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Mon mémoire explore les représentations d’environnements matériels et naturels dans des œuvres littéraires de Virginia Woolf et Mina Loy, et comment ces écrivaines conçoivent les connections entre leurs personnages féminins et leurs environnements. À travers l’analyse de leurs œuvres respectives et à l’aide de préceptes de l’écocritique et de sujets connexes tels la matérialité, l’écoféminisme et la trans-corporalité, j’établis la possibilité de réévaluer la perception anti-nature du Modernisme et des opportunités pour enrichir les études écocritiques et modernistes. En premier lieu, j’observe l’inséparabilité entre l’humanité et ces environnements de vie dans Between the Acts, dernier roman complété par Woolf, et comment cela constitue une évolution par rapport à sa nouvelle « Kew Gardens ». De plus, je présente les bénéfices de cette relation pour les femmes et leurs ambitions artistiques en me basant sur les arguments de Woolf dans son essai A Room of One’s Own et en conversant avec des études qui explorent les éléments écocritiques de l’œuvre de Woolf. En deuxième lieu, je m’intéresse à une sélection des premiers poèmes de Mina Loy pour leurs examens de thèmes féministes et leur intégration dans les représentations des lieux visités dans les poèmes. J’illustre le rôle actif d’espaces domestiques et publics dans le maintien de discours dominants du patriarcat, et donc dans la résultante subjugation des femmes à son pouvoir. Ce travail d’analyse me permet de conclure avec de nouvelles avenues de recherche pour solidifier la place des femmes modernistes au sein du mouvement à l’aide de leurs intérêts environnementaux et pour reforger les liens ignorés ou effacés entre elles. / My thesis explores the depictions of material and natural spaces in literary works by Virginia Woolf and Mina Loy, and how both writers conceive the interconnections between their female characters and their surrounding environments. With the help of precepts of ecocriticism and of related fields such as materiality, ecofeminism and trans-corporeality in analyzing Woolf’s and Loy’s respective works, I demonstrate how the misguided preconception of Modernism’s contempt for nature can be reassessed to offer new opportunities for both ecocritical and modernist studies. Firstly, I observe the inseparability between humanity and its living environments in Woolf’s last completed novel Between the Acts and how this evolved from her earlier short story “Kew Gardens.” I also discuss the benefits of this relation for women and their artistic ambitions with the aid of Woolf’s own claims in her essay A Room of One’s Own and in conversation with studies which have attested the ecocritical elements of Woolf’s work. Secondly, I take an interest in Mina Loy’s early poetry for its exploration of feminist themes and how those intertwine with her depictions of her poems’ environments. I illustrate the active role of domestic and public spaces in the maintenance of ambient ruling patriarchal discourses and the subjugation of women to their power. This work of analysis allows me to conclude with new avenues from which to solidify the places of women modernists in the movement by the means of their environmental interests and to reforge the ignored or erased affiliations between them.

For almost a century, Virginia Woolf has enchanted readers all over the world with her novel about the gender fluid and time travelling character Orlando. British director Sally Potter adapted Orlando into film in 1992, and her adaptation has since gained immense fame and a continuous presence in world cinema. Potter's Orlando has been the object of a great deal of scholarly interest. However, previous research has predominantly focused on questions of gender and sexuality. Considerably underdiscussed is the film's fascinating conception of time and space. This thesis therefore sets out to analyze Sally Potter's Orlando in order to demonstrate how time and space is shaped in the film.  Theories developed by George Bluestone and André Bazin form the theoretical framework of this thesis. Through a close reading of the film, this thesis demonstrates that Potter establishes an unconventional temporality and spatiality through constructing a nonlinear, often contradictory temporality conveyed through contrasts between the organic and the fantastic, the real and the fictitious. Furthermore, the analysis finds that spatiality in Potter's Orlando is presented as multidimensional, allowing certain characters the possibility to inhabit a "fluid spatiality". Through presenting the past and the present as fused, Potter's Orlando can be understood through the optics of Bluestone's concept of "the flux of time" and Henri Bergsons la durée réelle. Simultaneously, breaks in the narrative presented through intertitles can be read as representing Bergsons idea of l'étendu, while also establishing a tangible spatiality.

Virginia Woolf (1882–1941) war eine englische Schriftstellerin, Verlegerin, Essayistin, Tagebuchverfasserin, sowie Literatur- und Kulturkritikerin, die als Wegbereiterin der literarischen Moderne gilt. In zahlreichen kritischen Essays und Romanen reflektiert sie die geteilten Lebens- und Bildungssphären der Geschlechter und kritisiert die materiellen Umstände der durch das Geschlecht determinierten sozialen Rolle. Eine genderfokussierte kritische Rezeption von Woolfs Texten, welche sich mit weiblichem Schreiben und Lesen, Frauengeschichtsschreibung und weiblicher Ästhetik befassen, findet seit Mitte der 1970er Jahre statt.

Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.

Virginia Woolf (1882–1941) war eine englische Schriftstellerin, Verlegerin, Essayistin, Tagebuchverfasserin, sowie Literatur- und Kulturkritikerin, die als Wegbereiterin der literarischen Moderne gilt. In zahlreichen kritischen Essays und Romanen reflektiert sie die geteilten Lebens- und Bildungssphären der Geschlechter und kritisiert die materiellen Umstände der durch das Geschlecht determinierten sozialen Rolle. Eine genderfokussierte kritische Rezeption von Woolfs Texten, welche sich mit weiblichem Schreiben und Lesen, Frauengeschichtsschreibung und weiblicher Ästhetik befassen, findet seit Mitte der 1970er Jahre statt.

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From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.