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This thesis is a three part examination of the role of perceptions of gender in the developing category of mental illness and disability during the inter-war period in England using Virginia Woolf's literature and essays, most prominently Mrs. Dalloway and her personal essay, "A Sketch of the Past." These texts provide a foundation for analyzing how disability can be represented in literature in a way that gives disabled characters a voice and simultaneously criticizes the ways in which perceptions of normalcy are defined and reinforced through literary forms. The thesis also responds to contemporary feminist scholarship that has evaluated Woolf's disabled characters in problematic methods that discount the significance of disability.

Originally presented as the author's thesis (Ph. D.)--University of California, Davis, 2002. / Includes bibliographical references (p. 263-275) and index.

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This thesis reconsiders in detail the connections between a selection of innovative female modernist writers who experimented variously with stream-of-consciousness techniques, May Sinclair, Dorothy Richardson, Katherine Mansfield and Virginia Woolf. It describes in this context the impact of the philosophy and thoughts of both William James and Henri Bergson upon these women writers’ literary work. It also argues for a fundamental revision of existing understandings of this interconnection by considering the feminist context of such work and recognising that the work of these four female writers in effect incorporates a ‘gendered’ reading of James and Bergson (encountered both directly and indirectly through the cultural and intellectual zeitgeist). In establishing a feminist perspective as key elements of their aesthetic the thesis explores the vital influence of existing tradition of female autobiography upon their reception and usage of both James and Bergson. The latter’s impact on such women writers were so distinctive and powerful as the work of these philosophers seemed to speak directly to contemporary feminist concerns and in that context to represent a way of thinking about society and culture. This echoes and has parallels with existing attempts at revisions of patriarchal society and creating new spaces for female independence. In the above context the thesis reviews existing research on the impact of James and Bergson on these four writers and offers new insights into how each of them made use of these two seminal thinkers by analysing the relationship between theories, selected literary and philosophical texts. Stream-of-consciousness ought to be seen as a distinctive, specific tradition connected with feminist concerns and as a way of writing the inner and hidden self, rather than just a narrow formal feature of literary texts; it offers women a continuing, creative exploration of its possibilities as fictional practice. The female modernists included in this account represent the celebrated: Virginia Woolf and Katherine Mansfield, together with writers largely and unjustly forgotten in subsequent periods: Dorothy Richardson and May Sinclair. However, the thesis demonstrates that such female modernist writers gained much from being part of a range of informal networks, being almost within a tradition in which they learnt, borrowed and reacted to each other; an interconnection that requires new critical recognition.

In this thesis I explore the roles of silence in Virginia Woolf’s last novel, Between the Acts (1941). I focus on three readings of silence in the text. First, I consider her portrayal of malicious silences as unsaid judgments and aggressions and their impact on interpersonal relationships and interactions. Second, I look at detached, empty silence and its relation to the critical passivity Woolf noted in her audience in the early years of WWII. Finally, I consider silence as feminist resistance to traditional narratives through the intertwined experiences of Isa and Miss La Trobe.

This thesis looks at the Virginia Woolf's critique of the previous portrayal of characters in fiction and her adaptation of a new narrative style in order to convey a modern realism. Two of her novels include an intrusive narrator that serves to argue for the creation of a new form of representation of the character in the novel. Through the creation of distance and the parody of the genre, Woolf provides the reader a picture of their relationship with the character in the novel.

Made available in DSpace on 2014-06-12T18:31:02Z (GMT). No. of bitstreams: 2 arquivo3763_1.pdf: 7617244 bytes, checksum: c0ec3891655fb0077f546c40a98ee1b5 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O romance As Horas (Michael Cunningham), adaptado para o cinema com o mesmo título , por Stephen Daldry, ilustra bem uma tendência contemporânea de criação artística em que um texto é construído a partir de outr(os) já famos(os), questionandose aspectos de originalidade e considerandose características onde se incluem a fragmentação, a colagem, e a paródia. O objetivo dessa pesquisa é analisar o romance e o filme As Horas, tendo como foco o espaço vertiginoso da subjetividade feminina; subjetividade esta que possui um sujeito fragmentado e deslocado do seu papel histórico. Como parte desse percurso acadêmico, foi preciso também fazer um mergulho em subtemas como: a inadequação das mulheres frente ao seu cotidiano, suas escolhas e sentimentos de incompletude. Assim, o presente trabalho propõese a ler As Horas não somente como uma reescritura de Mrs. Dalloway (Virginia Woolf), mas também como um gesto em direção a um impulso estético pósmoderno e à uma mulher contemporânea, cujas novas possibilidades de articulações, através do eco das personagens pelas décadas afora e das ressonâncias dos novos sujeitos, se desdobram numa Mrs. Dalloway que transcende às páginas. Lançase assim, um novo olhar quanto ao tema recorrente de Woolf Um dia comum na vida de uma mulher

This dissertation explores Irish and English fiction before, during, and shortly after the Second World War, a period of complex change in the relations between England and Ireland as British imperial control in Ireland ended. Ireland's neutrality in response to England's declaration of war intensified the nations' apparent differences, yet as my study brings to light, the War also fostered new affinities between England and Ireland, despite each country's inclination to define itself against the other by contrast. Each country's tendency toward xenophobic self-definition gave rise to policies and perspectives that resemble thinking and life in a fascist state. The fiction that I discuss responds to those tendencies by revealing possibilities for collectives that are more dynamically constituted around forms of vision and engagement involving shared responsibility and individual freedom. Chapter 1 reads Virginia Woolf's novel Between the Acts (1941) as a working through of contrasting responses to dictators from a 1938 diary entry and her manifesto Three Guineas, published the same year. I argue that character interactions and self-reflection in response to a play performed in the novel allow characters to recognize fascist tendencies in their own thinking and discover collective visions contrary to the total allegiance prized in Nazi spectacle and English propaganda. Against the mostly ahistorical critical treatments of Flann O'Brien's The Third Policeman (written 1939-1940, published 1966), Chapter 2 traces affinities between the narrator's deluded belief in his own superiority in a milieu of suppressed violence and the psychological environment Irish neutrality created. Focusing on Elizabeth Bowen's novel The Heat of the Day (1948) and wartime short fiction, Chapter 3 argues that her characters' behavior challenges stereotypes about English and Irish residents promoted by the other country. Rather than offering the escape from the War that some English visitors desire, Ireland provides a vantage point for seeing their London lives in new ways. Chapter 4 takes Nazi narratives of German history as reference points for interpreting Samuel Beckett's Watt (written 1942-1945, published 1953) and Molloy (1955), in particular the narrators' attempts to hide their control over the narratives they shape and the collectives that surround them.

This diploma thesis in architecture is a book composed of a combination of embedded anthropological documentation and creative fiction, written with help from Virginia Woolf and Marcel Proust. It is a story built up, fragment by fragment, that describesregular visits to the Girls Night events at a Youth Centre in Fittja, in Northern Botkyrka, south of Stockholm, where the author went to meet and spend time with a group of local girls on Thursday evenings in the Spring of 2015. Ungdomens Hus is a Youth Centre in Fittja for locals between the ages of 15 to 22. Many boys come and play games here, including pool, ping-pong, video games, the Turkish game Okey, boxing, they also watch TV and generally hang out. The ability for girls to occupy this room, on the other hand, tends to be reduced to three hours a week, when the room becomes a space for the girls alone: A room of their own. On Thursday evenings Rädda Barnen and the municipality Botkyrka arrange the Girls Nights in the Youth Centre in Fittja. This forum is open for all girls between the ages of 15 to 20 years old who live in Northern Botkyrka. The Girls Nights exists to make it possible for young women to make their presence visible, and for them to be able to take space at the Youth Centre, developing their courage to take place in other public spaces and in the context of contemporary society more generally. / Detta examensarbete i arkitektur är en bok som fått sin form från en kombination av antropologisk dokumentation och fiktion, skriven med hjälp från Virginia Woolf och Marcel Proust. Historien byggs upp fragmentariskt och beskriver regelbundna besök på Tjejforum på en ungdomsgård i Fittja, Norra Botkyrka, Stockholm, där författaren mötte och spenderade tid med en grupp tjejer på torsdagskvällar under våren 2015. Ungdomens Hus är en ungdomsgård i Fittja för ungdomar (15-22 år) i området Norra Botkyrka. Många killar går dit. De spelar biljard, pingis, tevespel, okey, boxas, tittar på teve och umgås rent allmänt. Möjligheten för tjejer att ta plats i detta rum, å andra sidan, tenderar att reduceras till tre timmar per vecka då Ungdomens Hus förvandlas till ett rum för bara tjejer: deras eget rum. På torsdagskvällar anordnar Rädda Barnen tillsammans med Botkyrka kommun Tjejforum på Ungdomens Hus i Fittja. Verksamheten är öppen för alla tjejer (15-20 år) i Norra Botkyrka. Tjejforum finns för att unga kvinnor i Norra Botkyrka ska få synas och ta plats på Ungdomens Hus, i andra offentliga rum och i hela vårt samhälle.