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Journal articles 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

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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2

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 b

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3

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

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4

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 per

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5

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 epistemologi

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6

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

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7

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 possib

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8

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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9

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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10

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 histór

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11

Magalaner, Marvin. "The Diary of Virginia Woolf, Volume Five, 1936-1941, and: Virginia Woolf: A Centenary Perspective (review)." MFS Modern Fiction Studies 31, no. 2 (1985): 352–54. http://dx.doi.org/10.1353/mfs.0.0129.

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12

Humm, Maggie. "Virginia Woolf and photography." Comunicação e Sociedade 32 (December 29, 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.

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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.

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13

Beer, Gillian. "Excerpts from The Waves, by Virginia Woolf." Daedalus 143, no. 1 (2014): 54–63. http://dx.doi.org/10.1162/daed_a_00253.

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14

Campbell, Karlyn Kohrs. "Inventing Women: From Amaterasu to Virginia Woolf." Women's Studies in Communication 21, no. 2 (1998): 111–26. http://dx.doi.org/10.1080/07491409.1998.10162552.

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15

Earl, Holly. "Virginia Woolf’s Synesthesia." Twentieth-Century Literature 66, no. 4 (2020): 463–84. http://dx.doi.org/10.1215/0041462x-8770695.

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This article argues that synesthesia exerted a profound influence on the writing of Virginia Woolf. Examining a wide range of works, it establishes that Woolf not only registered synesthesia as a cultural phenomenon by depicting many synesthetes in her fiction but also, from the outset of her writing life, adopted synesthesia as an aesthetic principle. It helped her critique the atomization of the human senses under the technological conditions of modernity, but also to condemn both the militarism of the Great War and the rise of totalitarian politics in the late 1930s. Ultimately, however, Wo

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16

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 (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 fe

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17

Legarreta Mentxaka, Aintzane. "Kate O'Brien and Virginia Woolf: Common Ground." Irish University Review 48, no. 1 (2018): 127–42. http://dx.doi.org/10.3366/iur.2018.0334.

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Convergences in the work of Kate O'Brien and Virginia Woolf range from literary influences and political alignments, to a shared approach to narrative point of view, structure, or conceptual use of words. Common ground includes existentialist preoccupations and tropes, a pacifism which did not hinder support for the left in the Spanish Civil War, the linking of feminism and decolonization, an affinity with anarchism, the identification of the normativity of fascism, and a determination to represent deviant sexualities and affects. Making evident the importance of the connection, O'Brien concei

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18

Shields, Kathleen. "Qui a peur de traduire Virginia Woolf?" Babel. Revue internationale de la traduction / International Journal of Translation 44, no. 1 (1998): 15–28. http://dx.doi.org/10.1075/babel.44.1.02shi.

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Abstract A quarrel broke out in 1993 in the French literary press concerning the respective merits of two French translations of The Waves (1931). The first translation was by Yourcenar (1937) and the second by Wajsbrot (1993). Two contrasting conceptions of translating are apparent in the critics' positions, and also in the theory and practice (whether explicit or implicit) of the two translators. For Yourcenar, Woolf's text is part of an English literary system which is to be introduced to the French system. As a translator and author her role is to introduce Woolf to a French public. Wajsbr

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19

Fatemeh Sadat Basirizadeh, Shiva Zaheri Birgani, and Narges Raoufzadeh. "Concept of Time in Virginia Woolf’s To the Lighthouse: Bergsonian Study." LingLit Journal Scientific Journal for Linguistics and Literature 2, no. 2 (2021): 67–74. http://dx.doi.org/10.33258/linglit.v2i2.460.

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Time is an important element in modern literature, has always been one of the most important themes of Virginia Woolf’s novels. The purpose of this paper is to look at Woolf treatment of the movement of time within the conscious mind in the novel in title of To the Light House by Virginia Woolf. One conclusion drawn from this study is that Woolf began to use time as a literary element, thereby decreasing her development of plot and characterization. A second conclusion is that she was greatly influenced by the philosophy of Henri Bergson and that consequently her writing increasingly reflects

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20

Dymond, Justine. "Virginia Woolf Scholarship from 1991 to 2003: A Selected Bibliography." MFS Modern Fiction Studies 50, no. 1 (2004): 241–79. http://dx.doi.org/10.1353/mfs.2004.0007.

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21

Sutton, Emma. "‘Putting Words on the Backs of Rhythm’: Woolf, ‘Street Music’, and The Voyage Out." Paragraph 33, no. 2 (2010): 176–96. http://dx.doi.org/10.3366/para.2010.0003.

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This essay explores Virginia Woolf's representation of rhythm in two early texts — her neglected 1905 essay ‘Street Music’ and her first novel, The Voyage Out (1915). It teases out the texts' characterisations of musical, literary, bodily and urban rhythms, considering their implications for a theory of literary rhythm more broadly. Arguing that rhythm has a central place in Woolf's writing practice, prose style and theories of writing, the essay charts the relationship between rhythm, individuality and literary value in these texts, and in selected correspondence, diary extracts, essays and f

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22

Nadel, Ira. "The Russian Woolf." Modernist Cultures 13, no. 4 (2018): 546–67. http://dx.doi.org/10.3366/mod.2018.0229.

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Virginia Woolf and Russia has been examined but not fully studied. Entirely overlooked has been her response to Russian cinema and dance, particularly the Ballets Russes. This paper addresses that gap through an account of Woolf's response to, and interest in, both Russian film and dance, while also accounting for how she incorporates her admiration of Dostoevsky, Turgenev and other Russian writers into her work. Her study and translations with the Russian Jewish émigré Samuel Koteliansky, a formative influence on her continuing absorption with matters Russian, is also analyzed, as well as the

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23

Egorova, L. V. "‘If this is Shakespeare, then I’m Virginia Woolf’." Voprosy literatury, no. 5 (December 19, 2018): 271–81. http://dx.doi.org/10.31425/0042-8795-2018-5-271-281.

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A review of the bilingual edition of the play Double Falsehood, or, The Distressed Lovers, prepared by ‘Book Centre Rudomino’. The play is supplied with three presentations: a translator’s introduction by Andrey Korchevsky, a foreword by the most renowned scholar of this highly mysterious play, Brean Hammond (he edited the play for the Arden series in 2010), and an afterword by Dmitry Ivanov, a Russian scholar of the period and translation. Is there much left of Shakespeare and Fletcher in Double Falsehood, and what exactly is it? Can one single out the earliest language stratum stemming from

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24

Cohen, Scott. "The Empire from the Street: Virginia Woolf, Wembley, and Imperial Monuments." MFS Modern Fiction Studies 50, no. 1 (2004): 85–109. http://dx.doi.org/10.1353/mfs.2004.0003.

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25

Schneiderman, Leo. "Virginia Woolf: Twentieth Century Psychology and Modern Fiction." Imagination, Cognition and Personality 22, no. 2 (2002): 181–200. http://dx.doi.org/10.2190/njx9-vj0y-drrg-47l8.

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The present study attempts to trace parallel developments between early twentieth century psychology and the evolution of modern fiction. I have chosen the work of Virginia Woolf to illustrate the emergence of an emphasis in modern fiction on depicting the contents of consciousness. This focus on sensibility and intersubjectivity goes well beyond the limitations imposed by the realistic novel, with its concern for larger contextual factors such as social structure and historical change. Woolf and other modernists such as Proust, Joyce, D. H. Lawrence, Kafka, Faulkner, and Beckett directed thei

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26

Koppen, Randi. "Virginia Woolf and the world of books: the centenary of the Hogarth Press. Selected papers from the Twenty-seventh annual international conference on Virginia Woolf." European Journal of English Studies 24, no. 1 (2020): 100–101. http://dx.doi.org/10.1080/13825577.2020.1730035.

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27

Billington, Josie. "Family Likeness: Sex, Marriage, and Incest from Jane Austen to Virginia Woolf." Journal of Victorian Culture 16, no. 2 (2011): 275–79. http://dx.doi.org/10.1080/13555502.2011.589685.

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28

Fuderer, Laura Sue. "Criticism of Virginia Woolf from 1972 to December 1990: A Selected Checklist." MFS Modern Fiction Studies 38, no. 1 (1992): 303–42. http://dx.doi.org/10.1353/mfs.0.0964.

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29

Doko, Fatbardha, Hyreme Gurra, and Lirije Ameti. "MODERNISM IN MRS.DALLOWAY." Knowledge International Journal 34, no. 6 (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 Stei

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30

Jensen, Meg. "The Writer's Diary as Borderland: The Public and Private Selves of Virginia Woolf, Katherine Mansfield and Louisa May Alcott." Life Writing 9, no. 3 (2012): 315–25. http://dx.doi.org/10.1080/14484528.2012.689952.

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31

Makarova, E. Yu. "THE CONCEPT OF CHRONOTOPE IN THE NOVEL “MRS DALLOWAY” BY V. WOOLF." Language and Intercultural Communication XIII, no. XIII (2020): 92–101. http://dx.doi.org/10.21672/2078-9858-2020.10.07-092-101.

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This article deals with the concept of chronotope in the text of the novel "Mrs. Dalloway” by Virginia Woolf. Certain characteristics of chronotope exemplifying these concepts were selected and analyzed, the former serving as an integral part of the analysis of works of the modern era. As a result of a continuous sampling and subsequent analysis of the text of the novel, we concluded that despite the contrast of the characters from different social classes, they are united by a single spatio-temporal continuum regulated by the chronotope. Virginia Woolf managed to accurately and truthfully con

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32

Prystash, Justin. "Leaning from the Human: Virginia Woolf, Olaf Stapledon, and the Challenge of Behaviorism." Configurations 28, no. 4 (2020): 433–57. http://dx.doi.org/10.1353/con.2020.0030.

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33

Thacker, A. "DAVID WELSH. Underground Writing: the London Tube from George Gissing to Virginia Woolf." Review of English Studies 64, no. 263 (2012): 171–73. http://dx.doi.org/10.1093/res/hgs076.

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34

Shannon, Mary L. "Roomscape: Women Writers in the British Museum from George Eliot to Virginia Woolf." Journal of Victorian Culture 19, no. 1 (2014): 114–17. http://dx.doi.org/10.1080/13555502.2014.889427.

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35

Manning, Susan. "Did Human Character Change?: Representing Women and Fiction from Shakespeare to Virginia Woolf." Partial Answers: Journal of Literature and the History of Ideas 11, no. 1 (2013): 29–52. http://dx.doi.org/10.1353/pan.2013.0000.

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36

Hayman, Emily. "English Modernism in German: Herberth and Marlys Herlitschka, Translators of Virginia Woolf." Translation and Literature 21, no. 3 (2012): 383–401. http://dx.doi.org/10.3366/tal.2012.0089.

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The Austrian-born translators Herberth and Marlys Herlitschka exercised considerable influence over the reception of British modernist literature in German-speaking nations. From the 1920s to the 1960s they undertook translations of challenging modernist works, including the poetry of Yeats and the novels of Lawrence and Woolf. This article surveys their lives and work, with a focus on their post-war rendering of Woolf's final novel, Between the Acts. Here the Herlitschkas' translational choices reveal a desire for reconciliation and effect a softening of the political jaggedness of Woolf's Bl

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37

Schad, John. "‘All at Sea’: Virginia Woolf, Walter Benjamin, and the Unknown German." CounterText 7, no. 2 (2021): 206–33. http://dx.doi.org/10.3366/count.2021.0230.

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On July 10, 1940, amidst fear of Nazi invasion, a prison ship, of sorts, left Liverpool, England, crammed full of over two thousand male ‘Enemy Aliens’ – Germans, Austrians, and some Italians. They were herded together, below deck, with all hatches sealed. Some were prisoners of war, some were passionate Nazis, but most were Jewish refugees. Among them was Walter Benjamin's estranged son, a young man of 22 years, Stefan Rafael Schoenflies Benjamin. Soon after boarding, however, the authorities mistakenly recorded his surname as Benjamini. ‘All at Sea’, John Schad's critical-creative piece, rec

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38

Trilling, J. "Romantic Moderns: English Writers, Artists, and the Imagination from Virginia Woolf to John Piper." Common Knowledge 18, no. 3 (2012): 551–52. http://dx.doi.org/10.1215/0961754x-1630496.

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39

Utell, Janine. "View from the Sickroom: Virginia Woolf, Dorothy Wordsworth, and Writing Women's Lives of Illness." Life Writing 13, no. 1 (2014): 27–45. http://dx.doi.org/10.1080/14484528.2014.895927.

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40

Hwang, Haewon. "Underground Writing: The London Tube from George Gissing to Virginia Woolf (review)." Modernism/modernity 18, no. 3 (2011): 644–46. http://dx.doi.org/10.1353/mod.2011.0067.

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41

Correa, Romar. "Keynes and ‘Stream of Consciousness’ or What Keynes Could Have Learnt From Virginia Woolf." Journal of Interdisciplinary Economics 11, no. 3-4 (2000): 225–35. http://dx.doi.org/10.1177/02601079x00001100302.

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42

Eustance, Claire. "Benjamin Dabby. Women as Public Moralists in Britain: From the Bluestockings to Virginia Woolf." American Historical Review 124, no. 3 (2019): 1149–50. http://dx.doi.org/10.1093/ahr/rhz488.

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43

Chambers, Matthew. "Amanda Golden. Annotating Modernism: Marginalia and Pedagogy from Virginia Woolf to the Confessional Poets." Review of English Studies 72, no. 305 (2021): 609–11. http://dx.doi.org/10.1093/res/hgab008.

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44

Hollington, Michael. "Charles Dickens: The Woolf Afterlife." Victoriographies 10, no. 3 (2020): 292–310. http://dx.doi.org/10.3366/vic.2020.0396.

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This essay begins with a survey of attitudes towards Charles Dickens in the extended Stephen family, as these were inherited by the modernist writer Virginia Woolf. On the one hand, there is the strongly negative view of her Uncle Fitzy (Sir James Fitzjames Stephen), and the lukewarm, rather condescending opinion of her father Leslie Stephen. On the other, there is the legacy of enthusiastic attention and appropriation from William Makepeace Thackeray's two daughters – her aunt Anne Thackeray Ritchie and (posthumously) Min, Leslie Stephen's first wife. In the second section I survey Woolf's cr

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45

Jacquin, Maud. "‘A matter of skin’: Chantal Akerman’s ‘porous narratives’." Moving Image Review & Art Journal (MIRAJ) 8, no. 1 (2019): 82–95. http://dx.doi.org/10.1386/miraj_00007_1.

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In 2004, Chantal Akerman created two works – a feature film Tomorrow We Move (Akerman, 2004) and a video installation To Walk Next to One’s Shoelaces in an Empty Fridge (Akerman, 2004) – which feature the diary that her Jewish maternal grandmother had kept before dying at Auschwitz. Prompted by the contradictions manifest in the installation (spontaneity vs control; uniqueness vs familiarity), I will argue for an intricate interrelation between the documentary video and the fiction film. In relation to the thematic content of both works, I will subsequently demonstrate that the ‘porous’ form o

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46

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 (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 literar

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47

Monaco, Beatrice. "‘Nothing is simply one thing’: Woolf, Deleuze and Difference." Deleuze Studies 7, no. 4 (2013): 456–74. http://dx.doi.org/10.3366/dls.2013.0124.

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This paper explores some key texts of Virginia Woolf in the context of Deleuzian concepts. Using a close reading style, it shows how the prose poetry in Mrs Dalloway engages a complex interplay of repetition and difference, resulting in a remarkably similar model of the three syntheses of time as Deleuze understands them. It subsequently explores Woolf's technical processes in a key passage from To the Lighthouse, showing how the prose-poetic technique systematically undoes the structures of logical fact and rationality inscribed in both language and everyday speech to an extremely precise lev

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48

M Bani-Khair, Baker, Imad M Khawaldeh, and Nisreen Al-Khawaldeh. "Review of Virginia Woolf's Night and Day." International Journal of Applied Linguistics and English Literature 6, no. 2 (2017): 258. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.2p.258.

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In this Review article, we have looked at different aspects that make Virginia Woolf's Night and Day one of the most interesting to read and analyze. We particularly focus on the familial and social patterns that distinguish this novel from other ones written by the same author. We also placed a good emphasis on the strength points the novel shows by looking at various elements such as themes of love relationships, modern treatment of plot and content, and more importantly on characterizations. The article revealed that Woolf's Night and Day is rich in terms of its modern and unconventional ap

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49

Luere, Jeane. "Terror and Violence in Edward Albee: From "Who's Afraid of Virginia Woolf?" to "Marriage Play"." South Central Review 7, no. 1 (1990): 50. http://dx.doi.org/10.2307/3189213.

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MacKenzie, S. R. "MARY JEAN CORBETT. Family Likeness: Sex, Marriage, and Incest from Jane Austen to Virginia Woolf." Review of English Studies 60, no. 247 (2009): 827–29. http://dx.doi.org/10.1093/res/hgp087.

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