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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.
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Pavec, Nathalie. "Dynamiques du jeu dans l'oeuvre romanesque de Virginia Woolf." Paris 3, 2005. http://www.theses.fr/2005PA030123.
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Ce travail, portant sur les neuf romans de Virginia Woolf, étudie l'évolution d'une écriture qui met en œuvre une dynamique tensionnelle et fait jouer la figure de l'écart, tant au niveau thématique que sémiotique et structurel. Après une première approche pragmatique consistant en une micro-lecture des incipit, l'analyse s'intéresse aux formes visuelles où semble émerger une signifiance, entre apparition et disparition. Puis elle explore le travail de la mémoire, dans son rapport à la vision créatrice et à l'interaction métaphorique entre signifiant et signifié. Enfin, elle s'ouvre plus largement au jeu de l'indétermination et de la réverbération plurielle, faisant de l'entre-deux le lieu d'une dialectique de l'instable, de la dérobade et de la manifestation spectrale. Ainsi se dessinent des lignes de fuite et de variation, qui sont autant de parcours pour une lecture envisagée comme expérience du dessaisissement et de la rencontre avec une œuvre vive, un texte en perpétuel devenirThis study seeks to trace the evolution of Virginia Woolf's writing in her nine novels which draw upon the notion of in-betweenness and operate through a dynamic tension between dialectic polarities. After a close reading of the opening pages of the novels, the analysis focuses on visual patterns and significant forms which reveal elusive networks of meaning wavering between appearance and disappearance. Then, time and memory are explored in terms of their relation to artistic creation and to the interactive signifying process at work in the metaphor. Finally, indeterminacy and plurality are addressed more extensively : the text is approached as a play ground of reverberating forces, a space haunted by endless lines of variation and an open territory of interaction between author and reader. Writing thus becomes an experience of what Woolf calls " the flowing and the unpossessed ", shared by a " common reader " taking part in the creative process rising out of this textual intercourse
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Amselle, Frédérique. "Virginia Woolf et les écritures du moi : le journal et l'autobiographie." Montpellier 3, 2005. http://www.theses.fr/2005MON30046.
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Virginia Woolf et les écritures du moi " s'intéresse aux cinq textes qui constituent Moments of Being, aux cinq volumes du journal de Virginia Woolf et son journal de jeunesse The Early Diaries ainsi qu'à Carlyle's House and other Sketches. Il ne s'agit pas d'opérer une lecture biographique de ces textes, mais de les considérer comme une œuvre à part entière qui existe par et pour elle-même. Nous nous efforçons donc de situer ces textes dans l'espace générique des " écritures du moi " ce qui implique une tentative de définition du genre, préalable à la mise en perspective de l'œuvre woolfienne au sein de ce genre, en nous appuyant sur l'étude des manuscrits. A partir de cette question, nous nous intéressons au paradoxe de l'écriture du moi chez Woolf, qui n'est pas sans poser la question de l'identité et de la place de l'autre dans le texte. Enfin, nous examinons comment cette démarche scripturale s'inscrit doublement dans le temps, dans un va et vient sensible entre la mémoire, la mort et le texteMoments of Being, Virginia Woolf's Diaries and Early Journals as well as Carlyle's House and Other Sketches have been mainly read as a biographical material. We want to show that these texts can be read by themselves, as works of arts per se. In this respect we analyse their position within the autobiographical genre and analyse, thanks to the study of the manuscripts, the ethical and esthetical dimension Woolf plays with. This leads us to the paradox of Woolf's writings – questioning the issue of identity and the role of the other within the text. The writing of the self goes together with the question of the impossibility of writing without taking into account time, memory and death
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Bauchart, Hélène. "Approches du négatif dans l'oeuvre romanesque de Virginia Woolf." Amiens, 2010. http://www.theses.fr/2010AMIE0001.
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Sandison, Jennifer Madden. "Reflections of self : the mirror image in the work of Virginia Woolf." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64108.
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Reynier, Christine. "La technique romanesque de Virginia Woolf : aspects de la mise en relation." Paris 7, 1988. http://www.theses.fr/1988PA070107.
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La critique anglo-saxonne s'étant surtout intéressée d'une part, à la biographie de Virginia Woolf et d'autre part, aux thèmes de son œuvre de fiction, il nous est apparu qu'une étude de la technique romanesque était nécessaire. Nous croyons en effet que même si le style de Virginia Woolf est répute pour sa limpidité et sa fluidité, si ses œuvres de fiction semblent se dérouler selon un mouvement naturel comme les vagues auxquelles elles font si souvent référence, il y a derrière cette apparente fluidité une structure extrêmement solide et travaillée, ainsi qu'une technique narrative très précise qui ont participé à l'élaboration des thèmes eux-mêmes et leur ont donné tout leur sens. Nous avons donc consacré nos deux premières parties à l'étude détaillée des structures du récit d'une part, et d'autre part, à la technique narrative proprement dite, en nous inspirant des travaux de narratologie et de linguistique récents. Notre but étant de mettre en lumière le lien existant entre cette technique particulière et les thèmes abordés par l'auteur, nous prolongeons cette étude par une analyse des "structures du récit, de la technique narrative et du symbolisme" (troisième partie), c'est-à-dire à la fois des liens existant entre les symboles utilisés par l'auteur et la technique, et du symbolisme des structures et de la technique elles-mêmes. Dans notre quatrième partie, la démarche est identique mais il s'agit cette fois d'étudier la relation existant entre le jeu sur les temps (analyses dans notre première partie) et la conception du temps qui se dégage de l'œuvre. Cette étude de la configuration de l'œuvre ainsi que de la vision du monde et de l'expérience temporelle qu'elle véhicule, nous a permis de montrer a quel point trois romans étaient plus achevés que d'autres. . .As english critics have dealt mainly with, on the one hand, Virginia Woolf's biography and on the other, the themes of her fictional works, we have felt that it was necessary to study her novel-writing technique so as to elucidate some up-till-now neglected aspects of the works and understand the author's artistic processes better. Indeed, even if Virginia Woolf's style has been praised for its flowing limpidity, even if her fictional works seem to unfold as easily and naturally as the waves they so often refer to, we believe that beneath this apparent fluidity there is a very strong, disciplined structure as well as a specific narrative technique, and that both contribute to the working out of the themes themselves and give them their full significance. Therefore, the first part of our study will be devoted to the detailed analysis of the structures of the narrative discourse, and the second part, to the narrative technique itself. As our aim is to reveal the relationship existing between this specific technique and the themes the author develops, we shall analyse in our third part "the structures of the works, their narrative technique and symbolism", that is the relationships that exist between the symbols used by the author and her technique, and at the same time the symbolism of the structures and also of the technique itself. In our fourth part, we proceed in a similar way but the object of our analysis is the study of the relationship between the use of tense (analysed in our first part) and the author's conception of time. .
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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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Polychronakos, Helen. "Reflecting Woolf : Virginia Woolf's feminist politics and modernist aesthetics." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30201.
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No study of Virginia Woolf can do justice to the complexity of her life and work without taking into account the numerous contradictions present in her thought. Though Woolf is recognized as a revolutionary contributor to the development of modernism, it is also important to remember that she was born in 1882 and that the nineteenth century also left its mark on her. The first chapter will examine this double sensibility. The second chapter will trace the development of Woolf's modernist aesthetic. She was obviously rebelling against the realism valued by her Victorian and Edwardian predecessors when she conceived of a literary style capable of abstracting from purely formal elements a more "profound reality" than that captured by objective and representational descriptions. Despite this revolutionary tendency, she constructs a hierarchy of "realities" that is somewhat elitist in its mysticism and runs counter to the revolutionary feminist and Marxist thought evident in so much of her work. The last chapter will examine the contradictions that riddle Woolf's feminist writings.
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Montera, Paola. "Articulation et implicite : étude contrastive des connecteurs logiques." Lyon 2, 2006. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2006/montera_p.
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Ce travail de traduction comparée est une étude de l'articulation et de l'implicite dans Mrs Dalloway (1925) de Virginia Woolf et dans ses traductions françaises (M-C. Pasquier, 1994, P. Michon, 1993, S. David, 1929) et italiennes (N. Fusini, 1994, A. Scalero, 1979). Deux types d'articulation sont analysés : l'articulation syntaxique-discursive (des connecteurs logiques tels que And, For, But then, Well, justement, Et alors) et celle conceptuelle (l'analogie, sous forme de comparaison et de métaphore). L'implicite est considéré comme omniprésent en tant que contrepartie de l'articulation : tout élément explicite dans le texte peut constituer un excellent déclencheur d'inférences. Les analyses sont conduites dans les deux sens : de l'original vers les traductions et des traductions vers l'original. Les connecteurs logiques ont une place proéminente. L'analyse tente d'investiguer leurs fonctions linguistiques et extralinguistiques (effets contextuels, pragmatiques, de lecture) dans le roman, mais aussi dans le langage courant. Des hypothèses formulées au cours de l'analyse sont testées, comme, par exemple, la présence de hiérarchies de contraintes systématiques dans la stratégie des traducteurs, la possibilité de regrouper des comportements traductifs et le rôle de l'étude stylistique comparée pour améliorer les traductions existantesThis dissertation seeks to explore the nature of two aspects of translation problems, i. E. "articulation" and "inference", in Virginia Woolf's Mrs Dalloway (1925) and its translations in French (M-C. Pasquier, 1994, P. Michon, 1993, S. David, 1929) and Italian (N. Fusini, 1994, A. Scalero, 1979). Two types of articulation are studied : the syntactic articulation (logical connectors such as And, For, Well, justement, And so, But then, Et alors) and the conceptual articulation (metaphor and comparison). The investigation bears particularly on the interaction between these explicit items and the potential inferences they produce, as a way of characterising both the original text and the translated text. That is why the translation analysis is led bi-directionally, from the original to the translated text, and from the translated text to the original. Other aspects, such as contextual and pragmatic effects are also analysed both in the novel and in everyday language. Some hypotheses about the presence of hierarchies and systematic strategies adopted by the translators are also formulated and discussed, as well as the possibility of exploiting existing translations for better future translations
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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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Scaramuzza, Filho Mauro. "Kew Gardens, de Virginia Woolf." reponame:Repositório Institucional da UFPR, 2009. http://hdl.handle.net/1884/20251.
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Lu, Qian Qian. "Troubling the female continuum in Virginia Woolf's Mrs. Dalloway and To the Lighthouse." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2456335.
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Karkaba, Cherki. "La symbolique du père dans l'oeuvre de Virginia Woolf." Brest, 1993. http://www.theses.fr/1993BRES0001.
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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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Brûlé, Michel 1964. "Partie critique: Réflexion sur "L'art du roman" de Virginia Woolf ;Partie création: ... Dent pour dent." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59534.
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In the first segment of the critical part of my thesis, my thought lays on "L'art du roman" of Virginia Woolf. In the second part, while recognizing certain qualities in the critical work of the English writer, I take side in favor of the literary theories of Celine and Sartre. In the last part of this text, I am exposing my views according to which the Quebec's literature would have greater advantage of being more "engage". The creating part of my thesis takes shape as a "roman engage". The story is about a disillusioned nationalist Quebecer, graduate and unemployed, who decides to change his personality to be like an English Canadian to better start his career in Toronto. Though all the sustained efforts he made to become Canadian, he realizes that he is first and above Quebecer. In ... Dent pour dent, the political message plays a fundamental role, but the esthetical aspects like humor, repetition and rythm are in the first place.
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Zahanagiu-Girard, Elena-Monica. "De "Melymbrosia" (1908) à "The Voyage Out" (1915) : l'invention allotropique du projet woolfien d'écriture." Nancy 2, 2003. http://www.theses.fr/2003NAN21008.
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Le point de départ de cette thèse est donné par le statut " allotropique " de The Voyage Out, du " roman charbon " (Melymbrosia) au " roman diamant " (The Voyage Out), selon l'expression de D. H. Lawrence à propos de sa propre écriture de Sons and Lovers. Après avoir tracé le parcours rédactionnel du premier roman de Virginia Woolf (1882-1942) en corrélation avec le contexte psycho-socio-culturel des années 1908 à 1915, cette étude vise à examiner l'évolution du projet artistique de l'auteur au travers des points communs et des différences entre les deux versions. Cette perspective comparative prend en compte des aspects variés de la composition, à commencer par l'architecture interne des deux versions ou leur agencement en chapitres, suivie par les transformations telles que les suppressions, les contractions, les déplacements, les adjonctions et la dilatation du récit. Cette thèse offre également une étude détaillée des phénomènes polyphoniques dans l'une et l'autre versions, du rôle croissant du silence et de la création d'un réseau dense et obsessionnel de motifs symboliques essentiellement dans la version finale. Enfin, le dernier volet de cette recherche plurielle vise à analyser la matrice symbolique du voyage dans les deux versions sur le fond de laquelle se profile la question des activités créatrices des personnages, ces processus évolutifs qui reflètent les nouvelles préoccupations de l'auteur et la maturation de sa conception critique et esthétiqueThis thesis examines Virginia Woolf (1882-1942)'s literary allotropes, Melymbrosia and The Voyage Out, "carbon novel" and "diamond novel" respectively, according to D. H. Lawrence's formulations concerning his writing of Sons and Lovers. After tracing the writing process of Virginia Woolf's first novel in relation to its psycho-socio-cultural background from 1908 to 1915, this study aims at exploring the evolution of the author's artistic project by looking at the common points and differences between the two versions. Beginning with the internal architecture of the two versions (or their organisation into chapters) and continuing with the transformations - deletion, contraction, placement, addition and expansion - of the narrative, this comparative study analyses various aspects of Woolf's evolving literary composition. This thesis also studies in detail the polyphonic phenomena present in both versions, the growing use of silence and the creation of a dense network of symbolic images found essentially in the final version. Finally, this research project, opening on various fields, analyses the symbolic mould of the voyage in both versions, as a backdrop to the characters' creative activities considered as developing processes reflecting the changing preoccupations of the author, and the maturing of her own critical and aesthetic voices
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Philips, Aileen. "Actes poetiques : le jeu de la loi dans la genese de l'ecriture et du sujet chez virginia woolf." Paris 7, 2000. http://www.theses.fr/2000PA070077.
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Les textes de virginia woolf portent en eux des inscriptions de leurs propres geneses. Plus precisement, les scenes de l'ecriture tissees a travers la structure diegetique de ces textes fonctionnent a la fois comme des representations de la genese de l'ecriture et comme des mises en scene de cet evenement. Dans chaque cas, la genese de l'ecriture accompagne l'engendrement du sujet. On pourrait donner a un des elements qui figure de facon decisive a travers ces mises en scene, le nom de "loi". Il s'agit d'une force exterieure qui, en premier lieu, barre le chemin, en arretant le processus de l'ecriture pour finalement, et de facon paradoxale, participer a la constitution de l'ecriture produite et du sujet qui emerge. Cette etude se propose premierement de comprendre ce qui fonctionne commela "loi" dans les textes analyses et tente ensuite de decouvrir comment l'ecriture et le sujet se mobilisent pour negocier un passage au-dela de l'obstacle impose. Elle vise a la fois ce qui fonctionne comme une force de loi externe et interne au texte : d'abord, ce qui vraisemblablement intervient de l'exterieur du texte pour empecher son engendrement, et ensuite ce qui constitue la force de loidu texte, ce qui accorde a un texte la possibilite de fonctionner lui-meme comme une force de loi en imposant la singularite de son propre idiome vis-a-vis des conventions pre-etablies ou il prend son depart. La mise en relation des trois textes de woolf qui forment l'objet de cette etude, a savoir, the voyage out, to the lighthouse, et between the acts, rend manifeste une evolution decisive du rapport a la loi vis-a-vis de l'idiome poetique aussi bien que du sujet. Pour les trois textes etudies ici, la nature de la negociation avec la loi devant laquelle chacun se trouve est determinante dans la construction de sa loi propre. The voyage out se termine par une dissociation entre les dimensions singulieres et universelles dont il a besoin pour inaugurer sa propre force de loi. To the lighthouse, en revanche, n'evite pas, mais plutot se tourne vers la negociation d'un rapport avec les forces de loi exterieures auxquelles il est confronte. Dans between the acts, la loi a laquelle l'idiome du texte est confronte est la sienne. L'idiome de ce texte fait appel aux lois contradictoires qui le constituent, les invitant a un jeu de l'entre-deux afin de degager du conflit, la possibilite de
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Macadré, Pauline. "L'écriture au secret : traduction et trahison du réel chez Virginia Woolf." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL165.
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La thèse est consacrée à l’œuvre de Virginia Woolf et à son souci de la représentation paradoxale d’une réalité différente, proche du Réel lacanien, qui se distingue à la fois du « monde » et de la « réalité ». Le réel prend chez Virginia Woolf la forme du « world seen without a self » qui pose la question de l’effacement de la subjectivité et suppose la vision spectrale d’un paysage qui excède les cadres traditionnels de la perception humaine, de la fiction et de la langue. Cette étude s’attache à explorer les modalités d’infiguration d’un réel qui ne fait pas monde dans l’ensemble de la fiction de Virginia Woolf (romans et nouvelles) : il s’agit d’évaluer ses stratégies d’écriture pour pallier l’inadéquation et la faillite d’un langage qui, saturé de significations arbitraires et pris au piège d’un réseau métaphorique et syntaxique, perd toute fonction référentielle et tourne à vide. Ce travail réévalue les écarts de la fiction de Woolf, « clocheries » qui dérangent la critique et qui pourtant ne cessent de resurgir et de trahir un réel inaccessible qui, comme un secret, ne peut se dire qu’en restant bien gardéMy thesis investigates Virginia Woolf’s endeavours to represent a reality different from “what it is convenient to call reality”, a reality that resembles the Lacanian concept of the Real, and that needs to be distinguished from both “world” and “reality”. Such a notion finds its way in Woolf’s writing as the “world seen without a self”, which addresses the issue of erasing the self and escaping subjectivity and posits the paradoxical possibility of a spectral vision that would witness a landscape beyond the traditional borders of human perception, fiction, and language. My analysis therefore explores the process of infigurating a real that resists becoming a world in Woolf’s novels and short fiction: my aim is to assess Woolf’s writing strategies in order to make up for the inadequacy and failure of language – a language buried in layers of arbitrary meaning, trapped in a metaphorical and syntactical web, so much so that it has lost all power to point to a referent and that it rings hollow. I attempt to re-evaluate the gaps of Woolf’s fiction, the odd parts that disturb critics yet keep creeping up, betraying a real both out of bounds and out of reach. Like a secret, it can only be said by being kept
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Schabbach, Virgínia Maria. "Virginia Woolf, apropriação e dramaturgia : um procedimento de escrita textual para o teatro." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142644.
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Esta pesquisa investiga a construção do texto dramatúrgico Virginias, sobre a vida da escritora inglesa Virginia Woolf, que utilizou como metodologia de escrita o procedimento de apropriação, em que a obra e os diários pessoais da escritora foram fraturados pelo recorte e pela posterior colagem destes intertextos na nova criação. O trabalho articula os estudos sobre citação e apropriação de Antoine Compagnon, Affonso Romano de Sant’Anna, Kenneth Goldsmith e Marjorie Perloff, percebendo o procedimento como uma prática que tem a pós-modernidade como influência. A pesquisa utiliza como aportes teóricos sobre a condição pós-moderna, os autores Jean-François Lyotard e Linda Hutcheon e Cecília Salles sobre a gênese criativa.This research investigates the construction of the play Virginias, about the life of English writer Virginia Woolf, which used as writing methodology the procedure of appropriation. This procedure consisted in fracturing the writer’s work and diaries by cutting them out and then pasting the pieces of intertext together in a new creation. The work articulates the studies about quotation and appropriation of Antoine Compagnon, Affonso Romano de Sant’Anna, Kenneth Goldsmith and Marjorie Perloff, and perceives the procedure as a practice that has postmodernity as influence. The research has as theoretical background about the postmodern condition the authors Jean-François Lyotard and Linda Hutcheon and Cecília Salles about creative genesis.
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Vézina, Anne-Marie. "La femme dans l'oeuvre de Colette et de Virginia Woolf /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65916.
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Dale-Jones, Barbara. "An examination of dreams and visions in the novels of Virginia Woolf." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002266.
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This thesis explores the importance of the visionary experience in five novels by Virginia Woolf. In her fiction, Woolf portrays the phenomenal world as constantly changing and she uses the cycles of nature and the passing of time as a terrifying backdrop against which the mutability and transience of human life are set. Faced with the inevitability of change and the fact of mortality, the individual seeks moments of permanence. These stand in opposition to flux and lead to the experience of a visionary intensity. Woolf's presentation of time as a qualitative phenomenon and her stress on the importance of memory as a function which allows for the intermingling of past and present make possible the narrative rendering of moments which contradict perpetual change and the rigours of sequential time. Moments of stillness 'occur in the midst of and in spite of process and allow for individual contact with an experience that defies the relentless progression of time. Necessary for this experience is not only memory but also the imagination, a faculty which has the power to perceive patterns of harmony in the midst of the chaos that characterises the phenomenal realm. Fundamental to Woolf's writing, however, is the acknowledgement that visions are fleeting, as are the glimpses of meaning that emerge from them. Therefore, while several of her novels describe the artistic effort to create a structured order as a defense against change, Woolf uses the artist's struggle as a metaphor for the difficulties attached to describing the enigma that is life. None of her artist figures is able to formulate a construction that either sums up life or provides a permanence of vision. This study presents a chronological examination of the novels in order to demonstrate that the changing forms of Woolf's fiction trace the evolution of a style that accurately portrays both the workings of the human mind and the insubstantial and fragmentary nature of life. The chronology also reveals that her novels develop in terms of their presentations of the visionary experience. Woolf's final novel incorporates into its central vision the paradoxical fact of the permanence of time's progression and acknowledges that, beyond the individually mutable life, is a continuum that links pre-history to the future. This notion, which is explored in part in the earlier novels, but developed completely in Between the Acts, suggests that consolation can be found in the greater cycles of existence despite the fact of individual mortality.
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Skrbic, Nena. "A sense of freedom : a study of Virginia Woolf's short fiction." Thesis, University of Hull, 2000. http://hydra.hull.ac.uk/resources/hull:4637.
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Reviron, Floriane. "Virginia Woolf et Lytton Strachey ou la révolution biographique." Saint-Etienne, 2000. http://www.theses.fr/2000STET2059.
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La "nouvelle biographie" telle que la conçurent Virginia Woolf et Lytton Strachey dans les années 1910-1940 s'inscrivit en réaction à la biographie victorienne. A travers une étude de la vie et des écrits de jeunesse de Woolf et de Strachey, il s'agit de démontrer que pour ces deux auteurs, vie et écriture étaient intimement liées, ce qui explique leur engouement pour l’"écriture de la vie". Woolf baigna toute son enfance dans une atmosphère intellectuelle et érudite et s'interrogea très tôt sur les différentes manières de mettre la vie en mots. Strachey vint à la biographie après des études d'histoire. La "nouvelle biographie" fut aussi le fruit de leur amitié et de l'émulation qu'il y avait entre eux. Leurs oeuvres se répondent et doivent être lues comme un long dialogue entre leurs auteurs. Toute révolution étant un départ par rapport à une norme antérieure, il convient d'étudier les modalités de la biographie victorienne dont la "nouvelle biographie" s'inspira ou qu'elle rejeta. La "nouvelle biographie" fut une biographie "moderne" : l'avènement de la psychanalyse et le "post-impressionnisme" modifièrent les représentations de la vie et du sujet, ce qui eut des incidences fondamentales sur l'art du portrait littéraire. Il ne s'agit pas de faire l'amalgame entre Strachey et Woolf dont les oeuvres restent différentes. Si l'on a attribué à Strachey la première biographie "moderne" grâce à Eminent Victorians en 1918, il faut restituer à Woolf la place de pionnière qu'elle mérite : bien avant Strachey elle explorait déjà la biographie sur un mode fictionnel et remit en question les valeurs victoriennes et la biographie traditionnelle de manière plus fondamentale que lui
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Le, Bail Anne-Sophie. "Poétique et épistémologie de la sensation dans les nouvelles de Virginia Woolf." Paris 7, 2005. http://www.theses.fr/2005PA070076.
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Cette thèse aura pour objet de travailler sur le genre littéraire qu'est la nouvelle dans l'œuvre de Virginia Woolf et étudiera le degré d'interaction entre ces textes et le contexte scientifique, philosophique et artistique de l'époque. Nous nous intéresserons plus particulièrement au post-impressionnisme tel que Roger Fry l'envisageait dans ses théories ainsi qu'au post-empirisme de Bertrand Russell dont l'épistémologie constituera la grille d'analyse de cette thèse. Tout en mettant ces hypothèses à l'épreuve de la micro-lecture, nous envisagerons trois aspects distincts dans ce travail de recherche : la perception et représentation de l'espace, du temps et de la matière. Puisque ces notions ont subi des bouleversements au tournant des 19eme et 20eme siècles, il nous a paru pertinent de les confronter aux nouvelles de Woolf. Ainsi, notre démarche vise à redéfinir ce que représente le Modernisme littéraire de Woolf à la lumière du contexte historique dans lequel les textes ont été produitsIn this research, we will scrutinize Virginia Woolf s short stories and their interaction with the philosophical, scientific and artistic context in which they were written. We will focus on Roger Fry's post-impressionism and Bertrand Russell's post-empiricism and epistemology, the latter corresponding to our grid of analysis throughout this research. Since there were major paradigm shifts at the turn of the 19th and 20th centuries as far as space, time and matter are concerned, we will examine how these three aspects of reality are regarded and represented throughout Woolf’ s short stories. A close reading of thé texts should enable us to assess the relevance of our hypotheses. Thus, Woolf s literary Modernism will be reconsidered in the light of the historica context in which they were written
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Marsaleix, Nadège. "L'inscription du genre dans l'oeuvre de fiction de Virginia Woolf." Paris 3, 2001. http://www.theses.fr/2001PA030120.
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La question du genre est ici abordée à partir de trois angles d'approche. Ce n'est que dans les années 1980 que l'émergence du genre en tant que concept d'analyse critique regroupant à la fois le féminin et le masculin consacra des changements radicaux au sein de la recherche. Plutôt que de s'en tenir à la question du pouvoir d'un sexe sur l'autre, il a été préférable, dans le premier mouvement de cette étude, où le genre est analysé comme empreinte sociale et culturelle, de réfléchir aux pouvoirs spécifiques de l'un et de l'autre. Le propos est de démonter les rouages qui permettent la transformation de l'arbitraire culturel en arbitraire prétendument naturel. Le deuxième champ d'inverstigation suit la trajectoire et l'évolution du discours féminin de Woolf qui, en se livrant à une quête linguistique et en cherchant une langue autre pour dire la réalité du féminin, a su tisser une cosmogonie féminine rendant hommage à la position excentrée et néanmoins centrale des femmes. .The gender issue is addressed here from three different angles. It was only in the 1980s that gender became an analytical concept encompassing both sexes, which brought radical changes in the field of textual politics. In the first phase of this study, where gender is definde as a social and a cultural construct, the purpose is, rather than to analyse the power of one sex over the other, to consider instead the powers shared by each sex while showing how a cultural norm can subtly be turned into a so-called natural one. The second part deals with the evolution of Woolf's feminine discourse. As she engages in a linguitic quest and seeks to find another language to inscribe women's existence into her texts, she manages to create a felinine cosmogony, thus paying tribute to women'eccentric though central position. .
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Ducros, Geneviève. "Les figures du Baroque dans l'œuvre romanesque de Virginia Woolf." Montpellier 3, 2003. http://www.theses.fr/2003MON30010.
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Voussaris, Athanase. "Conscience et vision poétique chez H. De Balzac et W. Woolf." Paris 4, 1996. http://www.theses.fr/1995PA040281.
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Partant des effets de sens produits par deux œuvres ressortissant à des esthétiques différentes, celles d'H. De Balzac et de V. Woolf, nous avons essayé de voir à quel élargissement est soumise la notion du muthos qu'élabore Aristote dans sa poétique. Il s'agissait notamment d'examiner les rapports du caractère (et par là du personnage) à l'action dramatique et de dégager les conditions essentielles à l'exercice de l'activité poétique et qui fondent son intelligibilité même. Nous avons insisté sur le fait que l'action dramatique est, du point de vue du personnage, de l'ordre du pâtir : l'action ne doit pas être comprise comme une extériorisation de la moralité du personnage, mais comme un universel qui seul permet de comprendre l'individuel. La question du temps est d'importance ici et à un double aspect : nous avons insisté sur le déploiement de l'activité poétique dans le temps et avons tenu la lecture pour une seconde création de l'œuvre. D'un autre côté, l'intemporalité de l'œuvre que la poétique thématise par la notion de vision simultanée repose sur la manière dont l'aperception de l'œuvre se mue en compréhension : celle-ci est indépendante du mouvement de la lecture tout comme, selon Aristote, l'aperception de l'action dramatique est indépendante de sa représentation théâtraleThe starting point of this study is the sense produced by two works relevant to different aesthetics: Balzac’s and Woolf’s. We tried first to envisage how far we could extend the muthos notion of Aristotle’s poetics. Specifically, we examined the relationship between character (in both meanings of personality and personage) and dramatic action, and identified the essential conditions of poetry, the very ground of its intelligibility. We emphasized the fact that, from the character's point of view, dramatic action is a matter of passion: action should not be meant as a character's display, but as a universal, the only way to understand the individual. Here, the important question of time is twofold: we insisted on the time required by poetic activity, and viewed reading as the work's second creation. On the other hand, the work's timelessness conceptualized by Aristotle’s poetics as a simultaneous vision resides in that the analytic reading of the work is converted into a synthetic understanding: the latter is independent of the eye's movement; in the same way Aristotle says the perception of dramatic action is independent of its theatre performance
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Ginfray, Denise. "Identité et création : le masculin et le féminin dans l'oeuvre de Virginia Woolf." Bordeaux 3, 1996. http://www.theses.fr/1996BOR30002.
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Cette étude se propose de montrer comment l'oeuvre fictionnelle de Virginia Woolf, dans laquelle s'inscrit la crise de la modernité, pose avec force un double questionnement : celui du sujet confronté à son identité – et plus précisément son identité de genre – et celui du geste créateur. La première partie consacrée à la réalité diégétique analyse la subversion des codes culturels et des paradigmes sexuels ; insiste sur les fractures de l'être et l'échec de toute forme d'échange – verbal ou affectif ; souligne les modalités du travail de création dans lequel se joue également la différence sexuelle. La seconde partie exclusivement centrée sur l'objet-texte rend compte de la manière dont Virginia Woolf déconstruit les modes traditionnels de représentation, mettant ainsi en cause un discours idéologique et normatif reposant sur la répression de l'altérité. L'exploration des stratégies énonciatives s'emploie à définir l'esthétique woolfienne fondée sur la pratique intertextuelle, la fragmentation, le rejet des conformismes bourgeois, afin de privilégier l'hétérogénéité et l'ambiguité. Enfin, cette étude tente de tracer le portrait de l'artiste selon Virginia Woolf, de mettre à jour le désir – comme manque d'où procède l'art en général, l'écriture en particulier et d'esquisser les enjeux de la création : une quête perpétuelle de l'identité et de la complétude, un besoin insatiable de l'autreThis study aims to show how Virginia Woolf's work, confronted to the modernist crisis, is structured around a dialectics between identity – and more precisely gender identity – and artistic creation. The first part of the analysis focuses on the subversion of cultural codes and sexual paradigma ; on the split in the characters' consciousness, on the failure of verbal and emotional communication. The stress is also laid on sexual difference at work in the creative process. The second part, exclusively devoted to the text as artefact, brings to light Virginia Woolf's disruption of conventional modes of representation – a means to put into question an ideological and normative discourse based on the repression of otherness. The exploration of the narrative and discursive strategies helps to clarify the nature of Virginia Woolf's aesthetics founded on the interrelationship between literary works, linear and causal discontinuity, the rejection of bourgeois conformity, as well as on the introduction of heterogeneity and ambiguity. Finally, this study tries to draw a portrait of the woolfian artist, to bring out the desire-as-lack which creation proceeds from, and to determine the finality of any work of art at large, of writing in particular : a perpetual quest for identity and wholeness, an insatiable yearning for the other
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Pollentier, Caroline. "L'invention de la communauté : esthétique et politique de l'ordinaire dans les essais de Virginia Woolf." Paris 7, 2011. http://www.theses.fr/2011PA070079.
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Notre thèse propose de dégager une esthétique de l'ordinaire dans les essais de Virginia Woolf. De la figure du lecteur ordinaire au motif de la flânerie en ville, l'ordinaire n'opère pas de la même manière dans l'espace discursif de l'essai que dans l'espace représentationnel du roman. Rétive à l'éthos conventionnel du middlebrow, la démocratie de l'ordinaire mise en place par Woolf participe d'une diction polémique, en prise directe avec une sphère culturelle élargie. En prenant soin de replacer ce corpus dans son contexte culturel, critique et esthétique, notre travail envisage tout d'abord l'ordinaire comme une construction culturelle, ancrée dans une mémoire de l'essai. L'ordinaire est ensuite replacé au cœur d'un discours critique, fondé sur les potentialités d'une expérience « inesthétique ». Nous nous concentrons enfin sur l'utopisme anti-utopique de Woolf, afin de cerner les promesses communautaires de son attention à l'infimeOur thesis proposes to highlight an aesthetics of the ordinary in the essays of Virginia Woolf. From the figure of the common reader to the motif urban flânerie, the ordinary does not operate in the same way in the discursive space of the essay as in the representational space of the novel. Pitting itself against middlebrow conventions, Woolf s democracy of the ordinary is part of a polemical diction rooted in the cultural sphere. By replacing this corpus within its cultural, critical and aesthetic context, our analysis first focuses on the ordinary as a cultural construct, embedded in a memory of the essay form. The ordinary is then considered as a critical construct, based on the potential of an "unaesthetic" experience. Our last chapter examines Woolf s utopian anti-utopianism, in order to grasp the communal impulse at work in her attention to ordinary traces
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Toth, Naomi. "L' écriture vive : une phénoménologie de la perception selon Virginia Woolf et Nathalie Sarraute." Paris 10, 2012. http://www.theses.fr/2012PA100131.
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Virginia Woolf et Nathalie Sarraute définissent l’objet de la littérature comme étant la saisie de la « vie », quête qui implique un renouvellement profond des modalités de la perception solidaires de la forme littéraire. Ainsi leur écriture invite à une confrontation avec les concepts phénoménologiques de la perception, tels l’intentionnalité, la chair, et les rapports entre visible et invisible, qui conditionnent le statut du sujet et du savoir chez Husserl et dans leur réélaboration par Merleau-Ponty. Lire les représentations de la perception chez Woolf et chez Sarraute avec la phénoménologie permet d’interroger ces mêmes concepts, et éclaire la spécificité de leur pensée littéraire de la perception. Rejetant l’opposition entre le sujet et l’objet ainsi qu’un rapport positiviste au visible, leur œuvre, tant au niveau des essais que des romans, décrit plutôt le désir d’un régime perceptif caractérisé par le contact avec le monde, et représente le sujet comme seuil ou interface. Ce contact est pourtant toujours différé, dépassé d’un côté par la représentation de la « vie » comme élément immanent en excès, et travaillé par les puissances du négatif inhérentes au pathos de la perception que les deux auteurs explorent de l’autre. Ainsi toute unité du corps et du moment présent sont chez elles fragmentées. La « vie » qu’elles recherchent s’avère dès lors l’effet aussi bien que l’objet de l’écriture. L’écriture vive, dans leur pensée littéraire de la perception, aboutit de façon singulière pour chacune, à ce que l'on peut nommer une phénoménologie de l'invisibleVirginia Woolf and Nathalie Sarraute define the task of literature as the capture of ‘life’, a quest which involves a profound renewal of the modes of perception indissociable from literary form. This calls for a reading of their work with phenomenological conceptions of perception as developed by Edmund Husserl and Maurice Merleau-Ponty, and in particular, intentionality, the ‘flesh’, and the relationship between the visible and the invisible, all of which are linked to the foundation of knowledge and the status of the subject in this philosophical tradition. Reading Woolf and Sarraute’s representation of perception alongside phenomenology allows for its interrogation, and throws into relief the specificity of their literary conceptions of perception. Eschewing subject-object dichotomies and the totalisation of the visible, their fiction manifests the desire for a perceptive regime characterised by contact with the world, in which the subject is represented as a threshold. However, the moment of contact is forever differed in their work, as it is surpassed on the one hand by the representation of ‘life’ as an immanent element in excess of such contact, and affected by the negativity inherent in the pathos of perception on the other. The unity of the body and the present moment is thereby fragmented, and their texts attribute to writing itself the task of creating the ‘life’ literature seeks. Virginia Woolf and Nathalie Sarraute’s work can therefore be read as two different, highly original, literary explorations of a phenomenology of the invisible
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Clissold, Bradley. "Recovering the common sense of high modernism : embodied cognition and the novels of Joyce, Faulkner, and Woolf." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36895.
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This thesis argues that the popular characterization of high modernist fiction as esoteric, elitist, uncommunicative, and far too difficult for the common reader obscures the democratic principles at the heart of modernist experimentation and its poetics of difficulty. Recent theories of embodied cognition when applied to representative examples of high modernist novels help dispel the myth of inaccessibility and reveal the many ways in which these works actually accommodate the common reader. Once the stigma of inaccessibility is removed from the study of modernist novels, it becomes possible to see how their formal experiments with language as well as the themes and issues they contain operate for readers and writers alike as a means of exploring everyday cognitive activities and responses. To this end, the concept of cognitive dissonance provides a heuristic device for understanding what lies behind the motivations of writers who aestheticise experiences of dissonance in their texts and the responses of readers who confront these texts. This cognitive approach to modern literature challenges assumptions about high modernism's "uncompromising intellectuality" and replaces them with a view of modernism that is more accessible and inclusive without diminishing its radical difficulty. It also paves the way for new readings of highly canonical modernist fiction. For instance, I examine how James Joyce places "inscribed" readers into Ulysses to guide actual readers through some of the difficulties of the novel. I then read William Faulkner's The Sound and the Fury as a novel that both thematises and formally resists the modern threat of behaviouristic human conditioning. Finally, I look at how the theme and form of Virginia Woolf's Mrs. Dalloway reinforce the embodied equation of dissonance with illness and incompletion.
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Griffin, Lisa Myfanwy. "'Imperfect adumbrations' : boys, men, and masculinities in the work of Virginia Woolf." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11907.
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This thesis will suggest how Woolf scholarship's rich exploration of Virginia Woolf's representations of girls, women and femininities may be complemented by more systematic feminist study of constructs of masculinities, as they appear in her work. Elaborating the concept of the ‘private brother', the figure of a form of maleness that the daughters of educated men ‘have reason to respect', but that Three Guineas' narrator stipulates is ‘sunk' by men's exposure to society and replaced by the ‘monstrous male', my thesis will focus particularly on the representations of boys, men and masculinities in To the Lighthouse, Between the Acts and Woolf's biography Roger Fry, though I will additionally use material from Woolf's essays, diaries and letters, as well as from Mrs Dalloway, The Years and The Pargiters. The first section of my thesis will supplement feminist critiques of the education received by upper-middle-class English boys in Woolf's texts by exploring her representations of young male (inter)subjectivities in the process of being ‘sunk.' In the second section, I will complicate the narrative trajectories often indicated for these characters in Woolf criticism by proposing that Woolf understood this sinking process as always incomplete: I will argue that Woolf's adult male characters, even her patriarchs, professors and otherwise educated men, vacillate continually between stances that might be characterised as monstrous maleness and private brotherliness–in both ‘public' and intimate settings–as one of the preconditions of social existence.
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Scanlan, Jill. "Playing the audience: A reader's production of Between the Acts." CSUSB ScholarWorks, 1986. https://scholarworks.lib.csusb.edu/etd-project/419.
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Bzdigian, Quintana Maral. "Beyond the fringe: a hidden pattern in Mrs. Dalloway's : moments of being." Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/115355.
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Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura InglesaAs human beings, we are in constant awareness of our past and memories. We tend to attach significance to life events, places and people that make up our lives. Remembering a memory allows us to relieve that moment once again, nevertheless it never evokes the same feelings that the original did. Moreover we are not able to remember everything, but unconsciously, we retain specific moments in our mind. Aware of all of this, Virginia Woolf wrote “A sketch of the past” published in “Moments of being”, A Collection of Autobiographical Writings. In this work, Woolf tells us about her early years, and she describes and introduces people and places that build her life. She feels so connected to these situations, that she made them part of her memory. But she also discusses that certain things may get remembered, while others simply fade away. Because of this, she says that she does not control these moments and in the same way that she kept them in her memory, they came to her present reality, making her feel powerless. Although all of these descriptions Woolf never gives an accurate definition of “moments of being”, instead she asserts that these episodes of “ecstasy” are “embedded in a kind of nondescript cotton wool” (Woolf, ‘Sketch’72) forgotten in the everyday life were “a great part of every day is not lived consciously” (Woolf, ‘Sketch’70). These moments are called “moments of non-being”. Moments of being can be related to a moment of evocation, as they reveal something beneath the “cotton wool”.
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Pedroso, Júnior Neurivaldo Campos. "Literatura e pintura : correspondências interartísticas em Passeio ao Farol, de Virginia Woolf." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/37308.
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A comparação entre as artes é um topois tão antigo em nossa cultura que remonta a aurora da civilização. Uma re-leitura atenta da História da Arte pode verificar que tão comum quanto as comparações eram as tentativas de se sistematizar uma escala hierárquica artística. Pretendemos nesta tese, propor uma revisão histórica que não apenas busque observar a forma como eram realizadas as correspondências interartísticas mas que vise também, com o olhar atento do presente, discutir a atualidade de teorias comumente empregadas ao longo da comparação entre as artes e, mais precisamente, as comparações entre Literatura e Pintura. A reflexão centrada na construção das imagens – no plano da narrativa tanto quanto no plano da pintura – assume singular importância para a pesquisa interartística, na medida em que funciona como ponto de convergência bem como de divergência entre aquelas duas artes. As discussões sobre a construção das imagens levam-nos, também, a uma outra problemática inerente aos estudos interartes, que é a leitura de imagens literárias e pictóricas. Ainda na esteira da revisão histórica, serão discutidas nesta tese as modificações ocorridas pela expressão Ut pictura poesis (Poesia é como pintura) , de Horácio, expressão esta que durante séculos designou os estudos comparativos entre Literatura e Pintura. A observação horaciana sobre a correspondência entre as artes permite-nos erigir uma discussão centrada na questão da representação e na passagem da mimesis à semiosis. O objetivo principal dessa tese é o de estabelecer e analisar a correspondência entre Literatura e Pintura no romance Passeio ao farol, de Virginia Woolf, para isso, procuraremos, inicialmente, demonstrar a importância da participação no Grupo de Bloomsbury – um dos grupos criativos mais importante do modernismo inglês - para a construção do projeto estético da escritora, considerando que o contato com pintores e críticos de arte proporcionou material importante para que Virginia Woolf promovesse a interlocução de seus romances com as Artes Plásticas. A análise mais pontual do romance Passeio ao farol estará calcada na relação que este mantém com as técnicas e métodos do Impressionismo e Pós-impressionismo pictórico.The comparison of the arts is a topois so ancient in our culture that remounts to the dawn of the civilization. A carefull re-reading of the History of Art may verify that as common than the comparisons were the attempts to systematize an artistic hierarchical scale. We intend in this thesis to propose a historical review that does not only search to observe the form how were realized the interartistic correspondences but that also aims, with the attentive view of the present, to discuss the present of the theories commonly used along the comparison between the arts and, more precisely, the comparisons between Literature and Painting. The reflexion centrered in the constructions of images – in the plan of the narrative and in the plan of the painting – assumes singular importance to the interartistic research because it works as a point of convergence as well as divergence between those two arts. The discussions about the constructions of images take us, also, to another problematic concerning to the interarts studies, that is the reading of literary and pictorical images. Still in the path of the historical review, Will be discussed in this thesis the modifications occured by the expression Ut pictura poesis (Poetry is like painting), of Horacio, expression that centuries designed the comparative studies between Literature and Painting. The horacian observation about the correspondence between the arts allows us to erect a discussion centrered into the questiono f the representation and in the passage from mimesis to semiosis. The main objective of this thesis is to establish and analyze the correspondence between Literature and Painting in the novel To the lighthouse, of Virginia Woolf, for that pourpose, we intend, initialy, to demonstrate the importance of the participation in the Bloomsbury Group – one of the most creative groups of the english modernism – to the construction of the aesthetic Project of Virginia Woolf, considering that the contact with painters and art critics provided important material to Virginia Woolf to promote the interphrase of her novels with the Plastic Arts. The more ponctual analyze of To the lighthouse will be treated on the relation that this novel maintains with the thechniques and methods of the pictorical Impressionism and Posimpressionism.
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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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Besnault-Levita, Anne. "L'ellipse dans les nouvelles de Katherine Mansfield, de Virginia Woolf et d'Elisabeth Bowen." Paris 3, 1996. http://www.theses.fr/1997PA030003.
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Qu'elle que soit la finesse de sa maille, le texte litteraire est, a l'image du tissu, toujours ajoure, lacunaire: aussi l'inexprimable a-t-il toujours cotoye l'exprime en litterature. Il faut cependant attendre l'epoque romantique, puis moderne, pour que le non-dit, si ce n'est le silence, devienne la clef d'une formulation consciente de l'oeuvre ouverte et le signe vide d'une lutte necessaire contre l'inevitabilite du langage. En refusant de saturer l'etendue de la page blanche, les collected stories de mansfield, de woolf et de bowen temoignent d'abord de cette resistance progressive de l'ecriture a l'absorption du sens. Mais le manque est au coeur de l'esthetique de la nouvelle avant meme d'y etre deliberement integre. Se situant par definition entre la necessite de dire et la necessite de taire, associant limite et finitude, temps bref et poetique de l'ephemere, manque et disparition, les nouvelles du corpus suggerent ainsi l'adequation entre un genre elliptique et une esthetique qui tente de transmettre la vision d'un monde nouveau, interieur et fragmentaire. L'exploration des composantes strategiques des textes (commencements, univers fictif, structure, effets rhetoriques et poetiques, fins), selon un parcours conduisant de la problematique du genre a celle de l'enonciation, de l'ellipse comme signe plein a l'ellipse comme ouverture sur le vide, permet d'autre part de mettre en evidence l'essentielle "tension" sur laquelle se fondent la nouvelle en general, et la nouvelle moderniste en particulier. Faisant du manque l'une des conditions de la construction du sujet et du sens, les oeuvres etudiees oscillent ainsi entre genericite et a-genericite, contraintes de la brievete et ouverture du fragment, competence narrative et charge metaphorique, poetique de l'intensite et esthetique de la disparition. Indiquant l'indicible, l'ellipse en reserve le devoilement, reconciliant ainsi dans ses replis le tout et le rien, le discours et le silenceHowever dense and wrought out it may be, the literary text cannot but be incomplete : the unsaid has therefore always been inscribed in fiction and literature. It is only with the advent of romanticism and, later on, of modernism, though, that the unsaid, if not silence, has become one of the key figures of a conscious formulation of the open text, as well as the empty sign referring to the necessary struggle against the inevitability of language. By refusing to fill in the blanks, the collected stories of mansfield, woolf and bowen first manifest this gradual resistance of writing to the absorption of meaning. But gaps and blanks are part of the aesthetics of the short story before they are deliberately inscribed in the texts. In so far as they hesitate, by definition, between the written and the unwriteable, and associate their own limits with the idea of limitation, their concision with an ephemeral duration and the unspoken with the unspeakable, the short stories studied here emphasize the affinities existing between an elliptic genre and the modern aesthetics of fragmentation, incompleteness and indecision. Leading from the problems of genre to the issue of utterance, from the analysis of ellipsis as a rhetorical instrument to the discovery of the depths of silence, the exploration of the texts' essential components (beginnings, diegesis, structure, rhetorical and poetical effects, endings) then sets forth the fundamental "tension" on which the short story is based. The short fictions of this corpus thus vacillate between the displaying of generic and non-generic features, between their narrative function and a metaphorical dimension, between a poetics of intensity and the abyss of absence. Pinpointing the unspeakable while veiling revelation, ellipsis finally appears to reconcile silence and discourse in the text's recesses
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Alverne, Larissa Arruda Aguiar. "A morte e o real na literatura de Virginia Woolf." reponame:Repositório Institucional da UFC, 2017. http://www.repositorio.ufc.br/handle/riufc/22957.
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ALVERNE, Larissa Arruda Aguiar. A morte e o real na literatura de Virginia Woolf. 2017. 121f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Psicologia, Fortaleza (CE), 2017.Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-05-31T15:32:52Z No. of bitstreams: 1 2017_dis_laaalverne.pdf: 2021216 bytes, checksum: 0b65855e0f50ba8370bbb71c3e8bc307 (MD5)
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This work analyzes the relation between the death and the Real in psychosis, by using the novels To the Lighthouse and Mrs. Dalloway from the english writer Virgina Woolf. One has studied the psychoanalytical theory from Sigmund Freud to understand the category of death, reaching as far as Jacques Lacan and his theory of Real in psychosis. The life of Virgina Woolf was investigated through her diaries and biographies, leading to realize that the death of several loved ones was extremely significant to her, which seems to remain as trace in her life work. Since death was what emerged from the Real that distressed her the most, to write about death as one of the names of the Real seemed to act as an elaboration intermission in the face of an existence fated to meet that whic is from the category of meaningless. The two novels were studied in order to understand how death emerges in her writing, in the story’s fabric, in the character’s creation, in the story’s making, among other aspects. The research allowed one to understand how the relation between death and the Real appears in psychosis and, in particular, to analyze the possibilities of elaboration to Woolf, through her writing and in the face of the encounter with the Real, that weren’t her complete submission to the deadly elements of the Real.
Trata-se de analisar a relação entre a morte e o real nas psicoses, utilizando os romances Ao Farol e Mrs. Dalloway da escritora inglesa Virginia Woolf. Recorreu-se à teoria psicanalítica desde Sigmund Freud para compreender-se a categoria da morte, chegando até Jacques Lacan e sua teoria sobre o real nas psicoses. Investigou-se sobre a vida de Virginia Woolf a partir de diários e biografias da autora e percebeu-se que as mortes de diversos entes queridos foram-lhe extremamente marcantes, o que pareceu restar como marca em sua obra literária. Dado que a morte era aquilo que do real emergia que mais lhe causava angustia, escrever sobre a morte enquanto um dos nomes do real parecia agir como um intervalo de elaboração frente a uma existência fadada ao encontro com o que é da ordem do sem sentido. Exploraram-se os dois citados romances no intuito de compreender de que forma a morte emerge em sua escrita, na tessitura narrativa, na construção dos personagens, na elaboração do enredo, entre outros aspectos. A pesquisa permitiu relacionar como a morte e o real surgem na categoria das psicoses e, particularmente, analisar as possibilidades de elaboração para Woolf, via escrita, frente ao encontro com o real, que não fossem um total assujeitamento aos elementos mortíferos desse real.
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Alfaro, Pumarino Manuel Lautaro. "Traces of a tyger: the literary archetype of madness in Virginia Woolf's Mrs. Dalloway." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109954.
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Virginia Woolf in Mrs Dalloway, through Clarissa Dalloway’s and other parallel stories,
presents us with the situation of Septimus Warren Smith, a war hero who suffers shell-shock
and that due to his apparent madness is victim of constant threats from two physicians who
want to put him away because of his mental crises. He, in an attempt to preserve his soul
from the terrible embrace of human nature, decides to kill himself before he is arrested.
Taking into account this information, the topic of this thesis will be the treatment of madness
in Mrs Dalloway, understanding the figure of the mad person as a literary archetype which is
repeated with some consistency in English Literature, from classical to contemporary texts.
The main focus will be the development of the figure of Septimus as a visionary poet,
a modernist figure analogous to William Blake who, with his visionary poetic/pictorial work,
drew the paths to the following romantic company. A comparison will be drawn between the
two poets taking into account the evolution of the visionary poet from its pre-romantic sphere
to the modernist shadow of a mad person, showing that madness suffers transformations
from the ancient Greece to modernist times. One of the sub-topics will be the conception of
nature in contrast to human nature, and how they seem to be components of a dichotomy
that cannot be dissolved.
My intention is to work on madness as a literary archetype, along with an examination
of the mad person within the context of a modernist novel where it is manifest in the figure
of the visionary poet. I will try to see how this has changed from the Platonic perspective
of divine madness to the segregation and punishment of the Classic Epoch, and finally to
our modern(ist) sensibility. Tentatively, the social apprehension towards the mad person
would affect its characterisation in Mrs Dalloway, in which a post-war fragmented society
is presented.
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Galbiati, Maria Alessandra [UNESP]. "O processo de revisão e reescrita em Melymbrosia e The voyage out, de Virginia Woolf." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/99135.
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galbiati_ma_me_sjrp.pdf: 761552 bytes, checksum: bc41402ea93ebfc4ee1b035547567ee6 (MD5)O presente trabalho focaliza o processo de composição de The Voyage Out (1915), o primeiro romance de Virginia Woolf. Este percurso demorado e conturbado caracteriza-se pelas várias interrupções geradas por crises emocionais e pelo trabalho intenso de revisão e reescrita da autora. Por conta disso, há muitos pré-textos (manuscritos, fragmentos inacabados, cópias datilografadas), chamados pela crítica de “rascunhos”. Um deles é Melymbrosia, o “romanceensaio” terminado em julho de 1912, editado por Louise DeSalvo e publicado nos Estados Unidos apenas em 1982. Para atingirmos nosso objetivo, extraímos trechos, indicadores das preocupações político-sociais da escritora, de Melymbrosia e os compararmos com The Voyage Out. A partir da constatação de alterações formais e conteudísticas entre os livros, verifica-se a forte tendência da autora em modificar/atualizar seu texto em função dos acontecimentos históricos durante o período de escrita do romance. Com isso, observa-se também a forma distinta com que Virginia construiu suas personagens – coerentes com a realidade social de sua época – em relação com os outros elementos constitutivos da narrativa e, assim, identificam-se os comportamentos, valores e pensamento ideológico da sociedade britânica no início do século XX. Por isso, entende-se que o processo de revisão e reescrita de The Voyage Out, é, de fato, um movimento de “re-visão”, de “re-criação”, pois a presença do olhar crítico de Virginia e a sua percepção da realidade reavaliam o contexto sócio-histórico britânico, revelando-se elementos fundamentais no processo de composição de sua obra como um todo.
This dissertation focuses on the process of composition of Virginia Woolf’s first novel, The Voyage Out (1915). This lengthy and problematic journey is characterized by several interruptions resulting from psychological crises and by the author’s intense work of revising and rewriting. Because of this there are many pre-texts (manuscripts, unfinished fragments and typed copies), described as “drafts” by the critics. One of these is Melymbrosia, the “novel-essay” completed in July 1912, edited by Louise DeSalvo only published in the U.S.A. in 1982. In order to realize our objectives excerpts indicative of the writer’s social and political concerns were taken from Melymbrosia and were compared with The Voyage Out. Based upon the formal and content modifications it was possible to confirm the author’s strong tendency to alter/update her text according to the historical facts and events during the period of composition. In addition, it was also possible to observe the distinct way in which Virginia Woolf constructed her characters – consistent with the social reality of the historical moment – in relation to the other narrative elements, thus identifying behavior, values and ideological thought of British society in the early 20th century. The process of revision and rewriting of The Voyage Out may therefore be understood to be a movement of “re-vision”, of “re-creation”, since Virginia Woolf’s critical vision and her perception of reality re-evaluate the British social and historical context, and become essential elements in the process of composition of her literary work as a whole.
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McIntyre, John 1966. "Modernism for a small planet : diminishing global space in the locales of Conrad, Joyce, and Woolf." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38232.
Full textAbstract:
This dissertation situates literary modernism in the context of a nascent form of globalization. Before it could be fully acknowledged global encroachment was, by virtue of its novelty, repeatedly experienced as a kind of shattering or disintegration. Through an examination of three modernist novels, I argue that a general modernist preoccupation with space both expresses and occludes anxieties over a globe which suddenly seemed to be too small and too undifferentiated. Building upon recent critical work that has begun to historicize modernist understandings of space, I address the as yet under-appreciated ways in which globalism and its discontents informed all of the locales that modernist fictions variously inhabited. For Joseph Conrad, James Joyce, and Virginia Woolf, the responses to global change were as diverse as the spaces through which they were inflected.I begin by identifying a modernist predilection for spatial metaphors. This rhetorical touchstone has, from New Criticism onward, been so sedimented within critical responses to the era that modernism's interest in global space has itself frequently been diminished. In my readings of Conrad's Heart of Darkness, Joyce's Ulysses, and Woolf's To the Lighthouse, I argue that the signs of globalization are ubiquitous across modernism. As Conrad repeats and contests New Imperialist constructions of Africa as a vanishing space, that continent becomes the stage for his anxieties over a newly diminished globe. For Joyce, Dublin's conflicted status as both provincial capital and colonial metropolis makes that city the perfect site in which to worry over those recent world-wide developments. Finally, I argue that for Woolf, it is the domestic space which serves best to register and resist the ominous signs of global incursion. In conclusion, I suggest that modernism's anticipatory attention to globalization makes the putative break between that earlier era and postmodernity---itself often predicated upon spatial compression---all the more difficult to maintain.