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.

Abstract The "Defective" Generation: Disability in Modernist Literature aims to provide an analysis of how Anglo-American authors in the early twentieth century conceived of, utilized, and portrayed disability in their fiction. Building on the existing scholarship in the field of Disability Studies, I argue that modernists revise the tradition of representation to make disabilities a generational trait rather than a sign of individual deviance. In novel after novel, multiple characters exhibit some form of illness or impairment, which appears as both cause and effect of the instabilities and traumas of modernity. Like many of their predecessors, then, these authors portray diverse health conditions as "defects" rather than natural variations in the human body, and most draw little distinction between the types of "disorders" they represent. This perspective, however, becomes particularly destructive in the era leading up to the Holocaust, when eugenical attitudes would lead to the murder or sterilization of over a million people with disabilities. Modernists also continue to exploit disability's potential for metaphor and sometimes evoke traditional stereotypes. Unlike traditional representations, however, these works do not resolve what the authors perceive as the "problem" of disability by curing or eliminating it; instead, they portray characters struggling to lead fulfilling lives despite feeling limited by their health. Working against the public's conception of disability as solely a medical condition, many of these authors further depict the social forces that turn a perceived "difference" into a "disability." The project is arranged into four chapters. In the first, "Idiots and Other Degenerates: Disability at the Dawn of Modernism," I use Joseph Conrad's novel The Secret Agent to illustrate how disability becomes characteristic of a generation, primarily through the influence of degeneration theory. Mocking the popular conception of a society divided into the "fit" and "unfit," Conrad creates a circle of characters who judge others to be degenerate while ignoring their own similar traits. From that beginning, I move in chapter 2, "Modernist Style: The Inward Turn and Portrayals of Mental Illness," to an analysis of the effects of stylistic experimentation on depictions of disability in both Virginia Woolf's Mrs. Dalloway and F. Scott Fitzgerald's Tender is the Night. The authors' use of multiple points of view in these works leads to a representation of both an individual's experience of psychosis and the stigma that can accompany such illness, and, like Conrad, both writers elide the differences between the seemingly able-bodied characters and those they deem disabled. These authors also offer a contrast in perceptions. Whereas Woolf treats shell shock and emotional instability largely as the unavoidable effects of World War I, Fitzgerald links both schizophrenia and alcoholism to decadent behavior, thus aligning himself with the public's perception of illness as a matter of intent. Moving from style to theme, in chapter 3, "Impaired Relationships: Physical Injury and the Pursuit of Romance," I explore the ways in which authors depict physical impairments as obstacles to personal relationships. Through a comparison of Ernest Hemingway's The Sun Also Rises and the "Nausicaa" chapter of James Joyce's Ulysses, I discuss the intersection of gender identity, disability, and romance. I argue against the critical consensus that Jake Barnes feels emasculated by his injury and that Gerty MacDowell is "doomed" to spinsterhood because she limps, contending that both authors allow their characters to maintain a sense of masculinity or femininity consistent with the hegemonic ideals of their time. While Hemingway presents Jake's wound as a physical disability that prevents his having the relationship he desires, Joyce uses Gerty's limp to mark her as an imperfect beauty in preference to an array of idealized iconic images, and in her encounter with Leopold Bloom grants her the sexual attention that she desires. In my final chapter, "African American Modernism and a Deadly Game of Blind Man's Buff," I shift focus from mainstream to African American modernism with an analysis of Richard Wright's Native Son,, addressing the author's use of folklore in relation to the metaphor of blindness. Posing the literally blind Mrs. Dalton as a revenant of the American colonists who ignored the humanity of those they enslaved and as a symbol of continuing oppression, Wright develops Bigger Thomas as both a trickster who exploits the "blindness" of others and a badman who rebels against it. My conclusion then addresses the use of disability metaphors, the attitudes those metaphors expose, and the authors' apparent agreement with or challenges to contemporary perceptions of disability. Although critics have previously analyzed specific works or certain aspects of disability representations during this era, this project seeks a more comprehensive discussion of disability in modernist fiction than currently exists. My hope is that it will enhance our understanding of both the period's literature and the harmful attitudes that existed at the time, which the work of Disability Studies has endeavored to overturn.

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.