Submitted by Laís Rodrigues Alves Martins (lamartins3987@gmail.com) on 2018-08-15T15:12:44Z No. of bitstreams: 1 Faces do feminino em As Horas, de Michael Cunningham.pdf: 1134023 bytes, checksum: 1ca459de6b349748e2af9c54cc0b46d1 (MD5) / Approved for entry into archive by Carolina Lourenco null (carolinalourenco@fclar.unesp.br) on 2018-08-15T16:47:13Z (GMT) No. of bitstreams: 1 martins_lra_me_arafcl.pdf: 1134023 bytes, checksum: 1ca459de6b349748e2af9c54cc0b46d1 (MD5) / Made available in DSpace on 2018-08-15T16:47:13Z (GMT). No. of bitstreams: 1 martins_lra_me_arafcl.pdf: 1134023 bytes, checksum: 1ca459de6b349748e2af9c54cc0b46d1 (MD5) Previous issue date: 2018-06-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A arte pós-moderna caracteriza-se, segundo a teórica literária canadense Linda Hutcheon, por promover uma revisita e uma revisão crítica de textos e demais manifestações discursivas do passado, e por transpô-los a novos cenários e lhes conferir renovados vieses e nuances. A narrativa As Horas (The Hours, 1998), de autoria do norte-americano Michael Cunningham (1952 --), pode ser tomada como representante dessa estética, posto que se vale, tanto estrutural quanto tematicamente, de Mrs. Dalloway (1925), um dos romances canônicos do modernismo em língua inglesa, e produção de destaque em meio ao opus literário de Virginia Woolf (1882 – 1941), para sua composição. Intenta-se, no presente trabalho, promover uma análise do livro As Horas, objetivando investigar, sobretudo, como se articulam as representações do feminino na supracitada obra; para tanto, recorre-se a teorias e críticas feministas anglo-americanas e a pressupostos teóricos relativos à ficção pós-moderna. Procura-se salientar, ainda, a emergência do espólio crítico-literário woolfiano — enfatizando, principalmente, sua escrita ensaística e suas concepções feministas — na contemporaneidade. / The postmodern art is characterized, accordingly to the Canadian literary theorist Linda Hutcheon, by the revision and critical evaluation of texts and other discursive manifestations of the past, and by their transposition to new scenarios, in which they gain renewed signification. The narrative The Hours (1998), from the North-American writer Michael Cunningham (1952 --), can be seen as a representative of this aesthetic, since it recalls both structurally and thematically the novel Mrs. Dalloway (1925), one of the seminal works of modernism written in English, and prominent production amid the literary opus of Virginia Woolf (1882 - 1941), for its composition. In the present work, we intend to analyze the book The Hours, aiming to investigate, above all, how the representations of the feminine are articulated in the aforementioned work, and, to this end, we depart from Anglo-American feminist theories, as well as critiques and theoretical discussions about postmodern fiction. It is also intended to highlight the emergence of the Woolfian critical-literary collection — emphasizing, mainly, her essayist production and her feminist conceptions — in contemporaneity. / 133881/2016-4

O presente trabalho tem por finalidade discutir a leitura que Lucia Miguel Pereira faz de Virginia Woolf em quatro ensaios, Dualidade de Virginia Woolf, Crítica e feminismo, O Big Ben e o carrilhão fantasista e Assombração, nos quais explora aspectos importantes dos ensaios e romances da escritora inglesa. Para Lucia Miguel Pereira, a nova forma do ensaio idealizada por Woolf consiste em uma renovação estética que a distingue de seus predecessores e contemporâneos pela união da linguagem crítica com a narrativa. Denominada de abordagem humanista pela crítica brasileira, a concepção de Woolf possibilita um espaço de criação artística capaz de envolver o leitor e estabelecer uma relação de intensa proximidade com ele. Entretanto, as explicações de natureza estética de Woolf, que congregam mito e movimento feminista para a criação dessa nova forma, são vistas por Pereira mais como resultado de uma visão pessoal da escritora do que como crítica literária propriamente dita. Com relação ao tempo ficcional, seguindo a sugestão de Lucia Miguel Pereira a respeito da necessidade de interação entre tempo cronológico e psicológico no romance, é feita uma leitura comparativa de To the lighthouse e Mrs. Dalloway, de Virginia Woolf, e Amanhecer, da autoria da escritora brasileira, a fim de demonstrar como ambas lidaram com a temporalidade no romance. O fio condutor da análise é a proposta estética de Woolf e o ponto de vista da crítica brasileira. / This thesis aims at investigating Lucia Miguel Pereiras reading of Virginia Woolf in four of her articles, Dualidade de Virginia Woolf, Crítica e feminismo, O Big Ben e o carrilhão fantasista, and Assombração, in which she explores key aspects of the English writers essays and novels. According to Lucia Miguel Pereira, Woolfs essays are formally innovative and her renewal of the form distinguishes her from her predecessors and contemporaries. Such differences are reinforced by the simultaneous use of narrative and critical language, which raises the essay to status of an artistic creation, capable of involving the reader by means of an interaction and closeness which Pereira names as a humanistic approach. However, Pereira considers Woolfs explanations of her aesthetics, which include myth and feminism, as resulting much more from her very personal stance than as literary criticism as such. As for fictional time, taking up Lucia Miguel Pereiras suggestion about the necessary interaction between chronological and psychological time in the novel, we compare To the lighthouse and Mrs. Dalloway, by Virginia Woolf, and Amanhecer, by the Brazilian novelist, in order to demonstrate how both writers deal with temporality in the novel, bearing in mind Woolfs aesthetic proposal and the Brazilian critics point of view.

Cette thèse se propose de dresser un portrait des différentes techniques de représentation de la psyché des personnages utilisées dans trois romans de Virginia Woolf, à savoir Mrs Dalloway, Night and Day et Flush. Pour cela, elle entend questionner les grammaires traditionnelles qui analysent la psyché représentée en contexte de fiction depuis un point de vue strictement formel et syntaxique et qui ne tiennent pas compte de ce que la psyché implique en termes de production ou de non-production d’un discours intérieur linguistique. Elle propose ainsi une définition psychologique et linguistique des mécanismes internes de« l’appareil psychique » sur laquelle elle se fonde pour, dans un second temps, définir et produire une analyse des techniques de représentation de la psyché qui se rencontrent dans le corpus woolfien choisi. / This thesis examines the various techniques used to represent the characters’ psyches in three novels by Virginia Woolf, namely Mrs Dalloway, Night and Day and Flush. To this end, it questions traditional grammars which analyze representations of the psyche in fictional contexts from a strictly formal and syntactical point of view, regardless of what the psyche implies in terms of the production or non-production of linguistic self-talk. First it presents a psychological and linguistic definition of the internal mechanisms of the "psychic apparatus", which then serves as groundwork for our definition and analysis of the techniques used to represent the psyche in our corpus.

In the early 20th century, authors increasingly experimented with literary techniques striving towards two common aims: to illumine the inner life of their protagonists and to diverge from conventional forms of literary representations of reality. This shared endeavour was sparked by changes in society: industrialisation, developments in psychology, and the gradual decay of empires, such as the Victorian (1837–1901) and the Austro-Hungarian (1867–1918). Those developments yielded a sense of uncertainty and disorientation, which led to a so-called “turn [inwards]” in the arts (Micale 2). In this context, this essay examines Virginia Woolf’s (1882–1941) development of her literary technique by comparing To the Lighthouse (1927), written in free indirect discourse, with Arthur Schnitzler’s (1862–1932) Fräulein Else (1924), written in interior monologue. Instead of applying Freud’s theories of consciousness, I will demonstrate how empiricist psychology informed and partly helped shape the two narrative techniques by referring to Ernst Mach’s (1838–1916) idea of the unstable self, and William James’ (1842–1910) concept of the stream of consciousness. Furthermore, I will show that there is a continuous progression of literary ideas from Schnitzler’s Viennese fin-de-siècle connected to impressionism, towards Woolf’s Bloomsbury aesthetics connected to Paul Cézanne’s post-impressionist logic of sensations. In addition to that, I address how the women’s movement, starting in the end of the 19th century, inspired Woolf and Schnitzler to utilise their techniques as a means of revealing women’s restricted position in society. Methodologically, I will analyse the two novels’ narrative techniques applying close reading and by that point out their differences and similarities in connection to the above-mentioned theories as well as the two author’s literary approaches. I argue that this comparison demonstrates that modernist literary techniques of representing interiority evolved from interior monologue towards free indirect discourse. This progression also implicates that modernism can be seen as a continuum reaching back to the fin-de-siècle and culminating in the 1920s.

<p>Explores the difference between the two versions of Virginia Woolfs short story about Nurse Lugton.</p>

This thesis explores the development of Virginia Woolf’s late cultural criticism. While contemporary scholars commonly observe that Woolf shifted her intellectual focus from modernist fiction to cultural criticism in the 1930s, there has been little sustained examination of why and how Woolf’s late cultural criticism evolved during 1930-1941. This thesis aims to contribute just such an investigation to field. My approach here fuses a feminist-historicist approach with the methodology of genetic criticism (critique génétique), a French school of textual studies that traces the evolution of literary works through their compositional histories. Reading across published and unpublished texts in Woolf’s oeuvre, my genetic, feminist-historicist analysis of Woolf emphasises that her late cultural criticism developed from her early feminist politics and dissident aesthetic stance as well as in response to the tempestuous historical circumstances of 1930-1941. As a prelude to my investigation of Woolf’s late output, Chapter 1 traces the genesis of Woolf’s cultural criticism in her early biographical writings. Chapter 2 then scrutinises Woolf’s late turn to cultural criticism through six essays she produced for Good Housekeeping in 1931. Chapter 3 surveys the evolution of Woolf’s critique of patriarchy in Three Guineas (1938) through the voluminous pre-publication documents that link this innovative feminist-pacifist pamphlet to The Years (1937). Finally, Chapter 4 outlines how Woolf’s last novel, Between the Acts (1941), fuses fiction with cultural criticism to debate art’s social role in times of national crisis. The close relationship between formal and political radicalism in Woolf’s late cultural criticism, I conclude, undermines the integrity of viewing Woolf’s oeuvre in two distinct phases –the modernist 1920s and the socially-engaged 1930s – and suggests the danger of using such labels in wider narratives of interwar literature. Woolf’s late cultural criticism, this thesis argues, developed from rather than rejected her earlier experimentalism.

Ce mémoire présente une analyse comparée des romans The Waves (1931) de Virginia Woolf et Les Fous de Bassan (1982) d’Anne Hébert dans le but d’établir une possible relation de filiation littéraire entre les deux écrivaines. Avec l’idée que Woolf et Hébert ont en commun plus qu’une aptitude à la prose poétique, chacune ayant le désir de rendre, par l’écriture, une réalité qui les dépasse en tant qu’auteures, j’examine le fonctionnement de leurs romans à partir de deux points de convergence. Le premier : des allusions et mentions intertextuelles communes, formant un réseau de significations communicantes entre les textes des auteures, avec des références aux écrits de William Shakespeare et à la figure de Perceval, le chevalier en quête du Graal chez Chrétien de Troyes. Le second : la pluralité des voix narratives en rapport avec le caractère évanescent des personnages, la polyphonie servant la quête de Woolf et d’Hébert pour mieux rendre le caractère mouvant et multiple des points de vue sur la vie. Je m’emploie à vérifier l’hypothèse que ces romans sont la tentative la plus aboutie de se rapprocher de l’idéal d’une écriture qui va au plus près de la vie, qui sait plonger dans la conscience pour en révéler les contenus sensibles et perceptifs.

Since long before her death, and up to our present day, critics, scholars and readers have considered the body of work by Virginia Woolf in the reflection of a gloomy light. This wide opinion, if not directly caused, is at least enhanced by her numerous negative and even traumatic life experiences. Very little attention has been paid, or focus put, even by the most thorough and astute Woolf scholars, on another aspect of Woolf’s life and of her work. This thesis reveals another side of Woolf not only as a funny and entertaining woman, but as a sufficiently masterful manipulator of her craft to have used her fiction writing talent as an enhancement of her nonfiction works, and which included humor in the process.

Thesis advisor: Kevin Ohi / Thesis advisor: Kayla Walczyk / Fiction, in that it need not position itself at a safe distance from melancholia in order to point at with a theoretical probe, presents a more accurate vision of the melancholic structure. Instead of simply describing and defining melancholia, fiction can inhabit the space of the pathology. In this way, it can perform the consuming and debilitating suffering that ensues after the experience of an inexpressible loss. In doing so, it can force the reader to experience in the act of reading what it would be like to meet melancholia in all its disturbing allure and destructive capacities. Certain fictional representations of loss, in the way they pull their readers into a melancholic vortex, profoundly enact the difficulties that result in this encounter. The capacity of fiction to render the melancholic structure in all its complexity is evident in Marguerite Duras’ The Ravishing of Lol Stein and in Virginia Woolf’s To the Lighthouse. In the way these texts perform the dynamics of the melancholic structure, they push beyond the precipice of where scientific language is forced to stop. This reading of The Ravishing of Lol Stein and To the Lighthouse is not an attempt to psychoanalyze fictional characters or the authors who created them; such a study is highly speculative and relatively unproductive. It is an attempt to recognize how melancholy seems to be functioning in and performed by these texts, and in this interpretive schema, recognizing how fiction can do what theory cannot. / Thesis (BA) — Boston College, 2018. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Departmental Honors. / Discipline: English.

This thesis explores a psychoanalytic understanding of depression from the perspective of Fairbairn’s object relations theory, something Fairbairn did not himself undertake. Highlighting the historical and political contexts of the development of psychoanalysis in Fairbairn’s time, I underline the marginalization of Fairbairn’s theory, which I attribute primarily to his lifelong endeavour to challenge the orthodoxy of the time: instinct theory. I chart a theoretical trajectory from the instinct theory (Freud, Klein) to object relations theory (Fairbairn), to contextualise my argument for the potential of Fairbairn’s theory. My argument aligns with Rubens’ (1994, 1998) view that an extension of Fairbairn’s theory beyond what Fairbairn himself originally proposed on the subject of depression is not only advantageous but also necessary. The Fairbairnian understanding of depression at the heart of this inquiry is illustrated through my personal engagement with psychoanalytic theory and framed by my subjective experiences and interpretations. Contending that theory requires personal voices to make sense and be relevant, I engage creatively and personally using the method of letter-writing to an imaginary companion - Virginia Woolf. The Virginia Woolf I construct and with whom I engaged in the research process is based on factual information about Virginia Woolf along with her published texts. In this process I blur the boundary between the real Woolf and my imaginary Woolf. Troubling the edge of reality and fantasy, I use the Woolf of my imagination to stage a process of getting to know Woolf personally, working to develop a trusting relationship and engaging her in a conversation about theory. My letters to Virginia Woolf trace an unfolding dialogue in which we tell and hear each other’s most intimate stories, once unthinkable and unsayable. The letters trace the transformation of my own understanding of the nature of depression, and through them I seek to establish a line of theoretical argument about depression running through the claims of Freud and Klein before turning to the Fairbairnian version of object relations theory. In so doing this thesis complicates psychoanalytic knowledge of the nature of depression, and argues that, framed in Fairbairn’s system, depression can be understood as an actively organised psychic manoeuvre to defend against changes to the endopsychic structure. In other words, and as elaborated through the letters constructed in this thesis, I argue that depression can be understood as a defence against the disintegration of a particular sense of self sponsored by internal object relationships.