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Frotscher, Mirjam M. "Virginia Woolf." Technische Universität Dresden, 2015. https://ul.qucosa.de/id/qucosa%3A15358.
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Virginia Woolf (1882–1941) war eine englische Schriftstellerin, Verlegerin, Essayistin, Tagebuchverfasserin, sowie Literatur- und Kulturkritikerin, die als Wegbereiterin der literarischen Moderne gilt. In zahlreichen kritischen Essays und Romanen reflektiert sie die geteilten Lebens- und Bildungssphären der Geschlechter und kritisiert die materiellen Umstände der durch das Geschlecht determinierten sozialen Rolle. Eine genderfokussierte kritische Rezeption von Woolfs Texten, welche sich mit weiblichem Schreiben und Lesen, Frauengeschichtsschreibung und weiblicher Ästhetik befassen, findet seit Mitte der 1970er Jahre statt.
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Frotscher, Mirjam M. "Virginia Woolf." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219530.
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Virginia Woolf (1882–1941) war eine englische Schriftstellerin, Verlegerin, Essayistin, Tagebuchverfasserin, sowie Literatur- und Kulturkritikerin, die als Wegbereiterin der literarischen Moderne gilt. In zahlreichen kritischen Essays und Romanen reflektiert sie die geteilten Lebens- und Bildungssphären der Geschlechter und kritisiert die materiellen Umstände der durch das Geschlecht determinierten sozialen Rolle. Eine genderfokussierte kritische Rezeption von Woolfs Texten, welche sich mit weiblichem Schreiben und Lesen, Frauengeschichtsschreibung und weiblicher Ästhetik befassen, findet seit Mitte der 1970er Jahre statt.
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Adams, Kat Russell Richard Rankin. ""More attachment to life & larger" Orlando and Woolf's theories of fiction /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5282.
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Guest, Dorinda. "Virginia Woolf : Embracing Death." Thesis, University of Kent, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499842.
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Murrie, Greg. "The death of Rachel Vinrace : a psychological and sociological study of Virginia Woolf's The voyage out /." Title page, contents and abstract only, 1990. http://web4.library.adelaide.edu.au/theses/09ARM/09armm984.pdf.
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Hastings, Sarah. "Sex, gender, and androgyny in Virginia Woolf's mock-biographies "Friendships Gallery" and Orlando." Cleveland, Ohio : Cleveland State University, 2008.
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Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (Mar. 17, 2009). Includes bibliographical references (p. 48-49). Available online via the OhioLINK ETD Center. Also available in print.
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Cheng, Oi-yee. "Marriage and women's identity in the novels of Virginia Woolf." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21161471.
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Scaramuzza, Filho Mauro. "Kew Gardens, de Virginia Woolf." reponame:Repositório Institucional da UFPR, 2009. http://hdl.handle.net/1884/20251.
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Veyna, Alejandra. "Virginia Woolf and Literary Impressionism." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/440.
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Roe, Sue. "Virginia Woolf, writing and gender." Thesis, University of Kent, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383896.
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Lloyd, Mandy. "Virginia Woolf and early childhood." Thesis, University of Newcastle upon Tyne, 2009. http://hdl.handle.net/10443/3143.
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The chapters of this thesis analyse Virginia Woolf's novels and private writing, concentrating largely on the representation of early childhood symbols and language in her work. The aim of this thesis was to try to discover why Woolf used the perambulator motif so frequently in her novels. Counting the frequency of images in literary texts is usually one aspect of scholarship which can be fruitless but there are occasions when the results can be startling; for example the fact that the motif of the perambulator dominates almost all of her novels. In her novels, there is generally a surface narrative but I have looked beneath the surface at the multitude of symbols and language from early childhood that she uses. Underpinning all of this is the fact that Woolf never had children of her own. Chapter one begins with a description of Woolf's own early childhood, which she wrote extensively about, using various sources, most notably Hyde Park Gate News. An indispensable reference for trying to glean an understanding of Woolf's early development is 'A Sketch of the Past' which can be found within the collection entitled Moments of Being. Memoirs such as this, her diaries and letters, also provided useful evidence to assist me in the analysis of her childhood. Moments of Being was central to Woolf's fiction and experience and it is within her memoirs, in particular that we discover the remembered world of childhood, both in 22 Hyde Park Gate, London and Talland House, St. Ives. Woolf's relationship with her father and mother will be examined and a separate discussion will explore the effect her parents had on her writing, focusing mainly on The Years and To the Lighthouse. Interwoven with this will be an examination of the concept of memory; the fallibility of memory, current psychological theories of memory as well as Freud's notion of screen memories and their importance in relation to Woolf's own childhood memories. Chapter two focuses exclusively on childhood language and Woolf's use of pre-verbal language and nursery rhymes in her fiction. Three of her later novels show the prominence of pre-verbal language and provide the best examples of the nursery rhyme motif. The Waves is considered as it was this novel that Woolf used to break free from the constraints of plot and characterisation: she began to experiment with pre-verbal rhythms. Two other novels The Years and Between the Acts are analysed in relation to the nursery rhyme motif. Chapter three begins with an examination of the reasoning behind Leonard Woolf's decision for the couple not to have children. Reading Virginia Woolf's work alongside her letters and diaries reveals how closely related the theme of children/childhood was in her own life. This is an area of her writing which warrants investigation in relation to the prominence of the perambulator motif and which advances our understanding of Woolf's own experience as a writer, sister, wife, aunt, daughter and childless woman. The final chapter is divided into two sections allowing discussion of the nursemaid and the perambulator: both significant motifs from early childhood that Woolf utilises in her novels. The two fictional nursemaids focused on in this section are Mrs Constable in The Waves and the figure of the nurse in Mrs Dalloway who is found on a bench in Regent's Park. The short story 'Nurse Lugton's Golden Thimble' will also be examined. Chapter four looks in closer details at the technologies of childhood and the reoccurrence of the perambulator motif in her novels. Starting with Night and Day this section considers, in chronological order, each reference to the perambulator and suggests why Woolf has given prominence to this particular symbol. There will also be a brief discussion of The Voyage Out and why this is the only book that has no perambulator motif. My thesis presents a new way of approaching Woolf's work and a small glimpse into the wishes and regrets of this renowned literary figure.
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Guier, Emily J. "Remembering the future community and immunity in Virginia Woolf's The years /." Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1939245961&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Wright, Elizabeth Helena. "Virginia Woolf and the dramatic imagination." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/510.
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McEwin, Emma. "Virginia Woolf and the visual arts /." Title page and introduction only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arm1423.pdf.
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Donovan, Anna Gay. "Virginia Woolf : a language of looking." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324071.
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The aim of this thesis is to trace a 'language of looking' in some of Virginia Woolfs texts. I have taken Woolfs short story entitled 'The Lady in the Looking-Glass: A Reflection' as a point of departure and principle theme. This story provides models for a serious questioning of the ways we look at women and how that looking deten»ines their representation. In turn that representation is shown to structure and inform our ways of looking. Each paragraph of the story is taken as a starting point for a chapter of the thesis. Thus, each of the ten paragraphs of the story becomes, as it were, the epigraph of the chapter that follows. Each chapter moves out from the specific problematics offered by 'The Lady in the Looking-Glass: A Reflection' to other works by Woolf, and beyond. My readings of 'The Lady in the Looking-Glass: A Reflection' show Woolf to be exploring different ways of getting to 'know' the Lady, to ascertain her 'truth'. The aptness and inadequacy of description, the giving of facts and the detail of imaginings, the insights of perception and the blindness of rhetoric, are all revealed as the story and the thesis unfold. The ways in which a woman can be regarded, spoken of, but never 'truly' represented, is examined. Each chapter focuses upon how, in consecutive paragraphs, Woolf attempts to create a convincing character that can be caught and turned to words. The very difficulties of representation are seen to be written into Woolfs text as the narrative moves from one speculative moment to another. In order to explore the issues raised in the short story I engage with other of Woolfs writings. Using close readings of her work, psychoanalytic concepts, critical writings, Surrealist thought and photographic model, I work to show just how vital are the 'signs' of looking in Woolf's texts.Finally the failures of language are realised as I look at how Woolfs awareness of the complexities and nuances of the visual demonstrates a negative, self-destructive impulse as well as a positive, life-enhancing moment of becoming. Woolfs search for the best words with which to portray the Lady of her story is echoed by my own struggle to find the right words with which to reveal the intricate network of 'looks' that adds yet another dimension to the enigmatic and challenging works of the Lady we know as Virginia Woolf.
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Koulouris, Lambrotheodoros. "Virginia Woolf : Hellenism, Greekness and loss." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413888.
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Marie, Caroline. "Virginia Woolf : le roman du spectacle." Paris 4, 2003. http://www.theses.fr/2003PA040246.
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A l'instar d'Orlando, The Waves, The Years et Between the Acts, les arts du spectacle au début du XXe siècle sont polymorphes et en pleine métamorphose. Cette analyse met en évidence des similitudes entre les romans et les pièces connues de Virginia Woolf. Elle convoque surtout les grandes théories du spectacle qui marquent la modernité pour confronter les stratégies narratives et polémiques mises en œuvre par la romancière à la palette de techniques utilisées par les dramaturges, les scénographes et les cinéastes de son temps. En effet, c'est moins le théâtre que la théâtralité, moins les spectacles que la spectacularité qui fertilisent le roman woolfien. Les traits spectaculaires transférables au genre de la fiction forment au sein des romans un riche réseau sémiotique. Ils font des romans la scène de multiples transformations, un champ d'action et d'expression ainsi qu'un espace de distanciation et de libération. Ils participent à la dimension métanarrative de l'oeuvre woolfienAt the turn of the twentieth century, the performing arts are polymorphous and ever-evolving, just as Virginia Woolf's novels, especially Orlando, The Waves, The Years and Between the Acts. This study highlights similarities between these novels and some plays that Woolf had read or seen. First and foremost, it refers to major modern theatrical theories to compare Woolf's narrative and polemical strategies with those of the playwrights, scenographers and film-makers of her time, whether she knew these conceptions or not. Indeed theatricality and spectacularity, defined as systems of traits that may be transferred to other artistic genres, shape Woolf's fiction more than specific plays. As a web of effective metaphors theatricality and spectacularity partake to the creation of meaning in the novels. They bring about the motives of transformation, action and expressivity while allowing for distanciation and critical awareness
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Vondrak, Amy Margaret Edmunds Susan. "Strange things: Hemingway, Woolf, and the fetish (Ernest Hemingway, Virginia Woolf)." Related Electronic Resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2003. http://wwwlib.umi.com/cr/syr/main.
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Katayama, Aki. "History repeats itself : Woolf, Green, Rhys and Woolf again." Thesis, University of East Anglia, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327501.
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Smith, Amy Charlotte. "Powerful mysteries myth and politics in Virginia Woolf /." Diss., Online access via UMI:, 2007.
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Montera, Paola Boisson Claude. "Articulation et implicite étude contrastive des connecteurs logiques /." Lyon : Université Lumière Lyon 2, 2006. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2006/montera_p.
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Yates, Andrea L. "Riding the hyphen : Derrida--Woolf /." View online ; access limited to URI, 2006. http://0-wwwlib.umi.com.helin.uri.edu/dissertations/dlnow/3222141.
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Tsang, Ching-man Irene. "Gender and gender roles in Virginia Woolf." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B38598747.
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Tsang, Ching-man Irene, and 曾靜雯. "Gender and gender roles in Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38598747.
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Potts, Gina Marie Vitello. "Nomadic subjects : the writing of Virginia Woolf." Thesis, Birkbeck (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444550.
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Abbs, Carolyn. "Virginia Woolf: A mosaic of nonverbal arts." Thesis, Abbs, Carolyn (2001) Virginia Woolf: A mosaic of nonverbal arts. PhD thesis, Murdoch University, 2001. https://researchrepository.murdoch.edu.au/id/eprint/52930/.
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My thesis recognizes Virginia Woolf's writing to be composed of a mosaic of multiple art forms such as painting, film, dance, clothes and textiles accentuating the nonverbal in writing. I argue throughout that the nonverbal was of great importance to Woolf in order to create the subject and the feelings and sensations of corporeality. While the depiction of the subject as opposed to the directly delineated character is part of the modernist project in general, Woolf s feminist agenda is incorporated into her aestheticism and forms her very specific modernism. I regard her writing to be a political creative practice that renders a bodily closeness, a corporeality, that is accrued by the accentuation of multiple senses through writing. In addition, I argue how women as subjects in Woolf's political creative practice are portrayed as movement as opposed to mere spatiality.
This does not mean that the subject does not have a space but rather, that she operates as an unrestricted body and mobile spatiality. Taking into account a certain historicity and Woolf s social milieu, in particular members of the Bloomsbury group, various artistic connections and none the least her sister Vanessa Bell, I suggest that Woolf while remaining faithful to her profession of writing was fascinated with other art forms. She was forever intrigued how nonverbal arts could convey meaning and these traits became part of her experimentation. Painting enables an initial potential spatiality for the subject but a spatiality that can be extended beyond. Simultaneously, there is the experience of viewing a painting in that this is not merely a visual experience but rather, it is involved with other senses; in particular the tactile. The fluidity of cinema causes an emotion of the subject that is mobile while movement is extended by the kinaesthetic qualities of dance to convey the sensuality and rhythm of bodily movement. Clothes and textiles in many ways incorporate the previous art forms but clothes and textiles are especially significant in creating closeness. It seems that via clothes and textiles, and in particular the memory of her mother, Woolf was able to fictionalize memory as perception and re-create the feelings and sensations of closeness of/to the body.
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Jakubowicz, Karina. "Gardens in the work of Virginia Woolf." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10046712/.
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This thesis constitutes the first major study of gardens in the work of the writer, Virginia Woolf. Using a wide range of published and unpublished sources, it considers how this space impacted on her plot, style, form and the presentation of certain themes. It focuses in particular on four of Woolf’s works, The Voyage Out (1915), ‘Kew Gardens’ (1919), Mrs Dalloway (1925) and Between the Acts (1941). By analysing texts that span the length of Woolf’s career, this research also charts her development as a writer in relation to her use of space and landscape. Woolf’s work has already been read within the context of urban locations, and more recently critics have analysed her work in relation to rural environments, but this research attempts to bypass this dichotomy by focusing on a location that exists across urban and rural spheres. In doing so, it generates an innovative perspective on space in Woolf’s writing, one that explores a location not normally associated with literary modernism.
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Hotho-Jackson, Sabine. "Zwischen Tradition und Moderne : Geschichte bei Virginia Woolf /." Heidelberg : C. Winter, 1990. http://catalogue.bnf.fr/ark:/12148/cb355679021.
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Diss.--Fachbereich Historisch-Philologische Wissenschaften--Göttingen--Georg-August-Universität, 1988/89. Titre de soutenance : Geschichte und ihre Medien zwischen Tradition und Moderne. Darstellung, Substanz und Bedeutung von Geschichte in ausgewählten Texten Virginia Woolfs.
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Jin, Guanglan. "East meets West : Chinese reception and translation of Virginia Woolf /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3367993.
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Pillière, Linda. "Etude linguistique de quelques propriétés du style de Virginia Woolf." Paris 4, 1997. http://www.theses.fr/1997PA040329.
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Le but de cette thèse est d'étudier le style de Virginia Woolf d'un point de vue linguistique et d'expliquer comment divers effets de style peuvent coexister chez le même auteur. A partir d'une sélection de citations trouvées chez les critiques littéraires et de ce que dit l'auteur, deux termes se dégagent : la fluidité et la fragmentation. Après avoir analysé ces deux termes, nous procédons à une étude approfondie de trois extraits des romans de Virginia Woolf : un extrait de "Jacob's room" où l'effet semble plutôt "fragmenté", un extrait de "Mrs Dalloway" (exemple du style "fluide") et un extrait de "The years" où les deux effets coexistent. Il ressort de nos analyses que certains procédés langagiers sont communs aux trois textes que nous regroupons en conclusion de cette partie. Ensuite, nous entreprenons une analyse plus fine des marqueurs grammaticaux et élargissons notre étude en comparant nos résultats avec la technique romanesque de Virginia Woolf dans d'autres romans. Nous examinons la notion de récit et comment Woolf brise la linéarité du récit par l'absence de séquence, la rupture et l'inversion, dans son désir de rendre compte de la complexité du réel. Les annexes offrent d'autres exemples de ces procédés. En conclusion, nous constatons que la remise en question de la linéarité, loin de détruire tous les liens, permet à l'auteur de tisser d'autres relations et notamment des relations paradigmatiques. De même, si les termes de fluidité et de fragmentation s'appliquent bien à des passages isoles, ils n'offrent qu'une vision partielle du style woolfien, l'effet global étant une interaction des divers éléments qui se modifient au fur et à mesure que le texte avanceThis thesis aims to present a lexicogrammatical study of Virginia Woolf’s style, and to explain how apparently contradictory stylistic effects can coexist in an author's work. A survey of Woolf’s critics, and comments made by the author herself, reveal that two terms are often applied to her style : fluidity and fragmentation. After analysing these two concepts we undertake a detailed analysis of three extracts from her novels. The extract from "Jacob's room" offers an illustration of her fragmented style, the passage from "Mrs Dalloway" is an example of her fluid style and the one from "The years" illustrates the coexistence of both effects. The stylistic traits common to all three texts are studied in the third chapter, as is the predominant role of repetition. The final chapter offers a closer study of certain lexicogrammatical items present in the three extracts and other novels by Virginia Woolf. The concept of narrative and the methods used by Woolf to break the linear sequence of narrative are examined. The absence of sequence, both temporal and causal, the rupture of sequence and the inversion of sequence are each studied in turn, and the various lexicogrammatical elements pertaining to them. Other examples feature in a table at the end of the thesis. From this analysis we realise that breaking textual linearity does not necessarily lead to all cohesive ties disappearing. On the contrary, other ties and links appear within the text, notably paradigmatic relations. We conclude that an overall stylistic effect is a combination of different elements interacting and modifying each other and, while fragmentation or fluidity may exist within a passage studied in isolation, within the larger framework of Woolf's works the effect may be very different
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Ke, Lingxiang. "Les Lettres de Virginia Woolf comme laboratoire d’écriture." Thesis, Montpellier 3, 2015. http://www.theses.fr/2015MON30040/document.
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Cette thèse explore l'esthétique des écrits épistolaires de Woolf. Pour cet auteur, les lettres sont un vaste champ d'expérimentation de ses théories originales d'écriture, un espace où elle peut développer sa propre technique narrative et perfectionner son style moderne. Les lettres sont aussi un espace qui lui permet de trouver sa voix et sa position en tant qu'auteur ainsi que son moi. Dans les six volumes de lettres privées de Woolf, nous explorons d'abord la façon dont elles décrivent la vie quotidienne, riche et intense, de l'auteur. A travers des échanges fréquents avec ses destinataires, Woolf redéfinit le genre épistolaire. En dehors de leur fonction informative, les lettres offrent des descriptions artistiques de la vie et des gens qui sont composées d'une manière particulière, souvent irriguées par d'autres arts (peinture, cinéma, musique ou théâtre). Cette forme de représentation transforme le plus privé des genres en un genre public, dialogique et intermédial. L'intimité et le désir de se protéger en même temps que de s'exposer incitent Woolf à développer ce qu'elle nomme un style de « transparence centrale », méthode de représentation ou de suggestion qui lui permet d'exprimer l'émotion et de se représenterThis dissertation means to explore the aesthetics of Woolf's epistolary writing. For Woolf, letters become a vast field, a free space for experimenting her original theories of writing, developing her unique techniques and perfecting her style of modern writing. They also provide a space for finding her authorial voice, position and self. Delving into the six volumes of Woolf's private letters, we first explore how they depict the author's daily life, its wealth and intensity. Through her exchanges with her numerous addressees, Woolf redefines the epistolary genre: apart from their informative function, letters offer artistic descriptions of life and people, which are composed by Woolf in a specific manner, often fuelled by various other arts—painting, cinema, music, or drama. Such a representation transforms the most private epistolary genre into a public, dialogical and inter-medial genre. Intimacy and self-protectiveness, together with a desire for self-exposure stimulate Woolf to develop a style of “central transparency”—her figurative or suggestive method that enables her to express emotion and represent herself
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Cassigneul, Adèle. "Voir, observer, penser : Virginia Woolf et la photo-cinématographie." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20048.
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Partant de l'influence de la photographie victorienne de Julia Margaret Cameron, de la photographie et du cinéma d'avant-garde des années 1920 et de la production photographique de Virginia Woolf elle-même (albums de Monk's House), cette étude pose l'hypothèse que l'écriture de Virginia Woolf s'en inspire pour devenir à la fois photographique et cinématographique, photo-cinématographique. Explorant le texte comme dispositif complexe, nous analysons la plasticité de sa prose à travers motifs et stratégies de représentation afin de voir dans quelle mesure photographie et cinéma réforment et reforment le texte woolfien, dans ses modalités formelles et esthétiques, ainsi que dans sa portée éthique et politique. Après avoir replacé l'œuvre dans son contexte moderniste et souligné l'importance du rôle joué par la Hogarth Press, qui permet à l'écrivaine d'intégrer des images en texte, nous mettons en évidence le cinématisme de ses œuvres à travers l'exploration photo-filmique de la ville moderne et la structuration en montage du flux de conscience. Nous considérons ensuite le battement anachronique des fluctuations temporelles qui structurent l'œuvre dans ses phénomènes mémoriels de hantise et de survivance, l'image faisant retour en texte dans une durée contractée (instantané) ou dilatée (défilé d'images), à la fois personnelle et intime, collective et historique. Nous envisageons enfin le texte comme un espace de négociation subversif où l'image permet à l'auteure de prendre position "poéthiquement", alors que sont mis en scène des personnages atypiques à l'identité inassignableThis study contends that Virginia Woolf's writing draws its inspiration from Julia Margaret Cameron's Victorian photographs, the 1920s avant-garde photography and cinema, and Woolf's own Monk's House Albums, making her work at once photographic and cinematographic, or photo-cinematographic. Exploring the Woolfian text as a complex representation device, I examine the plasticity of its prose and narrative strategies to show how photography and cinema help to shape its aesthetic, but also ethical and political contents. This thesis first places Woolf's works in their modernist context and underlines the part played by the Hogarth Press, enabling Woolf to include images in her texts. I then shed light on the kinematic aspect of her work by analysing the photo-filmic exploration of the London scene and the montage of stream of consciousness. The third part probes into the anachronic rhythm of fluctuating time, emphasising the haunting aspects of memory through surviving images that condense their temporality in the instant (snapshot) or unroll it (streaming images) ; thus time achieves a personal and intimate, but also collective and historical dimension. Finally, I look at the Woolfian text as a subversive place of negotiation inhabited by eccentric characters with elusive identities and in which images help the author to make a "poethical" stand
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Filho, Lindberg S. Campos. "Estética modernista e patriarcado capitalista: um estudo sobre Orlando de Virginia Woolf." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-17102017-150721/.
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O objetivo principal desta dissertação de mestrado é uma leitura do romance Orlando: A biography (1928) de Virginia Woolf a partir do levantamento de uma hipótese interpretativa do processo de construção do romance. Basicamente, procura-se investigar como acontece a seleção, organização e articulação dos materiais sociais e estéticos envolvidos na sua produção de modo a reconstruir momentos-chave da obra, bem como a propor códigos interpretativos. No primeiro capítulo há uma análise dos dispositivos formais que constituem a narração com intuito de revelar os conteúdos sócio-históricos que eles carregam. Já no capítulo dois identifica-se na dialética entre forma e conteúdo do romance duas formações ideológicas antagônicas: a figuração do patriarcado capitalista que organiza a experiência coletiva de maneira autoritária e da estética da modernização cultural que emerge em oposição à primeira. As considerações finais retomam os principais pontos trabalhados nos capítulos anteriores e propõem que o projeto de Woolf tematiza a amplitude da interioridade com o intuito de gerar uma compensação simbólica para crescente desumanização da vida no período entreguerras. Identifica-se, assim, ao menos duas linhas de força da narrativa modernista: uma que aposta na subjetivação e outra na objetivação do processo artístico. Esta dissertação propõe que Woolf se filia à primeira linhagem.The central objective of this dissertation is a reading of the novel Orlando: A biography (1928) by Virginia Woolf from an interpretative hypothesis of its construction process. Basically, it seeks to investigate how the selection, organisation and articulation of the social and aesthetic materials involved in its production takes place, in a such a way that it is possible to reconstruct the work\'s key moments as well as to propose interpretative codes. In the first chapter there is an extensive analysis of the formal devices that constitute the narrative; in chapter two it is identified in the novel\'s dialectics of form and content two antagonist ideological formations: the figuration of capitalist patriarchy which organises colective experience in an authoritarian way and the aesthetic of cultural modernisation that rises in opposition to the former. Finally, in the conclusion, all the main points discussed in the previous chapters are summarized and it proposes that Woolf\'s project thematizes the human interiority\'s amplitude in order to create a symbolic compensation for the increasing dehumanization of social life in the interwar period. Thus, we identify two modernist paths: one that places centrality on subjectivization and another on objectivization of the artistic process. This dissertation supposes that Woolf belongs to the first lineage.
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Félix, Claude-Alain. "Une étude sur la personnalité de Virginia Woolf." Montpellier 1, 1993. http://www.theses.fr/1993MON11169.
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Mraz, David Michael. "Reading masculinity in Virginia Woolf''s The waves." Cleveland, Ohio : Cleveland State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=csu1260994491.
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Thesis (M.A.)--Cleveland State University, 2009.Abstract. Title from PDF t.p. (viewed on Dec. 18, 2009). Includes bibliographical references (p. 53-54). Available online via the OhioLINK ETD Center and also available in print.
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Eriksson, Charlotte. "Katherine Mansfield och Virginia Woolf : Masker och självidentiteter." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44885.
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This paper investigates the relationship between the two modernist writers Katherine Mansfield and Virginia Woolf. The two authors had a frail and complicated friendship that influenced their fiction and fictional characters more than the general public knows. My paper investigates how Woolf can have found her fictional story ideas direct from their friendship. With a comparative theory I’m finding and giving examples of how their friendship is reflected in their fictional stories, and I’m backing up my examples with citations from their own diaries, letters and notebooks. Another important part in my paper is the theme of masks and multiple identities. The two authors both expressed the need to hide behind different masks in order to please the society and their surroundings. This feeling, and this theme of multi pleidentities, also shines through in their fiction, and I will exemplify it with parts from their novels and short stories, and also develop my own thoughts on why they felt the need to use these false masks.
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Hargreaves, Tracy. "Virginia Woolf and twentieth century narratives of androgyny." Thesis, Queen Mary, University of London, 1994. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1444.
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This historically contextualised work investigates Virginia Woolf's often contested theory of the androgynous writing mind. The work draws on early twentieth century discourses prevalent within sexology and psychoanalysis as a means of investigating Woolf's work. This is offset against readings of recent theorizations of sex and gender which accentuate the limitations of the conceptual schema used by early twentieth century theorists. Since her writing life was framed by two world wars (between publication of The Voyage Out in 1915 and the posthumous publication of her last novel, Between the Acts in 1941) much of this work analyses modernist literature, particularly women's writing, in relation to ideologies that sought both to privilege and to denigrate war-time constructions of masculinity and male sexuality. I argue that androgyny was introduced as a metaphor for writing in A Room of One's Own as a way of controlling militant feminism and male sexuality. At the same time that it sought conservatively to suppress sexual politics in writing, it was itself an autoerotic figure, based upon mythological and psycho-sexual discourses that either transcended the political dynamics of the time, or relied upon rhetorical constructions then associated with the unconscious. As Woolf constantly negotiates between embracing and wishing to escape from the various implications of sexual difference, this work traces the relationship that Woolf establishes between patriarchal society, women's sexuality and pre-war and post-war constructions of gender. These constructions are always, for Woolf, intrinsically bound up in her writing praxis, which I trace through her unpublished, extant manuscripts. I argue that because Woolf never abandoned the trope that she had invented for symbolising writing and the subjectivity of the writer, her writing, as it engaged with the encroaching political dynamics of the 1930s became increasingly more arcane. Although she believed that art could somehow transcend the political debates during the 1930s, her reluctance to abandon the once auto-erotic figure that she had developed in the 1920s figured what she began to call "mental chastity. " Woolf's retort to politics was, finally, to eclipse history and go back to the beginning, to the primeval and pre-history. This dissertation engages with the mythical, psychoanalytic, cultural and sexual dynamics of Woolf's work and her context.
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Owen, Meirion. "Arnold Bennett, Virginia Woolf : fiction, form and experiment." Thesis, Keele University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536749.
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Boisset, Pestourie Marie-Claire. "L'écriture du silence dans l'oeuvre de Virginia Woolf." Lyon 2, 1998. http://www.theses.fr/1998LYO20002.
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Il y a une ecriture du silence dans l'oeuvre de virginia woolf : on en trouve des traces tres marquantes dans toute la fiction, du debut a la fin, a tous les stades de sa composition, mais aussi, declinee de diverses manieres, dans les lettres, le journal, et jusque dans les ecrits journalistiques. Loin d'etre un simple theme, le silence est partie prenante du travail de l'ecriture (la fiction servant ici de point focal) : respiration, inspiration, scansion, pause, coupure ou interruption, plein ou vide, il fait partie integrante de la dimension esthetique de cette ecriture. Glorifie, le silence peut revetir une aura de mystere, une dimension metaphysique toute paradoxale chez un auteur repute (et parfois meme auto proclamee) athee. S'il n'est guere possible de parler de mysticisme au sens le plus conventionnel du terme chez woolf, l'idee d'une ecriture "mystique", ou plus precisement negative (au sens ou l'on parle, comme en photographie, de philosophie ou de theologie "negative") s'impose a la lecture de plus d'un texte. La ou les mots, quelle que soit leur force, ne rencontrent que defaite, l'ecriture contourne la diffuculte en montrant de facon indirecte ce qu'elle veut faire sentir, absence, blanc et vide servant alors de revelateur (ou de faire valoir) pour faire signe quand meme, en direction de ce qui constitue la charpente meme du monde, presence (being) qui surgit parfois dans un moment miracle. L'ecriture woolfienne s'interesse par predilection a tout ce qui reste par essence hors de portee du langage ordinaire, "etre" quasi innommable (et auquel d'autres donneraient peut-etre le nom de dieu), mais surtout esprit de realite et de vie (c'est-a-dire aussi la mort). L'ecriture du silence derive d'un desir visceral de dire la verite sur les choses (de l'amour et du corps, aussi), les divers obstacles a la mise en oeuvre de ce geste grandiose et brillant, tout a fait desespere mais toujours vivant, se traduisent par une infinite d'effets sur un tissu de silenceThere is a texture of silence in virginia woolf's writing, not only in her "novels", from the beginning to the end and at all stages of their composition, but also in a variety of ways in her letters, diaries and essays. Far from being merely a theme, silence is an operative part of the writing (the fiction being at the centre of our analysis), in that it provides it with breathing, inspiration, rhythmical patterns, pauses, breaks and interruptions, whether full to the brim or empty at the core : it plays a crucial role in the aesthetic outlook of the texts. Some of them have a veritable aura of mystery, a luminous indication of the peculiar metaphysical dimension of the work of an author well-known, and even self-proclaimed, as an atheist. Even though the term "mysticism" in the traditional sense seems little relevant to her texts, it still remains that in many respects her writing works negatively (i. E. , by reference to the sense used in the field of photography, with the same implications as for negative theology or philosophy) : where words cannot go, however strong they may be, this writing shows indirectly what cannot be said straightforwardly. The emptiness of silence or blanks thus serve as an agent of revelation, pointing out towards the "scaffolding" of the world, a presence (or being) which surges out of the surface level of the text in a miracle moment (or moment of being). Paradoxically, woolf's writing is devoted to what is intrinsically beyond its reach, whether it be uneasily addressed as unnameable "being" (where other writers would speak of god), or else as the spirit of reality or life itself (which also includes death). Woolf's writing derives from an ingrained desire to tell the ultimate truth (about love, about sexuality and the body too), the various obstacles to the production of this work of a genius, utterly desperate yet wholly alive at the same time, all contribute to the making of a brilliant, infinitely diverse writing of silence
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Ginesi, Kirsten A. "Virginia Woolf and cinema : adaptations of 'Mrs Dalloway'." Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/19689/.
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This thesis proposes a return to the issue of fidelity criticism in adaptation studies through a detailed consideration of the adaptations of Virginia Woolf's Mrs Dalloway (1925). Within adaptation studies the issue of fidelity and the role of the source novel have been relegated to the sidelines in response to a logophilic prejudice which dominated early studies, and as a consequence intertextuality and genre have become more pronounced. I redress this negation of the source text, theorising new ways of conceiving of the source-adaptation relationship. I explicitly focus upon source-associated intertextualities to illustrate how a return to fidelity can open up a plethora of readings rather than close them down. In doing so the importance of the source text is foregrounded, as it is through the source that these intertexts are introduced, whilst demonstrating that two seemingly exclusive approaches to adaptation can be married in what I term a "web of intertextuality".I develop Gerard Genette's theory of stylistic imitation in order to theorise how an adaptation may develop a relationship with its source based on rhetoric, or style. I consider how Marleen Gorris'Mrs Dalloway (1997) adapts Woolfs literary impressionism through the use of the visual (editing and framing) as well as the aural, including the verbal (voice-over) and the non-verbal (the scored soundtrack). My analysis of The Hours, both Michael Cunningham's novel (1998) and Stephen Daldry's film (2002), examines how both texts develop a stylistic relationship with Woolfs novel through the presence of other Woolf intertexts such as her fiction (The Waves), her literary criticism ("Mr Bennett and Mrs Brown"), as well as her autobiographical writings. I address the diverse nature of intertextuality as I analyse alternative intertexts such as the cultural iconicity of Virginia Woolf and the figure of the hysteric. I consider how the merging of fiction, biography and cultural iconicity influences adaptation and its critical reception, promoting an on-going dialogue across the multiple texts present. The thesis found that a reclamation of the source novel and a return to fidelity produced a new means of conceiving of adaptation that incorporated both the source text and intertextuality which, through the web of intertextuality, presented an open, non-linear and potentially limitless way of reading adaptation.
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Kore, Leena-Kreet. "'The nameless spirit' : the sketches of Virginia Woolf." Thesis, Royal Holloway, University of London, 1986. http://repository.royalholloway.ac.uk/items/099f59a9-f8de-4987-a859-cb6d4f59a3d3/1/.
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The thesis establishes that the sketch is an independent aesthetic form requiring its own methods of critical and historical analysis; and, that the sketches of Virginia Woolf can be read best in the context of this tradition. Almost exclusively, the sketches that are considered are the "plotless" works such as "A Haunted House", "Monday or Tuesday", and "Blue and Green"--more enigmatic and rather more obscure than those of a conventional sense of action and plot like "The Duchess and the Jeweller" or "The Legacy". It is explained how in Virginia Woolf criticism to date, the sketches have been regarded as literary exercises in preparation for her more substantial novels; an interpretation that the thesis displaces by showing that the sketches are equal to the novels in terms of their imaginative stature. The tradition with which Virginia Woolf's sketches are identified is specifically Symbolist, and Aesthetic in the complete sense. In terms of the derivation of "aesthetic" from the Greek for "to perceive", the thesis proposes that the sketch is the supreme expression of the Aesthetic vision: it is a form of Pater's "pure perception", a state of aesthetic consciousness in itself, within the framework of whose suspended moment, an idea, image or impression is retained even as the object or experience has already passed away. The thesis especially emphasizes that the sketch is allusive and brief not because it stylistically imitates an effect, but rather, because it reflects a necessarily fragmented way of seeing. It is in the sense of this distinction that the sketch is not a subsidiary of the short story. Therefore, writing that is fragmented because it is the expression of a specific vision, is placed in a proper sketch tradition which develops variously from De Quincey, Lamb and Landor, through to Rossetti and, with much emphasis, Pater, and the French Symbolism of Mallarme. Symons and the sketches of such 'Nineties writers as Crackanthorpe and Dowson are discussed, as are relevant twentieth century movements such as Cubism and the Imagism of Amy Lowell's "polyphonic prose". These movements and writers are analyzed in comparison with Virginia Woolf's sketches; and, with reference to issues of structure, characterization, content, perspective and use of syntax, the thesis defines both the nature of the aesthetic consciousness, and the "nameless spirit" in the sketches of Virginia Woolf.
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Lacourarie, Chantal. "Texte et tableau dans l'oeuvre de Virginia Woolf." Paris 3, 1996. http://www.theses.fr/1996PA030190.
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L'ecriture de virginia woolf manifeste un sens visuel aigu et un oeil pictural critique. Les paysages sont surtout impressionnistes chez virginia woolf. Souvent associes a l'enfance et decrits par des personnages enfants, ils correspondent a la nostalgie d'un monde naturel baigne de lumiere et de chaleur, aux couleurs pures et chatoyantes. L'adulte tend a delaisser le paysage pour le portrait qu'informe l'esthetique expressionniste. D'une relation harmonieuse, l'etre humain passe a un stade de conflit. La maitrise de la forme consiste a integrer le portrait dans le paysage par le biais du post-impressionnisme. C'est a cette synthese que virginia woolf atteint dans ses oeuvres les plus acheveesA keen visual sense and a critical pictorial eye inform virginia woolf's writing. Her landscapes are for the most part impressionistic. Often associated to childhood and described by children characters, they tally with a nostalgia for a natural world bathed in light and heat, with pure and shimmering colours. Adults tend to turn their backs on landscapes and go in for portraits which are influenced by expressionnist aesthetics. From a harmonious relation with nature, the human being shifts to a stage of conflict. The mastery of form consists in integrating portraits into landscapes thanks to post-impressionism. Virginia woolf reaches this synthesis in her most fulfilled works
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Monneyron, Frédéric. "L'imaginaire androgyne d'Honoré de Balzac à Virginia Woolf." Paris 4, 1986. http://www.theses.fr/1986PA040261.
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L’androgyne est fréquent dans les mythologies de nombreuses aires culturelles. Dans l'aire occidentale, il fournit à Platon une illustration de ses théories de l'amour et se retrouve par la suite dans les systèmes mystiques et théosophiques judéo-chrétiennes. Si le mythe ethno-religieux est aisément repérable et ses structures facilement identifiables, en revanche le mythe littéraire existe avec difficulté. Au début du 19e siècle, l'esthétique néo-classique, l'affinement de l'observation médicale, la revalorisation de la pensée mystique préparent l'entrée de l'androgyne en littérature et, en France, à l'époque romantique, Balzac et Gautier fondent dans Seraphita et Mademoiselle de Maupin, selon des perspectives contrastées, un authentique mythe littéraire. L’androgyne devient chez les écrivains français et anglais de la fin du siècle une figure privilégiée de la décadence. Mais il n'y respecte plus une parfaite symétrie et l'idée s'incarne dans la réalité de l'époque en deux figures concurrentes : le jeune homme efféminé et la femme garçonnière. Cette dégradation du symbole cristallise autour de l'androgyne l'expression d'une sexualité "différente". La connaissance de la tradition ésotérique de l'androgyne permet à un romancier comme Péladan de retrouver au-delà de sa dégradation les significations fondamentales du mythe mais, à l'inverse, l'imaginaire de l'époque vient parfois bouleverser la doctrine. Bien que la psychanalyse s'avère incapable de se fonder sur la bisexualité, elle autorise, au début du 20e siècle une intégration psychologique de l'androgyne. L’aspiration à l'unité androgynique se lit en effet dans certains textes de D. H. Lawrence comme la tentative d'équilibrer les pulsions hétérosexuelles et homosexuelles et dans la perspective féministe de l'Orlande de Virginia Woolf comme la recherche d'une vérité au-delà des apparences immédiates. Tout en reconstituant les structures du mythe, ces deux dernières directions en marquent une dérive. Mais elles témoignent de la permanence d'un archétype et ouvrent la voie à un imaginaire contemporain riche et variéThe androgyne can be found in the mythologies of many cultural areas. In the western one, plate uses it as an illustration of his theories of love, then it appears as a major element in Judeo-Christian mystical and theosophical systems. If on the one hand the ethno-religious myth can be easily located and if its patterns are clear, on the other hand it takes time for the literary myth to find its way out. At the beginning of the 19th century, the neo-classical aesthetics, the progress of medical research and the increasing interest in mysticism are chances for the literary myth to develop. In France, during the romantic period, Balzac and Gautier with Seraphita and Mademoiselle de Maupin, in two different ways, found a genuine literary myth. The androgyne becomes in the works of the French and English writers at the end of the century an important character of the decadence. But no perfect symmetry is to be seen anymore and the idea takes form as two opposite characters : the effeminate young man and the boyish woman. This decay of the symbol brings along the expression of a "different" sexuality. Recollection of some of the most significant patterns of the myth is allowed from time thanks to the esoteric tradition of the androgyne which is known by some of the novelists. In the other way, the literary imaginary of the time has strong influence on the doctrin itself. Although psychoanalysis is unable to consider bisexuality but as a hypothesis, the androgyne receives at the beginning of the 20th century a psychological integration. Indeed, the will to androgyny can be read in some of the D. H. Lawrence’s works as an attempt to balance heterosexual and homosexual desires and in the feminist way of V. Woolf's Orlande as the search of the truth beyond immediate appearances. These directions, though close to the patterns of the myth, are nevertheless the witnesses of its death. But they show the strength of the archetype and give way to the rich and diverse imaginary of today
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Monneyron, Frédéric. "L'Imaginaire androgyne d'Honoré de Balzac à Virginia Woolf." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37599765r.
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Anderson, Gwen Trowbridge. "Interrogating Virginia Woolf and the British suffrage movement." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003162.
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Johansen-Halsaunet, Rikke. "Androgynitet og bevissthetsstrøm : Virginia Woolfs Mrs Dalloway og Orlando fra roman til film." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26540.
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Denne oppgaven er en tekst- og adaptasjonsanalyse av to romaner av Virginia Woolf, Mrs Dalloway og Orlando, med vekt på transformasjonene fra litterært verk til film. Prosjektet undersøker hva som skjer når disse tekstuniversene blir transponert til kunstneriske billed/lyd-utrykk, og gjør med dette en komparativ analyse av romanforelegget i forhold til filmversjonen. Med utgangspunkt i en påstand om at modernistiske verker vanskelig lar seg transponere til andre medier, undersøker oppgaven hvilke grep som er blitt gjort i disse filmatiseringene. Fokuset ligger på å finne ut hvilke filmatiske hovedgrep som er blitt tatt i bruk, for å fremstille Woolfs fiksjonsuniverser. Målet med studien er å undersøke om det oppstår en meningsendring i de filmatiske ekvivalentene til foreleggene. I tillegg blir det gjort tekstanalyser av romanene, som undersøker deres språk, stil, tone og tema. Siden det er verker av Virginia Woolf som blir undersøkt, er det særlig interessant å konsentrere seg om typiske «woolfske» kompositorisk-stilistiske grep. Tekstanalysen av Mrs Dalloway tar for seg Woolfs bruk av «stream of consciousness»-teknikken for å fremstille indre tankemonologer hos karakterene. Dette er også hovedfokuset i filmanalysen, som tar for seg de filmatiske virkemidlene for å fremstille indre tale hos karakterene og hvordan filmen greier å erstatte romanens indre diskurs ved bruk av audio-visuelle virkemidler. I tekstanalysen av Orlando ligger fokuset på tematikken og sjangerkonvensjoner. Romanens ukonvensjonelle forhold til protagonistens kjønn og alder, samt dens tilknytning til Woolfs relasjon med Vita Sackville-West, blir belyst både i tekstanalysen og i filmanalysen. I transponeringen til filmmediet er det interessant og studere hvordan romanens ironi og parodi kommer til utrykk.
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Richter, Yvonne. "A critic in her own right taking Virginia Woolf's literary criticism seriously /." unrestricted, 2009. http://etd.gsu.edu/theses/available/etd-04162009-164658/.
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Thesis (M.A.)--Georgia State University, 2009.Title from file title page. Randy Malamud, committee chair; Paul Schmidt, Lee Anne Richardson, committee members. Description based on contents viewed Aug. 13, 2009. Includes bibliographical references (p, 91-97).
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MOSTFA, MOHAMED ALI. "Temps et personne dans les vagues de virginia woolf." Lyon 2, 1994. http://www.theses.fr/1994LYO20019.
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Le but de cette these, intitulee temps et personne dans les vagues de virginia woolf, est de proposer une lecture a ce texte a partir de quelques reflexions linguistiques. Ainsi comme le titre le suggere la premiere partie de ce travail se donne comme champ d'analyse les temps verbaux et leur repartitions dans le texte. Les analyses dans cette partie nous ont conduit a degager l'ensemble des relations qu'entretiennent ce que j'ai appele interludes at chapitres dans les vagues sur le plan temporel. La deuxieme partie traite les pronoms personnels "je" et "tu" dans les "chapitres". Cette etude nous a permis de reflechir sur les differents rapport qui existent entre les acteurs d'une part et les acteurs et leurs enoncesThe aim of this thesis intitled tense and person in the waves of virginia woolf, is to propose an other way of reading to the text in the light of linguistics reflextions. The first part studies the use of the tenses and their distribution in the text. The analysis in this part helped us to distangle the differents relations that exist between what i called interludes and chapters on temporal level. The second part focuses on the use of personal pronouns i and you in the "chapters". This study leads us to think about the differents relations that take place between the characters on the one hand, and the characters and their statements on the other
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McDonald, Jessica J. "(In)sane dissolution of illusion trauma, boundary, and recovery in Virginia Woolf's Mrs. Dalloway /." Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/637.
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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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