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This thesis reconsiders in detail the connections between a selection of innovative female modernist writers who experimented variously with stream-of-consciousness techniques, May Sinclair, Dorothy Richardson, Katherine Mansfield and Virginia Woolf. It describes in this context the impact of the philosophy and thoughts of both William James and Henri Bergson upon these women writers’ literary work. It also argues for a fundamental revision of existing understandings of this interconnection by considering the feminist context of such work and recognising that the work of these four female writers in effect incorporates a ‘gendered’ reading of James and Bergson (encountered both directly and indirectly through the cultural and intellectual zeitgeist). In establishing a feminist perspective as key elements of their aesthetic the thesis explores the vital influence of existing tradition of female autobiography upon their reception and usage of both James and Bergson. The latter’s impact on such women writers were so distinctive and powerful as the work of these philosophers seemed to speak directly to contemporary feminist concerns and in that context to represent a way of thinking about society and culture. This echoes and has parallels with existing attempts at revisions of patriarchal society and creating new spaces for female independence. In the above context the thesis reviews existing research on the impact of James and Bergson on these four writers and offers new insights into how each of them made use of these two seminal thinkers by analysing the relationship between theories, selected literary and philosophical texts. Stream-of-consciousness ought to be seen as a distinctive, specific tradition connected with feminist concerns and as a way of writing the inner and hidden self, rather than just a narrow formal feature of literary texts; it offers women a continuing, creative exploration of its possibilities as fictional practice. The female modernists included in this account represent the celebrated: Virginia Woolf and Katherine Mansfield, together with writers largely and unjustly forgotten in subsequent periods: Dorothy Richardson and May Sinclair. However, the thesis demonstrates that such female modernist writers gained much from being part of a range of informal networks, being almost within a tradition in which they learnt, borrowed and reacted to each other; an interconnection that requires new critical recognition.

Made available in DSpace on 2014-06-12T18:31:02Z (GMT). No. of bitstreams: 2 arquivo3763_1.pdf: 7617244 bytes, checksum: c0ec3891655fb0077f546c40a98ee1b5 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O romance As Horas (Michael Cunningham), adaptado para o cinema com o mesmo título , por Stephen Daldry, ilustra bem uma tendência contemporânea de criação artística em que um texto é construído a partir de outr(os) já famos(os), questionandose aspectos de originalidade e considerandose características onde se incluem a fragmentação, a colagem, e a paródia. O objetivo dessa pesquisa é analisar o romance e o filme As Horas, tendo como foco o espaço vertiginoso da subjetividade feminina; subjetividade esta que possui um sujeito fragmentado e deslocado do seu papel histórico. Como parte desse percurso acadêmico, foi preciso também fazer um mergulho em subtemas como: a inadequação das mulheres frente ao seu cotidiano, suas escolhas e sentimentos de incompletude. Assim, o presente trabalho propõese a ler As Horas não somente como uma reescritura de Mrs. Dalloway (Virginia Woolf), mas também como um gesto em direção a um impulso estético pósmoderno e à uma mulher contemporânea, cujas novas possibilidades de articulações, através do eco das personagens pelas décadas afora e das ressonâncias dos novos sujeitos, se desdobram numa Mrs. Dalloway que transcende às páginas. Lançase assim, um novo olhar quanto ao tema recorrente de Woolf Um dia comum na vida de uma mulher

This dissertation explores Irish and English fiction before, during, and shortly after the Second World War, a period of complex change in the relations between England and Ireland as British imperial control in Ireland ended. Ireland's neutrality in response to England's declaration of war intensified the nations' apparent differences, yet as my study brings to light, the War also fostered new affinities between England and Ireland, despite each country's inclination to define itself against the other by contrast. Each country's tendency toward xenophobic self-definition gave rise to policies and perspectives that resemble thinking and life in a fascist state. The fiction that I discuss responds to those tendencies by revealing possibilities for collectives that are more dynamically constituted around forms of vision and engagement involving shared responsibility and individual freedom. Chapter 1 reads Virginia Woolf's novel Between the Acts (1941) as a working through of contrasting responses to dictators from a 1938 diary entry and her manifesto Three Guineas, published the same year. I argue that character interactions and self-reflection in response to a play performed in the novel allow characters to recognize fascist tendencies in their own thinking and discover collective visions contrary to the total allegiance prized in Nazi spectacle and English propaganda. Against the mostly ahistorical critical treatments of Flann O'Brien's The Third Policeman (written 1939-1940, published 1966), Chapter 2 traces affinities between the narrator's deluded belief in his own superiority in a milieu of suppressed violence and the psychological environment Irish neutrality created. Focusing on Elizabeth Bowen's novel The Heat of the Day (1948) and wartime short fiction, Chapter 3 argues that her characters' behavior challenges stereotypes about English and Irish residents promoted by the other country. Rather than offering the escape from the War that some English visitors desire, Ireland provides a vantage point for seeing their London lives in new ways. Chapter 4 takes Nazi narratives of German history as reference points for interpreting Samuel Beckett's Watt (written 1942-1945, published 1953) and Molloy (1955), in particular the narrators' attempts to hide their control over the narratives they shape and the collectives that surround them.

This diploma thesis in architecture is a book composed of a combination of embedded anthropological documentation and creative fiction, written with help from Virginia Woolf and Marcel Proust. It is a story built up, fragment by fragment, that describesregular visits to the Girls Night events at a Youth Centre in Fittja, in Northern Botkyrka, south of Stockholm, where the author went to meet and spend time with a group of local girls on Thursday evenings in the Spring of 2015. Ungdomens Hus is a Youth Centre in Fittja for locals between the ages of 15 to 22. Many boys come and play games here, including pool, ping-pong, video games, the Turkish game Okey, boxing, they also watch TV and generally hang out. The ability for girls to occupy this room, on the other hand, tends to be reduced to three hours a week, when the room becomes a space for the girls alone: A room of their own. On Thursday evenings Rädda Barnen and the municipality Botkyrka arrange the Girls Nights in the Youth Centre in Fittja. This forum is open for all girls between the ages of 15 to 20 years old who live in Northern Botkyrka. The Girls Nights exists to make it possible for young women to make their presence visible, and for them to be able to take space at the Youth Centre, developing their courage to take place in other public spaces and in the context of contemporary society more generally. / Detta examensarbete i arkitektur är en bok som fått sin form från en kombination av antropologisk dokumentation och fiktion, skriven med hjälp från Virginia Woolf och Marcel Proust. Historien byggs upp fragmentariskt och beskriver regelbundna besök på Tjejforum på en ungdomsgård i Fittja, Norra Botkyrka, Stockholm, där författaren mötte och spenderade tid med en grupp tjejer på torsdagskvällar under våren 2015. Ungdomens Hus är en ungdomsgård i Fittja för ungdomar (15-22 år) i området Norra Botkyrka. Många killar går dit. De spelar biljard, pingis, tevespel, okey, boxas, tittar på teve och umgås rent allmänt. Möjligheten för tjejer att ta plats i detta rum, å andra sidan, tenderar att reduceras till tre timmar per vecka då Ungdomens Hus förvandlas till ett rum för bara tjejer: deras eget rum. På torsdagskvällar anordnar Rädda Barnen tillsammans med Botkyrka kommun Tjejforum på Ungdomens Hus i Fittja. Verksamheten är öppen för alla tjejer (15-20 år) i Norra Botkyrka. Tjejforum finns för att unga kvinnor i Norra Botkyrka ska få synas och ta plats på Ungdomens Hus, i andra offentliga rum och i hela vårt samhälle.

This thesis explores Woolf's concept of androgyny through a comparison of her nonfiction essay A Room of One's Own and her fiction-fantasy novel Orlando. Recent and past critical writings on Woolf and androgyny have been consulted, as well as primary sources including her works, private letters, and diaries. Woolf's concept of androgyny embodies a fundamental dilemma. In A Room of One's Own, Woolf calls for spiritual and mental androgyny while avidly supporting physical, social, and cultural differences between men and women. In Orlando, Woolf creates a character who is unable to reach mental androgyny because of social conditioning of gender and sex roles. The dilemma lies in Woolf's embrace of stereotypical ideas that distinguish men and women, while in the end, such differences inhibit the mental and spiritual androgyny she exalts. The findings shed new light on Woolf and the controversy of her "androgynous vision" by exposing the fundamental dilemma.

With a rising interest in visual media in academia, studies have overlapped at literary and film scholars' interest in adaptation. This interest has mainly focused on the examination of issues regarding adaptation of novel to novel or novel to film. Here I discuss both: Michael Cunningham's novel The Hours, which is an adaptation of Virginia Woolf's Mrs. Dalloway, and the 2002 film adaptation of Cunningham's novel. However, my thesis also investigates a different kind of adaptation: the adaptation of a literary and historical figure. By including in The Hours a fictionalization of Virginia Woolf, Cunningham entrenches his adaptation with Virginia Woolf's life and identity. My thesis compares the two adaptations of Virginia Woolf's identity in the novel The Hours and the film The Hours and investigates the ways in which these adaptations funnel Woolf's identity through the perception of three men"”Michael Cunningham, novelist; David Hare, screenwriter; Steven Daldry, director. My reaction to the fictionalization of Virginia Woolf in The Hours mirrors Brenda Silver's sentiment in the introduction to her book Virginia Woolf: Icon: "My distrust of those who would fix [Virginia Woolf] into any single position, either to praise her or to blame her, remains my strongest motivation" (5). The vast discrepancy between the one dimensionality of Mrs. Woolf, The Hours' character, and the complexity in Virginia Woolf's identity that becomes apparent to a reader of her fictional and autobiographical writing reveals the extent to which Cunningham and the filmmakers simplify Virginia Woolf's identity to fit their adaptations. My motivation in writing this thesis is in drawing attention to the ways in which The Hours fixes Virginia Woolf into a single position and the resulting effects The Hours may have on future interpretations of Virginia Woolf.

Since the publication of Laura Mulvey's influential article 'Visual Pleasure and Narrative Cinema,' in which she identifies the pervasive presence of the male gaze in Hollywood cinema, scholars have sought to account for the female spectator in her paradigm of gendered vision. This thesis suggests that women writers have long debated the problem of the female spectator through literary depictions of the female artist. Women writers of the nineteenth and twentieth centuries'including Elizabeth Stuart Phelps, Edith Johnstone, and Virginia Woolf'recognized the power of the woman artist to undermine the trope of the male gazing subject and a passive female object. Examining Phelps's The Story of Avis (1877), Johnstone's A Sunless Heart (1894), and Woolf's To the Lighthouse (1927) illustrates how the woman artist's active vision disrupts Mulvey's 'active/male and passive/female' binary of vision. Phelps's painter-heroine Avis destabilizes the power of the male gaze not only by exerting her own vision, but also by acting as an active object to manipulate the way she is seen. Johnstone uses artist Gasparine to demonstrate the dangers of vision shaped by either aesthetic or political conventions, suggesting that even feminist idealism can promote the objectification of its heroines. Finally, Woolf redefines the terms of objectification through painter Lily Briscoe, whose vision imbues material objects with subjectivity, thereby going beyond the boundaries between male and female to blur the distinction between subject and object. Through their novels, Phelps, Johnstone, and Woolf suggest that depictions of human experience need to be radically re-thought in order to adequately represent the complexity of subjectivity.

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