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Academic literature on the topic 'From the diary of Virginia Woolf'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "From the diary of Virginia Woolf"

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Briggs, Kate. "The making ofA Writer's Diary: Being Extracts from the Diary of Virginia Woolf." Textual Practice 25, no. 6 (2011): 1033–50. http://dx.doi.org/10.1080/0950236x.2011.618459.

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Pridmore-Brown, Michele. "1939-40: Of Virginia Woolf, Gramophones, and Fascism." PMLA/Publications of the Modern Language Association of America 113, no. 3 (1998): 408–21. http://dx.doi.org/10.2307/463349.

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Virginia Woolf in her last novel, Between the Acts, explores fascism from the vantage of the new physics and of information technology. Her knowledge of the new physics is attested to by myriad diary entries; her knowledge of information technology was largely intuitive. In Between the Acts, she uses a gramophone to brew patriotic emotion and thus to transform a group of British pageant goers into a herd. Ultimately, however, she short-circuits the herd impulse by privileging the audience members' interpretative acts. In the novel, patriotic messages of authority are deliberately adulterated by the gramophone's static or noise. The audience members must therefore make meaning out of noise; these interpretative acts break their visceral connection to the sound waves, the rhythm and rhyme, of patriotism. Woolf's intuitive grasp of the concept of noise inherent in information technology allows her to articulate an antiauthoritarian pluralist politics.

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Mills Jeansonne, Christie. "Identity and Writing in the Diaries of Plath and Woolf: Defining, Abjectifying, and Recovering the Self." European Journal of Life Writing 3 (October 13, 2014): 82–102. http://dx.doi.org/10.5463/ejlw.3.74.

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The ordering, de-abjectifying function of language is often harnessed by the diary writer: re-living and re-writing a fictive self through diary writing allows the writer control and understanding of the self which has experienced and then changed in the interval of time between the event, the recording, and the rereading. The diaries of Sylvia Plath and Virginia Woolf lend credence to this possibility of recovering abject identity through language. Their diary accounts of mental illness wield mastery over their experiences and emotional responses by choosing to recount them (or not). My paper seeks to reveal how Plath’s and Woolf’s distancing and retelling does not simply divide their selves (the pre- and post- trauma selves, the physical and textual selves), but allows them a greater range of movement, enabling mediation and reconciliation of many self-identities from the past, present, and future, and granting the authority to narrate their own continuums of becoming. This article was submitted to the EJLW on 13 October 2013 and published on 13 October 2014.

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Skeet, Jason. "Netting Fins: A Deleuzian Exploration of Linguistic Invention in Virginia Woolf's The Waves." Deleuze Studies 7, no. 4 (2013): 475–95. http://dx.doi.org/10.3366/dls.2013.0125.

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Linguistic invention is a key feature of Virginia Woolf's novel The Waves. An exploration of its innovative verbal and syntactic procedures can add to an understanding of Woolf's importance for the philosophical thought of Gilles Deleuze (and his sometime collaborator Félix Guattari). In A Thousand Plateaus, The Waves is used to exemplify an ontology of becoming. However, in their reference to The Waves, Deleuze and Guattari only draw attention to what they term the ‘vibrations, shifting borderlines’ between and across characters in the novel. Given Deleuze's considerations of style, it is perhaps surprising that he never took up this idea in terms of how these movements also take place at the level of language in the novel, as the explorations in this essay of four different linguistic procedures from The Waves show. When Woolf completed writing The Waves, she wrote in her diary that she had ‘netted that fin in the waste of water’. By investigating the multiple, and often discordant, associations of this image of netting a fin, various connections between Woolf's linguistic procedures and Deleuze's philosophy can be configured, particularly in terms of the approach to language put forward in A Thousand Plateaus. Reading Woolf alongside Deleuze in this way reveals how ontology becomes intimately bound up with a problem of language.

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Jacobs, Joela. "Separation Anxiety: Canine Narrators and Modernist Isolation in Woolf, Twain, and Panizza." Literatur für Leser 39, no. 3 (2018): 153–68. http://dx.doi.org/10.3726/9445_lfl_16-3_153.

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In the decades around 1900, the Western literary canon boasts a dense accumulation of stories that specifically make dogs their protagonists, or even their narrators. Authors amongst the most important voices of modernism in their respective traditions, such as Virginia Woolf, Mark Twain, Franz Kafka, O. Henry, Miguel de Unamuno, Vladimir Bulgakov, and Italo Svevo, all turned to canine perspectives to discuss the human condition in the rapidly changing modern world.1 Modernism entailed, among other characteristics, fundamental skepticism of the human self-conception, including the epistemological insecurity of how one might fully know oneself or others and doubt about the ability of language to communicate meaning.2 I argue that the turn to animals in the literary production of this time parses out three interconnected anxieties of modernism: 1) the growing isolation of the individual subject (which a companion animal can and cannot solve); 2) the Sprachkrise, a crisis of language and meaning (in which the limitations of language are addressed via depictions of canine thoughts or words); and 3) concerns about physiognomy and race theory (encoded by dog breeds), which lead to the violent subdual of Others – be they animal, female, or non-white – thus prompting questions about the “humanity” of humankind. The turn to dogs as one of, if not, the animal species sharing human everyday life in the literary engagement with these questions both illustrates and suggests ways of overcoming this isolation and its violence. On the following pages, I first briefly outline the three anxieties regarding isolation, language, and breedist violence in modernism and then draw on three canine narratives, Virginia Woolf’s Flush: A Biography (1933), Mark Twain’s A Dog’s Tale (1903), and Oskar Panizza’s Aus dem Tagebuch eines Hundes (From the Diary of a Dog, 1892), in order to unfold these three entangled points. <?page nr="154"?>The texts are selected as representative both because they bring out these modernist anxieties very clearly, while nonetheless approaching the representation of dogs in three different ways, and because they span a wide historical and national range through their British, American, and German origins across four decades, while still being distinctly anchored in the Euro-Western constellation that gave rise to these modernist anxieties. Each texts places a slightly different emphasis on the three aspects of the argument, and therefore my reading of them is divided into two parts: the first explicates the interplay of modernist isolation and the language crisis with the help of Woolf’s and Panizza’s works, while the second turns to the issue of breed with Woolf and Twain, whose texts highlights the violent consequences and ethical implications of these ideas.

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Heine, Elizabeth. "W.B.Yeats: Poet and Astrologer." Culture and Cosmos 1, no. 02 (1997): 60–75. http://dx.doi.org/10.46472/cc.0201.0209.

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William Butler Yeats appears to have begun his study of astrology even before he joined the Hermetic Society of the Golden Dawn in 1890. His earliest surviving astrological manuscripts date to 1888 or 1889, when he was in his early twenties; they record planetary elements and symbols in elementary lessons, probably undertaken among Madame Blavatsky’s theosophists. For the 1890s, his manuscripts show more emphasis on readings of tarot cards than on astrological predictions, although the tarot lay-outs are occasionally accompanied by horary charts drawn up for the moment of the reading. Yeats’s use of traditional astrology became much more extensive and precise during the Edwardian years, particularly in 1908, when he was using several different notebooks for astrological calculations. Notebooks survive much better than loose sheets, of course, and another, from 1934, preserves what seem to be the latest surviving horoscopes drawn up by Yeats himself, including his own secondary progressions for the following year; they appear to have been cast in September or October, about the time Virginia Woolf noted Yeats’s conversation about the occult in her diary: ‘He believes entirely in horoscopes. Will never do business with anyone without having their horoscopes.

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Wahab, Mohammed Osman Abdul, Mohammed Nurul Islam, and Nisar Ahmad Koka. "Dimensions of Literature and Journalism, History, Ideology and Culture." Theory and Practice in Language Studies 9, no. 12 (2019): 1474. http://dx.doi.org/10.17507/tpls.0912.02.

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Literature is a hugely loaded term that brings within its ambit a variety of concerns ranging from philosophy to journalism as there is almost a photo finish between what is construed as journalism and what is commonly and widely presumed literature. Adding interactive or writing multi-platform stories/literature/fiction is quickly becoming a new craft of publishing onto itself and a tool for writers to use. The media field could be very different in coming years---or it could still be just a bunch of promotional tie-tins. The dimensions of literature breach boundaries to conform to the possibilities of generating discourses on issues of humanitarian concerns. Hemingway, Dos Passos, Dickens and Thackeray came to the writing of fiction through journalism. Psychology and Philosophy have given the edges to literature as the likes of James Joyce, Joseph Conrad and Virginia Woolf. Journalism aided the growth of imperial culture and simultaneously provoking a debate between the East and West, between the Fascist and the Liberals and between the Diary of A young Girl and Tin Drum and again between what Bertolt Brecht did in Germany to stave off the last remains of Nazism though diced up in ruins. The difference lies in the manner of treating its shades and colors.

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Blodgett, Harriet. "A woman writer's diary: Virginia woolf revisited." Prose Studies 12, no. 1 (1989): 57–71. http://dx.doi.org/10.1080/01440358908586360.

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Bien, Peter, Virginia Woolf, Anne Olivier Bell, and Andrew McNeillie. "The Diary of Virginia Woolf. 5: 1936-1941." World Literature Today 59, no. 2 (1985): 272. http://dx.doi.org/10.2307/40141553.

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Pinho, Davi. "O CONTO DE VIRGINIA WOOLF – OU FICÇÃO, UMA CASA ASSOMBRADA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (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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Dissertations / Theses on the topic "From the diary of Virginia Woolf"

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Woods, Noelle. "Reflections of a life : biographical perspectives of Virginia Woolf illuminated by the music and drama of Dominick Argento's song cycle, From the Diary of Virginia Woolf /." Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132158619.

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Shannon, Drew Patrick. "The deep old desk the diary of Virginia Woolf /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1186963596.

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SHANNON, DREW PATRICK. "THE DEEP OLD DESK: THE DIARY OF VIRGINIA WOOLF." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1186963596.

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Jenkins, Amber Rose. "From pen to print : Virginia Woolf, materiality and the art of writing." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/113424/.

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This thesis interrogates the relationship between the material conditions of Virginia Woolf’s writing practices and her work as a printer and publisher at the Hogarth Press. While the role played by the Press in the intellectual and literary innovations of modernism has been well-documented, less attention has been paid to its influence upon Woolf’s own literary experimentalism. By examining its effect on the material and visual aspects of her compositional processes, from the manuscript drafts to the physical construction of her printed works, this thesis explores how her involvement in the crafting of her publications (including practices of writing, editing, printing and binding) enabled her to situate her fictions alongside the visual and material innovations of modernism. Underpinned by an engagement with Bloomsbury epistemology and aesthetics, it aims to contribute to understandings of Woolf’s textual practices in the context of early twentieth-century visual and material cultures. The thesis examines several of Woolf’s texts printed between 1917, the year the Hogarth Press was established, and 1931, the year in which The Waves, often considered her most experimental work, was published. By drawing on the field of print culture and the materialist turn in Woolf scholarship, it, firstly, considers Woolf’s early short stories and how these enable her to challenge the distinction between visual and verbal forms of representation. Chapter two examines the extent to which her short stories, as well as her embodied experience of printing them, shaped the form of Jacob’s Room. The manuscript version of Mrs Dalloway is the focus of chapter three, and it suggests that the novel can be considered a palimpsest in the way that earlier versions of text reverberate in the published edition. This chapter also offers new ways of thinking about Woolf’s conceptualisation of textuality as fluid rather than fixed. Woolf’s use of colour in her writing is given particular attention in the final two chapters of the thesis. Chapters on To the Lighthouse and The Waves reveal how these visual signifiers enable her to weave a feminist-materialist discourse into the textures of her work. In establishing a connection between Woolf’s literary concerns with materiality and her feminist politics, this thesis argues that her use of objects, colours and forms work to reinsert the forgotten histories of women in the pages of her published texts.

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Dunn, Jessica. "Unearthing Real Women: Reclaiming Sylvia Plath and Virginia Woolf from Their Suicide Narratives." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2139.

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Virginia Woolf and Sylvia Plath are two well-known women writers of the twentieth century who committed suicide. The narratives created by their deaths have in some instances become as important as the canonical work they produced. In an effort to understand their motivations and struggles, critics and the public alike have sometimes reduced these women to victims of the patriarchy, mental illness, or even themselves. Beginning with my own discovery of this issue in the legacies of Plath and Woolf combined with my personal dealings with suicide in my family, I recount how I lost these two women as exemplary figures because of their choice to commit suicide. I then take a look at what others have said about their deaths and how it has affected their legacies as writers. Finally, I take a look at Woolf’s Mrs. Dalloway and Plath’s The Bell Jar for an alternate perspective on suicide. Through this journey, I recount how I have been able to regain my respect for these two talented women by considering multiple viewpoints and acknowledging the nuance inherent in any account.

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Dabby, Benjamin James. "Female critics and public moralism in Britain from Anna Jameson to Virginia Woolf." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607994.

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Landefeld, Ronnelle Rae. "Becoming Light: Releasing Woolf from the Modernists Through the Theories of Giles Deleuze and Félix Guattari." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/32497.

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Critics of Virginia Woolf's fiction have tended to focus their arguments on one of the following five cruxes: Woolf's personal biography, the role of art, the nature of reality, the structure of her novels, or they focus their arguments on gender-based criticism. Often, when critics attempt to explain Woolf through any of these categories, they succeed in constructing borders around her writing that minimize the multiplicities outside them. Post-structuralist theory helps to open up difference in Woolf's writing, specifically, the theories of Giles Deleuze and Félix Guattari. Their book, A Thousand Plateaus, allows readers of Woolf's novel, To the Lighthouse, outside the confines some past critics have put around it. I apply select Deleuze and Guattarian metaphors to Woolf's To the Lighthouse in order that multiplicities of the novel stand out. The Deleuze and Guattarian metaphors that are most successful in opening up difference in To the Lighthouse are strata; the Body without Organs; becoming; milieu and rhythm; and smooth and striated spaces.<br>Master of Arts

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Fang, Ni-Ni. "From instinct to self : a psychoanalytic exploration into a Fairbairnian understanding of depression through a dialogue with my imaginary Virginia Woolf." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/23636.

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This thesis explores a psychoanalytic understanding of depression from the perspective of Fairbairn’s object relations theory, something Fairbairn did not himself undertake. Highlighting the historical and political contexts of the development of psychoanalysis in Fairbairn’s time, I underline the marginalization of Fairbairn’s theory, which I attribute primarily to his lifelong endeavour to challenge the orthodoxy of the time: instinct theory. I chart a theoretical trajectory from the instinct theory (Freud, Klein) to object relations theory (Fairbairn), to contextualise my argument for the potential of Fairbairn’s theory. My argument aligns with Rubens’ (1994, 1998) view that an extension of Fairbairn’s theory beyond what Fairbairn himself originally proposed on the subject of depression is not only advantageous but also necessary. The Fairbairnian understanding of depression at the heart of this inquiry is illustrated through my personal engagement with psychoanalytic theory and framed by my subjective experiences and interpretations. Contending that theory requires personal voices to make sense and be relevant, I engage creatively and personally using the method of letter-writing to an imaginary companion - Virginia Woolf. The Virginia Woolf I construct and with whom I engaged in the research process is based on factual information about Virginia Woolf along with her published texts. In this process I blur the boundary between the real Woolf and my imaginary Woolf. Troubling the edge of reality and fantasy, I use the Woolf of my imagination to stage a process of getting to know Woolf personally, working to develop a trusting relationship and engaging her in a conversation about theory. My letters to Virginia Woolf trace an unfolding dialogue in which we tell and hear each other’s most intimate stories, once unthinkable and unsayable. The letters trace the transformation of my own understanding of the nature of depression, and through them I seek to establish a line of theoretical argument about depression running through the claims of Freud and Klein before turning to the Fairbairnian version of object relations theory. In so doing this thesis complicates psychoanalytic knowledge of the nature of depression, and argues that, framed in Fairbairn’s system, depression can be understood as an actively organised psychic manoeuvre to defend against changes to the endopsychic structure. In other words, and as elaborated through the letters constructed in this thesis, I argue that depression can be understood as a defence against the disintegration of a particular sense of self sponsored by internal object relationships.

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Lee, Chi-kwan Anita. "From Mrs. Dalloway to The hours : bisexuality/bitextuality and ècriture fèminine /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3160268X.

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Lee, Chi-kwan Anita. "From Mrs. Dalloway to The Hours bisexuality/bitextuality and écriture féminine /." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/HKUTO/record/B38628764.

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Books on the topic "From the diary of Virginia Woolf"

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Writing from experience: From Louisa M. Alcott to Virginia Woolf. Robert Hale, 2000.

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Woolf, Virginia. A moment's liberty: The shorter diary of Virginia Woolf. Hogarth Press, 1990.

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Vita & Virginia: Adapted from the correspondence between Virginia Woolf and Vita Sackville-West. Samuel French, 1995.

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Dell, Marion. Virginia Woolf & Vanessa Bell: Remembering St Ives. Tabb House, 2003.

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Dell, Marion. Virginia Woolf & Vanessa Bell: Remembering St Ives. Tabb House, 2003.

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Family likeness: Sex, marriage, and incest from Jane Austen to Virginia Woolf. Cornell University Press, 2008.

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Diaries and journals of literary women from Fanny Burney to Virginia Woolf. Macmillan, 1990.

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Diaries and journals of literary women from Fanny Burney to Virginia Woolf. University of Iowa Press, 1990.

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1957-, Ardis Ann L., and Scott Bonnie Kime 1944-, eds. Virginia Woolf: Turning the centuries : selected papers from the ninth annual Conference on Virginia Woolf : University of Delaware, June 10-13, 1999. Pace University Press, 2000.

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Conference on Virginia Woolf (5th 1995 Otterbein College). Virginia Woolf: Texts and contexts : selected papers from the Fifth Annual Conference on Virginia Woolf, Otterbein College, Westerville, Ohio, June 15-18, 1995. University Press of America, 1996.

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Book chapters on the topic "From the diary of Virginia Woolf"

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Webb, Beatrice. "The Diary of Beatrice Webb." In Virginia Woolf. Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-23807-1_12.

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Stape, J. H. "The Diary of Sydney Waterlow." In Virginia Woolf. Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-23807-1_8.

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Stape, J. H. "The Diary of Lady Ottoline Morrell." In Virginia Woolf. Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-23807-1_10.

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Stape, J. H. "The Diary of Dame Ethel Smyth." In Virginia Woolf. Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-23807-1_16.

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Stape, J. H. "The Diary of Virginia Woolf." In E. M. Forster. Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-12850-1_14.

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Bishop, Edward. "To the Lighthouse: From Social Language to Incantation." In Virginia Woolf. Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-21223-1_6.

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Simons, Judy. "The Safety Curtain: The Diary of Virginia Woolf." In Diaries and Journals of Literary Women. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1057/9780230376441_9.

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Shattuck, Sandra D. "The Stage of Scholarship: Crossing the Bridge from Harrison to Woolf." In Virginia Woolf and Bloomsbury. Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-18480-4_16.

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Halperin, John. "Bloomsbury and Virginia Woolf: Another View." In Jane Austen’s Lovers and Other Studies in Fiction and History from Austen to le Carré. Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19332-5_12.

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Lounsberry, Barbara. "Jealousy, Illness, and Diary Rescue." In Virginia Woolf's Modernist Path. University Press of Florida, 2016. http://dx.doi.org/10.5744/florida/9780813062952.003.0004.

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Abstract:

Can a diary help heal and restore? Emphatically. In her 1921 diary Woolf faces two foes. The first is physical and mental exhaustion, a danger that will arise periodically across her life. In 1921, Hogarth Press work takes the time previously given to her diary—to her peril. In early January, she gives over her diary’s “casual half hours after tea” to Russian lessons for Hogarth Press translations of Chekhov, the Tolstoys, and more. The Woolfs also devote the year to printing Bloomsbury works, making the months ripe for rivalry—for literary envy of several shades. Woolf falls ill after hearing of James Joyce’s “prodigious” novel, Ulysses; however, once more she turns to her diary for rescue: to medicine herself. The diary becomes an anodyne, “a comforter” or “reliever of pain.” During this time, Woolf links arms with (and salutes) another literary doctor: Anton Chekhov. She draws the title of the only short story collection she publishes in her life, the 1921 Monday or Tuesday, from Chekhov’s Note-book[s], published the same month by the Hogarth Press.

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