal belongings that evoke images and memories are stored, provides an identity, a state of stability and rootedness. Staying in a private space provides an opportunity to take a break from social roles, from the need for constant self-presentation in public. The right to private property, protected by laws and social norms, guarantees the autonomy of the subject. On the contrary, unlawful entry into a home is an attack on human freedom and dignity. A private space, localized in one’s own room, apartment or house, is a person’s existential need.

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O?Neill, Linda. "EMBODIED HERMENEUTICS: GADAMER MEETS WOOLF IN A ROOM OF ONE?S OWN." Educational Theory 57, no. 3 (August 2007): 325–37. http://dx.doi.org/10.1111/j.1741-5446.2007.00260.x.

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Crystal, S., and P. Beck. "A Room of One's Own: The SRO and the Single Elderly." Gerontologist 32, no. 5 (October 1, 1992): 684–92. http://dx.doi.org/10.1093/geront/32.5.684.

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44

Close, Susan. "Writing Rooms: Reconsidering the Notion of a Room of One's Own." Journal of Interior Design 43, no. 1 (March 2018): 43–52. http://dx.doi.org/10.1111/joid.12114.

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45

Warrior, Robert Allen. "A Room of One's Own at the ASA: An Indigenous Provocation." American Quarterly 55, no. 4 (2003): 681–87. http://dx.doi.org/10.1353/aq.2003.0048.

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46

Schultz, Vicki. "Room to Maneuver (f)or a Room of One's Own? Practice Theory and Feminist Practice." Law & Social Inquiry 14, no. 01 (1989): 123–47. http://dx.doi.org/10.1111/j.1747-4469.1989.tb00581.x.

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47

Schabert, Ina. "No Room of One's Own: Women's Studies in English Departments in Germany." PMLA/Publications of the Modern Language Association of America 119, no. 1 (January 2004): 69–79. http://dx.doi.org/10.1632/003081204x22909.

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Women's studies in english departments in germany have developed in a special and, when seen from an Anglo-American perspective, rather peculiar way. The irregularity, which seems to have been overlooked up to now, is caused by institutional and ideological conditions characteristic of German universities.

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Hanson, Clare, and S. P. Rosenbaum. "Women and Fiction: The Manuscript Versions of 'A Room of One's Own'." Yearbook of English Studies 24 (1994): 322. http://dx.doi.org/10.2307/3507930.

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49

Fusco, Coco, and José Esteban Muñoz. "A Room of One's Own: Women and Power in the New America." TDR/The Drama Review 52, no. 1 (March 2008): 136–59. http://dx.doi.org/10.1162/dram.2008.52.1.136.

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Fusco's monologue addresses the role of female interrogators in the War on Terror. The piece is staged as a briefing by an intelligence officer who rationalizes the use of sexual harassment by female interrogators of Islamic fundamentalist detainees.

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Nath, Janice Mitchell, and Kip Tellez. "A Room of One's Own: Teaching and Learning to Teach through Inquiry." Action in Teacher Education 16, no. 4 (January 1995): 1–13. http://dx.doi.org/10.1080/01626620.1995.10463214.

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