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Journal articles on the topic 'Virginia Woolf'

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Published: 4 June 2021
Last updated: 7 September 2024

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1

Pinho, Davi. "O CONTO DE VIRGINIA WOOLF – OU FICÇÃO, UMA CASA ASSOMBRADA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 03–17. http://dx.doi.org/10.34019/1982-0836.2019.v23.29176.

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O presente artigo se debruça sobre o conto “Casa Assombrada”, coletado no único volume de contos que Virginia Woolf publicou em vida, Monday or Tuesday (1921), para investigar de que maneira seus contos intensificam a crise dos gêneros literários que seus romances encenam, por um lado; e para entender como tal crise é análoga à questão política que assombra toda sua obra, por outro lado: o gênero enquanto questão identitária. Em diálogo com a filosofia e com a crítica woolfiana, este estudo articula essa “crise dos gêneros” (gender x genre) e, ao mesmo tempo, produz uma contextualização histórico-cultural dos contos de Virginia Woolf. Palavras-chave: Virginia Woolf. Conto. Gênero literário. Questões de gênero. Referências AGAMBEN, Giorgio. Elogio da profanação. In: AGAMBEN, Giorgio. Profanações. Tradução Selvino Assman. São Paulo: Boitempo, 2007. p. 65-81 BENJAMIN, Walter. Sobre a linguagem em geral e sobre a linguagem humana. In: Linguagem, tradução, literatura. Tradução João Barrento. Belo Horizonte: Autêntica, 2018 [1916]. p. 9-27. BENZEL, Kathryn N.; HOBERMAN, Ruth. Trespassing boundaries: Virginia Woolf’s Short Fiction. New York: Palgrave MacMillan, 2004. BRAIDOTTI, Rosi. Nomadic theory: The portable Rosi Braidotti. New York: Columbia University, 2011. BRIGGS, Julia. Virginia Woolf, an Inner Life. Londres: Harcourt Brace, 2005. CIXOUS, Hélène. First names of no one. In: SELLERS, Susan (org.). The Hélène Cixous Reader. Londres: Routledge, 1994 [1974]. p. 25-35. DELEUZE, Gilles; GUATTARI, Félix. 28 de novembro de 1947 – Como criar para si um corpo sem órgãos?. Tradução Aurélio Guerra Neto. In: DELEUZE, Gilles; GUATTARI, Félix. Mil Platôs. São Paulo: 34, 1996 [1980]. v. 3. p. 11-34. FOUCAULT, Michel. Docile bodies. In: FOUCAULT, Michel; RABINOW, Paul (ed.). The Foucault reader. Toronto: Penguin, 1984a. p. 179-187. FOUCAULT, Michel. The body of the condemned. In: FOUCAULT, Michel; RABINOW, Paul (ed.). The Foucault reader. Toronto: Penguin, 1984b. p. 170-178. GOLDMAN, Jane. Modernism, 1910-1945, Image to apocalypse. Basingstoke: Palgrave Macmillan, 2004. GOLDMAN, Jane. The Cambridge introduction to Virginia Woolf. Cambridge: Cambridge University, 2006. HARRIS, Wendell. Vision and form: the English novel and the emergence of the story. In: MAY, Charles (ed.). The new short story theories. Athens, Ohio: Ohio University, 1994. p. 181-191. KRISTEVA, Julia. Stabat mater. Tradução A. Goldhammer. In: MOI, Toril (ed.). The Kristeva reader. Oxford: Blackwell, 1986 [1977]. p. 160-187. MATTHEWS, Brander. The philosophy of the short-story. Londres: Forgotten, 2015. [1901]. PEREIRA, Lucia Miguel. Dualidade de Virginia Woolf. In: ______. Escritos da maturidade. Rio de Janeiro: Graphia, 2005. [1944] p. 106-110. SELLERS, Susan (ed.). The Cambridge Companion to Virginia Woolf. 2. ed. Cambridge: Cambridge University, 2010. WOOLF, Leonard. Beginning again: an autobiography of the years 1911 to 1918. New York: Harvest, 1975. [1964] WOOLF, Leonard. Editorial Preface. In: WOOLF, Virginia; WOOLF, Leonard (eds.). Granite and rainbow. Londres: Harcourt, 1958. p. 7-8. WOOLF, Leonard. Foreword. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944. p. v-vi. WOOLF, Virginia. A haunted house. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1921]. p. 3-5. WOOLF, Virginia. A room of one’s own & Three guineas. Londres: Oxford University, 1992 [1929] [1938]. WOOLF, Virginia. A sketch of the past. In: WOOLF, Virginia; SCHULKIND, Jeanne (eds.). Moments of being. London: Harcourt Brace, 1985 [1976]. p. 64-159. WOOLF, Virginia. Casa assombrada. In: WOOLF, Virginia. Contos completos. Tradução Leonardo Fróes. São Paulo: Cosac Naify, 2005 [1921]. p. 162-165. WOOLF, Virginia. Granite and rainbow, ed. Leonard Woolf. Londres: Harcourt, 1958. WOOLF, Virginia. Jacob’s room. Oxford: Oxford University, 2008 [1922]. WOOLF, Virginia. Kew gardens. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1919]. p. 28-36. WOOLF, Virginia. Men and women. In: WOOLF, Virginia; BARRETT, Michele (eds.). Women and writing. Londres: Harcourt, 1979 [1920]. p. 64-68. WOOLF, Virginia. Modern fiction. In: WOOLF, Virginia. The common reader: first series. Londres: Vintage, 2003 [1925]. p. 146-154. WOOLF, Virginia. Monday or Tuesday. Londres: The Hogarth, 1921. WOOLF, Virginia. Night and day. ed. Michael Whitworth. Cambridge: Cambridge University, 2018. WOOLF, Virginia. Professions for women. In: WOOLF, Virginia; WOOLF, Leonard (eds.). The death of the moth and other essays. Londres: Harcourt, 1942 [1931]. WOOLF, Virginia. The complete shorter fiction of Virginia Woolf. ed. Susan Dick. Orlando: Harcourt, 2006 [1985]. WOOLF, Virginia. The diary of Virginia Woolf, ed. Anne Olivier Bell, 5 vols. New York: Penguin, 1979-1985 [1977-1984]. WOOLF, Virginia. The letters of Virginia Woolf, ed. Nigel Nicolson, 6 vols. Londres: The Hogarth, 1975-1980. WOOLF, Virginia. The mark on the wall. In: WOOLF, Virginia; WOOLF, Leonard (eds.). A haunted house and other stories. Londres: Harcourt, 1944 [1921]. p. 37-47. WOOLF, Virginia. Thoughts on peace in an air raid. In: ______. The death of the moth and other essays, ed. Leonard Woolf. Londres: Harcourt Brace Jovanovich, 1942. [1940] WOOLF, Virginia. The voyage out. Oxford: Oxford University, 2009 [1915]. WOOLF, Virginia. The waves. Oxford: Oxford University, 1992 [1931].
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2

Kord, Catherine, and Hermione Lee. "Virginia Woolf." Antioch Review 56, no. 2 (1998): 242. http://dx.doi.org/10.2307/4613689.

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3

Schenk, Leslie, and Hermione Lee. "Virginia Woolf." World Literature Today 71, no. 4 (1997): 797. http://dx.doi.org/10.2307/40153385.

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4

Parke, Catherine N. "Virginia Woolf." Thought 63, no. 4 (1988): 358–77. http://dx.doi.org/10.5840/thought198863427.

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5

Rivkin, Julie, and Jane Marcus. "Virginia Woolf." Contemporary Literature 26, no. 2 (1985): 232. http://dx.doi.org/10.2307/1207936.

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6

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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7

Rasheed, Gulnaz. "The Impact of Psychoanalytical Theory on the Character of Mrs. Ramsay in Virginia Woolf’s Novel ‘To the Lighthouse’." Journal of Peace, Development & Communication 07, no. 01 (January 25, 2023): 11–18. http://dx.doi.org/10.36968/jpdc-v07-i01-02.

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This article is written keeping in mind with the novel ‘To the Lighthouse’ written by Virginia Woolf. She is the modern novelist of the twentieth century. She wrote, ‘To the Lighthouse’ in 1927, which uses rudiments taken for Virginia’s own life. This novel contains deeper exploration of the human mind. Virginia Woolf sets this novel in the ‘Isle of Skye’ in Scotland. The main purpose of this article is to see the novel of Virginia Woolf with the lens of Sigmund Freud’s theory ‘Psychoanalysis’. This theory which deals with the unconscious mind of human. This article is dig out that how human behaviours and cognition effect the personality of persons which are settled in the mind of human. Virginia drifts the characters mind’s inner emotions especially the protagonist Mrs Ramsay who has the central figure of the story. By analysing of the theory of Psychoanalysis, the character of Mrs. Ramsay is explored in this article.
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8

Harker. "Misperceiving Virginia Woolf." Journal of Modern Literature 34, no. 2 (2011): 1. http://dx.doi.org/10.2979/jmodelite.34.2.1.

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9

Mercier, Christophe. "Virginia Woolf romancière." Commentaire Numéro 138, no. 2 (June 1, 2012): 590–92. http://dx.doi.org/10.3917/comm.138.0590.

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10

Fowler, Rowena. "Virginia Woolf: Lexicographer." English Language Notes 39, no. 3 (March 1, 2002): 54–70. http://dx.doi.org/10.1215/00138282-39.3.54.

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11

Hussey, Mark. "Virginia Woolf (review)." MFS Modern Fiction Studies 47, no. 2 (2001): 504–6. http://dx.doi.org/10.1353/mfs.2001.0030.

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12

Visel, Robin. "Virginia Woolf Icon." Women's Studies International Forum 24, no. 2 (March 2001): 256–57. http://dx.doi.org/10.1016/s0277-5395(01)00156-x.

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13

Stewart, Jim, and Brenda R. Silver. "Virginia Woolf Icon." Modern Language Review 97, no. 4 (October 2002): 943. http://dx.doi.org/10.2307/3738637.

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14

Humm, Maggie. "Virginia Woolf e a fotografia." Comunicação e Sociedade 32 (December 29, 2017): 375–85. http://dx.doi.org/10.17231/comsoc.32(2017).2767.

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A partir do ano 2000, o volume da análise crítica sobre Woolf e a sua relação com o visual tem quadruplicado. O trabalho de pesquisa sobre uma Woolf fotográfica – que inclui a interação de outros fotógrafos com Woolf, como Gisèle Freund, ou a minha própria análise dos álbuns de fotos pessoais de Woolf e Bell – mostra como estas mais recentes questões de Woolf e da fotografia são agora um tema absolutamente central em qualquer análise dos estudos de Virginia Woolf, adquirindo uma importância notória se considerarmos o aspeto interdisciplinar da fotografia e do género.
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15

Weintraub, Stanley. "Who's Afraid of Virginia Woolf? Virginia Woolf and G. B. S." SHAW The Annual of Bernard Shaw Studies 21, no. 1 (2001): 41–62. http://dx.doi.org/10.1353/shaw.2001.0038.

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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 (December 4, 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 feminista. Um teto todo seu. Três guinéus. Referências ALMEIDA, Márcia de. Cosima: à procura de um lugar de afirmação da autoria feminina. 2009. Juiz de Fora. Disponível em: http://www.ufjf.br/ppgletras/files/2009/11/COSIMA-%C3%80-PROCURA-DE-UM-LUGAR-DE-AFIRMA%C3%87%C3%83O-DA-AUTORIA-FEMININA-Marcia.pdf. Acesso em: 11 set. 2015. COMPAGNON, Antoine. O demônio da teoria: literatura e senso comum. Tradução Cleonice Paes Barreto Mourão e Consuelo Fortes Santiago. 2. ed. Belo Horizonte: UFMG, 2010. DERRIDA, Jacques. Essa estranha instituição chamada literatura: uma entrevista com Jacques Derrida. Tradução Marileide Dias Esqueda. Belo Horizonte: UFMG, 2014. GILBERT, Sandra M.; GUBAR, Susan. No man’s land: the word of wars. New Haven: Yale University, 1988. v. 1. GOLDMAN, Jane. The Cambridge introduction to Virginia Woolf. Cambridge: Cambridge University, 2008. LEE, Hermione. Virginia Woolf. New York: Vintage Books, 1999. LEHMANN, John. Vidas literárias: Virginia Woolf. Rio de Janeiro: Jorge Zahar, 1989. MARSH, Nicholas. Virginia Woolf: the novels. Basingstoke: Palgrave Macmillan, 1998. MOI, Toril. Introduction: Who’s afraid of Virginia Woolf? Feminist readings of Woolf. In: ______. Sexual/Textual Politics. 2. ed. London: Routledge, 2002. p. 1-18. NEVES, Caroline R. Virginia Woolf e o espaço autobiográfico em Os anos. Orientadora: Nícea Helena Nogueira. 2018. 117 f. Dissertação (Mestrado em Letras: Estudos Literários) – Faculdade de Letras, Universidade Federal de Juiz de Fora, 2018. OLIVEIRA, Maria Aparecida de. A representação feminina na obra de Virginia Woolf: um diálogo entre o projeto político e o estético. Orientadora: Maria Clara Bonetti Paro. 2013. 253 f. Tese (Doutorado em Estudos Literários) – Faculdade de Ciências e Letras, Universidade Estadual Paulista Júlio Mesquita Filho (Unesp), Araraquara, 2013. ROSEMBERG, Molly. Foreword. In: WOOLF, Virginia. A room of my own. London: The Royal Society of Literature, 2019. p. 2-3. SHOWALTER, Elaine. A literature of their own: British women novelists from Brontë to Lessing. Princeton: Princeton University, 1999. SHOWALTER, Elaine. Criticism in the wilderness. Critical Inquiry, Chicago, v. 8, n, 2, p. 179-205, 1981. WOOLF, Virginia. A room of one’s own and Three Guineas. Oxford: Oxford University, 2015. ______. O valor do riso e outros ensaios. Tradução e organização Leonardo Froés. São Paulo: Cosac Naify, 2014. ______. Um teto todo seu. Tradução Vera Ribeiro. Rio de Janeiro: Nova Fronteira, 2004. ______. Women & writing. London: The Women’s Press, 1979.
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17

Malamud, Randy, and Kathy J. Phillips. "Virginia Woolf against Empire." South Atlantic Review 60, no. 3 (September 1995): 140. http://dx.doi.org/10.2307/3201150.

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18

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

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19

Broughton, Panthea Reid, and Eric Warner. "Virginia Woolf: 'The Waves'." Yearbook of English Studies 20 (1990): 327. http://dx.doi.org/10.2307/3507613.

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20

Ionescu, Doina. "Virginia Woolf and Astronomy." Culture and Cosmos 13, no. 02 (October 2009): 43–61. http://dx.doi.org/10.46472/cc.0213.0207.

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This paper is a short investigation of the interconnections between the life and work of Virginia Woolf, an outstanding modernist British writer, and a pervasive popular interest in astronomy in the 1920s and 1930s in Britain. The study seeks to explore the roots and development of Virginia Woolf’s passion for astronomy and the way in which some of the popular discourses on astronomy of her epoch are reflected in her writings.
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21

Hussey, Mark, and Thomas C. Caramagno. "Virginia Woolf and Madness." PMLA 104, no. 1 (January 1989): 75. http://dx.doi.org/10.2307/462333.

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22

Lindley, Arthur, and Sherron E. Knopp. "Virginia Woolf and Sapphism." PMLA 103, no. 5 (October 1988): 812. http://dx.doi.org/10.2307/462520.

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23

Trotter, David. "Virginia Woolf and Cinema." Film Studies 6, no. 1 (2005): 13–26. http://dx.doi.org/10.7227/fs.6.2.

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24

Wilson, Deborah, Rachel Bowlby, and Diane Filby Gillespie. "Virginia Woolf: Feminist Destinations." South Central Review 6, no. 4 (1989): 90. http://dx.doi.org/10.2307/3189661.

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25

Phillips, Brian. "Reality and Virginia Woolf." Hudson Review 56, no. 3 (2003): 415. http://dx.doi.org/10.2307/3852679.

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26

Bowlby, Rachel, Jean Guiguet, and C. Ruth Miller. "Who's Framing Virginia Woolf?" Diacritics 21, no. 2/3 (1991): 3. http://dx.doi.org/10.2307/465187.

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27

Caughie, Pamela L., and Jane Marcus. "The Virginia Woolf Party." NOVEL: A Forum on Fiction 23, no. 1 (1989): 106. http://dx.doi.org/10.2307/1345586.

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28

Newcomer, Caitlin. "Motherhood after Virginia Woolf." Colorado Review 44, no. 2 (2017): 134. http://dx.doi.org/10.1353/col.2017.0072.

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29

Fernald, Anne E. "Virginia Woolf Icon (review)." MFS Modern Fiction Studies 47, no. 4 (2001): 1046–48. http://dx.doi.org/10.1353/mfs.2001.0084.

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30

Dalsimer, Katherine. "Virginia Woolf (1882–1941)." American Journal of Psychiatry 161, no. 5 (May 2004): 809. http://dx.doi.org/10.1176/appi.ajp.161.5.809.

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31

Wright, Beth. "Virginia Woolf and Music." Women: A Cultural Review 26, no. 1-2 (April 3, 2015): 185–88. http://dx.doi.org/10.1080/09574042.2015.1035078.

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32

Quigley, Megan. "Reading Virginia Woolf Logically." Poetics Today 41, no. 1 (March 1, 2020): 101–16. http://dx.doi.org/10.1215/03335372-7974114.

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This article argues for a “resolute reading” of Virginia Woolf’s The Voyage Out, akin to Cora Diamond and James Conant’s reading of Ludwig Wittgenstein’s Tractatus Logico-Philosophicus. The resolute approach to the Tractatus contends that we should embrace Wittgenstein’s assertion that the Tractatus is finally nonsense. Accordingly, the Tractatus acts as a kind of therapy, enabling us to dispense with certain types of philosophical, linguistic, and analytical claims. I argue that Woolf’s The Voyage Out takes a similar approach to the nineteenth-century novel, fully investing in the conventions of the bildungsroman and the marriage plot only to ruthlessly dispense with them. Both works use a particular kind of modernist therapeutic pedagogy reliant on logic and form.
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33

Humm, Maggie. "Psychobiography and Virginia Woolf." English Studies 96, no. 5 (May 21, 2015): 596–600. http://dx.doi.org/10.1080/0013838x.2015.1017316.

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34

Shainess, Natalie. "Who Killed Virginia Woolf?" American Journal of Psychotherapy 44, no. 1 (January 1990): 150–51. http://dx.doi.org/10.1176/appi.psychotherapy.1990.44.1.150.

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35

Hollis, Catherine W. "Virginia Woolf Icon (review)." Biography 23, no. 4 (2000): 767–71. http://dx.doi.org/10.1353/bio.2000.0049.

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36

Garrity, Jane. "Virginia Woolf Icon (review)." Modernism/modernity 8, no. 3 (2001): 534–36. http://dx.doi.org/10.1353/mod.2001.0064.

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37

Hussey, Mark. "Virginia Woolf and Madness." Publications of the Modern Language Association of America 104, no. 1 (January 1989): 75. http://dx.doi.org/10.1632/s0030812900136739.

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38

Leech, Geoffrey. "Virginia Woolf meets Wmatrix." Etudes de stylistique anglaise, no. 4 (March 1, 2013): 15–26. http://dx.doi.org/10.4000/esa.1405.

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39

Dusinberre, Juliet. "Virginia Woolf and Montaigne." Textual Practice 5, no. 2 (June 1991): 219–41. http://dx.doi.org/10.1080/09502369108582113.

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40

Chevalier, Jean-Louis. "Virginia Woolf et l'aristocratie." Recherches anglaises et nord-américaines 18, no. 1 (1985): 67–89. http://dx.doi.org/10.3406/ranam.1985.1853.

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Virginia Woolf voit dans l’aristocratie un spectacle, un reflet et un miroir, le croisement d’identités insolites où elle discerne ses propres différences d’intellectuelle et d’artiste. Beaux et bêtes, splendides et loufoques, racés et fin de race, les aristocrates sont des grotesques et des êtres fascinants dont le charme est irrésistible. Us sont sa spécialité, son faible avéré, sa cible de prédilection. Le jeu de massacre ainsi pratiqué sert à dégager des valeurs. En puisant dans l'intarissable héritage de la distinction et de la séduction aristocratiques, on doit se garder du legs conjoint de la vulgarité et de l’ineptie. Vérité et valeur relèvent de l'artiste, qui sait faire la lecture des aristocrates comme de vivantes œuvres d'art et les utiliser comme des silhouettes plutôt que des personnages, des repoussoirs plutôt que des modèles. Souvent étudiée par ailleurs, la remarquable exception que présentent Victoria Sackville West et Orlando est seulement mentionnée, et il n’y a que peu d’illustrations tirées de l’œuvre romanesque et critique de Virginia Woolf, dans une analyse qui se fonde essentiellement sur le témoignage abondant fourni par les Lettres complètes et par les volumes déjà parus du Journal.
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41

GILCHRIST, JENNIFER. "“Right at the Meat of Things”: Virginia Woolf inWho's Afraid of Virginia Woolf?" Women's Studies 40, no. 7 (October 2011): 853–72. http://dx.doi.org/10.1080/00497878.2011.603609.

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42

Oliveira, Maria Aparecida de. "VIRGINIA WOOLF E A CRÍTICA FEMINISTA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (December 4, 2019): 18–27. http://dx.doi.org/10.34019/1982-0836.2019.v23.29177.

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O presente artigo estabelece as relações entre a A room of one’s own e a crítica feminista, observando como essa tem revisto e ressignificado o ensaio de Virginia Woolf. Serão problematizadas questões como a exclusão feminina dos espaços públicos, das esferas políticas e, consequentemente, da literatura e da história. Depois disso, abordaremos a personagem Judith Shakespeare. Por último, duas questões problematizadas serão tratadas nesta análise, a primeira refere-se à tradição literária feminina e a segunda refere-se à própria frase feminina. Palavras-chave: Crítica feminista, Judith Shakespeare, tradição literária feminina. Referências AUERBACH, E. Brown Stocking. In: ______. Mimesis: a representação da realidade na literatura ocidental. São Paulo: Perspectiva, 1971. BARRETT, M. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993. ______ (ed.). Women and writing. London: The Women’s Press, 1979. BOWLBY, R. Feminist destinations and further essays on Virginia Woolf. Edinburgh: Edinburgh University, 1997. ______. Walking, women and writing: Virginia Woolf as flâneuse. In: ARMSTRONG, I. (ed.). New Feminist discourses: critical essays on theories and texts. London: Routledge, 1992. CAUGHIE, P. L. Virginia Woolf & postmodernism literature in quest and question of itself. Urbana: University of Illinois, 1991. COELHO, N. N. Dicionário crítico de escritoras brasileiras. São Paulo: Escrituras, 2002. ______. A literatura feminina no Brasil contemporâneo. São Paulo: Siciliano, 1993. GILBERT, S. Woman’s Sentence. Man’s Sentencing: Linguistic Fantasies in Woolf and Joyce. In: MARCUS, J. Virginia Woolf and the Bloomsbury: A Centenary. Bloomington: Indiana UP, 1987. GILBERT, S.; GILBERT, S. Shakespeare’s sisters: feminist essays on women poets. Bloomington: Indiana University, 1979. ______. The madwoman in the attic: the woman writer in the nineteenth-century literary imagination. New Haven: Yale University, 2000. ______. The war of words. vol.1 of No man’s land: the place of the woman writer in the twentieth century. New Haven: Yale University, 1988. HUSSEY, M. Virginia Woolf: A to Z. New York: Oxford University, 1995. JONES, S. Writing the woman artist: essays on poetics, politics, and portraiture. Pennsylvania: University of Pennsylvania, 1991. MARCUS, J. Art and anger: reading like a woman. Columbus: Ohio State University, 1988. ______. Virginia Woolf and the languages of the patriarchy. Bloomington: Indiana University, 1987a. MINOW-PINKNEY, M. Virginia Woolf and the problem of the subject: feminine writing in the major novels. New Brunswick: Rutgers University, 2010. MOERS, E. Literary women: the great writers. New York: Doubleday, 1976. MUZART, Z. L. Escritoras brasileiras do século XIX. Florianópolis: Mulheres, 2005. OLSEN, T. Silences. New York: Seymour Lawrence, 1978. RICH, A. Of woman born: motherhood as experience and institution. New York: W W. Norton, 1995. ROSENBAUM, S.P. Women and fiction: the manuscript versions of A room of one’s own. Oxford: Blackwell, 1992. SHOWALTER, E. Feminist criticism in the wilderness. In: GILBERT, S.; GUBAR, S. Feminist literary theory and criticism. New York; London: W. W. Norton, 2007. SNAITH, A. Introduction. In: WOOLF, V. A room of one’s own and Three guineas. Oxford: Oxford University, 2015. STETZ, M. D. Anita Brookner: Woman writer as reluctant feminist. In: ______. Writing the woman artist: essays on poetics, politics and portraiture. Pennsylvania: University of Pennsylvania, 1991. WALKER, A. In search of our mother’s gardens. In: ______. In search of our mother’s gardens: womanist prose. San Diego: Harcourt Brace Jovanovich, 1983. WOOLF, V. A room of one’s own and Three guineas. Introd. Anna Snaith. Oxford: Oxford University, 2015. WOOLF, V. A room of one’s own and Three guineas. Introd. Michèle Barrett. London: Penguin, 1993.
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43

Bartkuvienė, Linara. "Russian paradigm in Virginia Woolf’s (non)fiction: reading Dostoevsky." Literatūra 50, no. 5 (January 1, 2008): 22. http://dx.doi.org/10.15388/litera.2008.5.7798.

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Šiame pranešime nagrinėjama Dostojevskio kūrybos įtaka V. Woolf kūrybai. Nors Woolf atsargiai vertino Dostojevskio pasirinktą metodą – anot rašytojos, chaotišką, sunkiai valdomą – dostojevskiškasis polifoniškumas, vis dėlto, įvairiomis formomis įsitvirtino Woolf romanuose, pirmiausia suponuodamas naują personažo kūrimo formą, naują požiūrį į veikėją. Dostojevskio ir Woolf meninių pasaulių dialoge tampa akivaizdu, kad nei Dostojevskio, nei Woolf veikėjas nedomina kaip socialinis ar psichofiziologinis tipas ir individualus charakteris, susidedantis iš įvairių bruožų, leidžiančių skaitytojui atsakyti į klausimą, kas ir koks yra veikėjas, kokia jo socialinė padėtis, ir t. t. Woolf veikėjas domina kaip požiūris, t. y. kaip požiūris į pasaulį ir į save. Toks požiūris į veikėją reikalauja ypatingų vaizdavimo metodų. Kaip Dostojevskiui, taip ir Woolf svarbiau paties veikėjo refleksijos, „savimonės funkcija“. Abu rašytojai kiekvieną veikėjo bruožą įveda į jo paties – t. y. veikėjo – akiratį, „sumeta į jo savimonės tiglį“. Be to, tiek Woolf, tiek ir Dostojevskio skaitytojas mato ne pačią veikėjo tikrovę, bet kaip jis tą tikrovę suvokia. Woolf romanuose, kaip ir Dostojevskio kūryboje, veikėjo paveikslas nėra įprastinis „objektinio veikėjo paveikslas“. Dostojevskio ir Woolf veikėjai yra neįprastai savarankiški romano struktūroje, jų balsai „skamba tartum šalia autoriaus žodžio ir savitai santykiauja su juo bei su tokiais pat pilnakraujais kitų veikėjų balsais“. Tačiau būtų neteisinga sakyti, kad Woolf tiesiogiai perėmė Dostojevskio polifoniškumo principą. Woolf buvo kūrėja, estetė; ji jokiais būdais nebuvo imitatorė. Ji buvo inovatorė. Kita vertus, būtų ne visiškai teisinga sakyti ir tai, kad Dostojevskio polifoniškumas nebuvo viena ar kita forma asimiliuotas Woolf meniniame pasaulyje. Manytume, kad Dostojevskis, kuriuo buvo žavimasi ne tik Rusijoje, bet ir Vakarų Europoje bei Amerikoje buvo stiprus užnugaris Woolf literatūriniams eksperimentams.
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Sánchez Usanos, David. "La literatura como ideología. Vanguardia, autonomía y fracaso en Una habitación propia de Virginia Woolf." Bajo Palabra, no. 31 (December 19, 2022): 21–48. http://dx.doi.org/10.15366/bp2022.31.001.

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En el presente artículo abordamos lapoética y la ideología implícitas en Unahabitación propia de Virginia Woolf apartir de las consideraciones de SlavojŽižek, Michel Foucault y Ricardo Piglia,entre otros. Atendemos, asimismo, a ladimensión espacial que vertebra ese textoy buena parte del horizonte de lectura dela propia Virginia Woolf.
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Mesquita, Ana Carolina. "ON AFFECTIVELY TRANSLATING VIRGINIA WOOLF’S DIARY." Trabalhos em Linguística Aplicada 62, no. 2 (May 2023): 229–42. http://dx.doi.org/10.1590/01031813v62220238673892.

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ABSTRACT Although 20th-century scientific discourse disregarded affect as unscientific, and despite this being contested by thinkers such as Nietzsche and Spinoza, only recently could we scientifically argue that affect is inseparable from cognition and building knowledge. This article aims at analyzing how my own practices were embodied and mediated by affect when translating into Brazilian Portuguese the diary of Virginia Woolf. I embarked on it as part of my doctoral research with a concept of “impartiality” in translation that was undermined when I was faced with the diary’s manuscripts. Positioning myself was inescapable after encountering a text I had only known in print and in an impersonal form; a body of work theoretically of private nature, written along 44 years, with its gaps, blots, and oscillating handwriting. This article has the double aim of contributing to studies on translation and affect reflecting on possible ways of using Derrida’s undecidability as a translational strategy, using as an illustration my own process of translating Woolf’s diary, while also helping to reflect on how the affect theory may expand previous considerations made by Woolf herself and other thinkers such as L. Zimmermann, G. Spivak, and H. de Campos.
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Ha, Sujeong. "Two Cities Seen by Flâneur and Flâneuse: Benjamins’ Paris and Woolf’s London." British and American Language and Literature Association of Korea 147 (December 31, 2022): 1–20. http://dx.doi.org/10.21297/ballak.2022.147.1.

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This paper explores how Walter Benjamin and Virginia Woolf reflected on metropolitan city life in early modern period as a flâneur and a flâneuse . In Arcades Project, Benjamin attempts to reassemble ‘thought images’ from former century’s historical fragments in Paris streets of the 1920s and the 1930s and make a new literary montage. As a flâneur, he observes the streets flooded with people and the products to get his insights on the consumerism of capitalist production. Virginia Woolf, on the other hand, describes in her essay “Street Haunting: A London Adventure” a flâneuse who comes to intuitively grasp the two faces of the metropolis where wealth and poverty coexist. In “The Docks of London,” she criticizes surging merchandises of New imperialist capitalism which are born and domesticated by relentless human desire. While street walking enables Benjamin to embody thought images, it gets Woolf to feel freedom as an imaginative individual being. Benjamin searches for the meaning of phantasmagoric ‘merchandises’ on Paris street, but Wolf glances deserted ‘lives of people’ veiled with glittering city lights.
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Bowers, Bradley R., and William A. Evans. "Virginia Woolf: Strategist of Language." South Atlantic Review 55, no. 3 (September 1990): 137. http://dx.doi.org/10.2307/3200319.

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Glogowski, James, Shirley Panken, Robert E. Seaman, and Thomas C. Caramagno. "Virginia Woolf and Psychoanalytic Criticism." PMLA 103, no. 5 (October 1988): 808. http://dx.doi.org/10.2307/462519.

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Charest, Nelson. "Je m’ennuie de Virginia Woolf." Chroniques 46, no. 2 (February 4, 2022): 147–51. http://dx.doi.org/10.7202/1086114ar.

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Arnés, Laura A. "Correspondencia. Victoria Ocampo/ Virginia Woolf." Mora, no. 27 (January 1, 2021): 233–36. http://dx.doi.org/10.34096/mora.n27.11117.

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