Consciência literária e posicionamento político no processo de composição de The Voyage Out, de Virginia Woolf

In this article, a discussion about the implications and developments in the relation between Literature and Politics is proposed in order to demystify generalized critical opinions in literary studies. To do this, articulations between theory and practice are made, based on Virginia Woolf’s composition process of her first novel, pointing out the author’s artistic ability and political consciousness.

A representação do trabalho da memória e a busca de identidade em The Voyage Out, de Virginia Woolf

The representation of the work of memory and the search for identity in The voyage out by Virginia Woolf In The Voyage Out, Virginia Woolf portrays the protagonist by showing her inner thoughts. Strategy that analogically allows the conception of the esthetic work of the author as being close to the Freudian memory supported by life and death drives. The objective of this study is to show how the psychic states, revealed by the protagonist, are articulated with the work of memory and the search for identity in the novel.

Victoria Ocampo y Virginia Woolf : Escritura autobiográfica, encuentros y lecturas

Fil: Chikiar Bauer, Irene. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Victoria Ocampo y Virginia Woolf : Escritura autobiográfica, encuentros y lecturas

Fil: Chikiar Bauer, Irene. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Victoria Ocampo y Virginia Woolf : Escritura autobiográfica, encuentros y lecturas

Fil: Chikiar Bauer, Irene. Universidad Nacional de La Plata. Facultad de Humanidades y Ciencias de la Educación; Argentina.

Early years of the University of Virginia. : Address of H. Tutwiler, A.M., LL.D., of Alabama, before the Alumni Society of the University of Virginia, Thursday, June 29th, 1882.

Mode of access: Internet.

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.

A quarta dimensão do instante : "estudo comparativo da epifania nos contos de Virginia Wolf, Katherine Mansfield e Clarice Lispector

Dissertação de Doutoramento em Literatura Comparada

A melancolia na arte - da literatura para o cinema. Análise da transposição de Mrs. Dalloway, de V. Woolf, para o filme As Horas

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Comunicação – Comunicação e Arte

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.