Tesis para optar al grado de Magister en Filosofía

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 0593 / tarastar@gmail.com

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 2015-04-16 / 0593 / tarastar@gmail.com

Originally presented as the author's dissertation. / Includes bibliographical references (p. 271-286).

Originally presented as the author's dissertation. / Includes bibliographical references (p. 271-286).

Submitted by Sarah Reis (sarahreis@ufba.br) on 2017-02-01T13:03:37Z No. of bitstreams: 1 DISSERTAÇÃO_REIS_SN_Charme é poder viver aqui(1).pdf: 4173103 bytes, checksum: 475dfc250ce390c42bd1ece0a2849dde (MD5) / Approved for entry into archive by Hozana Azevedo (hazevedo@ufba.br) on 2017-08-16T14:16:30Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_REIS_SN_Charme é poder viver aqui(1).pdf: 4173103 bytes, checksum: 475dfc250ce390c42bd1ece0a2849dde (MD5) / Made available in DSpace on 2017-08-16T14:16:30Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_REIS_SN_Charme é poder viver aqui(1).pdf: 4173103 bytes, checksum: 475dfc250ce390c42bd1ece0a2849dde (MD5) / O Brasil viveu na última década um momento de expansão da oferta de produtos habitacionais, este momento tem sido chamado de boom imobiliário. Salvador, em especial, viveu a intensidade deste momento sendo um dos destaques da produção imobiliária do país, foi invadida por grandes incorporadoras e construtoras paulistas e estrangeiras e diversificou a oferta de unidades habitacionais apresentando novos produtos, tais como novos modelos de condomínio, condomínios-clubes, condomínios-parques, bairros planejados, acentuando a verticalização da orla atlântica em especial e da cidade como um todo além de aprofundar o desmatamento do remanescente de Mata Atlântica, últimos vazios urbanos existentes na cidade. Este trabalho se propõe a fazer um estudo qualitativo e quantitativo da oferta imobiliária contemporânea da cidade a partir do instrumental teórico oferecido principalmente por Henri Lefebvre e David Harvey, resgatando também os antecedentes históricos desta produção além dos impasses e limitações, do qual o desenho arquitetônico é objeto, revelado pela observação do trabalho de arquitetas e arquitetos num escritório destaque. Trata-se de uma etnografia multi-situada, na qual foram investigados documentos e matérias jornalísticas, e o lócus de pesquisa se desdobrou em inúmeros lugares onde a prática da compra e venda de imóveis se realiza. Assim, este trabalho busca contribuir com a visão antropológica ao panorama que as ciências sociais e o urbanismo tem procurado construir sobre as transformações da cidade sob a égide do capital imobiliário e financeiro. / The Brazil experienced in the last decade a time of expanding the offer of housing products, this moment has been called the real estate boom. Salvador, in particular, lived the intensity of this time being one of the highlights of the housing production in the country was invaded by large developers São Paulo and foreign construction companies and diversified offer of housing units introducing new products such as new condominium-models, clubs-condominium, parks condominiums, planned neighborhoods, emphasizing the vertical edge of the Atlantic, in particular, and the city as a whole, in addition to further deforestation of the Atlantic forest, urban voids last existing in the city. This paper aims to make a qualitative and quantitative study of contemporary real estate offer of the city from the theoretical tools offered mainly by Henri Lefebvre and David Harvey also rescuing the historical background of this production beyond the impasses and limitations, which the architectural design is object, revealed by observation of architects work in a prominent office. This is a multi-situated ethnography, in which documents and newspaper articles were investigated, and the locus of research unfolded in many places where the practice of buying and selling of real estate helds. This work seeks to contribute to the anthropological view that the social sciences and urbanism has sought planning to build on the changes in the city under the aegis of the real estate and financial capital. / Le Brésil a connu durant la dernière décennie une période de développement de l'offre de produits de logement, ce moment a été appelé le boom de l'immobilier. Salvador, en particulier, a vécu l'intensité de ce moment étant consideré un des lieux remarquables de la production immobilière dans le pays, dont a été envahi par les grands développeurs de São Paulo et les entreprises de construction étrangères et diversifiée l‟offre de logements introduisant de nouveaux produits tels que les nouveaux modèles de résidences, les résidences-clubs, les résidences-parques, les quartiers planifiés, accetuant la verticalization de la Forêt Tropicale en particulier, et la ville dans son ensemble, en plus l‟approfondisement de la déforestation du restant de la Forêt Tropicale, lês dernières vides urbains existantes dans la ville. Ce travail vise à faire une étude qualitative et quantitative de la contemporaine offre immobilière de la ville à partir des outils théoriques offerts principalement par Henri Lefebvre et David Harvey rachetant aussi le contexte historique de cette production au-delà des impasses et des limites, duquel le design architectural est l‟objet, révélé par l'observation du travail des architectes dans um notable bureau. C‟est une ethnographie multi-située, dans laquelle ont été étudiés documents et dês articles de journaux, et le locus de la recherche s‟est déroulé dans de nombreux endroits où la pratique de l'achat et de la vente de biens immobiliers s‟effectue. Donc, ce travail vise à contribuer à la vue anthropologique au panorama que les sciences sociales et l‟urbanisme ont cherché à se appuyer sur les changements dans la ville sous l'égide du capital immobilier et financier.

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This dissertation is a study of the architecture of commodity capital: the display window. Taking as a starting point the work of Henri Lefebvre and Goerg Simmel, this dissertation understands the shop window to be a mode of display, what I define as “the logic of the vitrine,” that has shaped the way the world appears. Tracing a genealogy from the Parisian Arcades to the twentieth-century department store, this project explores the relationships between gender, sexuality, race, and architecture. Feminist critiques of commodity desire and display illuminate how the shop window is as important to our understandings of capitalism as is the commodity. Through feminist, queer, postcolonial, and anti-racist readings of material and commodity culture, this dissertation considers the shop window to be a site of subject formation. This dissertation also examines how designers, artists, and architects have explored the display of the shop window through a series of case studies, including Marina Abramovic’s Role Exchange, Gene Moore’s “drag” in Bonwit Teller’s shop windows, the making of a black mannequin, and Lynn Hershman Leeson’s site-specific installation 25 Windows. This dissertation concludes with a consideration of the architectural role reversals of the shop window and the gallery; the work of Silvia Kolbowski and Elmgreen and Dragset’s Prada Marfa ground this analysis. Artists have disrupted the display of the shop window, transforming the architecture of commodity capital into a space for resistance and critique.