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Journal articles on the topic 'Dalloway'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 April 2022

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1

Smoley, Christine. "Mrs Dalloway’s Dialogic Discourse and the Function of the Written Fragment." Transcultural Studies 11, no. 2 (April 10, 2015): 199–215. http://dx.doi.org/10.1163/23751606-01102004.

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The text of Virginia Woolf’s novel Mrs Dalloway is constructed from multiple character ‘voices’ or discourses in such a way that gives the novel a dialogic form. After discussing Mrs Dalloway’s dialogic model of sane and insane discourse and subjectivity—a model which is transposed into the text through the discourses of Clarissa Dalloway and Septimus Smith—by drawing upon Mikhail Bakhtin’s theory of novelistic discourse, this paper demonstrates how the novel makes use of its dialogic form and structure, positing a model of modern subjectivity by demonstrating the paradoxical inhabitation of ‘insanity’ within sanity, and the fundamental role which ‘unreason’ plays as a constituent of reason.

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2

Il-Yeong Kim and 조영지. "Mrs. Dalloway’s Ambivalent Desires: Lacanian Femininity in Mrs. Dalloway." Journal of English Language and Literature 59, no. 2 (June 2013): 197–219. http://dx.doi.org/10.15794/jell.2013.59.2.002.

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3

Hutchings, William, and Robin Lippincott. "Mr. Dalloway." World Literature Today 74, no. 2 (2000): 366. http://dx.doi.org/10.2307/40155636.

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4

Ehrenreich, Barbara, and Virginia Woolf. "Mrs. Dalloway." Women's Review of Books 4, no. 10/11 (July 1987): 16. http://dx.doi.org/10.2307/4020112.

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5

Woolf, Virginia. "Mrs. Dalloway." Academic Medicine 85, no. 3 (March 2010): 496. http://dx.doi.org/10.1097/acm.0b013e3181cd62b9.

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6

Hoff, Molly. "Woolf's MRS DALLOWAY." Explicator 58, no. 3 (January 2000): 148–50. http://dx.doi.org/10.1080/00144940009595967.

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7

Young, John. "Woolf's MRS DALLOWAY." Explicator 58, no. 2 (January 2000): 99–101. http://dx.doi.org/10.1080/00144940009597026.

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8

Hoff, Molly. "Woolf's Mrs Dalloway." Explicator 59, no. 1 (January 2000): 32–34. http://dx.doi.org/10.1080/00144940009597070.

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9

Hoff, Molly. "Woolf's Mrs Dalloway." Explicator 59, no. 2 (January 2001): 95–98. http://dx.doi.org/10.1080/00144940109597097.

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10

Hoff, Molly. "Woolf's Mrs Dalloway." Explicator 60, no. 1 (January 2001): 31–33. http://dx.doi.org/10.1080/00144940109597161.

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11

Hoff, Molly. "Woolf's Mrs Dalloway." Explicator 60, no. 4 (2002): 205–7. http://dx.doi.org/10.1080/00144940209597715.

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12

Hoff, Molly. "Woolf's Mrs Dalloway." Explicator 61, no. 1 (January 2002): 37–39. http://dx.doi.org/10.1080/00144940209597746.

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13

Harrington, Gary. "Woolf's Mrs. Dalloway." Explicator 56, no. 3 (January 1998): 144–46. http://dx.doi.org/10.1080/00144949809595292.

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14

Blake, Amy. "Woolf's Mrs Dalloway." Explicator 56, no. 4 (1998): 209–10. http://dx.doi.org/10.1080/00144949809595317.

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15

Hoff, Molly. "Woolf's Mrs Dalloway." Explicator 57, no. 2 (January 1999): 95–98. http://dx.doi.org/10.1080/00144949909596830.

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16

Lackey, Michael. "Woolf's Mrs Dalloway." Explicator 57, no. 4 (January 1999): 225–27. http://dx.doi.org/10.1080/00144949909596882.

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17

Kuhlmann, Deborah. "Woolf’s Mrs. Dalloway." Explicator 43, no. 2 (December 1985): 30–32. http://dx.doi.org/10.1080/00144940.1985.11483865.

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18

Rich, Susanna Lippoczy. "Woolf's Mrs. Dalloway." Explicator 47, no. 2 (January 1989): 45–47. http://dx.doi.org/10.1080/00144940.1989.9933906.

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19

Hoff, Molly. "Woolf's Mrs. Dalloway." Explicator 50, no. 3 (April 1992): 161–63. http://dx.doi.org/10.1080/00144940.1992.9937943.

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20

Hoff, Molly. "Woolf's Mrs. Dalloway." Explicator 53, no. 2 (January 1995): 108–11. http://dx.doi.org/10.1080/00144940.1995.9937243.

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21

Hoff, Molly. "Woolf’s Mrs. Dalloway." Explicator 55, no. 4 (July 1997): 215–19. http://dx.doi.org/10.1080/00144940.1997.11484184.

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22

Rodríguez Saavedra, Alba. "A señora Dalloway." Viceversa. Revista galega de tradución, no. 21 (April 13, 2021): 401–5. http://dx.doi.org/10.35869/viceversa.v0i21.3483.

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23

Wood, Alice. "Virginia Woolf, Mrs. Dalloway." Variants, no. 12-13 (December 31, 2016): 267–70. http://dx.doi.org/10.4000/variants.401.

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24

Anderson, R. Lanier. "Is Clarissa Dalloway Special?" Philosophy and Literature 41, no. 1A (2017): 233–71. http://dx.doi.org/10.1353/phl.2017.0032.

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25

Abu-Fares, Ashraf. "Temporality in Great Expectations and Mrs. Dalloway: A Comparative Study." International Journal of Arts and Humanities Studies 1, no. 1 (October 23, 2021): 08–13. http://dx.doi.org/10.32996/ijahs.2021.1.1.2.

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The purpose of this paper is to discuss temporality in Charles Dickens’s novel Great Expectations and Virginia Woolf’s Mrs. Dalloway. Temporality is an integral element in a literary text that greatly reflects the style an author adopts to represent the narrative framework and thematic concerns. However, there is a distinction in how traditional novelists and modern novelists deal with temporality. The events in Great Expectations are presented in a chronological order built on cause and effect. On the other hand, the narrative in Mrs. Dalloway is presented using the “stream of consciousness”; in the thoughts and feelings of the characters. Nonetheless, in Great Expectations, chronological order offers the plot unity and comprehension. It is also crucial in developing the theme of formation and development of the protagonist. In contrast, in Mrs. Dalloway, the experience of temporality is offered and shared by most characters. The reader is required to examine this experience to form a perception of the narrative structure and the themes of the novel. Therefore, this paper makes a comparative analysis between Great Expectations and Mrs. Dalloway to highlight the distinction between how traditional novels and modern novels deal with temporality to present the narrative and embody their authors’ concerns.

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26

Guo, Hua. "Isolation and Communication A Stylistic Analysis of Thought Presentation in Mrs. Dalloway." Advances in Language and Literary Studies 8, no. 1 (February 1, 2017): 167. http://dx.doi.org/10.7575/aiac.alls.v.8n.1p.167.

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Mrs. Dalloway by Virginia Woolf is well-acclaimed for its almost non-intrusive portrayal of characters’ state of mind. Many studies approach it from biographical, socio-historical, philosophical, and other non-linguistic perspectives, and most linguistic investigations deal with illustrative examples of a single linguistic device in this novel. Few are concerned with the presence of particular linguistic patterns that explain how the intricate flow of thought is successfully depicted. This paper offers a detailed elaboration on the criteria for categorizing thought presentation in Leech& Short’s model and distinguishes cases of ambiguity. A case study of Mrs. Dalloway’s flower purchase scene illustrates how different types of thought presentation along with different reporting clauses are used to convey the variation in the character’s mental state and the negotiation between her inner voice and the outside world.

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27

Danbee Moon. "Ghosts, Bodies, and Memory in Mrs. Dalloway: Clarissa Dalloway’s Performance of Invisible Femininity." Feminist Studies in English Literature 20, no. 3 (December 2012): 247–69. http://dx.doi.org/10.15796/fsel.2012.20.3.009.

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28

Wang, Jin, and Xiaoyu Xie. "Traumatic Narrative in Virginia Woolf’s Novel Mrs. Dalloway." English Language and Literature Studies 7, no. 1 (January 20, 2017): 18. http://dx.doi.org/10.5539/ells.v7n1p18.

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Virginia Woolf was one of the greatest literary artists in the 20th century, pioneering the contemporary English literature with the stream-of-consciousness technique. Mrs. Dalloway is her representative work that centers on the internal description of the characters while presenting social conditions of the postwar Britain. This paper examines traumatic narratives of the two protagonists, Clarissa Dalloway and Septimus Warren Smith, and explores implications of the war as the primordial cause of the spiritual crisis.

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29

Barnett, Claudia. "Mrs. Dalloway and Performance Theory." English Language Notes 40, no. 2 (December 1, 2002): 57–68. http://dx.doi.org/10.1215/00138282-40.2.57.

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30

Bulson, Eric. "Mrs. Dalloway here, there, everywhere." English Language Notes 52, no. 1 (March 1, 2014): 133–44. http://dx.doi.org/10.1215/00138282-52.1.133.

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31

Conley, Tim. "Mrs Dalloway 's Italian Lust." Notes and Queries 50, no. 3 (September 1, 2003): 328–29. http://dx.doi.org/10.1093/nq/500328.

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32

Searls, Damion. "The timing of Mrs. Dalloway." Women's Studies 28, no. 4 (January 1999): 361–66. http://dx.doi.org/10.1080/00497878.1999.9979268.

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33

Shin, John. "Negative Dialectics in Mrs Dalloway." English Studies 102, no. 5 (July 4, 2021): 552–62. http://dx.doi.org/10.1080/0013838x.2021.1943893.

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34

Mishra, Vagisha, and Dr Anoop Kumar Tiwari. "The Gerascophobic Treatment of Clarissa Dalloway in Virginia Woolf’s Mrs Dalloway: A Semantic Analysis." International Journal of English Literature and Social Sciences 3, no. 3 (2018): 327–29. http://dx.doi.org/10.22161/ijels.3.3.5.

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35

Da Silva, Carlos Augusto Viana. "ORLANDO E MRS. DALLOWAY E A RECONFIGURAÇÃO DA NARRATIVA DE VIRGINIA WOOLF NA TELA." Pontos de Interrogação — Revista de Crítica Cultural 7, no. 1 (August 29, 2017): 91. http://dx.doi.org/10.30620/p.i..v7i1.3932.

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Este artigo tem como principal objetivo analisar algumas marcas de reconfiguração das narrativas dos romances Mrs. Dalloway (1925) e Orlando (1928), de Virginia Woolf, em suas adaptações para o cinema. Considerando princípios teóricos sobre o romance moderno e a narrativa cinematográfica (BORDWELL, 1985; AUERBACH, 1998), descreveremos procedimentos tradutórios no processo de representação dos universos literários desses romances para as telas, bem como traços particulares de criação por parte das diretoras na construção das narrativas cinematográficas Mrs. Dalloway (1997), por Marleen Gorris, e Orlando (1992), por Sally Potter.

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36

Nash, Katherine Saunders, and Emma Carlson. "Mid-Pandemic Pedagogy: A Candid Dialogue between Student and Literature Professor." Literature 2, no. 2 (April 1, 2022): 62–76. http://dx.doi.org/10.3390/literature2020006.

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In this article, an English professor and a sophomore-level English major explicate the singular difficulties of teaching and learning Virginia Woolf’s novel Mrs Dalloway mid-pandemic. These difficulties arise despite the fact that Mrs Dalloway would seem an ideal novel for our historical moment in the US. Woolf offers her readers searing insights into pandemic casualties, trauma, ruinous disillusionment with political systems, and radical isolation in a fragmented society. Working together, professor and student identify potent reasons why teaching and learning from this novel can be so difficult. We unpack a serious yet widely misunderstood gap between students’ and educators’ perspectives: a gap widened since 2020 by a combination of remote learning and social media consumption. We then recommend intellectual and pedagogical strategies that illuminate Woolf in ways not required before the pandemic, while also bridging perceptual gaps in the classroom between professors and students. Studying and interpreting Mrs Dalloway, a novel invested in illuminating myriad perspectives on PTSD, pandemic casualties, and political ruination, is difficult yet uniquely vital in this historical moment—though not for the reasons this professor expected.

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37

Kim, Sung Ryol. "Mrs. Dalloway on a Feminist Scale." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 67 (August 31, 2017): 263–79. http://dx.doi.org/10.21087/nsell.2017.08.67.263.

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38

Hoff, Molly. "The Midday Topos in Mrs. Dalloway." Twentieth Century Literature 36, no. 4 (1990): 449. http://dx.doi.org/10.2307/441795.

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39

Howard, D. L. "MRS DALLOWAY: VIRGINIA WOOLF'S REDEMPTIVE CYCLE." Literature and Theology 12, no. 2 (June 1, 1998): 149–58. http://dx.doi.org/10.1093/litthe/12.2.149.

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40

Monte, S. "Ancients and Moderns in Mrs. Dalloway." Modern Language Quarterly 61, no. 4 (December 1, 2000): 587–616. http://dx.doi.org/10.1215/00267929-61-4-587.

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41

Hill, J. "The Arctic Genealogy of Clarissa Dalloway." Notes and Queries 52, no. 4 (December 1, 2005): 500–501. http://dx.doi.org/10.1093/notesj/gji435.

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42

SCHRÖDER, LEENA KORE. "Mrs Dalloway and the Female Vagrant." Essays in Criticism XLV, no. 4 (1995): 324–46. http://dx.doi.org/10.1093/eic/xlv.4.324.

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43

Taylor, Nancy. "Erasure of definition: Androgyny inMrs. Dalloway." Women's Studies 18, no. 4 (January 1991): 367–77. http://dx.doi.org/10.1080/00497878.1991.9978843.

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44

Albalawi, Mohammed. "The Manifestations of Woolf’s Life Experiences in Mrs. Dalloway." Advances in Language and Literary Studies 13, no. 1 (February 28, 2022): 16. http://dx.doi.org/10.7575/aiac.alls.v.13n.1.p.16.

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Mrs. Dalloway is one of Virginia Woolf’s greatest achievements. The novel continues to enthuse scholars across the globe, and there are myriad studies through which readers can gain a finer understanding of it. This paper attempts to show how Woolf implants in Mrs. Dalloway a plentiful range of experiences from her life. It argues that in order to have an ample understanding of a character’s state of mind or behavior, emphasis should be placed not only on the text but also on the role of the writer’s personal experiences in its formation. This paper discusses, more specifically, how Woolf’s own experiences are linked to Septimus’s, and showcases that Woolf’s life is a major influence on the story of Septimus.

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45

Doko, Fatbardha, Hyreme Gurra, and Lirije Ameti. "MODERNISM IN MRS.DALLOWAY." Knowledge International Journal 34, no. 6 (October 4, 2019): 1609–13. http://dx.doi.org/10.35120/kij34061609d.

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Modernism is a very interesting and important movement in literature, characterized by a very self-conscious break with traditional ways of writing, in both poetry and prose fiction. However, the most important literary genre of modernism is the novel. Although prewar works by Henry James, Joseph Conrad, and other writers are considered Modernist, Modernism as a literary movement is typically associated with the period after World War I. Other European and American Modernist authors whose works rejected chronological and narrative continuity include Virginia Woolf, Marcel Proust, Gertrude Stein, and William Faulkner. After First World War a lot of developments took place, new inventions opened up the mind of artists in the 1920s, one of them was Virginia Woolf, a very specific novelist. So, this paper deals with Virginia Woolf’s novel, Mrs. Dalloway, and the main focus is on the elements of modernism in this masterpiece. It is a modern novel which has also most of the features of modernism, or we can say that there are several ways in which one can see Mrs. Dalloway as a Modernist novel. The most dominant characteristic is the content and the narrative style. Virginia Woolf overstepped the traditional writing by describing characters not only superficially but also their inner thoughts. Rather than having a straightforward narrative with a beginning and end and a narrator who knows it all, with Mrs Dalloway we have several narrators, flashbacks, stream-of-consciousness style, and a totally fragmented story. Also there is a connection of the author and her characters; she putted a piece of herself in each one of them. This is how you can find about the author’s life path and how her sufferings, mental illness affected into her writing. Thus, Virginia Woolf is considered an iconic modernist writer and pioneer not only of the stream of consciousness narrative technique, but of the use of free indirect speech, psychological as well as emotional motives of characters. Nevertheless, the unconventional use of figures of speech also makes a great characteristic and a symbol of her novels. Stream of consciousness writing allows readers to “listen in” on a character's thoughts. This will make you explore yourself in ways you have never thought before. Specifically, in Clarissa Dalloway’s preparations to host a party that evening Virginia Woolf records all her thoughts, remembrances and impressions, as well as the thoughts of other characters. There is no actual story, no plots or sub-plots, in fact, there is no action in the traditional sense in this novel, except from the “myriad of impressions” created by Virginia Woolf’s new style of writing.

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46

Cortés Vieco, Francisco José. "(Im)perfect celebrations by intergenerational hostesses." International Journal of English Studies 20, no. 1 (June 27, 2020): 93–111. http://dx.doi.org/10.6018/ijes.364191.

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Katherine Mansfield and Virginia Woolf nourished a peculiar stream of parallel foreignness and kinship with each other as coetaneous writers. This article explores the likenesses and dialogues between Mansfield’s story “The Garden Party” and Woolf’s Mrs. Dalloway to detect and depict how bourgeois women, like Laura Sheridan and Clarissa Dalloway, albeit from two different generations, are indoctrinated by social etiquette, class consciousness and the prevailing archetype of domestic femininity inherited from Victorian times. Integrated into their compulsory roles as angelic daughters and wives, Laura and Clarissa gladly perform the role of the hostess to organise (im)perfect parties at home until death knocks at the door. Paradoxically that uninvited guest precipitates escapades of self-discovery and mental emancipation, leading to transient or enduring transformations in the lives of these two women.

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47

Hoff, Molly. "The Pseudo-Homeric World of Mrs. Dalloway." Twentieth Century Literature 45, no. 2 (1999): 186. http://dx.doi.org/10.2307/441830.

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48

Huglo, Marie-Pascale, and Éric Méchoulan. "Mrs Dalloway ou le discours comme mobile." Littérature 88, no. 4 (1992): 3–14. http://dx.doi.org/10.3406/litt.1992.1552.

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49

Edmondson. "Narrativizing Characters in Mrs. Dalloway." Journal of Modern Literature 36, no. 1 (2012): 17. http://dx.doi.org/10.2979/jmodelite.36.1.17.

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50

K, Sivaranjani, and Rajarajan S. "VIRGINIA WOOLF’S GREEN VISTAS IN “MRS. DALLOWAY”." Kongunadu Research Journal 4, no. 1 (June 30, 2017): 32–35. http://dx.doi.org/10.26524/krj172.

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God created women in the incarnation of himself how flowers are soft and tender women’s attitude also springy and gentle. In every bud beautiful flowers hiding themselves like in every woman their powerful attitude towards nature are camouflaged, their potentiality will prim out automatically in a needy situationand they shine beautifully like full bloomed flowers in their looming. Women are like grey, white moths in the earlier phase without maturity, they may act childishly. But through their full prime of life and progress, they turned into the spectacular multihued butterfly and they burnish glowing in their society and family life. That’s the attitude of Clarissa,who behaved has a moth in early stage, thenmatured as a full blown fantabulous butterfly by giving the party. The novel “Mrs. Dalloway” starts and ends on the same day by narrating how human beings are close with nature and how they preserve and conserve ourenvironment..

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