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Moellwald, Marina Cabeda Egger. "As tensões temporais em Mrs Dalloway". Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/89450.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em LiteraturaMade available in DSpace on 2012-10-22T21:09:59Z (GMT). No. of bitstreams: 1 226781.pdf: 792003 bytes, checksum: f581798af4952603fb38561e380fb3b1 (MD5)
Esta dissertação analisa as tensões temporais vividas por dois personagens de um dos romances de Virginia Woolf, Mrs Dalloway. Na narrativa, Septimus Warren Smith e Clarissa Dalloway são marcados por três temporalidades distintas - histórica, cronológica e afetiva. A temporalidade histórica refere-se especificamente ao acontecimento da Primeira Guerra Mundial e às suas conseqüências; a cronológica, à sonoridade do Big Ben como força producente do hábito e a afetiva, ao funcionamento da memória como acesso ao tempo qualitativo da durée. As tensões de ambos os personagens advêm de suas experiências singulares e, portanto, conectam-se à temporalidade do afeto. A trajetória de Septimus resulta em uma tensão específica com a temporalidade histórica e a de Clarissa, com a temporalidade cronológica. Os principais teóricos utilizados para a abordagem das noções de tempo, e que possibilitaram a construção das análises referentes ao percurso dos personagens, são André Comte-Sponville, Walter Benjamin, Georg Simmel e Henri Bergson.
2
Ginesi, Kirsten A. "Virginia Woolf and cinema : adaptations of 'Mrs Dalloway'". Thesis, Sheffield Hallam University, 2011. http://shura.shu.ac.uk/19689/.
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This thesis proposes a return to the issue of fidelity criticism in adaptation studies through a detailed consideration of the adaptations of Virginia Woolf's Mrs Dalloway (1925). Within adaptation studies the issue of fidelity and the role of the source novel have been relegated to the sidelines in response to a logophilic prejudice which dominated early studies, and as a consequence intertextuality and genre have become more pronounced. I redress this negation of the source text, theorising new ways of conceiving of the source-adaptation relationship. I explicitly focus upon source-associated intertextualities to illustrate how a return to fidelity can open up a plethora of readings rather than close them down. In doing so the importance of the source text is foregrounded, as it is through the source that these intertexts are introduced, whilst demonstrating that two seemingly exclusive approaches to adaptation can be married in what I term a "web of intertextuality".I develop Gerard Genette's theory of stylistic imitation in order to theorise how an adaptation may develop a relationship with its source based on rhetoric, or style. I consider how Marleen Gorris'Mrs Dalloway (1997) adapts Woolfs literary impressionism through the use of the visual (editing and framing) as well as the aural, including the verbal (voice-over) and the non-verbal (the scored soundtrack). My analysis of The Hours, both Michael Cunningham's novel (1998) and Stephen Daldry's film (2002), examines how both texts develop a stylistic relationship with Woolfs novel through the presence of other Woolf intertexts such as her fiction (The Waves), her literary criticism ("Mr Bennett and Mrs Brown"), as well as her autobiographical writings. I address the diverse nature of intertextuality as I analyse alternative intertexts such as the cultural iconicity of Virginia Woolf and the figure of the hysteric. I consider how the merging of fiction, biography and cultural iconicity influences adaptation and its critical reception, promoting an on-going dialogue across the multiple texts present. The thesis found that a reclamation of the source novel and a return to fidelity produced a new means of conceiving of adaptation that incorporated both the source text and intertextuality which, through the web of intertextuality, presented an open, non-linear and potentially limitless way of reading adaptation.
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Pittman, L. Monique. "Virginia Woolf's "Mrs Dalloway": Interpretation, Knowledge and Power". W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625829.
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Skareng, Isabelle. ""It is all rhythm" : En stilanalys av Mrs Dalloway". Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-253915.
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Chan, Big-yu Cindy y 陳碧瑜. "Virginia Woolf's To the lighthouse, Mrs Dalloway and Orlando". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952550.
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Lee, Chi-kwan Anita. "From Mrs. Dalloway to The hours : bisexuality/bitextuality and ècriture fèminine /". View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B3160268X.
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Lee, Chi-kwan Anita. "From Mrs. Dalloway to The Hours bisexuality/bitextuality and écriture féminine /". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/HKUTO/record/B38628764.
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Lee, Chi-kwan Anita y 李至君. "From Mrs. Dalloway to The Hours: bisexuality/bitextuality and écriture féminine". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B38628764.
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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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Johansen-Halsaunet, Rikke. "Androgynitet og bevissthetsstrøm : Virginia Woolfs Mrs Dalloway og Orlando fra roman til film". Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for språk og litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-26540.
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Denne oppgaven er en tekst- og adaptasjonsanalyse av to romaner av Virginia Woolf, Mrs Dalloway og Orlando, med vekt på transformasjonene fra litterært verk til film. Prosjektet undersøker hva som skjer når disse tekstuniversene blir transponert til kunstneriske billed/lyd-utrykk, og gjør med dette en komparativ analyse av romanforelegget i forhold til filmversjonen. Med utgangspunkt i en påstand om at modernistiske verker vanskelig lar seg transponere til andre medier, undersøker oppgaven hvilke grep som er blitt gjort i disse filmatiseringene. Fokuset ligger på å finne ut hvilke filmatiske hovedgrep som er blitt tatt i bruk, for å fremstille Woolfs fiksjonsuniverser. Målet med studien er å undersøke om det oppstår en meningsendring i de filmatiske ekvivalentene til foreleggene. I tillegg blir det gjort tekstanalyser av romanene, som undersøker deres språk, stil, tone og tema. Siden det er verker av Virginia Woolf som blir undersøkt, er det særlig interessant å konsentrere seg om typiske «woolfske» kompositorisk-stilistiske grep. Tekstanalysen av Mrs Dalloway tar for seg Woolfs bruk av «stream of consciousness»-teknikken for å fremstille indre tankemonologer hos karakterene. Dette er også hovedfokuset i filmanalysen, som tar for seg de filmatiske virkemidlene for å fremstille indre tale hos karakterene og hvordan filmen greier å erstatte romanens indre diskurs ved bruk av audio-visuelle virkemidler. I tekstanalysen av Orlando ligger fokuset på tematikken og sjangerkonvensjoner. Romanens ukonvensjonelle forhold til protagonistens kjønn og alder, samt dens tilknytning til Woolfs relasjon med Vita Sackville-West, blir belyst både i tekstanalysen og i filmanalysen. I transponeringen til filmmediet er det interessant og studere hvordan romanens ironi og parodi kommer til utrykk.
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Xu, Tao. "Capturing the Epiphany of Time - A Bergsonian Reading of Virginia Woolf's Mrs Dalloway". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24024.
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Vitor, Ana Luísa Ferreira Miranda. "Mrs Dalloway and The hours in the book and film: an intertextual analysis". Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/12551.
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Mestrado em Línguas, Literaturas e Culturas - Estudos InglesesThis dissertation aims to analyse two narratives: Virginia Woolf’s Mrs Dalloway (1924) and Michael Cunningham’s The Hours (1998), along with the film adaptations that resulted from the novels. This study will outline the shift of women’s roles throughout the 20th century and also the development of a liberal sexual identity.
A presente dissertação propõe analisar duas narrativas: Mrs Dalloway de Virginia Woolf (1924) e The Hours (1998) de Michael Cunningham, juntamente com as adaptações cinematográficas de ambos os livros. Este estudo irá incidir na progressão do papel da mulher ao longo do século XX e na compreensão do desenvolvimento da liberdade sexual.
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Silva, Carlos Augusto Viana da. "Mrs. Dalloway e a reescritura de Virginia Woolf na literatura e no cinema". Programa de Pós-Graduação em Letras e Lingüística da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/11212.
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Esta tese investiga a reescritura do universo literário de Virginia Woolf para a literatura e para o cinema, por meio da observação das reescrituras do romance Mrs. Dalloway (1925): o filme Sra. Dalloway (1997), de Marleen Gorris; o livro As Horas (1998), de Michael Cunningham; e o filme As Horas (2002), de Stephen Daldry. Partimos da hipótese de que as narrativas reescritoras são mais tradicionais, têm novo arranjo linear e não seguem uma tendência vanguardista, devido, principalmente, ao estilo dos tradutores. Para comprovarmos tal hipótese, analisamos algumas estratégias de tradução, empregadas na criação de imagens de Woolf para os novos públicos, levantando, em cada narrativa, questões gerais sobre o enredo e a construção do tempo e do espaço. As estratégias observadas, no filme Sra. Dalloway, foram as seguintes: linearidade (organização narrativa), flashback, voice-over e montagem. No filme As Horas as estratégias foram as seguintes: delineação do enredo (criação de três histórias paralelas), continuidade de elementos imagéticos (montagem), silêncio e expressões dos atores/atrizes e múltiplas perspectivas. A análise levou-nos a concluir que essas narrativas têm formatos próprios (como arranjo linear particular) e não seguem a tendência vanguardista do texto de Woolf, devido às questões inerentes ao meio cinematográfico (ampliação de público, criação de narrativas lineares, influência da narrativa clássica hollywoodiana, etc), mas, principalmente, devido ao estilo e concepção de criação dos próprios tradutores. A análise fundamenta-se na idéia de reescritura de Lefevere (1992), como um tipo de tradução, na concepção de tradução dos Estudos Descritivos de Toury (1995) e da teoria dos polissistemas de Even-Zohar (1990) e em alguns estudos que tratam da relação literatura e cinema, tais como Bordwell (1985), Vanoye & Goliot-Lété (1994), Aumont et al (1995) e Cruz (1997).
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SILVA, Carlos Augusto Viana. "Mrs. Dalloway e a reescritura de Virginia Woolf na literatura e no cinema". Universidade Federal da Bahia, 2007. http://www.repositorio.ufc.br/handle/riufc/19128.
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SILVA, Carlos Augusto Viana da. Mrs. Dalloway e a reescritura de Virginia Woolf na literatura e no cinema. 2007. 242f. - Tese (Doutorado) - Universidade Federal da Bahia, Instituto de Letras, Programa de Pós-graduação em Letras e Linguística, Salvador (BA), 2007.Submitted by anizia almeida (aniziaalmeida80@gmail.com) on 2016-07-27T18:35:01Z No. of bitstreams: 1 2007_tese_cavdasilva.pdf: 4459786 bytes, checksum: 0d5ee6a2e39d0afc3bff06cbd7f106eb (MD5)
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This dissertion investigates the rewrinting of Virginia Woolf's literary universe to literature and to film, through the analusis of the rewritings of the novel Mrs. Dalloway (1925): the film Mrs. Dalloway (1998), directed by Marleen Gorris, the novel the hours (1998), by Michael Cunningham, and the film The hours (2002), directed by Stephen Daldry. Our hypothesis is that the rewriting narratives are more tradicional, i.e. they have a new lineae arrangement and do not follow an avant-garde tendency due, mainly, to their translators- style. In order to confirm such hypothesis, we have analyzed some translation strategies, used in the creation of Woolf's imagery to new audiences. In each narrative, general questions on plot and on the construction of time and space have been taken into account. The strategies obser ed in the film Mrs. Dalloway were the following: linearity (narrative organization), flashback, voice-over, and montage; in the film The hours, the fllowing strategies have been investigated: delineation of plot (the cration of three parallel stories), continuity of image elements (montage), silence and actors/actress's expressions, and multiple perspectives. The analysis led us to conclude that these narratives have theeir own format (with a particular linear arrangement) ando do not follow the avant-garde tendency of Woolf's novel due not only to the questions inherent in the conematographic medium (the increase of the audience, the creation of linear narratives, influenced by the classic Hollywoodian narratives, etc), but also to the translators' style and conception of cration. The anlysis is basec on lefevere1s idea of reweiting as a soft of translation (1992); on the conception of translation in Toury's Descriptive Studies (1995), on Even-Zohar's polysystem theory; and on some studies that deal with the relationship between literature and cinema such as Bordwell (1985), Vanoye & Gollliot-Lété (1994), Aumont et al (1995) and Cruz (1997).
Esta tese investiga a reescritura do universo literário de Virgínia Woolf para a literatura e para o cinema, por meio da observação das reescrituras do romance Mrs. Dalloway (1925): o filme Sra. Dalloway (1997), de Marleen Gorris; o livro As horas (1998), de Michael Cunningham. e o filme As horas (2002), de Stephen Daldry. Partimos da hipótese de que as narrativas reescritoras são mais tradicionais, têm novo arranjo linear e não seguem uma tendência vanguardista, devido, principalmente, ao estilo dos tradutores. Para comprovarmos tal hipótese, analisamos algumas estrategias de tradução, empregadas na criação de imagens de Woolf para os novos públicos, levantando, em cada narrativa, questões gerais sobre o enredo e a construção do tempo e do espaço. As estratégias observadas, no filme Sra. Dalloway, foram as seguintes: linearidade (organização narrativa), flashback, voice-over e montagem. No filme As horas as estratégias forma as seguintes: delineação do enredo (criação de três histórias paralelas), continuidade de elementos imagéticos (montagem), silêncio e expressões dos atores/atrizes e múltiplas perspectivas. A análise levou-nos a concluir que essas narrativas tem formatos próprios (como arranjo linear particular) e não seguem a tendência vanguardista do texto de Woolf, devido às questões inerentes ao meio cinematográfico (ampliação de público, criação de narrativas lineares, influencia de narrativa clássica hollywoodiana, etc), mas principalmente, devido ao estilo e concepção de criação dos próprios tradutores. A análise fundamenta-se na ideia de reescritura de lefevere (1992), como um tipo de tradução, na concepção de tradução dos Estados Descritivos de Toury (1995) e da teoria dos polissistemas de Even-Zohar (1990) e em alguns estudos que tratam da relação literatura e cinema, tais como Bordwell (1985), Vanoye & Goliot-Lété (1994), Aumont et al (1995) e Cruz (1997)
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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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Holland, Anya B. "Blurring boundaries issues of gender, madness, and identity in Libby Larsen's opera 'mrs. Dalloway' /". Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1122913675.
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Thesis (Master of Music)--University of Cincinnati 2005.Title from electronic thesis title page (viewed Mar. 3, 2006). Includes abstract. Keywords: Larsen, Libby; feminist criticism; feminist musicology; American opera; Woolf, Virginia; literary criticism. Includes bibliographical references.
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McDonald, Jessica J. "(In)sane dissolution of illusion trauma, boundary, and recovery in Virginia Woolf's Mrs. Dalloway /". Diss., Connect to the thesis, 2006. http://hdl.handle.net/10066/637.
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Jussila, P. (Pauli). "Transtextuality in Michael Cunningham’s The Hours with relation to Mrs. Dalloway by Virginia Woolf". Master's thesis, University of Oulu, 2013. http://urn.fi/URN:NBN:fi:oulu-201306111597.
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This thesis examines the ways in which Michael Cunningham’s novel The Hours (1998) alludes to Virginia Woolf’s novel Mrs. Dalloway (1925) and to two of her essays, the emphasis being on Mrs. Dalloway. Cunningham’s novel consists of three separate stories, one of which is a rendition of Woolf’s novel, another one a story on Virginia Woolf at the time of writing Mrs. Dalloway¸ and the third one a story about an unhappy housewife named Laura Brown, who is reading Mrs. Dalloway. The main body of the theoretical framework for the thesis is based on Gerard Genette’s book Palimpsests and more precisely, on his theories on transtextuality. The first part of the analysis on Cunningham’s novel is based on Genette’s categorization of transtextual phenomena. The latter part of the analysis examines how the reader’s response to Mrs. Dalloway might be affected by the reading of Cunningham’s novel. In the second part the theoretical background consists mainly of Wolfgang Iser’s theories on reader reception and on Julia Kristeva’s book Dialogue, Word and the Novel that discusses the dialogical nature of the novel. The analysis reveals that Cunningham’s novel utilizes all of the categories of transtextuality in various ways to refer back to Woolf’s novel and her essays. Namely, there are similarities in the content as well as the stylistic features between Cunningham’s novel and Woolf’s works. The analysis also shows that Cunningham has made some transformations in referring to the writings of Virginia Woolf. The second part of the analysis shows that difference in context might also affect the way a contemporary reader reacts to Mrs Dalloway having read Cunningham’s novel before Woolf’s. In his novel Cunningham refers also to the writing process of Mrs. Dalloway and to a fictional character’s response to Mrs. Dalloway. These aspects are bound to affect on the way a reader reacts to Mrs. Dalloway as wellPro gradu -työssäni tutkin tapoja, joilla Michael Cunninghamin romaani The Hours (1998) viittaa Virginia Woolfin romaaniin Mrs. Dalloway (1925) ja Woolfin esseisiin. Tarkastelussa keskitytään enimmäkseen viittauksiin, jotka littyvät mainittuun romaaniin. Cunninghamin romaani koostuu kolmesta tarinasta, jotka kuvaavat kolmea eri naista kolmena eri aikana ja kahdessa eri maassa. Yksi näistä tarinoista on käytännössä modernisoitu versio Mrs. Dallowaysta. Toinen tarinoista puolestaan kuvaa Virginia Woolfin elämää Mrs. Dallowayn kirjoittamisen aikaan, ja kolmas onnetonta kotirouvaa Laura Brownia, joka lukee Mrs. Dallowayta. Analyysin teoreettisena lähtökohtana on Gerard Genetten teos Palimpsests, jossa Genette käsittelee luomaansa transtekstuaalisuuden käsitettä. Genette jakaa transtekstuaalisuuden edelleen viiteen alakategoriaan ja analyysini perustuukin tähän jaotteluun. Työssäni tarkastelen lisäksi sitä, miten Cunninghamin romaanin lukeminen voi muuttaa Woolfin romaanin lukukokemusta. Jälkimmäisen tutkimuskohteen teoreettisena lähtökohtana toimivat Wolfgang Iserin reseptioteoria sekä Julia Kristevan teos Word, Dialogue and the Novel, joka käsittelee romaanin dialogista luonnetta. Cunninghamin romaanin analyysi paljastaa että hän käyttää kaikkia Genetten esittelemiä kategorioita Woolfin romaaniin ja esseisiin viitatessaan. Samankaltaisuuksia löytyy niin sisällöstä kuin tyyliseikoistakin. Tämän lisäksi Cunningham viittauksissa Woolfin teksteihin on nähtävissä muutoksia, osittain kontekstista, ja osittain erilaisesta maailmankatsomuksesta johtuen. Nämä seikat saattavat myös vaikuttaa siihen, miten lukijan kokemus Mrs. Dallowaysta muuttuu, jos hän on lukenut Cunninghamin romaanin ennen Woolfin romaaniin tarttumista. Lisäksi se, että Cunninghamin romaanissa käsitellään sekä Mrs. Dallowayn kirjoittamista Virginia Woolfin näkökulmasta, että romaanin lukijassa aiheuttamia reaktioita Laura Brownin kautta, voi vaikuttaa siihen miten lukija suhtautuu Mrs. Dallowayhin
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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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HOLLAND, ANYA B. "BLURRING BOUNDARIES: ISSUES OF GENDER, MADNESS, AND IDENTITY IN LIBBY LARSEN'S OPERA 'MRS. DALLOWAY'". University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1122913675.
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Horning, Juliana Camargo. "A melancolia na arte - da literatura para o cinema. Análise da transposição de Mrs. Dalloway, de V. Woolf, para o filme As Horas". Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/10191.
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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do
grau de Mestre em Ciências da Comunicação – Comunicação e ArteA transposição de um regime semiótico a outro, do literário ao cinematográfico, em narrativas que se recontam e complementam: Esta é a temática deste trabalho. Para demonstrar o intercruzamento, a intercalação entre literatura e cinema, utiliza-se a obra de Virginia Woolf, Mrs. Dalloway, e uma faceta da história de vida da escritora, retratada na obra As Horas, livro escrito por Michael Cunningham, o qual embasa o filme de mesmo nome, dirigido por Stephen Daldry. São textos em outros textos, narrativas desdobradas em outras narrativas, histórias ficcionais baseadas em uma personagem real. De Virginia parte-se para uma de suas mais reconhecidas produções, Mrs. Dalloway, a qual servirá de elo para a fundamentação de As Horas. A passagem da escrita para a imagem recria personagens e histórias, elucida-os de uma outra maneira, mas sempre conservando a narrativa primeira e acrescentando nesta elementos e sujeitos que auxiliam na apresentação da escritora, da sua obra e possíveis desdobramentos, colocados em situações, pessoas e épocas diferenciadas. O tempo, então, funde-se e harmoniza-se em uma coisa só, transpondo barreiras na intenção de recriar um universo vivido por Virginia Woolf e também por mais duas personagens, em outras décadas, sob a influência de uma outra sociedade e costume, mas que mesmo assim resguardam a essência da melancolia, da infelicidade velada, do desejo de ser aquilo que já se foi no passado, de viver plenamente ou de perseguir um sonho em outro contexto, em outro espaço, composto por diferentes pessoas. Em Mrs. Dalloway, a personagem Clarissa Dalloway representa a narrativa primeira que será ligada a de Septimus Warren Smith, ex-combatente da Primeira Guerra Mundial, visionário tal como Virginia Woolf, sofredor dos mesmos males, incompreendidos por aqueles que estavam próximos e também pela sociedade da época. Laura Brown, Clarissa Vaughan, Richard, todos constituintes da trama de As Horas, atualizam, recontam, realizam o desdobramento da narrativa de Mrs. Dalloway, de Virginia Woolf, ao passo em que se complementam e se unem, mesmo com o passar dos anos e em situações e locais diferenciados. A transposição de gêneros, de tramas, de enredos é a tônica fundamental do trabalho, assim como seu intuito é apresentar a passagem da literatura para o cinema, em suas coincidências, elos, interligações e mutações, porém, mantendo e apresentando a fundamentação, as origens seguidas e produzidas a partir de Virginia Woolf, por meio de sua vida e obra.
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Silva, Isaías Eliseu da [UNESP]. "O moderno e o contemporâneo: um estudo de Mrs. Dalloway, de Virginia Woolf e Saturday, de Ian McEwan". Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154387.
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Ecos de Mrs. Dalloway, de Virginia Woolf, reverberam no romance Saturday, de Ian McEwan, publicado oitenta anos após o primeiro, e esta tese propõe uma análise sobre os textos ficcionais referidos a fim de expor a medida em que, dadas as semelhanças entre uma narrativa e outra, diferem-se o contexto histórico, as preocupações das personagens e as técnicas narrativas utilizadas no romance de Woolf e no de McEwan. Ambos os romances ambientam-se em Londres, têm o enredo circunscrito no limite de um dia e utilizam-se de acontecimentos históricos como pano de fundo para as narrativas. Mrs. Dalloway é motivado pelos efeitos provocados pela Primeira Guerra Mundial sobre a sociedade inglesa no início do século XX e Saturday baseia-se nas consequências dos ataques terroristas de 2001 às torres do World Trade Center nos Estados Unidos para apresentar uma narrativa que trata do modo de vida contemporâneo em uma metrópole europeia. Busca-se apontar as categorias do moderno em Mrs. Dalloway e do contemporâneo em Saturday, a partir de um referencial teórico que inclui Calinescu e Berman sobre a modernidade, Bell e Innes sobre o Modernismo, Elias e Schollhammer sobre a literatura contemporânea e Lyotard e Bauman sobre os fundamentos do presente histórico.
Echoes of Mrs. Dalloway, by Virginia Woolf, reverberate in Saturday, a novel by Ian McEwan, published eighty years after the first one, and this thesis proposes an analysis on the referred fictional texts to show to what extent, given the similarities between one narrative and the other, the historical context, the characters’ worries, and the narrative techniques are different in Woolf’s and McEwan’s novels. Both stories are set in London, have their plots circumscribed into the limit of a day, and take historical facts as the background for their narratives. Mrs. Dalloway is motivated by the effects of World War I on the English society in the beginning of the 20th century, and Saturday is based on the consequences of the terrorist attacks in 2001 on the World Trade Center towers in The United States to present a narrative that deals with the contemporary way of life in a European metropolis. The aim of the research is to point out the categories of the modern in Mrs. Dalloway and of the contemporary in Saturday, from a theoretical reference that includes Calinescu and Berman about modernity, Bell and Innes about Modernism, Elias and Schollhammer about contemporary literature, Lyotard and Bauman about the basis of the historical present.
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Scaramuzza, Filho Mauro. "Evocação poético-visual na literatura performática de Virginia Woolf, em Mrs. Dalloway e Kew Gardens". reponame:Repositório Institucional da UFPR, 2017. http://hdl.handle.net/1884/47958.
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Orientadora : Profa. Dra. Célia Arns de MirandaTese (doutorado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 30/03/2017
Inclui referências : f.210-227
Área de concentração : Estudos Literários
Resumo: A tese discute a escrita literária performática de Virginia Woolf (1882-1941) em Mrs. Dalloway (1925) e Kew Gardens (1919). Focaliza a presença da transgressão como vocalização e fragmentação verbo-visual na narrativa woolfiana. A prosa lírica de Woolf proporciona identificar a disposição de letras, palavras e sentenças arranjados como peças de um jogo poético-visual que desarticula a linguagem convencional. Esses segmentos instigam a percepção do leitor-espectador, desafiando-o a uma performance no ato de sua decodificação ou da tentativa de efetuá-la. No esfacelamento das estruturas linguísticas, presentes na ficção da escritora e das formas de transposição de contextos, argumentamos em favor de sua associação com os conceitos da literatura e da pintura. De modo análogo ao Cubismo, a prosa woolfiana apresenta a sobreposição de planos e o recurso técnico da colagem que contempla a desarticulação da linguagem verbal como reflexão a respeito do cotidiano. As relações intertextuais presentes na prosa de Virginia Woolf incorporam um complexo sistema de referências e dialogam tanto com a obra de William Shakespeare quanto com a linguagem de propaganda e com as referências vertidas da pintura cubista. Dentro dessa visão, propomos uma leitura das relações entre as artes literárias e pictóricas. Esse fenômeno entre mídias ocorre em um momento em que literatura e pintura sugerem uma provocação ao leitor-espectador, a partir de um influxo de transgressão dos seus valores estéticos convencionais, que evocam os textos impressos e a tipografia. Para o substrato teórico, a tese assenta-se sobre a visão de intertextualidade segundo Julia Kristeva, Roland Barthes e Gérard Genette; os estudos de intermidialidade, conforme Irina Rajewsky e Claus Clüver e os postulados sobre a performance literária, de Paul Zumthor. PALAVRAS-CHAVE: Virginia Woolf. Cubismo. Performance literária. Intertextualidade. Intermidialidade.
Abstract: The dissertation discusses the literary performative writing of Virginia Woolf (1882-1941) in Mrs. Dalloway (1925) and Kew Gardens (1919). It focalizes the presence of transgression as vocalization and verbal and visual fragmentation in woolfian narrative. Woolf's lyrical prose offers the identification of the letters arrangement, the words and sentences with the pieces organized as the elements of a poetic and visual game that disarticulate the conventional language. These segments instigate the reader/espectator's perception, challenging him to a performance in the act of its decodification or its try to conclusion. In the slicing of linguistic structures, and the transsection of contexts, present in the writer's fiction, we argument in favor of its association with the concepts of literature and painting. In an analogous way to Cubism, the woolfian prose presents the juxtaposition of plans and the technique source of collage, which contemplates the disarticulation of the verbal language as a reflexion about the trivial. The intertextual relations present in Virginia Woolf's prose incorporates an intricate complex of references and dialog with William Shakespeare's production, and also in relation to the publicity's language, and from the cubist painting's references in literature. According to this view, we propose a reading interpretation of the literary arts and painting. This phaenomenon occurs in a moment in which both media suggest a provocative challenge to the reader/espectator, after an influxus of transgression in its conventional aesthetic values that evokes the press texts and letterpressing. As the theoretical embasement, the argumentation rests over Julia Kristeva's, Roland Barthes' and Gérard Genette's view of intertextuality; Irina Rajewsky's and Claus Clüver's intermedia studies, and the literary performance concepts of Paul Zumthor. KEYWORDS: Virginia Woolf. Cubism. Literary performance. Intertextuality. Intermediality.
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Koivunen, Johanna. "Room for Thought: Privacy and the Private Home in Mrs Dalloway and To the Lighthouse". Thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-113159.
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Modernism is often connected to the public sphere due to its associations with urbanity and technological changes. But interiority and private life was as important to modernity and, in particular, in Virginia Woolf’s writing. This essay explores the protagonists’ access to and experience of privacy in Woolf’s novels To the Lighthouse (1927) and Mrs Dalloway (1925), which both centre on women in a domestic environment. The reading combines modernist reactions against Victorian domesticity, which was structured on the private/public dichotomy and which limited women’s access to privacy, and combines it with modernist views of interiority, informed, more specifically, by Freud’s model of the unconscious and the spatial features of it. Privacy and interiority are imagined with spatial metaphors, but privacy is not necessarily connected to physical place and being alone, but rather having the ability to control the social situation and to choose what one reveals about oneself. Both novels re-imagine privacy and its ties to physical as well as mental space. This essay argues that To the Lighthouse is centred on a traditional Victorian home which reflects how its protagonist experiences interior privacy, and Mrs Dalloway explores a more modern domesticity that challenges Victorian organisation of the home and in turn, women’s access to privacy and solitude. With modernity public life was made available for women to a larger extent, but just as public life is coded by power relations, so is private life, which determines what sort of life could be lived by, for example, women.
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Brandt, Sheldon. "Commemoration and the Great War: The Return of the Soldier, the Unknown Soldier and Mrs. Dalloway". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104840.
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Criticism on Great War memorialisation typically argues one of two things: that monuments were erected as authentic expressions of grief or that monuments were erected for political purposes. This study attempts to reconcile these diverging views by exploring the effects of Great War propaganda and memorialisation on individual consciousness. This study is particularly concerned with the genesis of the nation—or imagined community—and how traditions, monuments, and cultural symbols construct Englishness during and after the Great War. Ideology transforms individuals into national subjects. The trauma of twentieth-century warfare—millions of men were killed and millions more were physically and psychologically maimed—challenged the ideologies that construct the nation and control the individual. The three novels included in this study represent characters whose war experiences call into question the ideology of the nation; because of the war, these characters become alienated from the English community. In Rebecca West's The Return of the Soldier (1918), Chris Baldry returns home with shell-shock induced amnesia and refuses to perform his masculine roles as husband and soldier. In Vernon Bartlett's The Unknown Soldier (1930), a soldier believes the nation does not exist and that patriotism imposes illusory divisions among men. In Virginia Woolf's Mrs. Dalloway (1925), post-war memorialisation constructs a community of mourners. For Woolf, individuals must separate themselves from the ideology of the community, which glorifies the war dead, in order to engage in authentic grief work. These texts highlight the ways people responded to the trauma of the Great War and the ways the nation assimilated or rejected particular narratives.Les théories à propos de la commémoration de la première guerre mondiale soutiennent généralement l'une des deux choses suivantes: soit que les monuments ont été érigés en tant qu'expressions authentiques du deuil, ou encore que l'érection de ces monuments s'est faite selon des visées politiques. Cette étude a pour but de réconcilier ces visions opposées en explorant les effets de la propagande et de la commémoration de la première guerre mondiale sur la conscience individuelle. Cette étude s'intéresse particulièrement à la genèse du concept de nation—ou de communauté imaginée—ainsi que sur la manière dont les traditions, les monuments et les symboles culturels ont contribué à la construction de l'identité anglaise pendant la première guerre mondiale et après. L'idéologie transforme les individus en sujets nationaux. Le trauma induit par cette guerre—des millions d'hommes mutilés physiquement et psychologiquement—a remis en cause les idéologies qui fondent la nation et contrôlent l'individu. Les trois nouvelles incluses dans la présente étude présentent des personnages ayant refusé l'idéologie de la nation, de par leurs expériences de guerre; en raison de celles-ci, ces personnages ont été exclus de la communauté anglaise. Dans The Return of the Soldier (1918), de Rebecca West, Chris Baldry revient à la maison avec une amnésie liée à un traumatisme et refuse de s'acquitter de son rôle d'homme en tant que mari et soldat. Dans The Unknown Soldier (1930), de Vernon Bartlett, un soldat croit que la nation n'existe pas et que le patriotisme impose des divisions illusoires entre les hommes. Dans Mrs. Dalloway (1925) de Virginia Woolf, les commémorations de l'après-guerre transforment la population, menant à une communauté en deuil. Selon Woolf, les individus doivent se détacher de l'idéologie de la communauté, qui glorifie la mort en contexte de guerre, s'ils veulent s'engager dans un réel processus de deuil. Ces textes mettent donc en lumière les façons dont les gens réagissent face au trauma de la première guerre mondiale ainsi que les façons dont la nation assimile ou rejette certains individus.
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Graebin, Franciele. "As quatro traduções de Mrs. Dalloway de Virginia Woolf para o português do Brasil : aspectos estilísticos". reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21607.
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Dissertação (mestrado)—Universidade de Brasília, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016.Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-09-06T16:03:26Z No. of bitstreams: 1 2016_FrancieleGraebin.pdf: 1361912 bytes, checksum: 8f690e3bee4a87856692c941f5e05e8c (MD5)
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Em 2012, as obras de Virgínia Woolf (1882-1941) entraram em domínio público, o que aparentemente incentivou o surgimento de novas traduções no Brasil, sendo que Mrs. Dalloway (1925) recebeu três novas traduções neste mesmo ano. Nesta dissertação serão analisadas quatro traduções brasileiras para o português de Mrs. Dalloway que serão comparadas com a obra correspondente em inglês. As traduções consideradas são as seguintes: a tradução de Mário Quintana publicada em 1946 (editora Globo, Porto Alegre), e as traduções publicadas em 2012, realizadas por Denise Bottmann (editora LP&M, Porto Alegre, 2012), Tomaz Tadeu (editora Autêntica, Belo Horizonte, 2012) e Claudio Alves Marcondes (editora Cosac Naify, São Paulo, 2013). A teoria dos polissistemas (EVEN-ZOHAR, 1990; TOURY, 1995; BASSNETT, 1993, 2002) e o esquema de descrição de tradução literária de José Lambert e Hendrik Van Gorp (1985) servirão de base para realizar a comparação da obra em inglês e as quatro traduções correspondentes em português. A partir da análise proposta pelo esquema, será possível observar diferenças e também semelhanças nas escolhas dos tradutores no que diz respeito aos aspectos específicos da estilística da obra Mrs. Dalloway de Woolf. Esses aspectos conduzem o ritmo da escrita de Woolf e são as rimas, repetições, aliterações e a pontuação. O esquema de descrição de tradução literária de Lambert e Van Gorp (1985) propõe a análise de cada tradução em quatro etapas: dados preliminares, macroestrutura, microestrutura e contexto sistêmico. Serão consideradas entrevistas e declarações dos tradutores no processo de análise das traduções. Pôde-se perceber que as quatro traduções são diferentes quanto aos aspectos editoriais, porém não tanto em relação a tentativa dos quatro tradutores de aproximar-se da escrita poética de Woolf, o que ficou mais evidente nas traduções de Bottmann, Tadeu e Marcondes. Quintana, cuja tradução foi a primeira, tomou decisões que são menos alinhadas com o texto de partida, principalmente porque tende a modificar alguns aspectos da obra Mrs. Dalloway, tais como a pontuação e as repetições de palavras. _________________________________________________________________________________________________ ABSTRACT
In 2012, the works of Virginia Woolf (1882-1941) entered the public domain, which apparently encouraged the emergence of new translations in Brazil, and Mrs. Dalloway received three new translations in this year. In this Master’s thesis, four Brazilian translations of Mrs. Dalloway into Portuguese will be compared to the corresponding work in English. The translations considered will be the following ones: by Mario Quintana published in 1946 (Editora Globo, Porto Alegre), and the translations published in 2012, rendered by Denise Bottmann (L&PM, Porto Alegre, 2012), Tomaz Tadeu (Autêntica, Belo Horizonte, 2012), and Claudio Alves Marcondes (Cosac Naify, São Paulo, 2013). The Polyssistems theory (EVENZOHAR, 1990; TOURY, 1995; BASSNETT, 1993, 2002) and the theoretical scheme for translation description outlined by José Lambert and Hendrik Van Gorp (1985) will be the basis to make the comparison of the work in English and its four corresponding translations in Portuguese. From the analysis proposed by that scheme, it will be possible to observe differences and also similarities in the choices of translators in respect with specific stylistic aspects of Woolf’s Mrs. Dalloway. These aspects include rhymes, repetitions, alliterations and the deliberate use of punctuation which settle the rhythm of Woolf´s writing. The scheme for translation description by Lambert and Van Gorp (1985) proposes the analysis of each translation in four levels: preliminary data, macro-level, micro-level and systemic context. Interviews and statements by translators will be considered in the translation process analysis. It was possible to observe that the four translations are different in terms of editorial features, but not so much in relation to the four translators’ attempt to get closer to Virginia Woolf’s poetic writing, what was more evident in the translations of Bottmann, Tadeu, and Marcondes. Quintana, whose translation was the first one, took decisions which are less aligned with the source text, mainly because he tends to modify some aspects of Mrs. Dalloway, such as the punctuation and the repetition of words.
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Whatmore, Petra. ""That mysterious thing..." : family concept in 'The Forsyte saga', 'To the lighthouse', 'Mrs. Dalloway' and 'Ulysses' /". Tübingen : Stauffenburg verl, 2001. http://catalogue.bnf.fr/ark:/12148/cb392247128.
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Pereira, Fernanda Mota. "Memórias de vi(n)das nos tempos de Mrs. Dalloway e meu amigo Marcel Proust romance". Programa de Pós-Graduação em Letras e Lingüística da UFBA, 2007. http://www.repositorio.ufba.br/ri/handle/ri/10967.
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Este estudo tem como tema a memória em sua relação com as configurações e reconfigurações do sujeito estético, em especial, dos protagonistas, nos romances Mrs. Dalloway, de Virginia Woolf, e Meu Amigo Marcel Proust Romance, de Judith Grossmann. A partir desse eixo, ou seja, a memória subjetiva, enfocada no primeiro capítulo, foram abordadas duas outras categorias de memória, que compõem dois capítulos da dissertação, a saber, a cultural e a de leituras. Categorias que foram discutidas separadamente apenas por uma questão didática, uma vez que elas se entrecruzam no processo de constituição da subjetividade. No tocante ao sujeito, nesta dissertação, optou-se por estudá-lo no âmbito estético, embora, em alguns momentos, desconsiderando o recorte da pesquisa, tenham sido tecidas breves considerações sobre as escritoras. Constituíram como objetos de investigação, também, aspectos da modernidade e da pós-modernidade, pensados através de Mrs. Dalloway e Meu Amigo Marcel Proust Romance, respectivamente, considerando a relação entre tais contextos e a identidade das personagens nesses romances. Questões que foram desenvolvidos, principalmente, no primeiro e no segundo capítulo, por versarem sobre identidade e contexto cultural. É pertinente ressaltar que as reflexões sobre esses contextos consideraram traços modernos que incidem na narrativa de Judith Grossmann, e pósmodernos, presentes no texto de Virginia Woolf. Tal investigação envolveu, também, a relação que as personagens têm com o tempo, que é categorizado em mítico e linear, seguindo os tipos apresentados por Alfredo Bosi (1992), e o tempo monumental, definido por Paul Ricoeur (1997), que interferem na constituição dos sujeitos estéticos e em sua postura diante do mundo e da arte, em específico, a literária.
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Vieira, Josalba Ramalho. "Henri Bergson's theory of time and Virginia Woolf's: Mrs Dalloway, To the lighthouse and The waves". reponame:Repositório Institucional da UFSC, 1989. https://repositorio.ufsc.br/handle/123456789/111789.
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Strom, James Harper. "Modernist Aesthetics of "Home" in Virginia Woolf's Mrs. Dalloway and Rebecca West's the Return of the Soldier". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/70.
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The First World War wrought untold destruction on the physical and psychological landscape of Europe. For Britain, the immediate post-war period represented no less than a national “nostos,” or homecoming, and few social institutions were so fragmented by the conflict as the home. This thesis will explore the various conceptions of “home,” from the nation and the domestic sphere to post-war consciousness, through the lens of Virginia Woolf’s Mrs. Dalloway and Rebecca West’s The Return of the Soldier. Though unique in style and scope, Woolf and West interrogate and revise pre-war notions of “home” and suggest a Modernist aesthetic of what it is to be both at “home” and at home in the world.
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Tzimopoulou, Eleni. "Refraction, Heteroglossia and Chronotope in Virginia Woolf’s Mrs Dalloway : Following Bakhtin’s View of the Novel as Centrifugal Force". Thesis, Högskolan Dalarna, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27363.
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Silva, Isaías Eliseu da. "O moderno e o contemporâneo : um estudo de Mrs. Dalloway, de Virginia Woolf e Saturday, de Ian McEwan /". Araraquara, 2018. http://hdl.handle.net/11449/154387.
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Orientador(a): Maria das Graças Gomes Villa da SilvaResumo: Ecos de Mrs. Dalloway, de Virginia Woolf, reverberam no romance Saturday, de Ian McEwan, publicado oitenta anos após o primeiro, e esta tese propõe uma análise sobre os textos ficcionais referidos a fim de expor a medida em que, dadas as semelhanças entre uma narrativa e outra, diferem-se o contexto histórico, as preocupações das personagens e as técnicas narrativas utilizadas no romance de Woolf e no de McEwan. Ambos os romances ambientam-se em Londres, têm o enredo circunscrito no limite de um dia e utilizam-se de acontecimentos históricos como pano de fundo para as narrativas. Mrs. Dalloway é motivado pelos efeitos provocados pela Primeira Guerra Mundial sobre a sociedade inglesa no início do século XX e Saturday baseia-se nas consequências dos ataques terroristas de 2001 às torres do World Trade Center nos Estados Unidos para apresentar uma narrativa que trata do modo de vida contemporâneo em uma metrópole europeia. Busca-se apontar as categorias do moderno em Mrs. Dalloway e do contemporâneo em Saturday, a partir de um referencial teórico que inclui Calinescu e Berman sobre a modernidade, Bell e Innes sobre o Modernismo, Elias e Schollhammer sobre a literatura contemporânea e Lyotard e Bauman sobre os fundamentos do presente histórico
Abstract: Echoes of Mrs. Dalloway, by Virginia Woolf, reverberate in Saturday, a novel by Ian McEwan, published eighty years after the first one, and this thesis proposes an analysis on the referred fictional texts to show to what extent, given the similarities between one narrative and the other, the historical context, the characters' worries, and the narrative techniques are different in Woolf's and McEwan's novels. Both stories are set in London, have their plots circumscribed into the limit of a day, and take historical facts as the background for their narratives. Mrs. Dalloway is motivated by the effects of World War I on the English society in the beginning of the 20th century, and Saturday is based on the consequences of the terrorist attacks in 2001 on the World Trade Center towers in The United States to present a narrative that deals with the contemporary way of life in a European metropolis. The aim of the research is to point out the categories of the modern in Mrs. Dalloway and of the contemporary in Saturday, from a theoretical reference that includes Calinescu and Berman about modernity, Bell and Innes about Modernism, Elias and Schollhammer about contemporary literature, Lyotard and Bauman about the basis of the historical present
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朱銀鳳 y Ngan-fung Teresa Chu. "A harvest of names: a study of the naming strategies in Virginia Woolf's Mrs. Dalloway and Joseph Conrad's heartof darkness". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B43893776.
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McGregor, Jamie Alexander. "Myth, Music & Modernism: the Wagnerian dimension in Virginia Woolf's Mrs Dalloway and the waves and James Joyce’s Finnegans Wake". Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/77069.
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The study of Wagner's influence on the modernist novel is an established field with clear room for further contributions. Very little of the criticism undertaken to date takes full cognizance of the philosophical content of Wagner's dramas: a revolutionary form of romanticism that calls into question the very nature of the world, its most radical component being Schopenhauer's version of transcendental idealism. The compatibility of this doctrine with Wagner's earlier work, with its already marked privileging of myth over history, enabled his later dramas, consciously influenced by Schopenhauer, to crown a body of work greater than the sum of its parts. In works by Virginia Woolf and James Joyce, the "translation" of Wagnerian ideas into novelistic form demonstrates how they might be applied in "real life". In Mrs Dalloway, the figure of Septimus can be read as partly modelled on Wagner's heroes Siegfried and Tristan, two outstanding examples of the opposing heroic types found throughout his oeuvre, whose contrasting attributes are fused in Septimus's bipolar personality. The Wagnerian pattern also throws light on Septimus's transcendental "relationship" with a woman he does not even know, and on the implied noumenal identity of seemingly isolated individuals. In The Waves, the allusions to both Parsifal and the Ring need to be reconsidered in light of the fact that these works' heroes are all but identical (a fact overlooked in previous criticism); as Wagner's solar hero par excellence, Siegfried is central to the novel's cyclical symbolism. The Waves also revisits the question of identity but in a more cosmic context – the metaphysical unity of everything. In Finnegans Wake, the symbolism of the cosmic cycle is again related to the Ring, as are Wagner's two heroic types to the Shem / Shaun opposition (the Joyce / Woolf parallels here have also been overlooked in criticism to date). All three texts reveal a fascination with the two contrasting faces of a Wagnerian hero who embodies the dual nature of reality, mirroring in himself the eternal rise and fall of world history and, beyond them, the timeless stasis of myth.
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Silva, Josenildo Ferreira TeÃfilo da. "O humano e sua voz: um diÃlogo comparativo entre Mrs. Dalloway de Virginia Woolf e Rei Lear de William Shakespeare". Universidade Federal do CearÃ, 2017. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=19660.
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A presente dissertaÃÃo tem como objetivo discutir de que forma a leitura da obra do poeta e dramaturgo inglÃs, William Shakespeare (1564 â 1616), influenciou o projeto literÃrio desenvolvido pela escritora Virginia Woolf (1882 â 1941), buscando, principalmente, estabelecer um diÃlogo comparativo entre o romance Mrs. Dalloway, publicado em 1925, e a tragÃdia Rei Lear, escrita por Shakespeare em 1605. Acreditamos que atravÃs de um processo crÃtico expresso por meio da leitura que Virginia Woolf faz do texto shakespeariano, a voz do bardo inglÃs vai se dissolvendo dentro da escritura da autora e por ela vai sendo assimilada e transformada, ao ponto de se tornar uma voz Ãnica e distinta, a saber, a voz woolfiana. Para tanto, nos pautamos em algumas categorias fundamentais para o processo de anÃlise, como o conceito de tradiÃÃo, cunhado pelo crÃtico e tambÃm poeta T. S. Eliot, em seu texto âTradiÃÃo e talento individualâ (1968); o de intertextualidade, apresentado pela professora Julia Kristeva (1974), com base nas teorias da polifonia e do dialogismo desenvolvidas por Mikhail Bakhtin (2002), alÃm dos conceitos de influÃncia, (des)leitura e de humano, discutidos pelo crÃtico norte-americano Harold Bloom, em seus livros A angÃstia de influÃncia: uma teoria da poesia (1991) e Shakespeare: a invenÃÃo do humano (2000). Com isso em mente, traÃamos nosso percurso comparativo a partir da anÃlise dos dois personagens centrais do romance de Virginia Woolf, Clarissa Dalloway e Septimus Warren Smith, dialogando-os diretamente com as figuras de Lear e de seu bobo da corte. Assim, mostramos de que forma a voz shakespeariana desses personagens vÃo sendo evocadas e transformadas pelos dois protagonistas do romance, constituindo, desse modo, um processo de (des)leitura da peÃa em questÃo. à nesse sentido, portanto, que concluÃmos que a voz shakespeariana de Virginia Woolf à uma voz que, ao mesmo tempo, possui uma consciÃncia das novas necessidades exigidas por seu tempo presente, mas que tambÃm traz consigo o peso de sÃculos de tradiÃÃo, expressos principalmente pelo legado deixado por Shakespeare para a literatura inglesa e universal.The present dissertation aims at discussing how the reading of the work of the poet and also dramatist William Shakespeare (1564 â 1616) had influenced the literary project developed by the writer Virginia Woolf (1882 â 1941), in order to establish a comparative dialogue between the novel Mrs. Dalloway, published in 1925, and the tragedy King Lear, written by Shakespeare in 1605. We believe that by means of a critical process expressed in the reading Virginia Woolf did about the shakespearean text, the voice of the English bard dissolves into the poetic writing of the author and is assimilated and transformed by it, till the moment it becomes a single and distinct voice, namely, the woolfian voice. To support our analysis, we are based on some fundamental categories such as the concept of tradition discussed by the critic and also poet T. S. Eliot in his essay âTradition and individual talentâ (1968); of intertextuality presented by the professor Julia Kristeva (1974) based on the notions of polyphony and dialogism developed by Mikhail Bakhtin (2002); and the concepts of influence, (mis)reading and of human discussed by the American critic Harold Bloom in his books The anxiety of influence: a theory of poetry (1991) and Shakespeare: the invention of human (2000). With this in mind, we did our comparative analysis focusing on the two protagonists of Virginia Woolfâs novel, Clarissa Dalloway and Septimus Warren Smith, and their dialogue with the characters king Lear and his clown. This way, we intend to show how the shakespearean voice of these two characters are evoked and then transformed by the protagonists of the novel, constituting, therefore, a process of (mis)reading of the play studied. In this sense, we conclude that the shakespearean voice of Virginia Woolf is a voice that, at the same time, is conscious of the new necessities required by her present time and also of the importance of centuries of tradition expressed, mainly, by the legacy left by Shakespeare to English and universal literature.
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Conover, Andrea. "Post-Wartime vs. Post-War Time: Temporality and Trauma in Jacob's Room, Mrs. Dalloway, To the Lighthouse, and The Years". Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1195.
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In these novels, Woolf demonstrates the ways in which wartime trauma affects post-war life, from the societal trauma of losing an entire generation in Jacob’s Room, to the continuation of wartime beyond the end of the war for traumatized soldiers and anyone whose lives they touch in Mrs. Dalloway, to recovery through the creation of art and family ties in To the Lighthouse, to the question of futurity inherent in wartime trauma in The Years.
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Silva, Josenildo Ferreira Teófilo da. "O humano e sua voz: um diálogo comparativo entre Mrs. Dalloway de Virginia Woolf e Rei Lear de William Shakespeare". reponame:Repositório Institucional da UFC, 2017. http://www.repositorio.ufc.br/handle/riufc/24239.
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SILVA, Josenildo Ferreira Teófilo da. O humano e sua voz: um diálogo comparativo entre Mrs. Dalloway de Virginia Woolf e Rei Lear de William Shakespeare. 2017. 164f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2017.Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-07-14T14:03:19Z No. of bitstreams: 1 2017_dis_jftsilva.pdf: 3983596 bytes, checksum: 729280155c60a0695ccd2943f4b0d967 (MD5)
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The present dissertation aims at discussing how the reading of the work of the poet and also dramatist William Shakespeare (1564 – 1616) had influenced the literary project developed by the writer Virginia Woolf (1882 – 1941), in order to establish a comparative dialogue between the novel Mrs. Dalloway, published in 1925, and the tragedy King Lear, written by Shakespeare in 1605. We believe that by means of a critical process expressed in the reading Virginia Woolf did about the shakespearean text, the voice of the English bard dissolves into the poetic writing of the author and is assimilated and transformed by it, till the moment it becomes a single and distinct voice, namely, the woolfian voice. To support our analysis, we are based on some fundamental categories such as the concept of tradition discussed by the critic and also poet T. S. Eliot in his essay “Tradition and individual talent” (1968); of intertextuality presented by the professor Julia Kristeva (1974) based on the notions of polyphony and dialogism developed by Mikhail Bakhtin (2002); and the concepts of influence, (mis)reading and of human discussed by the American critic Harold Bloom in his books The anxiety of influence: a theory of poetry (1991) and Shakespeare: the invention of human (2000). With this in mind, we did our comparative analysis focusing on the two protagonists of Virginia Woolf’s novel, Clarissa Dalloway and Septimus Warren Smith, and their dialogue with the characters king Lear and his clown. This way, we intend to show how the shakespearean voice of these two characters are evoked and then transformed by the protagonists of the novel, constituting, therefore, a process of (mis)reading of the play studied. In this sense, we conclude that the shakespearean voice of Virginia Woolf is a voice that, at the same time, is conscious of the new necessities required by her present time and also of the importance of centuries of tradition expressed, mainly, by the legacy left by Shakespeare to English and universal literature.
A presente dissertação tem como objetivo discutir de que forma a leitura da obra do poeta e dramaturgo inglês, William Shakespeare (1564 – 1616), influenciou o projeto literário desenvolvido pela escritora Virginia Woolf (1882 – 1941), buscando, principalmente, estabelecer um diálogo comparativo entre o romance Mrs. Dalloway, publicado em 1925, e a tragédia Rei Lear, escrita por Shakespeare em 1605. Acreditamos que através de um processo crítico expresso por meio da leitura que Virginia Woolf faz do texto shakespeariano, a voz do bardo inglês vai se dissolvendo dentro da escritura da autora e por ela vai sendo assimilada e transformada, ao ponto de se tornar uma voz única e distinta, a saber, a voz woolfiana. Para tanto, nos pautamos em algumas categorias fundamentais para o processo de análise, como o conceito de tradição, cunhado pelo crítico e também poeta T. S. Eliot, em seu texto “Tradição e talento individual” (1968); o de intertextualidade, apresentado pela professora Julia Kristeva (1974), com base nas teorias da polifonia e do dialogismo desenvolvidas por Mikhail Bakhtin (2002), além dos conceitos de influência, (des)leitura e de humano, discutidos pelo crítico norte-americano Harold Bloom, em seus livros A angústia de influência: uma teoria da poesia (1991) e Shakespeare: a invenção do humano (2000). Com isso em mente, traçamos nosso percurso comparativo a partir da análise dos dois personagens centrais do romance de Virginia Woolf, Clarissa Dalloway e Septimus Warren Smith, dialogando-os diretamente com as figuras de Lear e de seu bobo da corte. Assim, mostramos de que forma a voz shakespeariana desses personagens vão sendo evocadas e transformadas pelos dois protagonistas do romance, constituindo, desse modo, um processo de (des)leitura da peça em questão. É nesse sentido, portanto, que concluímos que a voz shakespeariana de Virginia Woolf é uma voz que, ao mesmo tempo, possui uma consciência das novas necessidades exigidas por seu tempo presente, mas que também traz consigo o peso de séculos de tradição, expressos principalmente pelo legado deixado por Shakespeare para a literatura inglesa e universal.
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Pedinielli-Feron, Alexandra. "La représentation psycholinguistique de la psyché dans Night and Day, Mrs Dalloway et Flush de Virginia Woolf : essai de typologie". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0412.
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Cette thèse se propose de dresser un portrait des différentes techniques de représentation de la psyché des personnages utilisées dans trois romans de Virginia Woolf, à savoir Mrs Dalloway, Night and Day et Flush. Pour cela, elle entend questionner les grammaires traditionnelles qui analysent la psyché représentée en contexte de fiction depuis un point de vue strictement formel et syntaxique et qui ne tiennent pas compte de ce que la psyché implique en termes de production ou de non-production d’un discours intérieur linguistique. Elle propose ainsi une définition psychologique et linguistique des mécanismes internes de« l’appareil psychique » sur laquelle elle se fonde pour, dans un second temps, définir et produire une analyse des techniques de représentation de la psyché qui se rencontrent dans le corpus woolfien choisiThis thesis examines the various techniques used to represent the characters’ psyches in three novels by Virginia Woolf, namely Mrs Dalloway, Night and Day and Flush. To this end, it questions traditional grammars which analyze representations of the psyche in fictional contexts from a strictly formal and syntactical point of view, regardless of what the psyche implies in terms of the production or non-production of linguistic self-talk. First it presents a psychological and linguistic definition of the internal mechanisms of the "psychic apparatus", which then serves as groundwork for our definition and analysis of the techniques used to represent the psyche in our corpus
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Hjersing, Charlotte. "Representations of Clarissa and Septimus in Virginia Woolf’s Mrs Dalloway : A deconstructive approach combined with aspects of feminist and psychoanalytical criticism". Thesis, Högskolan Dalarna, Engelska, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:du-4172.
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Danielewicz, Olivia. "“For this is the truth about our soul…” : Examining dialogic relationships and the construction of consciousness in Virginia Woolf’s Mrs Dalloway". Thesis, Mittuniversitetet, Institutionen för humaniora och samhällsvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-42684.
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The aim of this study was to examine how Woolf creates and depicts consciousness, using Bakhtinian thoughts on dialogism to determine the conditions and limitations for the creation of a ‘self’. In Mrs Dalloway, the characters are indeed portrayed as isolated, all struggling to communicate with one another. Nevertheless, through their interactions with each other and with their external surrounding, the characters gain a sense of self. Woolf’s novel consists of a large network of conscious minds: each of the character is living simultaneously in the present and in the past, and they are interconnected through their memories of each other and their encounters with one another. The shifts between these minds allow the reader to experience consciousness as it often functions, and depicts it as fractioned. As argued by Bakhtin, the conscious mind can never exist on its own: it is through the relationship between the ‘I’ and the ‘Thou’ that a consciousness emerges. Without the ability to communicate with the external world, one risks losing one’s sense of self, as acutely seen in the fate of Septimus Warren Smith, who seemingly cannot distinguish between the internal world and the external world: they merge together, resulting in him perceiving the surroundings as parts of his own being. Furthermore, the intertextual elements in the novel allow the reader to unify the story within her mind: the minds of the characters are connected through their shared memories (of the war, of each other), their perception of one another, and so forth. By applying Kristeva and Barthes’s theories of intertextuality and the role of the reader, the study has shown that the novel encompasses a network of interconnected stories, minds, and consciousness, all dynamic in that they are formed continuously through their interaction with each other as well as through the realisation of the reader. The universe or story-world within which the characters exist is partially narrated by themselves, as seen with Peter Walsh. Through him, a portrait of Clarissa Dalloway emerges: the reader is never allowed full access to the inner minds of the characters, as they as constructed by their interactions and perceptions of each other. Much like words and language, which according to Saussurean theory cannot exist in isolation, consciousness is in essence multiple. Through this study, it is possible to conclude that the structure of Mrs Dalloway agrees with the Bakhtinian notion of self as anchored in the external world and unattainable in the internal. Relying on the multiple perspectives of others, which are unified within the reader, the character’s self is arguably dialogical, constructed and maintained by their shared human experience, and their ability to respond to it.Godkänt datum 2021-06-06
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Chu, Ngan-fung Teresa. "A harvest of names : a study of the naming strategies in Virginia Woolf's Mrs. Dalloway and Joseph Conrad's heart of darkness /". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18685304.
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Pinzone, Anthony F. "“Beyond the Gilded Cage:” Staged Performances and the Reconstruction of Gender Identity in Mrs. Dalloway and The Great Gatsby". Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1559659966276508.
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Graça, Eduardo Gerdiel Batista. "O corpo político e o corpo elétrico: mecanismos de poder e linhas de fuga em o morro dos ventos uivantes e Mrs. Dalloway". Niterói, 2017. https://app.uff.br/riuff/handle/1/3747.
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O objetivo desta dissertação é a abordagem das relações entre os conceitos de mecanismos de poder e de linhas de fuga – concebidos nas obras dos filósofos Michel Foucault e Gilles Deleuze, respectivamente - e os romances de Emily Brontë e Virginia Woolf que intitulam nosso trabalho. Os mecanismos de poder, segundo Foucault, seriam os dispositivos políticos e filosóficos instalados na sociedade e no pensamento com o intuito de conduzir as relações de conhecimento, as disposições, e os desejos humanos à afirmação e à conservação das relações de poder vigentes. Interessados somente na manutenção das estruturas hegemônicas, os mecanismos de poder investiriam no cultivo de nossas potências tristes e servis para subjugarnos aos desígnios dominantes, dirigindo-nos, assim, ora à adequação compulsória e à reafirmação espontânea dos regimes hegemônicos, ora ao desespero, à loucura e à morte. As linhas de fuga deleuzianas constituiriam movimentos de ruptura com tais regimes dominantes, que possibilitariam novas relações com a sociedade, com a subjetividade, com a linguagem e com o pensamento; o cultivo de potências ativas e criadoras; e, afinal, a emergência de uma vida estética. Analisando os materiais narrativos de O morro dos ventos uivantes e Mrs. Dalloway observamos como tanto os jogos narrativos dos dois romances quanto os próprios enredos e personagens narrados se engajam nestas mesmas discussões a respeito do confronto entre forças conservadoras e libertárias, do cultivo de potências diminutivas e aumentativas, e da produção de corpos servis e elétricos
The aim of this dissertation is an approach of the relations between the concepts of mechanisms of power and lines of flight – conceived in the works of Michel Foucault and Gilles Deleuze, respectively – and the novels by Emily Brontë and Virginia Woolf that entitle our work. Mechanisms of power, according to Foucault, would be the political and philosophical devices installed in our society and in our thought with the intent of driving our relations with knowledge, our disposition and our desire towards the affirmation and conservation of established relations of power. Interested only in the maintenance of hegemonic structures, mechanisms of power would invest on the cultivation of our sad and servile potencies to submit us to the dominant designs, driving us either to compulsory adequacy and to the spontaneous reassurance of hegemonic regimens, or to despair, insanity and death. The deleuzian lines of flight would consist in rupturing movements with such dominant regimens, that would enable new relations with society, subjectivity, language and with thought; the cultivation of active and creative potencies; and the eventual emergency of a aesthetic life. Analyzing the narrative materials of Wuthering Heights and Mrs. Dalloway we observe that both the narrative strategies of the novels and their plots and characters engage on these same discussions about the confrontation between conservative and libertarian forces; the cultivation of diminutive and augmentative potencies; and the production of servile and electric bodies
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Zetterberg, Isabelle. "Men vad handlar den om då? : En analys av Anders Öhmans metod att skugga intriger, hur en går till väga och använder metoden i gymnasieskolans litteraturundervisning". Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-45209.
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Anders Öhman argumenterar för att i litteraturundervisningen använda sig av en metod han väljer att kalla ”skugga intrigen”. Denna studies syfte har varit att försöka konkretisera hans analysmetod och att undersöka om den kan användas på texter som saknar en tydlig intrigstruktur. En analys av Öhmans bok har gjorts för att få fram ett tydligt tillvägagångssätt för analysen, vilket därefter har applicerats på Virginia Woolfs roman Mrs Dalloway. Analysen visade att en intrigskuggning av romanen var en besvärlig men ändock givande metod. Trots svårigheterna kring valet av viktiga tematikstödjande händelser blev intrigskuggningen en god lässtrategi för inlevelseläsningen. Störst möjligheter har metoden att genomföras muntligt i ett flerstämmigt klassrum samt som hjälpmedel och lässtrategi vid arbetet med svårare texter.
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Smith, Thomas P. "Multiple voices and the single individual : Kierkegaard's concept of irony as a tool for reading The Great Gatsby, The Sun Also Rises, Mrs. Dalloway, and Ulysses". [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001861.
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Attie, Juliana Pimenta [UNESP]. "Vida e morte em diálogo com a voz narrativa, o tempo e o espaço em Mrs. Dalloway, To The Lighthouse e Between the Acts de Virginia Woolf". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/123364.
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O objetivo desta tese é apresentar o diálogo entre vida e morte como estruturador dos romances Mrs. Dalloway, To the Lighthouse e Between the Acts de Virginia Woolf. Tal exposição será feita a partir do estudo da voz narrativa, tempo e espaço, destacando a participação da intertextualidade na configuração das instâncias, e terá como foco as guerras e seus desdobramentos, que estão presentes nas três referidas obras - e quiçá em praticamente toda a produção woolfiana. Respectivamente, os romances abrangem o pós-Primeira Guerra; um período de dez anos, no qual ocorre o conflito; e, por fim, o momento de eminência da Segunda Guerra Mundial. As análises serão empreendidas pelo viés psicanalítico, compreendendo, especialmente, as teorias freudianas sobre as pulsões, a memória, o luto e o trauma, além dos trabalhos de estudiosos que realizaram releituras do legado do psicanalista. Assim, nesta pesquisa, o foco é investigar como o conflito entre Eros e Thanatos, pulsão de vida e pulsão de morte, mostra-se nas narrativas de diversas maneiras, atuando constantemente e em conjunto nas existências das personagens, cujas feridas de guerra se revelam no texto por meio de lembranças e do não dito, isto é, daquilo que, por algum motivo, habita o inconsciente
The aim of this Dissertation is to present the dialogue between life and death as a structuring resource of Virginia Woolf's novels Mrs. Dalloway, To the Lighthouse and Between the Acts. This exposition will be made through the study of the narrative voice, of time and of space, emphasising the role of intertextuality in the configuration of the narrative instances. The focus is on the war and its unfoldings, present in the three works - and perhaps in almost all Woolf's production. Respectively, the novels comprehend the aftermath of the First World War; the period of ten years within which the conflict happens; and, at last, the eminence of the Second World War. The analysis will be developed under the psychoanalitical bias, comprising, especially, the Freudian theories about the drives, memory, mourning and the trauma, besides the rereadings of the psychoanalist's legacy. Thus, in this research, the focus is to investigate how the conflict between Eros e Thanatos, life drive and death drive, unveils itself through the narrative in several ways. The drives act constantly and jointly in the life of the characters, whose war injuries appear on the text by means of remembrances and of what is not stated, that is, of elements which inhabit the unconscious
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Attie, Juliana Pimenta. "Vida e morte em diálogo com a voz narrativa, o tempo e o espaço em Mrs. Dalloway, To The Lighthouse e Between the Acts de Virginia Woolf /". Araraquara, 2015. http://hdl.handle.net/11449/123364.
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Orientador: Maria das Graças Gomes Villa da SilvaBanca: Cleide Antônia Rapucci
Banca: Nelson Viana
Banca: Alcides Cardoso dos Santos
Banca: Maria Clara Bonetti Paro
Resumo: O objetivo desta tese é apresentar o diálogo entre vida e morte como estruturador dos romances Mrs. Dalloway, To the Lighthouse e Between the Acts de Virginia Woolf. Tal exposição será feita a partir do estudo da voz narrativa, tempo e espaço, destacando a participação da intertextualidade na configuração das instâncias, e terá como foco as guerras e seus desdobramentos, que estão presentes nas três referidas obras - e quiçá em praticamente toda a produção woolfiana. Respectivamente, os romances abrangem o pós-Primeira Guerra; um período de dez anos, no qual ocorre o conflito; e, por fim, o momento de eminência da Segunda Guerra Mundial. As análises serão empreendidas pelo viés psicanalítico, compreendendo, especialmente, as teorias freudianas sobre as pulsões, a memória, o luto e o trauma, além dos trabalhos de estudiosos que realizaram releituras do legado do psicanalista. Assim, nesta pesquisa, o foco é investigar como o conflito entre Eros e Thanatos, pulsão de vida e pulsão de morte, mostra-se nas narrativas de diversas maneiras, atuando constantemente e em conjunto nas existências das personagens, cujas feridas de guerra se revelam no texto por meio de lembranças e do não dito, isto é, daquilo que, por algum motivo, habita o inconsciente
Abstract: The aim of this Dissertation is to present the dialogue between life and death as a structuring resource of Virginia Woolf's novels Mrs. Dalloway, To the Lighthouse and Between the Acts. This exposition will be made through the study of the narrative voice, of time and of space, emphasising the role of intertextuality in the configuration of the narrative instances. The focus is on the war and its unfoldings, present in the three works - and perhaps in almost all Woolf's production. Respectively, the novels comprehend the aftermath of the First World War; the period of ten years within which the conflict happens; and, at last, the eminence of the Second World War. The analysis will be developed under the psychoanalitical bias, comprising, especially, the Freudian theories about the drives, memory, mourning and the trauma, besides the rereadings of the psychoanalist's legacy. Thus, in this research, the focus is to investigate how the conflict between Eros e Thanatos, life drive and death drive, unveils itself through the narrative in several ways. The drives act constantly and jointly in the life of the characters, whose war injuries appear on the text by means of remembrances and of what is not stated, that is, of elements which inhabit the unconscious
Doutor
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Dunn, Jessica. "Unearthing Real Women: Reclaiming Sylvia Plath and Virginia Woolf from Their Suicide Narratives". ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2139.
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Virginia Woolf and Sylvia Plath are two well-known women writers of the twentieth century who committed suicide. The narratives created by their deaths have in some instances become as important as the canonical work they produced. In an effort to understand their motivations and struggles, critics and the public alike have sometimes reduced these women to victims of the patriarchy, mental illness, or even themselves.
Beginning with my own discovery of this issue in the legacies of Plath and Woolf combined with my personal dealings with suicide in my family, I recount how I lost these two women as exemplary figures because of their choice to commit suicide. I then take a look at what others have said about their deaths and how it has affected their legacies as writers. Finally, I take a look at Woolf’s Mrs. Dalloway and Plath’s The Bell Jar for an alternate perspective on suicide. Through this journey, I recount how I have been able to regain my respect for these two talented women by considering multiple viewpoints and acknowledging the nuance inherent in any account.
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Schaefer, Sarah Elizabeth. "Austen and Woolf Revisited: Muddy Petticoats, Sally's Kiss, and the Neoliberal Now". Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/73770.
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This project examines the implications of mythologizing women writers, specifically Woolf and Austen, and transforming them into their own famous characters. Using various writings that theorize women's voices, sense of agency, and political autonomy in relationship with the public/private dichotomy, this project argues that women writers are often appropriated and fictionalized in this way because of a patriarchal cultural understanding that women are associated with the private, personal, and domestic spheres. More importantly, it argues that this increasingly frequent treatment aligns with and forwards a neoliberal political and cultural agenda. The politics of the last twenty or thirty years, in short, are shaping interpretations and adaptations of major works of the English canon, specifically Mrs. Dalloway and Pride and Prejudice. Particular examples of such adaptations include The Hours, Vanessa and Her Sister, Becoming Jane, and Longbourn. This project ultimately analyzes these and a select number of other texts in order to show that these contemporary treatments of two of the most famous female writers from the English canon reveal quite a bit about current attitudes within the United States about gender (in)equality, care work/dependency, and sexuality.Master of Arts
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Lewis, Asiah Nyree. "Weaving the Fabric of Reality: Consciousness in the Novels of Virginia Woolf". Thesis, Virginia Tech, 2021. http://hdl.handle.net/10919/104890.
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The purpose of this thesis is to track Virginia Woolf's enactment of conscious experience over the course of her 3 most consciousness forward novels, To the Lighthouse (1927), The Waves (1931), and Mrs. Dalloway (1925). This thesis aims to examine Woolf's ideas and theories about individual consciousness, collective consciousness, and how gendered consciousness plays a role in both. Set against the consciousness philosophy of Woolf's time, this thesis sets Woolf's ideas apart from the abstractions of philosophy and attempts to trace Woolf's enactment of consciousness throughout three of her most famous novels. In researching this project, I studied the consciousness scholarship that was circulating within scholarly circles during Virginia Woolf's time. I also read about what Virginia Woolf herself had to say about philosophy and its usefulness. Finally, I researched what scholars of Virginia Woolf had to say about her work and the philosophy of consciousness. By using all these avenues for my research, I was able to paint a portrait of Virginia Woolf's involvement with philosophy, her ideas about conscious experience, and how those ideas took shape in her novels. In her novels, Virginia Woolf transcends academic philosophy by creating a way to understand and visualize the phenomenology of consciousness that is unique and entirely her own. In the first chapter of this thesis, I explore Woolf's depiction of gendered consciousness in her novel To the Lighthouse. In this chapter, I argue that Woolf suggests a difference between the way men and women experience the world. She explores the implications of those experiences for the collective consciousness, and the delicate line that balances gendered individual consciousness with the collective experience. In the second chapter, I look at Woolf's theory of group consciousness in The Waves, which explores what it means to be part of a collective experience while also balancing being an individual with one's own inner experience. In this chapter, I argue that Woolf formulates a coming-of-age narrative to enact the development of both the individual and collective consciousnesses. She also splits the coming-of-age narratives into two different groups, based on gender. I argue that Woolf does this to highlight the different ways in which men and women experience, how that experience develops from adolescence to adulthood, and the balance that must be maintained to reach Woolf's idea of enlightenment. Finally, in the last chapter, I discuss Woolf's ideas about inner and outer experience in Mrs. Dalloway, including the novel's implicit assertion that there must be stability, or balance, in both inner and outer conscious experience if one is to function within the collective consciousness of society. I argue that Woolf shows this balance, or lack thereof, in the parallel narratives of Clarissa and Septimus. In doing this she once again asserts that there is a gendered difference in the way men and women experience and shows how the balance of inner and outer experience functions between both men and women. By analyzing these three texts, I hope to show both Woolf's understanding of conscious experience and the ways in which she enacts this understanding in her three most consciousness-forward novels.Master of Arts
What is consciousness? What does it mean to have an experience? For years scholars have attempted to answer these questions. Consciousness, as an area of study, raises a few questions. These questions include: What does it mean to have an experience? What is it like, both cognitively and physically, to perceive what's happening around you, and why does it matter in the first place? In the early 20th century, consciousness, and the study of it were at the center of scholarly attention. Influential philosophers such as William James and G.E Moore were just beginning to formulate their theories about conscious experience and to bring them into public view. In this thesis I argue that Virginia Woolf provided her own answer to these questions about consciousness during her career. By reading Woolf against consciousness scholarship, I aim to discuss the ways in which Woolf creates a new idea or philosophy of consciousness, one that considers gender, society, and the individual, and depicts how all these things coalesce into what we understand as "experience." Woolf's thoughts and philosophies were no doubt influenced by those who came before her, but she also created a concept or way of enacting consciousness in her novels that was uniquely her own. In the first chapter of this thesis, I explore gendered and collective consciousness in To the Lighthouse (1927) and the balance that must be maintained within both. In the second chapter, I explore collective or group consciousness in The Waves (1931) and explore how Woolf enacts a coming of age of both collective conscious identity and individual conscious identity, Finally, in the last chapter, I explore Woolf's ideas about inner and outer conscious experience in Mrs. Dalloway (1925), and how one must balance these experiences if they are to function in the collective consciousness of society.