This paper investigates the relationship between the two modernist writers Katherine Mansfield and Virginia Woolf. The two authors had a frail and complicated friendship that influenced their fiction and fictional characters more than the general public knows. My paper investigates how Woolf can have found her fictional story ideas direct from their friendship. With a comparative theory I’m finding and giving examples of how their friendship is reflected in their fictional stories, and I’m backing up my examples with citations from their own diaries, letters and notebooks. Another important part in my paper is the theme of masks and multiple identities. The two authors both expressed the need to hide behind different masks in order to please the society and their surroundings. This feeling, and this theme of multi pleidentities, also shines through in their fiction, and I will exemplify it with parts from their novels and short stories, and also develop my own thoughts on why they felt the need to use these false masks.

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Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-11T11:57:03Z No. of bitstreams: 1 soniamariacostafajardo.pdf: 913658 bytes, checksum: d0908cb96a049994caf209fade188bdd (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-11T13:24:02Z (GMT) No. of bitstreams: 1 soniamariacostafajardo.pdf: 913658 bytes, checksum: d0908cb96a049994caf209fade188bdd (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-11T13:24:20Z (GMT) No. of bitstreams: 1 soniamariacostafajardo.pdf: 913658 bytes, checksum: d0908cb96a049994caf209fade188bdd (MD5) / Made available in DSpace on 2017-05-11T13:24:20Z (GMT). No. of bitstreams: 1 soniamariacostafajardo.pdf: 913658 bytes, checksum: d0908cb96a049994caf209fade188bdd (MD5) Previous issue date: 2017-03-24 / Esta dissertação de mestrado busca refletir sobre a importância da interface entre os Estudos Literários e os Estudos de Gênero, a partir da análise de Orlando, uma biografia, de Virginia Woolf, cujo personagem principal, Orlando, desafia as fronteiras entre o masculino e o feminino, ao passar por uma transformação sexual, de forma natural. O enredo dessa biografia ficcional permite traçar pontos de interseção entre as considerações sobre androginia, não-linearidade, flexibilidade e mutabilidade dos sexos promovidas por Woolf. Para a análise da proposta inusitada de Woolf, que constrói a metamorfose de Orlando, foram utilizados os estudos de Um teto todo seu (2014), de Virginia Woolf, e A crítica feminista no território selvagem, de Elaine Showalter (1994). Para a realização da congruência de Orlando, uma biografia, com os Estudos de Gênero, tornou-se essencial a compreensão dos conceitos elaborados por Simone de Beauvoir, em O segundo sexo, v. 2: a experiência vivida, (1967); Joan Scott, em Gênero: uma categoria útil de análise histórica (1995) e Judith Butler, em Problemas de gênero: feminismo e subversão da identidade (2003). A flexibilidade e as variações de gênero suscitadas por Woolf contrapõem-se aos rígidos conceitos construídos para o masculino e para o feminino, assim como a característica inalterável da sexualidade. Em 1928, com Orlando, uma biografia, Virginia Woolf antecipou a questão de gênero, tão atual e pertinente na busca do respeito às liberdades e na extinção dos formatos preestabelecidos que insistem em determinar o comportamento mais intrínseco dos indivíduos. / This present Master's Thesis aims to reflect upon the importance of the correlation between Literary Studies and Gender Studies, based on the analysis of Orlando, a biography, by Virginia Woolf, in which the main character, Orlando, defies the borders between male and female, when transforming himself sexually, in a natural way. The plot of the fictional biography allows to trace intersection points concerning androgyny, non-linearity, flexibility and changeability of gender, created by Woolf. For the analysis of Woolf's unusual proposal, which constructs Orlando's metamorphosis, the following studies were used: A room of One's Own (2014), by Virginia Woolf, and Criticism and the Wilderness (1994), by Elaine Showalter. To accomplish the congruency of Orlando, a biography, with Gender Studies, it is essential to comprehend the concepts proposed by Simone de Beauvoir, in The Second Sex, v. 2: a living experience, (1967); Jon Scott, in Gender: a useful category of Historical Analysis (1995) and Judith Butler, in Gender Problems: Feminism and Subversion of Identity (2003). The flexibility and gender variations expressed by Woolf contrast with the strict concepts once built concerning male and female, as well as the unchangeable characteristic of the sexuality. In 1928, with Orlando, a biography, Virginia Woolf anticipated the gender issue, so recent and pertinent in the search for respect to the liberty and the extinction of the preestablished forms that insist on determining the most inherent behaviour of the individuals.

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 217-233). Also available online in ProQuest, free to University of Oregon users.

Submitted by Geandra Rodrigues (geandrar@gmail.com) on 2018-05-17T10:57:39Z No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-05-22T14:25:08Z (GMT) No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) / Made available in DSpace on 2018-05-22T14:25:08Z (GMT). No. of bitstreams: 1 carolineresendeneves.pdf: 6479902 bytes, checksum: 2d348b4138ee37480f38c0148da7522f (MD5) Previous issue date: 2018-04-07 / O objetivo da presente dissertação é discutir os pontos de intersecção entre a vida da autora inglesa Virginia Woolf e sua obra ficcional Os anos, assinalando quais experiências foram utilizadas como fonte criativa no espaço autobiográfico ocupado pela obra citada. O livro que se configura como objeto de estudo narra a saga de uma família vitoriana que claramente se assemelha à própria família de Woolf, abrangendo o espaço de tempo de 1880 até os anos 1930, e dessa forma também abarcando as mudanças não só familiares, como também da sociedade inglesa. Com esse propósito, buscou-se inicialmente apresentar a biografia da escritora, seguido de um breve panorama da literatura de autoria feminina e da análise da produção crítica de Woolf, criando um paralelo em relação ao uso das experiências pessoais entre sua teoria e sua prática. Em um segundo momento, discute-se as teorias relacionadas à escrita de si, almejando encontrar uma que possa melhor definir a prática de escrita utilizada em Os anos. Não encontrando um conceito adequado ao objeto de estudo, apresentou-se uma expansão da noção de romance autobiográfico, levando em consideração todas as informações obtidas durante a pesquisa. Por fim, é feita uma análise do livro Os anos, discutindo seu enredo, simbolismos e apresentação das personagens femininas, culminando no cruzamento dos dados biográficos obtidos através de biografias e autobiografias com a história narrada. / The aim of this study is to discuss the connection between the private life of the British writer Virginia Woolf and her fictional work The years, pointing out which of her private experiences were used as a creative source in the autobiographical space present at the aforementioned title. The book, which is the object of this study, tells the story of a Victorian family that clearly resembles Woolf's own family. It is set from 1880 to 1930, thus depicting not only the changes in the families, but also in the British society as a whole. Having this study's purpose as basis, a biography of the writer was firstly presented, followed by a brief women's writing overview and by an analysis of Woolf's literary criticism, establishing a connection between her theory and the practice concerning the usage of private experiences. Secondly, theories on self-writing are discussed, aiming to find one which can define the writing practice used in The years. As a consequence for not finding a suitable concept for the object of this study, an expansion of the idea of autobiographical romance was introduced, taking all the information obtained during the research process into account. Finally, an examination of the book The years was carried out, analyzing its plot, symbolism and female characters, resulting in a cross-check of biographical data - which was obtained from biographies and autobiographies - and the story told.

«L’essai de soi », en tant que méthode littéraire, crée dans l’œuvre de Woolf, Les Vagues, une nouvelle façon de faire littérature, ainsi qu’une nouvelle pensée philosophique. À fin de comprendre comment l’essai exerce une influence sur le travail de Woolf, J’ai analysé Les Essais de Michel de Montaigne, comme une méthode, comme l’exegium, dans ses multiples connotations ainsi que comme processus qui donne naissance à l’essai en tant que genre littéraire, dans son acception moderne. À travers « l’essai de soi » Montaigne et Woolf élaborent leurs propres autoportraits avec des mots. Pour une meilleure compréhension de ce processus j’ai établi des échos avec des philosophes contemporains et avec l’analyse des spécialistes. Pour une meilleure compréhension de « l’essai de soi » par rapport au travail de Woolf, je propose la définition des principes qui définissent la méthode de Montaigne. Ces principes ont été développés comme des axes de « l’essai de soi » sa définition et son interaction à chaque moment de son écriture. Dans le sens d’un « jeu d’abymes », j’ai visé le centre d’un entrecroisement d’hommages. Celui que Montaigne rend à Etienne de la Boétie, et la relation littéraire que Woolf établit avec Montaigne. Les deux auteurs développent son écriture comme une sorte d’autobiographie, mais ils vont au-delà de ce genre, par le registre du passage du temps et les transformations qui s’opèrent au moment de l’écriture. Les personnages de Woolf sont construits à partir de la variété de multiplicités que chacun en soi, celle que les autres et le regard des autres lui apportent. Les Vagues est une radiographie de l’esprit humain qui est au même temps approche philosophique, l’écriture suit ce que Montaigne décrit comme une forme elliptique de création. Les deux auteurs se basent sur l’expérience humaine, celle qui est commune à tous, là au chacun se rencontre avec l’autre. À travers ce processus, Woolf traduit la philosophie de Montaigne en style narratif. / This work deals on how the “essai de soi” as literary method creates in Virginia Woolf’s work in particular in The Waves, not only a new form of writing in the literary sense but also a new form of thinking. For being able to understand how the essay is such an important incidence in the cited work of Virginia Woolf, I looked into The Essays by Michel de Montaigne, not only to analyze him as a philosopher with a specific esthetics and ethics but furthermore, as a method, as exegium in its multiple connotations and as a procedure that allowed the essay to be born as a literary form. By using the “essai de soi” Montaigne and Woolf make their self-portraits in words. For the comprehension of the procedure I established an echo with contemporary philosophers and the specialist analysis of self portrait work. For a better comprehension of the “essai de soi” that allows a latter approach to Woolf´s work. I propose the definition of specific principles in Montaigne´s method. They will be developed in separate ways as axes of the “essai de soi” with the characteristic and parallel interactions in each moment of his writing. In a sort of “jeu d’abîmes” I gaze into a cross homage. That of Montaigne to Etienne de La Boétie and the literary relation that Woolf establishes with Montaigne. Both authors use their writing as a form of autobiography but go beyond that by registering the daily transformation of the present. In Woolf´s characters, she uses a multiplicity of biographies of the same person, seen by different people in which she finds a source to build the others in her own mirror. The Waves is a radiography of the human spirit used as a philosophical subject, her writing has what Montaigne describes as an elliptical form of creation. Both authors dwell on the human experience, that is common to us all, that which communicates and identifies itself in the other. By doing so Woolf allows herself to translate Montaigne’s philosophy in a narrative style.

[pt] No presente trabalho pretendo analisar a presença da imageria enquanto uma união entre imagens, sons e percepções presentes na leitura das obras de Virginia Woolf, produzidas entre 1911 e 1941. Percebendo as mudanças que o fim do reinado da Rainha Victória (1837 – 1901) e a entrada do Rei Edward VII (1901-1910) e George V (1910 – 1936), o trabalho busca demonstrar como as metáforas utilizadas por Virginia Woolf comunicam sobre como se constituiu a ficção e a ficcionalidade nos primeiros quarenta anos do século XX. Para isso, mobilizo a teoria da metaforologia de Hans Blumenberg e, a partir dela, desenvolvo a noção de imageria, como uma correlação entre símbolo, ritmo e metáfora, em um processo pós-estético na construção de mimesis em Luiz Costa Lima. É através dessa chave que analiso as obras de Virginia Woolf, localizando as metáforas que ela utiliza em Jacobs Room (1922), Mrs Dalloway (1925), To the Lighthouse (1927), Orlando: a biography (1928), The Waves (1931) e The Years (1937), além de seus ensaios literários publicados em revistas literárias. Meu objetivo é demonstrar como os escritos woolfianos se preocupam com o uso metafórico como forma de expressão narrativa e sensorial, abrindo ao leitor um espaço para ação. A noção de imageria seria um caminho para pensar como essas formas se constituem e propõem um caminho interpretativo para as obras que não simplificam ou tornam as obras análogas ao biográfico. / [en] In the present work I intend to analyze the presence of imagery as a union between images, sounds and perceptions present in the reading of the works of Virginia Woolf, produced between 1911 and 1941. Realizing the changes that the end of the Victorian period (1837 - 1901) and the entrance in the Edwardian (1901-1910) and Georgian (1910 - 1936) period, the work seeks to demonstrate how the metaphors used by Virginia Woolf communicate about how fiction and fictionality were constituted in the first forty years of the 20th century. For this, I mobilize Hans Blumenberg s theory of metaphorology and, from it, I develop the notion of imagery, as a correlation between symbol, rhythm and metaphor, in a post-aesthetic process in the construction of mimesis in Luiz Costa Lima. It is through this key that I analyze the works of Virginia Woolf, locating the metaphors she uses in Jacobs Room (1922), Mrs Dalloway (1925), To the Lighthouse (1927), Orlando: a biography (1928), The Waves (1931) and The Years (1937), in addition to his literary essays published in literary magazines. My goal is to demonstrate how Woolfian writings are concerned with metaphorical use as a form of narrative and sensory expression, opening up a space for action for the reader. The notion of imagery would be a way to think about how these forms are constituted and propose an interpretative path for works that do not simplify or make works analogous to the biographical.

[pt] A partir da proposição de Virginia Woolf em seu ensaio Sobre estar doente, a dissertação investe numa experiência de imersão na figura da febre em fragmentos, manifestações artísticas e teórico-críticas. Vozes como a do filósofo alemão Walter Benjamin e a do teórico estadunidense Jonathan Crary comparecem à pesquisa, nos convidando a uma dimensão específica da febre, ora morosa, ora efervescente; ora humana, ora maquinal; ora furiosa; ora amortecida. No âmbito do estudo, cabe se perguntar: que dimensões políticas poderiam ser mobilizadas a partir do estado do convalescente que observa o mundo de sua cama? Poderia tal ação oferecer um desconcerto à ordem utilitária e hegemônica que se instaurou como consequência direta do modelo econômico vigente? A dissertação endereça tais questões, ao introduzir uma nova qualidade de olhar, um estado que, mesmo em meio à ferocidade de informação e demanda do capitalismo tardio, possibilita um recuo das coisas do mundo para que os detalhes e os fragmentos, esquecidos debaixo da cama, se tornem visíveis mais uma vez. / [en] Having Virginia Woolf s proposition in her essay On being ill as a starting point, this dissertation focus on an immersive experience of the fever imagery lived by both artistic and theoretical critical manifestations. Theories from Walter Benjamin, the german philosopher, and Jonathan Crary, the north-american scholar, are present in this research, inviting us to a specific dimension of the fever, slow and effervescent; human and mechanical; infuriated and dampened. Regarding the study of this paper, it is necessary to ponder: what political dimensions could be mobilized from the state of convalescence of someone who observes the world from their bed? Could such action disturb the practical and hegemonic orders that have been installed as a direct consequence of the current economic model? This paper addresses these questions by introducing a new way of seeing things, a state in which, even among the ferocity of information demanded by late capitalism, allows a depart from the things of the world so the details and fragments, forgotten under the bed, may be seen once again.

I den här essän analyseras bostadssituationen i dagens Sverige, med fokus på Stockholm. Vilka personliga historier, minnen, anpassningar ger bostadsbristen? Vilka teoretiska och konstnärliga metoder kan beskriva och ifrågasätta denna situation? Detta arbete, både konstnärligt och teoretiskt, samlar jag under namnet Bostad sökes. Jag utgår både från egna och andras erfarenheter av andrahandsboende, runtflyttande och ständigt återanvända flyttkartonger. Utgångspunkten är att utifrån detaljberättelser visa på hur det vardagliga, personliga hänger samman med en yttre maktstruktur, en politik. Bakgrund Ett hem är mer än rätt kuddar; ett hem är makt. Det här är essäns huvudfokus: att analysera bostaden, och bostadsbristen, utifrån ett maktperspektiv, en maktstruktur som blir tydligare i en bristsituation. En osäker boendesituation ger en svag position. Vi som hyr i andrahand eller svart anpassar oss, viker oss, vänder knäna mot varandra. Bostadspolitiken i Sverige har genomgått stora förändringar de senaste decennierna. Under den borgerliga regeringen lades bostadsdepartementet med 1991. Dåvarande ministern Birigt Friggebo hävdade att det inte behövdes mer än ett cykel- eller tandborstdepartement. Detta visar på ett politiskt skifte där bostäder nu ses som en vara bland andra. Detta sammanföll med förändringar i konkret politik. Till exempel togs subventioner för lån till bostadsbyggen bort, och byggandet av bostäder, framför allt hyresbostäder, sjönk kraftigt. Här jämför jag med den bostadspolitiska diskussion som fördes under den förra bostadsbristen, den första halvan av 1900-talet. Den diskussion som tidigare gällt ”en god bostad åt alla” förflyttades till termer som bostadskarriär, betalningsvilja eller efterfrågeöverskott. Politiken flyttades från ett kollektivt ansvar till en individuell karriär. Teori och metod När politiken dragit sig tillbaka och gjort bostadsproblem till personliga misslyckanden är det nödvändigt att återvända till det gamla feministiska slagordet: det personliga är politiskt. Alla minnen av svartkontrakt, möbler förvarade i förråd, madrasser under vardagsrumsbord, extra hyror betalda för andrahandskonstrakt behöver ta sig ut i det offentliga. För, som Hanna Arendt fastslår, den offentliga sfären är där politisk förändring kan ske. I utkanterna av maktnätverket blir strukturerna mer tydliga, skriver Michel Foucault. Därför är det viktigt att leta i detaljer, kroppen, det personliga, de platser där vi inte tror att historia, eller politik, kan finnas. I mitt eget konstnärliga arbete har detaljer alltid varit viktiga. Ett exempel från Bostad sökes är Vågar du borra i dina väggar? Spik mot betongvägg i andrahandslägenhet (2011) som består av spikar som kroknat i försök att sätta upp hyllor och tavlor i tillfälliga boenden. I andra verk utgår jag från observationer av mitt eget beteende i en lägenhet jag hyrde svart. Hur jag under dess förhållanden började övervaka mig själv. Jag rörde mig så försiktigt i mitt eget hem att mina fötter lika gärna kunde vara ihopknutna med ett steglångt snöre (Steglängd i ett svartkontrakt – 43 cm sytråd). Även filmen Bakom min rygg (2011) har denna bakgrund. I denna korta filmsekvens syns en lägenhet genom ett titthål. Långsamt rör sig kameran genom rummen där saker ligger framme och disk står på diskbänken. Omvärldens blick tar sig in i det privata. Denna självbevakning och disciplinering märks inte bara i mitt eget beteende. I mitt verk Ungdomen har blivit tråkig (2011) har jag listat hur personer som söker bostad på blocket beskriver sig själva. Det är en lång lista över människor utan egenskaper. Rökfria, djurfria, barnfria, betalningsanmärkningsfria, men knappast fria. I slutet av essän återvänder jag till diskussionen om makt, och kopplingen mellan makt och materiella tillgångar. I den klassiska essän Ett eget rum blir författaren Virginia Woolf ombedd att föreläsa om kvinnor och litteratur. Hon kommer fram till ett kort svar på vad kvinnor behöver för att skriva litteratur: 50.000 pund om året och ett eget rum. De materiella förutsättningarna har betydelse för det konstnärliga arbetet, för att kunna ha en egen röst. Woolf skriver om hur hon får ett stort arv och hur den ekonomiska friheten är viktigare för henne än till och med den nyvunna rösträtten. Jag tänker på hur en egen bostad, åt alla, skulle vara viktigt för demokratin. Det är mer än 80 år sedan Ett eget rum skrevs, vissa saker ändras långsamt. / In this essay I analyze the situation of housing in today's Sweden, with a focus on Stockholm. What are the personal stories, memories, adaptings to the shortage of housing? What methods can be used, artistic and theoretical, to describe and question this situation? Background A home is more than the right pillows, a home is power. This is the main focus of the essay: to view the home as a source of power, and as always the power structures reveal themselves in a situation of lack. The lack af a steady home puts you in a position of little power. The politics of housing in Sweden has gone through a major shift during the last decades. In 1991 the ministry of housing was abolished. The former minister stated that a ministry of housing was no more relevant than a ministry of bikes or tooth-brushes. This iniciates a shift in views where housing is regarded as market goods among others. This was also accompanied with concrete political changes: the subventions and state-secured loans for buildings where abolished and the rate of building dropped, espacially of affordable rented appartments. Where the discussion before concerned ”a sound home for everyone”, the terms used in the political debate concerning housing today are dwelling career, will to pay, over-balanced demand. The politics have moved from a collective responsiblity into an individual carreer. Theory and method Since the politics have whitdrawn and made problems of housing individaul failures it is crucial to return to the old feminist slogan: ”the personal is political”. All the memories of black-contracts, stored furniture, matrasses in livingrooms, extra money payed for subletted apartments must make it into the public. Becauase, as Hanna Arendt states, the public sphere is where political change can occcur. In Michel Foucaults writing the outskirts of the ”net of power” is where the structures of it are most vivid. Therefore the it can be improtant to search the details, the body, the personal, the sites where we belive no history is to be found. In my own artistic work the details have always played a crucial role. One example is Vågar du borra i dina väggar? Spik mot betongvägg i andrahandslägenhet (Do you dare to drill in your walls? Nails against concrete-wall in sublet apartment) (2011) which consists of a collection of bended nails. In atnother very often qouted text Foucault describes surveilance in a prison, how the suspicion of constant surveilence makes you discipline yourself. This behaviour is also obvious in todays housing market in Stockholm. During a period when I stayed in an apartment on a black contract I started to notice my own behaviours. How I stopped listen to music, how I did my dishes quietly, in the end I even walked the floors carefully: too aware they were someones ceiling. This is the background to my piece Steglängd i ett svartkontrakt (Length of steps on a black contract) (2011) where 43 cm of thin thread is suggested to be tied around your ankles to decide your steps. In my soundpiece Ungdomen har blivit tråkig (The youth of today is boring)(2011) I list the adjectives used by persons looking for sublet arpartments to describe themselves. It's a long list of neat, steady, rich, clean, calm youth. Also my video Bakom min rygg (Behind my back) (2011) refers to the adapting of yourself. In the video you look through a fisheye-lens, a peep-hole, into an apartment. Slowly the camera moves through the rooms and finally backs out to the original position at the door. In the end of the essay I once again return to the discussion of power, and the connection between power and physical supplies. In the classical essay A room of ones own (1928) the author Virginia Woolf is asked to give a lecture on Women and Fiction. She comes up with a dense answer to what women need to be able to write fiction: 50.000 pounds a year and a room of their own. She describes how a heritage she gets gives her economic liberty, which she values even higher thän the new right to vote. The material supplies as an fundament for a voice of ones own. I think about what a home of ones own would mean in democratic gain. Over 80 years has passed since A room of ones own was written, some things change slowly. / Bostad sökes