Made available in DSpace on 2014-06-12T18:34:14Z (GMT). No. of bitstreams: 2 arquivo8189_1.pdf: 2465450 bytes, checksum: 6d07fd333d2d853ad275d5991b569f38 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2003 / This study presents a comparative analysis between Virginia Woolf s Orlando and Jacqueline Harpman s Orlanda. It takes as a starting point the fact that Harpman houses Woolf s novel inside her own text and plays overtly with parody, citation, allusion, and mise en abyme, techniques which had already been used by Woolf. The analysis points out the way Harpman transcontextualizes the structural elements in Woolf s novel and reexamines questions that had been raised by Woolf almost seventy years ago. This research goes beyond the technical features to demonstrate that the heart of the matter may reside in human being s eagerness to be accepted as a multiple self, what leads the analysis into studying the mythical representations of the double. After demonstrating the way Harpman transcontextualizes the key elements in Woolf s novel, the analysis follows the itinerary of the double in both narratives, focusing primarily on Narcissus and the Androgyne and secondarily on other mythical figures like Apollo and Daphne

This essay explores Virginia Woolf's reality through her 1932 novel The Waves. In the novel, Woolf traces the lives of her six characters from childhood to adulthood. As children, the characters experience moments of revelation or what Woolf refers to as moments of being. These moments allow them to see "]some real thing behind appearances" (MB 71), a powerful reality underneath the surface of everyday life. From these moments the characters begin to shape and build their lives, always living in relation to the reality below. In the center of the novel, the characters come together for farewell dinner for their friend Percival. During the dinner party, the characters articulate their versions of the reality behind appearances. As they speak, they draw together the "severed parts" of reality in order to create a work of art (MB 71), a "globe" that encompasses all their versions of "some real thing" that gives their lives meaning (The Waves 145). / Master of Arts

O objetivo principal desta dissertação de mestrado é uma leitura do romance Orlando: A biography (1928) de Virginia Woolf a partir do levantamento de uma hipótese interpretativa do processo de construção do romance. Basicamente, procura-se investigar como acontece a seleção, organização e articulação dos materiais sociais e estéticos envolvidos na sua produção de modo a reconstruir momentos-chave da obra, bem como a propor códigos interpretativos. No primeiro capítulo há uma análise dos dispositivos formais que constituem a narração com intuito de revelar os conteúdos sócio-históricos que eles carregam. Já no capítulo dois identifica-se na dialética entre forma e conteúdo do romance duas formações ideológicas antagônicas: a figuração do patriarcado capitalista que organiza a experiência coletiva de maneira autoritária e da estética da modernização cultural que emerge em oposição à primeira. As considerações finais retomam os principais pontos trabalhados nos capítulos anteriores e propõem que o projeto de Woolf tematiza a amplitude da interioridade com o intuito de gerar uma compensação simbólica para crescente desumanização da vida no período entreguerras. Identifica-se, assim, ao menos duas linhas de força da narrativa modernista: uma que aposta na subjetivação e outra na objetivação do processo artístico. Esta dissertação propõe que Woolf se filia à primeira linhagem. / The central objective of this dissertation is a reading of the novel Orlando: A biography (1928) by Virginia Woolf from an interpretative hypothesis of its construction process. Basically, it seeks to investigate how the selection, organisation and articulation of the social and aesthetic materials involved in its production takes place, in a such a way that it is possible to reconstruct the work\'s key moments as well as to propose interpretative codes. In the first chapter there is an extensive analysis of the formal devices that constitute the narrative; in chapter two it is identified in the novel\'s dialectics of form and content two antagonist ideological formations: the figuration of capitalist patriarchy which organises colective experience in an authoritarian way and the aesthetic of cultural modernisation that rises in opposition to the former. Finally, in the conclusion, all the main points discussed in the previous chapters are summarized and it proposes that Woolf\'s project thematizes the human interiority\'s amplitude in order to create a symbolic compensation for the increasing dehumanization of social life in the interwar period. Thus, we identify two modernist paths: one that places centrality on subjectivization and another on objectivization of the artistic process. This dissertation supposes that Woolf belongs to the first lineage.

Thesis (M.A.)--Cleveland State University, 2008. / Abstract. Title from PDF t.p. (Mar. 17, 2009). Includes bibliographical references (p. 48-49). Available online via the OhioLINK ETD Center. Also available in print.

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 42-43).

Thesis (M.A.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 42-43). Also available in print.

O objetivo principal desta dissertação de mestrado é uma leitura do romance Orlando: A biography (1928) de Virginia Woolf a partir do levantamento de uma hipótese interpretativa do processo de construção do romance. Basicamente, procura-se investigar como acontece a seleção, organização e articulação dos materiais sociais e estéticos envolvidos na sua produção de modo a reconstruir momentos-chave da obra, bem como a propor códigos interpretativos. No primeiro capítulo há uma análise dos dispositivos formais que constituem a narração com intuito de revelar os conteúdos sócio-históricos que eles carregam. Já no capítulo dois identifica-se na dialética entre forma e conteúdo do romance duas formações ideológicas antagônicas: a figuração do patriarcado capitalista que organiza a experiência coletiva de maneira autoritária e da estética da modernização cultural que emerge em oposição à primeira. As considerações finais retomam os principais pontos trabalhados nos capítulos anteriores e propõem que o projeto de Woolf tematiza a amplitude da interioridade com o intuito de gerar uma compensação simbólica para crescente desumanização da vida no período entreguerras. Identifica-se, assim, ao menos duas linhas de força da narrativa modernista: uma que aposta na subjetivação e outra na objetivação do processo artístico. Esta dissertação propõe que Woolf se filia à primeira linhagem. / The central objective of this dissertation is a reading of the novel Orlando: A biography (1928) by Virginia Woolf from an interpretative hypothesis of its construction process. Basically, it seeks to investigate how the selection, organisation and articulation of the social and aesthetic materials involved in its production takes place, in a such a way that it is possible to reconstruct the work\'s key moments as well as to propose interpretative codes. In the first chapter there is an extensive analysis of the formal devices that constitute the narrative; in chapter two it is identified in the novel\'s dialectics of form and content two antagonist ideological formations: the figuration of capitalist patriarchy which organises colective experience in an authoritarian way and the aesthetic of cultural modernisation that rises in opposition to the former. Finally, in the conclusion, all the main points discussed in the previous chapters are summarized and it proposes that Woolf\'s project thematizes the human interiority\'s amplitude in order to create a symbolic compensation for the increasing dehumanization of social life in the interwar period. Thus, we identify two modernist paths: one that places centrality on subjectivization and another on objectivization of the artistic process. This dissertation supposes that Woolf belongs to the first lineage.

No description available.

In this thesis I examine relationships between recollections of loss and the narrating of memory in works of Modernist author, Virginia Woolf. Woolfs position within discussions of early twentieth-century responses to trauma has long been the subject of debate, and her focus on alienation, death, and the detrimental influence of the larger, patriarchal sphere is crucial to critical analyses of her works. I argue that Woolfs depiction of memory is a more sophisticated one than has been previously recognized. In her fictional delineations of death and destruction, as well as in her theoretical musings on the process of remembering, Woolf conceives of a local communal sphere that is more conducive to the experience of individuated responses to loss, rather than the public sphere where notions of national identity, appropriate expressions of bereavement, and performed masculinity facilitate a continuous cycle that both produces and perpetuates such violence. These ideas are further complicated through Woolfs depiction of a different means of ordering the larger collective, one that can only be conceived through spontaneous moments of unity and connection.<p> My argument situates Woolfs position both contextually and theoretically, with reference to her own essays addressing recollection, along with contemporary discussions of the process of narrating memory and moments of trauma. It is organised in terms of the chronological publication of her novels, with the chapters moving from Jacobs Room to Mrs Dalloway, followed by The Waves, and ending with her final work of fiction, Between the Acts. Within this framework I delineate a progression in Woolfs own theories that marks her growing interest in, and working through of, unexpected loss, as well as a response that permits individuated expressions of mourning and temporary moments of connection. I end with a brief discussion of her suggested responses to such devastation, concluding that her conceptualisation of a dynamic, remembering community is a means by which she can challenge the homogeneity of the patriarchal status quo, as well as emphasising the importance of not only the articulation of trauma, but also the listening to and legitimising of such discourses.

In this thesis I examine relationships between recollections of loss and the narrating of memory in works of Modernist author, Virginia Woolf. Woolfs position within discussions of early twentieth-century responses to trauma has long been the subject of debate, and her focus on alienation, death, and the detrimental influence of the larger, patriarchal sphere is crucial to critical analyses of her works. I argue that Woolfs depiction of memory is a more sophisticated one than has been previously recognized. In her fictional delineations of death and destruction, as well as in her theoretical musings on the process of remembering, Woolf conceives of a local communal sphere that is more conducive to the experience of individuated responses to loss, rather than the public sphere where notions of national identity, appropriate expressions of bereavement, and performed masculinity facilitate a continuous cycle that both produces and perpetuates such violence. These ideas are further complicated through Woolfs depiction of a different means of ordering the larger collective, one that can only be conceived through spontaneous moments of unity and connection.<p> My argument situates Woolfs position both contextually and theoretically, with reference to her own essays addressing recollection, along with contemporary discussions of the process of narrating memory and moments of trauma. It is organised in terms of the chronological publication of her novels, with the chapters moving from Jacobs Room to Mrs Dalloway, followed by The Waves, and ending with her final work of fiction, Between the Acts. Within this framework I delineate a progression in Woolfs own theories that marks her growing interest in, and working through of, unexpected loss, as well as a response that permits individuated expressions of mourning and temporary moments of connection. I end with a brief discussion of her suggested responses to such devastation, concluding that her conceptualisation of a dynamic, remembering community is a means by which she can challenge the homogeneity of the patriarchal status quo, as well as emphasising the importance of not only the articulation of trauma, but also the listening to and legitimising of such discourses.