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Articoli di riviste sul tema "Woolf"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Siyuan, Li. "The Stream-of-Consciousness in The Mark on the Wall." Communications in Humanities Research 27, no. 1 (2024): 120–25. http://dx.doi.org/10.54254/2753-7064/27/20232148.

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The chaos and destruction brought about by World War I prompted people to seek new forms of expression. In the 20th century when Woolf lived, women were greatly constrained, and they had almost no time of their own. However, this was also the period when the first wave of feminism began to emerge. By studying Woolf's work, we can see that the pioneers of modernism and feminism had completely different views and perspectives from people who hold traditional techniques. Woolf is famous for her stream-of-consciousness technique; therefore, it is necessary to examine how she uses this technique to

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2

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

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O presente artigo se debruça sobre o conto “Casa Assombrada”, coletado no único volume de contos que Virginia Woolf publicou em vida, Monday or Tuesday (1921), para investigar de que maneira seus contos intensificam a crise dos gêneros literários que seus romances encenam, por um lado; e para entender como tal crise é análoga à questão política que assombra toda sua obra, por outro lado: o gênero enquanto questão identitária. Em diálogo com a filosofia e com a crítica woolfiana, este estudo articula essa “crise dos gêneros” (gender x genre) e, ao mesmo tempo, produz uma contextualização histór

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3

Abbott, H. Porter. "Character and Modernism: Reading Woolf Writing Woolf." New Literary History 24, no. 2 (1993): 393. http://dx.doi.org/10.2307/469412.

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4

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

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Šiame pranešime nagrinėjama Dostojevskio kūrybos įtaka V. Woolf kūrybai. Nors Woolf atsargiai vertino Dostojevskio pasirinktą metodą – anot rašytojos, chaotišką, sunkiai valdomą – dostojevskiškasis polifoniškumas, vis dėlto, įvairiomis formomis įsitvirtino Woolf romanuose, pirmiausia suponuodamas naują personažo kūrimo formą, naują požiūrį į veikėją. Dostojevskio ir Woolf meninių pasaulių dialoge tampa akivaizdu, kad nei Dostojevskio, nei Woolf veikėjas nedomina kaip socialinis ar psichofiziologinis tipas ir individualus charakteris, susidedantis iš įvairių bruožų, leidžiančių skaitytojui atsa

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5

Humm, Maggie. "Virginia Woolf and photography." Comunicação e Sociedade 32 (December 29, 2017): 387–96. http://dx.doi.org/10.17231/comsoc.32(2017).2768.

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From 2000, criticism on Woolf and the visual has quadrupled in volume. The research work about a photographic Woolf – which include other photographers’ interaction with Woolf such as Gisèle Freund or my own analysis of Woolf and Bell’s personal photo albums – shows how these newer issues of Woolf and photography are now absolutely central in any consideration of Virginia Woolf studies, gaining a noticeable importance when we consider the interdisciplinary issue of photography and gender.

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6

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

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

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7

Ha, Sujeong. "Two Cities Seen by Flâneur and Flâneuse: Benjamins’ Paris and Woolf’s London." British and American Language and Literature Association of Korea 147 (December 31, 2022): 1–20. http://dx.doi.org/10.21297/ballak.2022.147.1.

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This paper explores how Walter Benjamin and Virginia Woolf reflected on metropolitan city life in early modern period as a flâneur and a flâneuse . In Arcades Project, Benjamin attempts to reassemble ‘thought images’ from former century’s historical fragments in Paris streets of the 1920s and the 1930s and make a new literary montage. As a flâneur, he observes the streets flooded with people and the products to get his insights on the consumerism of capitalist production. Virginia Woolf, on the other hand, describes in her essay “Street Haunting: A London Adventure” a flâneuse who comes to int

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8

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

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9

Nadel, Ira. "Oriental Woolf." Affirmations: of the modern 4, no. 1 (2016): 65. http://dx.doi.org/10.57009/am.37.

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10

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

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11

London, Bette, Pamela L. Caughie, and Patricia Ondek Laurence. "Postmodern Woolf." NOVEL: A Forum on Fiction 26, no. 2 (1993): 237. http://dx.doi.org/10.2307/1345694.

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12

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

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13

Jones, Ellen Carol. "Figuring Woolf." MFS Modern Fiction Studies 38, no. 1 (1992): 1–14. http://dx.doi.org/10.1353/mfs.0.0512.

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14

Browning, B. W. M. W. N. "Jesmond Woolf." BMJ 350, may11 14 (2015): h2486. http://dx.doi.org/10.1136/bmj.h2486.

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15

O'Brien, Nanette. "Political Woolf." Women: A Cultural Review 28, no. 1-2 (2017): 150–54. http://dx.doi.org/10.1080/09574042.2017.1327755.

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16

Costa, Rute. "Woolf Works." Women: A Cultural Review 28, no. 4 (2017): 420–22. http://dx.doi.org/10.1080/09574042.2017.1388587.

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17

Morgan, Rod. "After Woolf?" Criminal Justice Matters 14, no. 1 (1993): 4–5. http://dx.doi.org/10.1080/09627259308552648.

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18

Parker, Julian. "Cry Woolf." Computer Fraud & Security 2003, no. 10 (2003): 4–5. http://dx.doi.org/10.1016/s1361-3723(03)10005-x.

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19

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

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20

Argyrides, Patty. "Hauntingly Beautiful: Embodied Reading, Virginia Woolf, and Woolf Works." Journal of Modern Literature 46, no. 4 (2023): 23–42. http://dx.doi.org/10.2979/jml.2023.a908972.

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Abstract: As the last two decades have seen a steady increase of contemporary choreographers drawing on modernist literature, interdisciplinary modernist studies must create new and additional lines of communication not only across disciplines, but also including the public arts sector. In 2017, I attended the Royal Ballet's revival of Woolf Works , a ballet based on the life and works of Virginia Woolf and interviewed choreographer Wayne McGregor and dramaturg Uzma Hameed. I draw on my background as a former dancer to explore how we can use McGregor's choreographic and Hameed's dramaturgic ap

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Argyrides, Patty. "Hauntingly Beautiful: Embodied Reading, Virginia Woolf, and Woolf Works." Journal of Modern Literature 46, no. 4 (2023): 23–42. http://dx.doi.org/10.2979/jmodelite.46.4.02.

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Abstract (sommario):

Abstract: As the last two decades have seen a steady increase of contemporary choreographers drawing on modernist literature, interdisciplinary modernist studies must create new and additional lines of communication not only across disciplines, but also including the public arts sector. In 2017, I attended the Royal Ballet's revival of Woolf Works , a ballet based on the life and works of Virginia Woolf and interviewed choreographer Wayne McGregor and dramaturg Uzma Hameed. I draw on my background as a former dancer to explore how we can use McGregor's choreographic and Hameed's dramaturgic ap

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22

SIRKOVIĆ, Nina. "VIRGINIA WOOLF: ESSAYS ON WOMEN WRITERS." Lingua Montenegrina 8, no. 2 (2011): 295–307. https://doi.org/10.46584/lm.v8i2.249.

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The aim of this paper is to reaffirm the somewhat forgotten essays of Virginia Woolf about individual women writers and to emphasize the link be-tween the historical and social approach to tradition within the context of individual works of fiction. An important part of essay-writing by Virginia Woolf is dedicated to the study of fiction written by women, as well as to historical, social, material and psychological conditions in which women lived and created art at the time. By analyzing specific creating conditions of individual women writers, Woolf came to general conclusions about the infer

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23

Özyurt, Kılıç Mine, and Atahan Mahir Karabiber. "Edebiyatın Çiçek Tarhındaki Salyangoz: Hogarth Yayın Evi'nin Yavaşlığa Çağrısı." Nesir: Edebiyat Araştırmaları Dergisi, no. 6 (April 30, 2024): 219–27. https://doi.org/10.5281/zenodo.10992153.

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A Snail Around the Flowerbed of Literature: The Hogarth Press’s Call to Slowness Özet Bu çalışma, Virginia Woolf’un ilk eserleri olan “The Mark on the Wall” ve “Kew Gardens” ile Hogarth Yayın Evi’nin yayınlarında salyangozun sembolik önemini incelemektedir. Woolf’un salyangoz tasviri, hızlı ve her şeyi sıradanlaştıran modern varoluş biçimleri arasında yavaş düşünme felsefesini somutlaştırır. Derin düşünme ve dikkatli gözlem hâlini simgeleyen salyangoz, okuyucuları Woolf’un Modernist met

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24

Nadel, Ira. "The Russian Woolf." Modernist Cultures 13, no. 4 (2018): 546–67. http://dx.doi.org/10.3366/mod.2018.0229.

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Virginia Woolf and Russia has been examined but not fully studied. Entirely overlooked has been her response to Russian cinema and dance, particularly the Ballets Russes. This paper addresses that gap through an account of Woolf's response to, and interest in, both Russian film and dance, while also accounting for how she incorporates her admiration of Dostoevsky, Turgenev and other Russian writers into her work. Her study and translations with the Russian Jewish émigré Samuel Koteliansky, a formative influence on her continuing absorption with matters Russian, is also analyzed, as well as the

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25

Towne, Bethany, and Natalya Reinhold. "Woolf across Cultures." Women's Review of Books 21, no. 10/11 (2004): 28. http://dx.doi.org/10.2307/3880387.

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26

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

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27

Hite, Molly, and James King. "Wallowing in Woolf." Women's Review of Books 13, no. 2 (1995): 5. http://dx.doi.org/10.2307/4022305.

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28

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

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29

Corner, Paul. "Stuart J. Woolf." Modern Italy 26, no. 3 (2021): 243–44. http://dx.doi.org/10.1017/mit.2021.42.

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30

Abel, Elizabeth, and Brenda R. Silver. "Big Bad Woolf." Women's Review of Books 17, no. 7 (2000): 6. http://dx.doi.org/10.2307/4023397.

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31

Beja, Morris, and Lyndall Gordon. "Woolf: Another Biography." NOVEL: A Forum on Fiction 20, no. 1 (1986): 88. http://dx.doi.org/10.2307/1345623.

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32

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

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33

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

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34

Woolf, Lawrence D. "Comments from Woolf." Physics Teacher 37, no. 6 (1999): 326–27. http://dx.doi.org/10.1119/1.880301.

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35

ELLMANN, MAUD. "The Woolf Woman." Critical Quarterly 35, no. 3 (1993): 86–100. http://dx.doi.org/10.1111/j.1467-8705.1993.tb00490.x.

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36

Matz, J. "Woolf as Translator." NOVEL A Forum on Fiction 46, no. 2 (2013): 328–31. http://dx.doi.org/10.1215/00295132-2088211.

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37

Price, Kate. "Woolf and science." Women: A Cultural Review 16, no. 1 (2005): 108–25. http://dx.doi.org/10.1080/09574040500045979.

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38

Humm, M. "Beauty and Woolf." Feminist Theory 7, no. 2 (2006): 237–54. http://dx.doi.org/10.1177/1464700106064422.

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39

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

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40

VINEN, RICHARD. "Comment on Woolf." Contemporary European History 12, no. 3 (2003): 338–41. http://dx.doi.org/10.1017/s0960777303001255.

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I read Professor Woolf's erudite and ambitious article with great interest. The central argument of the piece – that writing a history of Europe is an impossibly complicated, but still worthwhile, enterprise that would involve the interrelation of many different kinds of history – is one that we would probably all accept. I am more more sceptical about three subplots in Woolf's essay.

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41

White, David, and Patrick Cassan. "Woolf meets Cockerel?" Liverpool Law Review 19, no. 1 (1997): 9–28. http://dx.doi.org/10.1007/bf02810628.

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42

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

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43

Black, G. "J H Woolf." BMJ 351, no. 20 7 (2015): h6098. http://dx.doi.org/10.1136/bmj.h6098.

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44

Lenska, S. V. "Impressionistic poetics of the short stories „Kew Gardens” by W. Woolf and „Intermezzo” by M. Kotsyubynsky." Bulletin of Luhansk Taras Shevchenko National University, no. 3 (341) (2021): 114–24. http://dx.doi.org/10.12958/2227-2844-2021-3(341)-114-124.

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The article compares two examples of modernist short stories of the early twentieth century – „Kew Gardens” by the British writer W. Woolf and „Intermezzo” by the Ukrainian writer M. Kotsyubynsky. Such a comparative study has been carried out for the first time. Most researchers associate Woolfe with „stream of consciousness” literature, but in the short story „Kew Gardens” we see signs of impressionist poetics. “Intermezzo” by M. Kotsiubynsky is traditionally regarded as an example of impressionism. In both texts, the narration is in the first person, there are elements of the „stream of cons

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45

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

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46

Kumar, Dr Abhishek. "Redefining Reality: A Modernist Perspective on Identity, Memory and Perception in The Writings of Virginia Woolf." International Journal of Research and Scientific Innovation XII, no. V (2025): 829–33. https://doi.org/10.51244/ijrsi.2025.12050080.

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Virginia Woolf stands as a central figure in the modernist movement, revolutionizing literary conventions through her innovative narrative techniques and deeper psychological insight. This study, titled “Redefining Reality: A Modernist Perspective on Identity, Memory, and Perception in the Writings of Virginia Woolf,” explores how Woolf reconfigures the understanding of human consciousness in response to a fragmented modern world. Rejecting linear narratives and objective realism, Woolf's works look into the internal landscapes of her characters, offering a subjective reality shaped by memory,

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47

Neves, Caroline Resende, and Nícea Helena de Almeida Nogueira. "VIRGINIA WOOLF E SEU PAPEL COMO CRÍTICA LITERÁRIA." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 23, no. 2 (2019): 28–38. http://dx.doi.org/10.34019/1982-0836.2019.v23.29178.

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Em 2019, Um teto todo seu celebrou seus 90 anos de publicação e Três guinéus foi traduzido e publicado no Brasil pela primeira vez. Esses dois eventos, mais a participação na palestra A room of my own (Um teto todo meu) organizado pelo Durham Book Festival (Festival do Livro de Durham), onde os participantes discutiram os desafios que as escritoras ainda enfrentam nos dias atuais, nos inspirou a publicar o presente artigo, para analisar o papel de Virginia Woolf como crítica e apresentar algumas de suas teorias mais relevantes. Palavras-chave: Virginia Woolf. Autoria feminina. Crítica fe

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48

Cramer, Patricia Morgne. ""Everyone chooses their love after their own fashion": The Waves as a Modernist Symposium." Journal of Modern Literature 46, no. 4 (2023): 43–62. http://dx.doi.org/10.2979/jmodelite.46.4.03.

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Abstract: In A Room of One's Own , when Virginia Woolf urges women writers to expose the "dark spots" in men's psychology, she signals her own intentions for The Waves . In The Waves , Woolf targets men's masculinity, elite educations, brutalized boyhoods (at public schools), and their too-easy belonging to literary traditions as causes of male writers' truncated creativity. Louis, Bernard, and Neville exhibit the writerly disabilities Woolf associates with virility in Room . They are also linked to T.S. Eliot, Desmond MacCarthy, and Lytton Strachey, and to modernist experimentalism, realism,

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Cramer, Patricia Morgne. ""Everyone chooses their love after their own fashion": The Waves as a Modernist Symposium." Journal of Modern Literature 46, no. 4 (2023): 43–62. http://dx.doi.org/10.2979/jml.2023.a908973.

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Abstract (sommario):

Abstract: In A Room of One's Own , when Virginia Woolf urges women writers to expose the "dark spots" in men's psychology, she signals her own intentions for The Waves . In The Waves , Woolf targets men's masculinity, elite educations, brutalized boyhoods (at public schools), and their too-easy belonging to literary traditions as causes of male writers' truncated creativity. Louis, Bernard, and Neville exhibit the writerly disabilities Woolf associates with virility in Room . They are also linked to T.S. Eliot, Desmond MacCarthy, and Lytton Strachey, and to modernist experimentalism, realism,

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

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O presente artigo estabelece as relações entre a A room of one’s own e a crítica feminista, observando como essa tem revisto e ressignificado o ensaio de Virginia Woolf. Serão problematizadas questões como a exclusão feminina dos espaços públicos, das esferas políticas e, consequentemente, da literatura e da história. Depois disso, abordaremos a personagem Judith Shakespeare. Por último, duas questões problematizadas serão tratadas nesta análise, a primeira refere-se à tradição literária feminina e a segunda refere-se à própria frase feminina. Palavras-chave: Crítica feminista, Judith Sh

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