Academic literature on the topic 'Woolf, Virginia, 1882-1941. Waves'
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Journal articles on the topic "Woolf, Virginia, 1882-1941. Waves"
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Baradaran Jamili, Leila, and Ziba Roshanzamir. "Traumatized Construction of Male and Female Identities in Virginia Woolf’s The Waves." Advances in Language and Literary Studies 9, no. 4 (August 31, 2018): 68. http://dx.doi.org/10.7575/aiac.alls.v.9n.4p.68.
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This paper regards traumatized formation of characters’ identities in Virginia Woolf’s (1882-1941) The Waves (1931). Trauma is considered as a devastating phenomenon which has horribly and dreadfully some effects on an individual’s self and identity. The aftereffects of a shocking and traumatic event on one’s sense of self contribute extremely to the collapse of the construction of his or her identity. Undoubtedly, the different sorts of trauma, like individual and historical trauma, have incorporated Woolf’s life. Actually, Woolf’s disoriented self is defined based on the affective representation of her traumatized identity through her painful experiences over her lifetime. This paperfocuses on Cathy Caruth’s (1955-) critical views concerning the concept of trauma. Caruth believes that trauma is a mental wound associated with the latency, referring to the return of the traumatic experiences after a period of delay or deja vuin the form of repeated flashbacks, nightmares, and so forth. In The Waves, the male and female characters like Bernard, Neville, Louis, Rhoda, Jinny, and Susan are traumatized due to a number of traumatic events, so that the construction of their identities can be trapped in some kind of post-traumatic stress disorders as the effects of their traumas. Through presentingthe characters, in the novel, Woolf delineates the traumatized selves and identities involved in some sort of psychic fragmentation and disintegration that haunt inevitably their lives and respondtraumatically to their traumas, pain, and suffering in different ways.
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Jamili, Leila Baradaran, and Ziba Roshanzamir. "Postmodern Feminism: Cultural Trauma in Construction of Female Identities in Virginia Woolf's The Waves." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 114. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.114.
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The present article sheds new light on trauma as a devastating phenomenon respecting the construction of male and female characters' identities and reveals reconstruction of male and female identities in Virginia Woolf's (1882-1941) The Waves (1931). Trauma is defined as an unexpected event that leaves the most terrible marks on the person's self, identity, psyche, emotions, beliefs, etc. Individual trauma is diagnosed by the male and female characters' horrendous responses regarded as post-traumatic stress disorder in terms of a distressing recollection of the traumatic occurrence. In contrast, cultural trauma, like patriarchy, gender, or sexual difference which has a horrific influence on cultures, can encompass traumatically the collective identity of male and female characters. In The Waves, the characters such as Rhoda, Jinny, and Susan get involved in the struggle for the self-definition relating to their collective and individual identities, respectively. No wonder, this article exploits an integrated method of feminism and psycho-trauma. It contextualizes the ideologies of postmodern feminist critics, such as Judith Butler (1956-), Helene Cixous (1937-), Cathy Caruth (1955-), and Luce Irigaray (1930-). Woolf, de facto, reveals how trauma as a catastrophe, either individual or collective, affects shockingly male and female characters' identities, so that their physical and psychological responses can be analyzed in terms of diagnosis of the trauma and its aftermath.
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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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Cesar de Oliveira, Renata. "Marianne North vive em Virginia Woolf." Revista Scientiarum Historia 2 (December 13, 2019): 11. http://dx.doi.org/10.51919/revista_sh.v2i0.113.
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Este artigo aponta a influência da obra oitocentista de Marianne North (1830 - 1890) na escrita literária de Virginia Woolf (1882-1941). A narrativa de North tanto em seus diários de viagens quanto nas mais de 800 pinturas a óleo acerca de paisagens botânicas, abrigadas no Royal Kew Gardens (Londres, Inglaterra), inspiraram as descrições da natureza e da cor, aspectos de interdependência e evolucionismo, principalmente nos contos, romances e ensaios de Virginia Woolf. “Kew Gardens” é um exemplo de conto, no qual o jardim é cenário e personagem, questionando assim o antropocentrismo, as regras sociais e a complexidade humana e da natureza. North e Woolf representam a transição entre o século XIX e o XX, apontando aspectos do modernismo e do papel da mulher no mundo, seja nas Ciências ou nas Artes.
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Thạch Thị, Cương Quyền. "From the female writer in A Room of One’s Own to the female reader in The Reader: feminist voices." Science & Technology Development Journal - Social Sciences & Humanities 5, no. 2 (June 25, 2021): 1056–65. http://dx.doi.org/10.32508/stdjssh.v5i2.583.
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Virginia Woolf (1882-1941) is the pioneers of the very first movement of feminism. Her work A Room of One's Own (1929) shows gender discrimination with discourse of feminism and of literary creativeness, and also thoughts for fighting for gender equality. For Woolf, a liberal writer is the one who has his/her own room to work and is adequately educated. Despite of the wide gap of generation, the novel The Reader (1995) by Bernhard Schlink (1944-) continued with feminism from the view of female readers. It also shows his view point of a liberal reader who has the right to participate in literary reception. As a continuation of Woolf, Schlink argues that the very basic step to all to become a free reader is to educate, to eliminate illiteracy and to foster cultural and social knowledge. It can be seen that the feminist voices in these two works have much in common, creating a deep feminist dialogue. We believe that link between them as well as between the works and the readers can evoke further feminist voices and discourses, contributing to the development of this approach.
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Costa, Silvia Maria Fernandes Alves da Silva, Maria Aparecida Saraiva Magalhães de Sousa, and Luciana Eleonora de Freitas Calado Deplagne. "A CRIATURA, A CRIADORA E A CRÍTICA: FRANKENSTEIN, DE MARY SHELLEY, SOB A ÓTICA DE UM TETO TODO SEU, DE VIRGINIA WOOLF." Revista Graphos 20, no. 1 (January 25, 2019): 83. http://dx.doi.org/10.22478/ufpb.1516-1536.2018v20n2.44126.
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Este artigo visa apresentar a autora inglesa Mary Shelley (1797-1851) como iniciadora da ficção científica com a obra Frankenstein ou o Prometeu Moderno (1818), e esta como uma obra matricial de autoria feminina, para questionar a sua possível ausência no Museu Britânico e/ou os valores canônicos defendidos por Virginia Woolf (1882-1941), a partir de seus apontamentos sobre a mulher na ficção, no ensaio Um teto todo seu (1929). Para isso, observaram-se os pontos críticos assinalados por Woolf, contrapostos com a vida de Mary Shelley e a obra Frankenstein, para se buscar entender a não referência a Shelley diante dos diversos nomes de autores citados no ensaio. Woolf admite que a estrutura patriarcal barrou a mulher, no decorrer dos séculos, em uma vida sem condições materiais para pensar e contemplar no momento da criação. Contudo, Shelley, mesmo vivendo em uma sociedade vitoriana patriarcal do século XIX, na qual a mulher deveria ser submissa ao homem, teve condições adequadas à produção ficcional ativa, escrevendo obras como Frankenstein, que permanece presente 200 anos após sua publicação, desafiando a todos com um magnetismo que perpassa o campo das artes. Uma obra que deveria estar incandescente nas estantes do Museu Britânico.
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Suprihandani, Eny. "THE ROLE OF THE THREE MAIN CHARACTERS IN SUPPORTING THE THEME OF TO THE LIGHTHOUSE BY VIRGINIA WOOLF." Journal of English Language and Literature (JELL) 3, no. 02 (August 29, 2018): 84–102. http://dx.doi.org/10.37110/jell.v3i02.53.
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Virginia Woolf (1882-1941), a brilliant English writer, has been called as a feminist, since she fought for women’s rights and protested the domination of men. She might be also called as an androgynist writer, for she sometimes emphasized the harmony of men and women. To the Lighthouse, which was published in 1927, is her best novel of both feminism and androgyny. It is a realistic novel about a family and an elegy for people Virginia loved. Based on the strong and deep memories of her own family, she described a group of the more complex people spending holiday in a summer house on Scottish coast. It consists of Mr. and Mrs. Ramsay with their eight children and assorted guests. They are going to have a visit to a nearby lighthouse. It is put off because of the weather, and takes place ten years later. From this delay of the expedition to the lighthouse, she constructed the complex tensions of family life and the conflict of male and female principles. For Virginia there is not one of kind of truth, but two. There is the truth of reason, and there is the truth of imagination. The truth of reason is pre-eminently the masculine sphere, while the truth of imagination, or intuitive, is the feminine. Together, these truths make up what she calls reality. Regarding this idea, in To the Lighthouse, she tries to imply a theme about the harmony by presenting male and female characters that have contradictory views and different principles.There are many characters in To the Lighthouse, Mr. Ramsay, Mrs. Ramsay and Lily Briscoe are supposed to be the main characters since they dominantly support the development of the events and even most of the story focuses on their actions, attitudes and thoughts. This research aims to give evidence that Mr. Ramsay, Mrs. Ramsay and Lily Briscoe are all the main characters who, with their words, thoughts and actions, relate each other to support the theme of To the Lighthouse
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Czarnecki, Kristin. "“A Living Mosaic of Human Beings”: The Life Writing of Virginia Woolf and Zitkala-Ša." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 74, no. 2 (June 7, 2021). http://dx.doi.org/10.5007/2175-8026.2021.e78361.
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This essay examines life writing by English author Virginia Woolf (1882-1941) and Yankton Dakota writer Zitkala-Ša (1876-1938), specifically Woolf’s memoir, “A Sketch of the Past,” written in 1939-40 and first published in Moments of Being in 1976, and Zitkala-Ša’s autobiographical essays, published in the Atlantic Monthly in 1900. This comparative study explores how both women establish selfhood amid competing pressures vying for their minds and bodies; how mothers and maternal loss shape their autobiographies; how physical and psychological place and displacement influence their life writing; and how matters of audience affect their literary self-portraits. Reading Woolf and Zitkala-Ša together yields fresh insights into the intersections of race, class, gender, and feminism in women’s writing.
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Souza, Camila Pereira de, and Virginia Moreira. "O Tempo vivido em Mrs. Dalloway à Luz da Fenomenologia de Merleau-Ponty." Psicologia: Ciência e Profissão 40 (2020). http://dx.doi.org/10.1590/1982-3703003189510.
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Resumo O romance Mrs. Dalloway, escrito pela inglesa Virginia Woolf (1882-1941), é um marco na literatura universal por apresentar um novo formato na arte da escrita intitulado fluxo de consciência. Esta forma estilística visa descrever as falas e os pensamentos dos personagens por meio do discurso indireto livre, integrado à preleção do narrador. O enredo se passa em um único dia da vida da protagonista Clarissa Dalloway, no qual são captados os ínfimos detalhes do que ela experiencia. Dentre os fenômenos vivenciados encontramos a noção de tempo, por meio da qual o narrador mistura homogeneamente o fluxo passado, presente e futuro. O objetivo deste artigo é discutir a vivência do tempo na referida obra literária pautada numa discussão fenomenológica. Para isto, utilizamos como método a revisão narrativa da literatura de autores que contribuíram para o desenvolvimento da noção de tempo vivido na fenomenologia. É no fluxo do tempo que se dão os significados das experiências na história dos personagens no seu contato ambíguo com o mundo. Concluímos que as descrições elaboradas por Virginia Woolf possibilitam uma aproximação à vivência do tempo, que atravessa a totalidade da dimensão do ser.
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Sriratana, Verita, and Milada Polišenská. "Translating and Transcending Censors: Modernist Appropriation and Thematisation of Censorship in the Works of Virginia Woolf, Allen Ginsberg, Czesław Miłosz and Bohumil Hrabal." Poznańskie Studia Slawistyczne, no. 14 (September 21, 2018). http://dx.doi.org/10.14746/pss.2018.14.17.
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Censorship has often been regarded as the archenemy of artists, thinkers and writers. But has this always been the case? This research paper proposes that censorship is not a total evil or adversarial force which thwarts and hinders twentieth-century writers, particularly those who were part of the artistic, aesthetic, philosophical and intellectual movement known as Modernism. Though the word “censor” originally means a Roman official who, in the past, had a duty to monitor access to writing, the agents of censorship – particularly those in the modern times – are not in every case overt and easy to identify. Though Modernist writers openly condemn censorship, many of them nevertheless take on the role of censors who not only condone but also undergo self--censorship or censorship of others. In many cases in Modernist literature, readership and literary production, the binary opposition of victim and victimiser, as well as of censored and censor, is questioned and challenged. This research paper offers an analysis of the ways in which Virginia Woolf (1882–1941), Allen Ginsberg (1926–1997), Czesław Miłosz (1911–2004) and Bohumil Hrabal (1914–1997) lived and wrote by negotiating with many forms of censorship ranging from state censorship, social censorship, political censorship, moral censorship to self-censorship. It is a study of the ways in which these writers problematise and render ambiguity to the seemingly clear-cut and mutually exclusive division between the oppressive censor and the oppressed writer. The selected writers not only criticise and compromise with censorship, but also thematise and translate it into their works.
Dissertations / Theses on the topic "Woolf, Virginia, 1882-1941. Waves"
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Valenzuela, Ponce Karinnette. "The democratic construction of gender in Virginia Woolf’s The Waves." Tesis, Universidad de Chile, 2009. http://repositorio.uchile.cl/handle/2250/109886.
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I will particularly examine the work of Virginia Woolf, the 20th century novelist and critic, principally because her work exposes a very rich and extensive evidence of her awareness of the dichotomy women/men, putting special emphasis on female psychology. Her conviction was that an artist should never pervade the writing with judgements based upon sex distinctions or opinions full of resentment. Hence, the author’s inclination for the androgynous was used as a writing fashion, which in turn gave room to discussions on the topic of phallocentrism, taking subsequently the form of an embryonic feminist mode. Just as one wave does not really reflect the completeness and beauty of the sea, neither a single person reflects the splendour of mankind. I focus my attention on The Waves, since this novel has plenty of data that encourages an autonomous way of looking at humans, their gender, and the relations between them. The objective of this paper is to associate the author’s considerations about human distinctiveness and gender in The Waves. For this purpose I shall determine the feminist features presented in the novel as well as I shall establish the importance of characterisation and symbolism; these aspects communicate strong ideas concerning the fragmentation of reality with no hierarchic allusions related to gender, which as a result, comes to be a ground-braking conceptual reaction against phallocentrism.
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Rodal, Jocelyn (Jocelyn Aurora Frampton). ""One world, one life" : the politics of personal connection in Virginia Woolf's The waves." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/35703.
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Thesis (S.B. in Literature)--Massachusetts Institute of Technology, Dept. of Humanities, 2006.Includes bibliographical references (leaves 68-70).
Introduction: "I hear a sound," said Rhoda, "cheep, chirp; cheep, chirp; going up and down" (9). Thus Virginia Woolf introduces Rhoda in her opening to The Waves. But almost immediately, this sound is transformed: " 'The birds sang in chorus first,' said Rhoda. 'Now the scullery door is unbarred. Off they fly. Off they fly like a fling of seed. But one sings by the bedroom window alone' " (10-11). While the birds were originally a unified, collective sound, "going up and down" as one, now they fly away as many, spreading like seeds that will eventually grow individually to create separate new lives. Rhoda implies that they sang as one only because they had no other choice - the door was barred, and they were jailed together. However, the single bird remaining by the window deep in song is a noteworthy figure. Like Rhoda, and human consciousness itself, it might be lonely or free, proudly individual or vulnerable in its solitude.
by Jocelyn Rodal.
S.B.in Literature
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Raphael, De La Madrid Lucia Del Carmen. "L'essai de soi, relectures de l'oeuvre de Virginia Woolf." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00951445.
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"L'essai de soi ", en tant que méthode littéraire, crée dans l'œuvre de Woolf, Les Vagues, une nouvelle façon de faire littérature, ainsi qu'une nouvelle pensée philosophique. À fin de comprendre comment l'essai exerce une influence sur le travail de Woolf, J'ai analysé Les Essais de Michel de Montaigne, comme une méthode, comme l'exegium, dans ses multiples connotations ainsi que comme processus qui donne naissance à l'essai en tant que genre littéraire, dans son acception moderne. À travers " l'essai de soi " Montaigne et Woolf élaborent leurs propres autoportraits avec des mots. Pour une meilleure compréhension de ce processus j'ai établi des échos avec des philosophes contemporains et avec l'analyse des spécialistes. Pour une meilleure compréhension de " l'essai de soi " par rapport au travail de Woolf, je propose la définition des principes qui définissent la méthode de Montaigne. Ces principes ont été développés comme des axes de " l'essai de soi " sa définition et son interaction à chaque moment de son écriture. Dans le sens d'un " jeu d'abymes ", j'ai visé le centre d'un entrecroisement d'hommages. Celui que Montaigne rend à Etienne de la Boétie, et la relation littéraire que Woolf établit avec Montaigne. Les deux auteurs développent son écriture comme une sorte d'autobiographie, mais ils vont au-delà de ce genre, par le registre du passage du temps et les transformations qui s'opèrent au moment de l'écriture. Les personnages de Woolf sont construits à partir de la variété de multiplicités que chacun en soi, celle que les autres et le regard des autres lui apportent. Les Vagues est une radiographie de l'esprit humain qui est au même temps approche philosophique, l'écriture suit ce que Montaigne décrit comme une forme elliptique de création. Les deux auteurs se basent sur l'expérience humaine, celle qui est commune à tous, là au chacun se rencontre avec l'autre. À travers ce processus, Woolf traduit la philosophie de Montaigne en style narratif.
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Ouallet, Yves. "Temps et fiction : étude sur la figuration du temps dans la fiction (Marcel Proust, A la recherche du temps perdu ; Thomas Mann, La Montagne magique ; Virginia Woolf, Les Vagues)." Paris 4, 1999. http://www.theses.fr/1999PA040106.
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"Temps et fiction" explore, à travers La montagne magique de Thomas Mann, A la recherche du temps perdu de Marcel Proust et Les vagues de Virginia Woolf, la figuration du temps par la fiction littéraire. Le temps, d'ordinaire imperceptible, est rendu sensible par ces fables qui le prennent pour objet de leur histoire. Temps et fiction montre tout d'abord comment les figures du temps naissent de l'effacement de l'habitude chronologique. Puis la deuxième partie essaie de déchiffrer, sous la forme du pli, les marques du temps, inscrites aussi bien dans le style que dans la structure de l'œuvre. Cette recherche, qui souligne la nature temporelle du texte littéraire, débouche sur une mise en perspective de la théorie narrative dans son rapport problématique au temps. L'exploration de la fiction littéraire ouvre alors sur une réflexion qui découvre la triple dimension temporelle du texte : temps du discours, temps de la fable, temps de l'histoire.
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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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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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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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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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Félix, Claude-Alain. "Une étude sur la personnalité de Virginia Woolf." Montpellier 1, 1993. http://www.theses.fr/1993MON11169.
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Crapoulet, Emilie. "Musical formes and aesthetics in the works of Virginia Woolf." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10034.
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Malgré le fait qu'un très petit nombre de critiques aient reconnu que la musique dans l'oeuvre de Virginia Woolf soit plus qu'un simple détail ou un élément de second plan, aucune étude compréhensive de son esthétique musicale n'a jamais encore été faite alors que Woolf explore avec grande lucidité et perspicacité les diverses manières dont la musique peut être porteuse de sens, depuis ses relations avec la conscience, l'imagination, le langage et l'expression littéraire, pour aboutir à sa fonction ontologique, transcendentale et paradigmatique. Nous étudions dans cette thèse la méthode qu'elle emploie pour musicaliser l'écriture romanesque. Nous nous concentrons en particulier sur les stratégies narratives que Woolf adopte dans son histoire courte : "Le Quatuor à Cordes", et ses romans, "Les Vagues" et "Mme Dalloway", pour montrer comment la musique dans l'oeuvre de Virginia Woolf est une force essentielle dynamique, structurelle et esthétique qui imprègne la totalité de son art.
Books on the topic "Woolf, Virginia, 1882-1941. Waves"
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Virginia Woolf, The waves. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.
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Language, time, and identity in Woolf's The waves: The subject in the empire's shadow. Lanham, Md: Lexington Books, 2012.
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Hills, S. J. Virginia Woolf 1882-1941: An exhibition. [Cambridge]: Cambridge University Library, 1991.
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Bell, Quentin. Virginia Woolf: A biography : Virginia Stephen, 1882-1912, Mrs Woolf, 1912-1941. London: Triad Paladin, 1987.
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A, Evans William. Virginia Woolf: Strategist of language. Lanham, MD: University Press of America, 1989.
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Sellers, Susan. "Virginia Woolf (1882–1941)." In Fifty-One Key Feminist Thinkers, 252–56. Abingdon, Oxon; New York, NY : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315558806-50.
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McEwan, Neil. "Virginia Woolf 1882–1941." In The Twentieth Century (1900–present), 257–68. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20151-8_23.
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Amrain, Susanne. "Virginia Woolf (1882–1941)." In Frauenliebe Männerliebe, 488–92. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03666-7_109.
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"Virginia Woolf 1882–1941." In The Routledge Dictionary of Twentieth-Century Political Thinkers, 352–56. Routledge, 2002. http://dx.doi.org/10.4324/9780203209462-19.
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Ippolito, M. F. "Virginia (Stephen) Woolf 1882–1941." In Encyclopedia of Creativity, e100-e103. Elsevier, 2011. http://dx.doi.org/10.1016/b978-0-12-375038-9.00234-x.
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Marcus, Laura. "Virginia Woolf (1882–1941): Re-forming the novel." In The Cambridge Companion to European Novelists, 378–93. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9780521515047.024.
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