Illuminating Inner Life : A Comparison of Virginia Woolf's To the Lighthouse and Arthur Schnitzler's Fräulein Else

In the early 20th century, authors increasingly experimented with literary techniques striving towards two common aims: to illumine the inner life of their protagonists and to diverge from conventional forms of literary representations of reality. This shared endeavour was sparked by changes in society: industrialisation, developments in psychology, and the gradual decay of empires, such as the Victorian (1837–1901) and the Austro-Hungarian (1867–1918). Those developments yielded a sense of uncertainty and disorientation, which led to a so-called “turn [inwards]” in the arts (Micale 2). In this context, this essay examines Virginia Woolf’s (1882–1941) development of her literary technique by comparing To the Lighthouse (1927), written in free indirect discourse, with Arthur Schnitzler’s (1862–1932) Fräulein Else (1924), written in interior monologue. Instead of applying Freud’s theories of consciousness, I will demonstrate how empiricist psychology informed and partly helped shape the two narrative techniques by referring to Ernst Mach’s (1838–1916) idea of the unstable self, and William James’ (1842–1910) concept of the stream of consciousness. Furthermore, I will show that there is a continuous progression of literary ideas from Schnitzler’s Viennese fin-de-siècle connected to impressionism, towards Woolf’s Bloomsbury aesthetics connected to Paul Cézanne’s post-impressionist logic of sensations. In addition to that, I address how the women’s movement, starting in the end of the 19th century, inspired Woolf and Schnitzler to utilise their techniques as a means of revealing women’s restricted position in society. Methodologically, I will analyse the two novels’ narrative techniques applying close reading and by that point out their differences and similarities in connection to the above-mentioned theories as well as the two author’s literary approaches. I argue that this comparison demonstrates that modernist literary techniques of representing interiority evolved from interior monologue towards free indirect discourse. This progression also implicates that modernism can be seen as a continuum reaching back to the fin-de-siècle and culminating in the 1920s. 

Women Creators: Artistry and Sacrifice in the Novels of Virginia Woolf

This thesis examines different facets of feminine artistry in Virginia Woolf's novels with the purpose of defining her conception of women artists and the role sacrifice plays in it. The project follows characters in "Mrs. Dalloway," "To the Lighthouse," and "Between the Acts" as they attempt to create art despite society's restrictions; it studies the suffering these women experience under regimented institutions and arbitrary gender roles. From Woolf’s earlier texts to her last, she embraces the uncertainty of identity, even as she portrays the artist’s sacrifice in the early-to-mid twentieth century, specifically as the creative female identity fights to adapt to male-dominated spaces. Through a close-reading approach coupled with biographical and historical research, this thesis concludes that although the narratives of Woolf's novels demand the woman artist sacrifice for the sake of pursuing creation, Woolf praises the attempt and considers it a crueler fate to live with unfulfilled potential.

Of angels and demons: Virginia Woolfs homicidal legacy in Sylvia Plaths: The bell jar.

Esta dissertação é um estudo comparativo do legado vitoriano deixado para as escritoras do século XX, Virginia Woolf e Sylvia Plath. Primeiro discutem-se as agências controladoras do corpo feminino na era vitoriana e a formação de um ideal de feminilidade que chamamos de Anjo do Lar. Em seguida, discute-se como Virginia Woolf apreende essa imagem e a subverte, criando seu duplo, que chamamos de Demônio do Lar. Por fim, promovemos o diálogo entre Sylvia Plath e Virginia Woolf. Plath parece escrever aos moldes de Woolf, criando uma literatura de morte, feita para assassinar o Anjo do Lar. Usamos para tal estudo o conceito de écriture féminine, criado pelas francófonas Hélène Cixous, Luce Irigaray, e Julia Kristeva, entre outras, para traçar os paralelos entre um lugar para o feminino na escrita e a busca de uma tradição por Woolf. A abjeção de Kristeva, a dinâmica de poder entre alma e corpo de Foucault e o conceito de duplo de Otto Rank nos ajudarão, por fim, a entender como se dá a morte do Anjo na literatura, especificamente no romance A redoma de vidro (1963) de Sylvia Plath

Waxing Ornamental : Reading a Poetics of Excess in Virginia Woolf’s Orlando and Djuna Barnes’s Nightwood

Ce mémoire de maîtrise porte sur une poétique de l’excès dans Orlando de Virginia Woolf et Nightwood de Djuna Barnes comme une stratégie combattant la tendance qu’a le modernisme à dévaloriser l’écriture des femmes comme étant trop ornementale. J’expose comment Ezra Pound, T.S. Eliot, et Wyndham Lewis tentent de récupérer la notion du détail afin d’affirmer une poétique masculin. Je fais appel également aux oeuvres de l’architecte autrichien Adolf Loos qui souligne sa dénonciation de l’ornement comme régressif. Dans Orlando et Nightwood, je considère l’excès associé au corps. Je soutiens que, dans ces textes, les corps dépassent les limites de la représentation moderniste. Je considère aussi comment Orlando et Nightwood font apparaître la narration comme ornement et écrivent excessivement l’histoire et le temps. Pour conclure, je propose une façon de lire l’excès afin de reconceptualiser le potentiel de production de la signification dans des textes modernistes.

Recognizing cultural concepts: Joyce, Woolf, Mann and Musil

The purpose of this thesis is to establish a direct relationship between literature and fields of knowledge such as science and technology, by focusing on some concepts that were fundamental for both science and the humanities at the beginning of the 20th century. The concepts are those of simultaneity, multiple points of view, map, relativity and acausality. In the spirit of several recent ideas, for example Katherine Hayles’ isomorphism notion, the dissertation shows how writers such as James Joyce, Virginia Woolf, Thomas Mann and Robert Musil developed the mentioned concepts within their narratives. The working hypothesis is that those concepts were at a crossroad of human activities, and that those authors used them extensively within their narratives. It is further argued that those same concepts – as developed by Joyce in Ulysses, Woolf’s shorts stories and novels from the end of the 1910’s until the end of the1920’s, Mann’s Der Zauberberg (The Magic Mountain), and Musil’s Der Mann ohne Eigenschaften (The Man Without Qualities) — are still fundamental for our conception of time and space today. The thesis is divided into two parts. The first two chapters will analyse the concepts of simultaneity and multiple points of view and their relationship to cartography as developed within English literature and culture. The next two chapters will address the concepts of relativity and acausality, as developed within German literature and culture.

La realtà nella lingua e la lingua nella realtà - un esempio del potere descrittivo e produttivo del linguaggio nelle opere di Woolf e Calvino

La mia tesi si propone di analizzare la capacità della lingua, in particolare quella letteraria, di rappresentare la realtà delle cose. Questa analisi, introdotta da un capitolo esplicativo delle principali teorie sul processo di significazione della lingua, verrà condotta in particolare sull'opera di Virginia Woolf, riferimento per la lingua inglese, e Italo Calvino per la lingua italiana. L'elaborato volgerà poi alla conclusione evidenziando la capacità della lingua di essere non soltanto descrittiva ma anche produttiva, riportando una relazione interattiva con lo stato di cose del mondo.

‘Argue with us!’: audience co-creation through post-performance discussions.

In this article Caroline Heim explores an avenue for the audience's contribution to the theatrical event that has emerged as increasingly important over the past decade: postperformance discussions. With the exception of theatres that actively encourage argument such as the Staatstheater Stuttgart, most extant audience discussions in Western mainstream theatres privilege the voice of the theatre expert. Caroline Heim presents case studies of post-performance discussions held after performances of Anne of the Thousand Days and Who's Afraid of Virginia Woolf? which trialled a new model of audience co-creation. An audience text which informs the theatrical event was created, and a new role, that of audience critic, established in the process.

"Frater, ave atque vale" (Catull. 101.10): fortuna literaria de una fórmula epigráfica

Trabajo realizado dentro del Grupo de Investigación «Tradiciones Clásicas» de la UPV/EHU (GIU-07-26)

Cátedras extraordinarias. Semestre 2009-1

Folleto y programa descriptivo de las Cátedras Extraordinarias . Semestre 2009-1

Cátedras extraordinarias. Semestre 2009-2

Folleto y programa descriptivo de las Cátedras Extraordinarias . Semestre 2009-2

Believing in belief : the modernist quest for spiritual meaning (Croyer en croyance : la quête moderniste pour le sens spirituel)

Cette thèse défend l’idée que plusieurs auteurs modernistes ont utilisé des concepts centraux à la croyance religieuse traditionnelle afin de préconiser le changement social. Au lieu de soutenir l'hypothèse de la sécularisation, qui prétend que les modernistes ont rejeté la religion en faveur d'une laïcité non contestée, j'argumente en faveur de ce que j'appelle « la spiritualité moderniste, » qui décrie une continuité intégrale des concepts spirituels dans l'agitation de la période moderniste qui a déstabilisée les institutions qui avait auparavant jeté les bases de la société Occidentale. En me basant sur les écrit de Sigmund Freud, William James et Émile Durkheim concernant les fins poursuivis par la religion, je développe cinq concepts centraux de la croyance religieuse que les modernistes ont cherché à resignifier, à savoir la rédemption, la communauté, la sacralité, le spectre, et la liturgie, et, dans chaque cas, j'ai montré comment ces catégories ont été réinterprétées pour traiter des questions considérées comme essentielles au début du vingtième siècle, à savoir ce que l’on identifie aujourd’hui comme le féminisme, l'écologie, la biopolitique, les crises, et le rôle du poète. Le chapitre I se concentre sur la rédemption par le féminin telle qu’on la trouve dans le recueil de vers de H.D. portant sur la Seconde Guerre mondiale, Trilogy (1944-1946), qui projette un certain espoir grâce à un mélange synchrétique de Christianisme, de mythes anciens, d’astrologie, et de psychologie. Mon deuxième chapitre discute de The Grapes of Wrath (1939) de John Steinbeck, qui élargit le rôle de la communauté en avançant une écologie universelle qui concevoit tous les gens comme étant intimement liés entre eux et avec le monde. Le chapitre III traite de la notion du sacré dans The Light in August (1932) de Willam Faulkner et Nightwood (1936) de Djuna Barnes, qui préconisent une foi privatisée qui accentue l'illégitimité des concepts de sacralité et de pollution en élevant des individus qui sont marginalisés biopolitiquement. Le chapitre IV cherche à comprendre le retour des morts, et je soutiens que le topos a été utilisé par les modernistes comme un symbole de crises sociales; le chapitre enquête d'abord sur “The Jolly Corner” (1908) de Henry James, que j'ai lu comme la séquence rêvée d'un homme faisant face à son propre spectre, Ulysses (1922) de James Joyce, où Stephen Dedalus est hanté de façon répétée par le spectre de sa mère, et Mrs. Dalloway (1925) de Virginia Woolf, qui se concentre sur le motif caché de la Fête des Morts. Ma cinquième section traite de la liturgie, la langue poétique utilisée pour les rites religieux, dans la première poésie de Wallace Stevens, qui conçoit le rôle du poète comme une vocation de l'imagination.

Engendered Conversations: Gender Subversion Through Fictional Dialogue in Lawrence, Hemingway and Forster

This dissertation examines gendered fictional dialogue in popular works by D.H. Lawrence, Ernest Hemingway and E.M. Forster, including Howards End (1910), The Sun Also Rises (1926) and Lady Chatterley’s Lover (1928). I apply Judith Halberstam’s notion of female masculinity to direct speech, to explore how speech traits inform modernist literary aesthetics. My introduction frames this discussion in sociolinguistics, Judith Butler’s theory of performativity, M.M. Bakhtin’s discourse theory, and gender studies. It provides an opportunity to establish experimental dialogue techniques, and the manipulation of gendered talk, in transgressive texts including James Joyce’s Ulysses (1922), Virginia Woolf’s Orlando (1928) and Radcyffe Hall’s The Well of Loneliness (1928). The first chapter discusses taboos and dialect in D.H. Lawrence’s fictional dialogue. The second chapter establishes gender subversion as a crucial element in Ernest Hemingway’s dialogue style. The third chapter contrasts Forster’s latently gendered speech with his techniques of dialect emphasis and dialect suppression. Finally, my conclusion discusses gender identity in the poetry of Dorothy Parker and Baroness Elsa von Freytag Loringhoven, and the temporality of gender in “Time Passes” from Virginia Woolf’s To the Lighthouse (1927). New Woman characters like Lady Brett Ashley typified a crucial moment in women’s liberation. They not only subverted stereotypes of womanhood through their dress or sexual freedom, they also adopted/adapted masculine idiom to shock, to rebel against and challenge male dominance. Different speech acts incited fashionable slang, became a political protest symbol or inspired psychoanalytic theory. The intriguing functions of women’s masculine speech in early twentieth century fiction establishes the need to examine additional connections between gender and talk in literary studies.

Sostener la libertad : encontrar y cuidar `un cuarto propio´.

Virginia Woolf planteó la necesidad de disponer de un cuarto propio figurado para las mujeres. Se trataría de un lugar de independencia simbólica que hay que abrir, iluminar y cuidar. El sentido de la educación está en posibilitar que cada chica, cada chico, encuentren referentes para ser libres, se conozcan a sí mismos y al mundo. Para ello es necesario reconocer y traducir en prácticas la singularidad irreductible de quién es cada uno: hombres y mujeres. De no hacerlo, se corre el riesgo de privar a las mujeres de los referentes de autoridad femenina que les son necesarios para saber quiénes son y para dar contenido a su libertad. El énfasis en la igualdad de derechos y en la emancipación es importante para eliminar desigualdades pero no es suficiente. Tampoco es equivalente a generar posibilidades de libertad femenina y masculina. Para ayudar en esta tarea se dispone de conocimientos y de prácticas que ofrecen referentes de autoridad para enseñar la libertad a las niñas y a las mujeres en la escuela.

Stories of ourselves : the University of Cambridge International Examinations anthology of stories in english.

Antología de relatos de escritores de diferentes países y culturas, como Charles Dickens, H.G. Wells, Virginia Woolf, Graham Greene, V.S. Naipaul, Raymond Carver, Jhumpa Lahiri y Annie Proulx. Su contenido se adapta al estudio del CIE, IGCSE y a los exámenes del nivel AS y nivel A de literatura en inglés.

L'habitaci?? dels adolescents

Resumen basado en el de la publicaci??n