Submitted by Isaias Eliseu da Silva (isaiaseliseu@gmail.com) on 2018-06-27T00:05:27Z No. of bitstreams: 1 Tese - versão final.pdf: 1821366 bytes, checksum: eecccdd06a461f99da7ed34d47dee510 (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-06-28T13:35:01Z (GMT) No. of bitstreams: 1 silva_ie_dr_arafcl.pdf: 1767890 bytes, checksum: 3eac585db880bca16eae48f7dab0a7c1 (MD5) / Made available in DSpace on 2018-06-28T13:35:01Z (GMT). No. of bitstreams: 1 silva_ie_dr_arafcl.pdf: 1767890 bytes, checksum: 3eac585db880bca16eae48f7dab0a7c1 (MD5) Previous issue date: 2018-05-30 / 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.

ABSTRACT This thesis is focused on Foucauldian analysis of power, madness, and sexuality in Virginia Woolf¡¦s Mrs. Dalloway. Michel Foucault¡¦s assertion of power aims to explicate the positivity of exercises of power and power-knowledge nexus. Foucault¡¦s study of madness and of the history of sexuality manifests the power confrontation between reason and madness, heterosexuality and homosexuality. In Mrs. Dalloway, Woolf also presents these two power confrontations through the stories of the two main characters, Septimus Warren Smith and Clarissa Dalloway. Woolf, in this novel, not only explores the power relationships between human beings and the social systems but also demonstrates the two main characters¡¦ different solutions toward the power conflicts. The Introduction begins with an overview of the theoretical frame of Foucauldian power and an explanation of the connection between Foucauldian approach and Mrs. Dalloway. In Chapter One, I discuss the cause of Septimus¡¦s madness and the power conflict between Septimus and the doctors, i.e. the power confrontation between reason and madness. In Foucauldian term, the power confrontation between reason and madness signifies the power relation between taboo and transgression. Only through incessant movements of transgression, can the limit of taboo be sensed and emancipated. Chapter Two chiefly deals with the same-sex love between Clarissa and Sally. Their choice of marriage displays the power of the norm of heterosexuality. In this chapter, I, further, present Woolf¡¦s feminist point of view toward women¡¦s subordinate position in the marriage. In Chapter Three, I mainly describe the similarities between Septimus and Clarissa and their different resolutions toward power struggles. Both of them have the homosexual inclination; however, in the moral and sexual norm of heterosexuality, they have a sense of alienation from the circumstance they live in. This sense of alienation generates their feelings of being between the two poles of life and death. They both deeply realize the power of the social norms and try to solve their impasse between life and death in the power struggles. Septimus¡¦s suicide symbolizes his resistance against the power of reason and his attempt of ending the power conflicts; on the other hand, Clarissa¡¦s choice of continuing her life conveys a message of hope of survival to counterbalance the power confrontations. In Conclusion, I reiterate the research of Mrs. Dalloway with the synthesis of Woolf¡¦s and Foucault¡¦s point of view toward power, madness, and sexuality. Both Woolf and Foucault lead readers to understand that ¡§norms¡¨ are socially and culturally constructed, and they endeavor to inspire readers to liberate those so-called norms.

M.A. / Each of Virginia Woolf’s novels provides a unique text dense with insight. This study explicates, with specific attention to detail, Woolf’s portrayal of the awareness of her characters through the content and form of the novel itself. Awareness and the development of awareness create a vision (or acute perspective) in the individual who possesses the highest level of sensitivity. This vision is the awareness of different perspectives through a sensitivity to sensory experience. The characters in Mrs Dalloway and the characters in The Waves, albeit to differing degrees, from total non-action to different attempts of action to interaction, create a perspective for their individual selves respectively. Perspective mediates every part of the life: community, relationships and/or the internal consciousness of any one character. In turn the perspective of any one character is influenced by those external factors: community and/or other people. The dynamic between perspective, the individual and internal and external influences is the central part of this study. Woolf explores this dynamic through sensory imagery. The character that consciously chooses to create and participates in the action of creation becomes more aware. There is a responsibility that comes with that conscious choice and interaction as a result of self-awareness. The responsibility is that in any attempt to create there exists the potential to bring about change. This change can be constructive and positive, or destructive and negative. Active awareness takes place in the community, in relationships among characters or within the individual. A positive change allows unique expression while a negative change advocates a system that condemns individual vision. This study does not favour one result over another but intends to portray the different versions of perspective, vision, choice and creativity through the functioning of individual characters at different levels of awareness in Mrs Dalloway and in The Waves at the level of community, relationship and the individual.

M.A. (English) / This dissertation begins by examining the central tenets of Russian Formalism and American New Criticism. Although it is a term coined by the Russian Formalists, both these schools of thought, in their own ways, are concerned with literariness – that is, that which distinguishes the literary work from other forms of writing. This study traces the ways in which these two critical movements account for the specifically literary language that they claim characterises literary works. Based on the principles derived from these two schools I analyse aspects of Virginia Woolf’s Mrs Dalloway and demonstrate that defamiliarization is at work on various levels of this novel. Thereafter, I examine criticism pertaining to Woolf and illustrate that there are numerous illuminating parallels that can be drawn between recent critics’ studies on Woolf and the principles of the formalists. In particular, I attempt to show that the principle of estranged form continues to inform our critical thought about Woolf’s works. I focus primarily on the arguments posited in two critical studies: Edward Bishop’s Virginia Woolf (1991) and Oddvar Holmesland’s Form as Compensation for Life: Fictive Patterns in Virginia Woolf’s Novels (1998). These studies were selected because they centre on questions of language and form and, as such, coincide in a number of interesting ways with the tenets of formalism.

[pt] Esta dissertação se dedica a analisar os romances A montanha mágica de Thomas Mann, Mrs. Dalloway de Virginia Woolf, e O tempo recuperado de Marcel Proust, em relação aos momentos históricos da Primeira Guerra Mundial (1914-1918), que integra as suas narrativas, e do pós-Grande Guerra, quando os referidos volumes foram publicados – respectivamente em 1924, 1925 e 1927. Ela contém a hipótese de que esses textos não apenas participam do início de uma inflexão inesperada da ideia de progresso da História tal como vinha sendo delineada, sobretudo, entre os séculos XVIII e XIX e posta em questão a partir da guerra, como sobre ela produzem efeitos de ultrapassagem através da capacidade narrativa, entendida, por sua vez e de diferentes maneiras, como sinônimo de vida. Diante da amplitude possibilitada pela literatura ficcional, a seguinte investigação propõe uma consideração das noções de Vida e de História presentes nas obras selecionadas não apenas para estudar um período histórico de mudanças nas concepções das mesmas como também para provocar as narrativas do presente. / [en] This dissertation analyzes the novels The magic mountain by Thomas Mann, Mrs. Dalloway by Virginia Woolf, and Time regained by Marcel Proust, linked to the historical moments of the First World War (1914-1918), which integrates its narratives, and of the post-Great War, when these volumes were published – respectively in 1924, 1925 and 1927. It contains the hypothesis that these texts participate in an inflection of the idea of Historical progress as it had been outlined, above all, between the eighteenth and nineteenth centuries, and they overtake this inflexion by the narrative capacity, understood as a synonym of life. Given the breadth made possible by fictional literature, the investigation proposes a consideration of the notions of Life and History present in the works not only to study a historic period of changes in their conceptions but also to provoke the narratives of the present.

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.

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.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

The thesis aims to explore how Virginia Woolf indicates the individual beauty in Mrs. Dalloway to free the meaning of a human being from the social construction. The social condition of Clarissa and Septimus as a woman and a mad man shows that an individual could be marginalized in the dominating ideology of the society. The relationship in which people judge and overwhelm one another with their own ideas and beliefs exposes similar violence. Through the aesthetic perspectives expressed in the characterization of Septimus and Mrs. Dalloway, however, Woolf discloses the beauty of existence itself. The aesthetics liberates the value of a human being from the social value systems and manifests the aesthetic relationship between different individuals who transcend the boundaries of time as well as body. In addition to Introduction and Conclusion, the thesis is divided into three chapters. In Chapter One, I investigate Mrs. Dalloway¡¦s and Septimus¡¦s marginalized social positions as a woman and a mad man in Britian in the early 20th century. As a woman, Mrs. Dalloway was confined to her domestic role and Septimus, as a mad man, was secluded from society. In this chapter, I argue that Mrs. Dalloway¡¦s party and Septimus¡¦s mad writing, as their way to change the status quo of the society, are their offerings to the world. Chapter Two investigates the dark desire to wield power over the others. Septimu¡¦s death and Mrs. Dalloway¡¦s perception of the beauty of the existence are taken as an escape/exit from this violence. Chapter Three explores the beauty of the existence and the aesthetic relationship between individuals beyond the violence of judgments and social construction Woolf reveals in Mrs. Dalloway.

This thesis is focused on Virginia Woolf¡¦s mourning in her Mrs. Dalloway and To the Lighthouse based on the theory of the work of mourning. Since Freud¡¦s grounding essay, ¡§Mourning and Melancholia¡¨ first appeared in 1918, numerous critics, like John Bowlby and Therese Rando, have followed Freud¡¦s path to study the process of the work of mourning. Julia kristeva also proposes ¡§the sublimatory hold over the lost Thing¡¨ as a way of curbing mourning. In To the Lighthouse, Virginia Woolf restarts her work of mourning, which she fails when her mother, Julia Stephen dies. Woolf writes down and expresses her memories and affections of her mother through her fictional surrogate, Lily Briscoe. Through Lily¡¦s completion of her painting in the end of the novel, Woolf also completes her own work, not only the work of art but also her belated work of mourning. The reason that Woolf writes about her work of mourning in a belated time is that she has not find an appropriate voice of her own to speak out her mind. It is until the creation of Mrs. Dalloway, in which she experiments with the technique of stream-of-consciousness, that Woolf finds a voice of her own. As a result, after the composition of Mrs. Dalloway, Woolf starts her work of mourning in To the Lighthouse. The first chapter begins with an introduction to the theories of mourning and Robert Humsphrey¡¦s theory of the techniques of stream-of-consciousness in modern novel. The second chapter is the discussion of Mrs. Dalloway. By means of her experiment of the new technique of narration, Woolf is able to reveal her belief of the work of mourning through the doubling of the sane Clarissa Dalloway and the insane Septimus, that any suppression of the work of mourning may cause insanity. The third chapter explains how Woolf restarts her belated work of mourning in To the Lighthouse. Since some of the plots of the novel derive from Woolf¡¦s own experiences, verbalizing her past is Woolf¡¦s first step of her work of mourning. Moreover, Woolf expresses her feelings and sentiments for her mother, represented as Mrs. Ramsay, through Lily Briscoe, the surrogate mourner in the novel. By means of the technique of stream-of-consciousness, Woolf is able to speak out her true thoughts about her mother through Lily¡¦s observation of Mrs. Ramsay. Therefore, in the end of the novel, Woolf and her surrogate, Lily, are finally able to finish their own work of art and of mourning as the story ends. In the last chapter, I suggest that Woolf¡¦s new invention of the technique of stream-of-consciousness as her own voice in Mrs. Dalloway initiates her next novel, To the Lighthouse. This is why Woolf restarts her work of mourning of her mother three decades later¡Xbecause she is finally able to speak of her own.