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Dissertations / Theses on the topic 'From the diary of Virginia Woolf'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Peksen, Yanikoglu Seda. "Psychological Bisexuality And Otherness In The Novels Of Angela Carter, Virginia Woolf, Marge Piercy And Ursula Le Guin: A Study From The Perspective Of Ecriture Feminine." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609454/index.pdf.

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This study analyses The Passion of New Eve by Angela Carter, Orlando by Virginia Woolf, Woman on the Edge of Time by Marge Piercy and The Left Hand of Darkness by Ursula Le Guin from the perspective of &eacute<br>criture f&eacute<br>minine. After a thorough discussion of the roots of &eacute<br>criture f&eacute<br>minine, the theory of the French feminists is put into practice in the analysis of the novels. The study asserts that the concepts of bisexuality, the other and the voice are common elements in novels of &eacute<br>criture f&eacute<br>minine, thereby the novelists mentioned in the study follow the propositions of H&eacute<br>l&egrave<br>ne Cixous, Julia Kristeva and Luc&eacute<br>Irigaray. The argument of the study is that the use of &eacute<br>criture f&eacute<br>minine as portrayed with reference to the novels, can be an efficient way in deconstructing the patriarchal system of language. Literature has a significant influence on social life, however women cannot make themselves heard using the language of patriarchy. Therefore an alternative such as &eacute<br>criture f&eacute<br>minine is essential. This study shows how this alternative can be practiced in various ways and it also creates the opportunity to consider the possibilities of alternative lives if this kind of thinking is widespread.

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12

Kichner, Heather J. "Cemetery Plots from Victoria to Verdun: Literary Representations of Epitaph and Burial from the Nineteenth Century through the Great War." online version, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=case1212645077.

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13

Ray, Beth Ann. "Dominick Argento's Casa Guidi : a character and a musical study." 2002. http://hdl.handle.net/2152/11277.

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14

Moreau, Christine. "From the mild to the monstrous : maladies of the mind in the novels of Jane Austen, Charlotte Brontë, and Virginia Woolf." 1987. http://hdl.handle.net/1993/16559.

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15

Malinovskaya, Elena. "These little stories about nothing at all: a ficção breve de Virginia Woolf em diálogo com Sketches from a Hunter's Album de Ivan Turgenev." Master's thesis, 2008. http://hdl.handle.net/10451/461.

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