Facultad de Filosofía y Humanidades / Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / [...] Basically, I am going to answer these questions on the light of one proposal that came up during the seminar sessions. I believe that through the different temporalities of the characters, the section “Time Passes” may acquire a different meaning in the novel. This section is the one which brings to light the differences among the times lived by the characters; therefore, I propose that the temporalities exposed in this section surpass the boundaries given by the structure of the novel. In this way, the time of Time Passes outstrips the whole novel; thus gaining an organic relevance, changing our perception of the form of the literary work. From my point of view, Time Passes overcomes the structural 6 level in order to gain relevance in giving the novel another way of interpreting it through the issue of time and temporality.

This thesis represents a study of The Years by Virginia Woolf and Rebecca by Daphne du Maurier. Both novels attempt to redefine the role of women in patriarchal society during the 1930s. The domestic role women had to fill within a masculine household constrained their ability to form an independent "self," apart from fathers and husbands. I argue that these novels articulate the possibility for women to access an independent self by examining the meaning behind domestic objects in and of the house. Lucy Irigaray asserts that women were, and still are, associated with being valued as a desirable "commodity". Since women have no choice but to work within the symbolic order and are already labeled as "object," women writers have manipulated the system by examining the subject/object dichotomy. The relationship women have with inanimate, and particularly domestic, objects shows how time (the past and the future) manipulates freedom in the present moment. Woolf's reflection on how "moments of being" function as gateways to a heightened sense of awareness is prevalent in her last published novel, The Years. I invoke Friedrich Nietzsche to consider notions of how an antiquated past hinders identity in du Maurier's Rebecca. In the literary texts of Woolf and du Maurier, women have a unique relationship with material objects in relationship to subjectivity. By examining the spatial constructs of the home, women are able to construct themselves as free "subjects" in a male dominated world. / by Stephanie Derisi. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

This thesis will suggest how Woolf scholarship's rich exploration of Virginia Woolf's representations of girls, women and femininities may be complemented by more systematic feminist study of constructs of masculinities, as they appear in her work. Elaborating the concept of the ‘private brother', the figure of a form of maleness that the daughters of educated men ‘have reason to respect', but that Three Guineas' narrator stipulates is ‘sunk' by men's exposure to society and replaced by the ‘monstrous male', my thesis will focus particularly on the representations of boys, men and masculinities in To the Lighthouse, Between the Acts and Woolf's biography Roger Fry, though I will additionally use material from Woolf's essays, diaries and letters, as well as from Mrs Dalloway, The Years and The Pargiters. The first section of my thesis will supplement feminist critiques of the education received by upper-middle-class English boys in Woolf's texts by exploring her representations of young male (inter)subjectivities in the process of being ‘sunk.' In the second section, I will complicate the narrative trajectories often indicated for these characters in Woolf criticism by proposing that Woolf understood this sinking process as always incomplete: I will argue that Woolf's adult male characters, even her patriarchs, professors and otherwise educated men, vacillate continually between stances that might be characterised as monstrous maleness and private brotherliness–in both ‘public' and intimate settings–as one of the preconditions of social existence.

by Wanda Wing Yi Tsui. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1994. / Includes bibliographical references (leaves 92-101). / Chapter CHAPTER ONE --- Gender and Identity: Subjectivity in Women's Writing --- p.1 / Chapter CHAPTER TWO --- The Androgynous Personality Celebrated in Virginia Woolf's To the Lighthouse --- p.20 / Chapter CHAPTER THREE --- The Inner Growth of the Female Characters in Wang Anyi's Stories --- p.53 / Chapter CHAPTER FOUR --- Female Identity: the Significance of Androgyny --- p.80 / NOTES --- p.90 / WORKS CITED --- p.92

Esta pesquisa investiga a construção do texto dramatúrgico Virginias, sobre a vida da escritora inglesa Virginia Woolf, que utilizou como metodologia de escrita o procedimento de apropriação, em que a obra e os diários pessoais da escritora foram fraturados pelo recorte e pela posterior colagem destes intertextos na nova criação. O trabalho articula os estudos sobre citação e apropriação de Antoine Compagnon, Affonso Romano de Sant’Anna, Kenneth Goldsmith e Marjorie Perloff, percebendo o procedimento como uma prática que tem a pós-modernidade como influência. A pesquisa utiliza como aportes teóricos sobre a condição pós-moderna, os autores Jean-François Lyotard e Linda Hutcheon e Cecília Salles sobre a gênese criativa. / This research investigates the construction of the play Virginias, about the life of English writer Virginia Woolf, which used as writing methodology the procedure of appropriation. This procedure consisted in fracturing the writer’s work and diaries by cutting them out and then pasting the pieces of intertext together in a new creation. The work articulates the studies about quotation and appropriation of Antoine Compagnon, Affonso Romano de Sant’Anna, Kenneth Goldsmith and Marjorie Perloff, and perceives the procedure as a practice that has postmodernity as influence. The research has as theoretical background about the postmodern condition the authors Jean-François Lyotard and Linda Hutcheon and Cecília Salles about creative genesis.

Mak, Ka Yu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 122-125). / Abstracts in English and Chinese. / "Introduction: Don Juan: ""the most readable poem of its length""" --- p.1 / Chapter Chapter One: --- Parodying Authorial Presence in Don Juan and Orlando --- p.12 / Don Juan and Orlando as Literary Jokes --- p.13 / Don Juan and Orlando as Cross-Genre Literature --- p.15 / Common Literary Predecessors --- p.18 / The Byronic Biographer --- p.22 / "Fictional Life, Real Life" --- p.28 / Literary Tyrant and Liberal Equivocator --- p.33 / Their Ambiguous Human Portraits --- p.42 / The Parodies' Resolution --- p.51 / Chapter Chapter Two: --- The Modern Artist's Listless Monologue in Don Juan and The Waves --- p.57 / Don Juan as a Modern Man's Monologue --- p.58 / The Waves as Don Juan's Modem Counterpart --- p.63 / "The Wave's Narrative Frame and ""Dramatic Soliloquies""" --- p.66 / The Complication of the Narrative Perspective(s) --- p.70 / Byron's Young Man --- p.74 / Yet Byron never made tea as you do --- p.77 / The Making of Modem Artists --- p.82 / The Infant and the World --- p.86 / "The Wo/Man ""Outside the Thinker""" --- p.96 / The Death of Heroes --- p.103 / Social Alienation --- p.108 / Ennui and Boredom --- p.111 / Yet Life Goes On --- p.115 / Conclusion --- p.118 / Works Cited --- p.122

In A Portrait of the Artist as a Young Man, James Joyce used the form or structure of his language to connote a meaning which supported the content of the text. The elements of form he used most often were sentence and paragraph structure, punctuation, rhythm, and classical rhetorical schemes. By manipulating these, he gained three benefits: he supplied an emotional appeal to the content, he represented his epistemological beliefs in his language, and he gave elegance to his prose. Background research reveals the influences that led to Joyce using form to support content. They include his Jesuit education, his own predisposition to the connotative aspects of language, and his literary work previous to Portrait. The examination of the text of Portrait exhibits the particular ways Joyce used the elements of form to fit content. Several of the highly emotional episodes of the story, the most likely to contain form-fitting-content examples, are examined in detail. Attention is given to rhetorical schemes of repetition because it is through these schemes that emotional pitch is adjusted in the story. Joyce's innovative use of syntactical structures to fit content, and his application of such poetic forms as rhythm and meter to simulate physical action are discussed. An examination of the end of the book, a section where rhetorical schemes and structural manipulation seems to disappear, shows how the apparent lack of connotative elements is appropriate to making a new form fit a new content. The use of form to support content in Portrait was an artistic commitment which Joyce began in Portrait. He would continue and intensify his commitment in all of his writing after Portrait. How Joyce wrote would always thereafter be determined by what he wrote about. / Graduation date: 1995

Texte remanié de : Thèse doctorat : Littérature comparée : Paris 3 : 2000. / Bibliogr. p. [301]-312. Notes bibliogr. Index.

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Toru Takemitsu (1930--96) composed several musical works which adopt as their titles quotations from James Joyce' s final and most revolutionary novel, Finnegans Wake. In this thesis I focus on one of these compositions, Far Calls. Coming, Far! (1981) for solo violin and orchestra. I explain the ways in which Takemitsu and Joyce possess similar philosophies and aesthetics, and examine their mutual interest in the phenomena of dreams. The Wake explores one night of a family's unconscious sleep activity and is heavily influenced by Freud's The Interpretation of Dreams. I argue that Takemitsu composes Far Calls. Coming, Far! as a "dreamwork" modelled after Joyce's similar literary endeavour. Accordingly, I categorize the analogous dream structures between Takemitsu's music and Joyce's text. These are: The Dreamer, Language, Time and Water, which I discuss in turn.