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

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-03T18:56:30Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-29T17:45:30Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Made available in DSpace on 2017-05-29T17:45:30Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo desta dissertação é a abordagem das relações entre os conceitos de mecanismos de poder e de linhas de fuga – concebidos nas obras dos filósofos Michel Foucault e Gilles Deleuze, respectivamente - e os romances de Emily Brontë e Virginia Woolf que intitulam nosso trabalho. Os mecanismos de poder, segundo Foucault, seriam os dispositivos políticos e filosóficos instalados na sociedade e no pensamento com o intuito de conduzir as relações de conhecimento, as disposições, e os desejos humanos à afirmação e à conservação das relações de poder vigentes. Interessados somente na manutenção das estruturas hegemônicas, os mecanismos de poder investiriam no cultivo de nossas potências tristes e servis para subjugarnos aos desígnios dominantes, dirigindo-nos, assim, ora à adequação compulsória e à reafirmação espontânea dos regimes hegemônicos, ora ao desespero, à loucura e à morte. As linhas de fuga deleuzianas constituiriam movimentos de ruptura com tais regimes dominantes, que possibilitariam novas relações com a sociedade, com a subjetividade, com a linguagem e com o pensamento; o cultivo de potências ativas e criadoras; e, afinal, a emergência de uma vida estética. Analisando os materiais narrativos de O morro dos ventos uivantes e Mrs. Dalloway observamos como tanto os jogos narrativos dos dois romances quanto os próprios enredos e personagens narrados se engajam nestas mesmas discussões a respeito do confronto entre forças conservadoras e libertárias, do cultivo de potências diminutivas e aumentativas, e da produção de corpos servis e elétricos / The aim of this dissertation is an approach of the relations between the concepts of mechanisms of power and lines of flight – conceived in the works of Michel Foucault and Gilles Deleuze, respectively – and the novels by Emily Brontë and Virginia Woolf that entitle our work. Mechanisms of power, according to Foucault, would be the political and philosophical devices installed in our society and in our thought with the intent of driving our relations with knowledge, our disposition and our desire towards the affirmation and conservation of established relations of power. Interested only in the maintenance of hegemonic structures, mechanisms of power would invest on the cultivation of our sad and servile potencies to submit us to the dominant designs, driving us either to compulsory adequacy and to the spontaneous reassurance of hegemonic regimens, or to despair, insanity and death. The deleuzian lines of flight would consist in rupturing movements with such dominant regimens, that would enable new relations with society, subjectivity, language and with thought; the cultivation of active and creative potencies; and the eventual emergency of a aesthetic life. Analyzing the narrative materials of Wuthering Heights and Mrs. Dalloway we observe that both the narrative strategies of the novels and their plots and characters engage on these same discussions about the confrontation between conservative and libertarian forces; the cultivation of diminutive and augmentative potencies; and the production of servile and electric bodies

This dissertation traces imperialist ideology as it functions in the texts of two radical Liberal critics of imperialism, Leonard Woolf and E. M. Forster. In chapters two and three respectively, I read Woolf's autobiographical account Growing and his novel The Village in the Jungle to examine connections between "nonfictional" and "fictional" writing on colonialism. The autobiography's fictive texture compromises its claims to facticity and throws into relief the problematic nature of notions of truth and fact in colonialist epistemology and discursive systems.

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>

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This thesis argues for a reading of Virginia Woolf’s work based on notions of character and characterisation as a primary interpretative perspective. The bulk of Woolf scholarship, particularly in recent years, has not been directed towards the study of character, due to both general theoretical discomfort with the category of character, and a sense that Woolf’s work in particular, as that of a feminist and modernist writer, may not respond well to traditional readings of character. However, Woolf’s exploration of the human self and its relations with other people is best understood by looking at her formal experiments in characterisation. Her writing was consistently engaged with questions of character, as an examination of her early journalism makes clear. In the years before the publication of her first novel, Woolf articulated a broad theory of character in her reviews of contemporary literature and in essays on Gissing and Dostoyevsky. In The Voyage Out, Woolf began a writing career of experiment in character, examining a continuum of character ranging from complete nonidentification to a consuming over-identification. A key element here is the introduction of the notion of the Theophrastan type as an alternative form of fictional characterisation that corresponds to a way of knowing real people. In Jacob’s Room, Woolf continued to focus on the speculative nature of characterisation and its demands for imaginative identification demonstrated by her short story collection Monday & Tuesday. The importance of this issue is clear from the debates she engaged in with Arnold Bennett during the 1920s, a debate re-framed in this paper as focussing on characterisation. Jacob’s Room initiates a quest for an elusive ‘essence’ of character that may, or may not, exist outside of the structuring forms of social life, and may or may not be accessible through speculative imaginative identification. This elusive essence of character is a primary focus of Mrs. Dalloway, a novel which explores the ways the self can be shaped under social pressures into more permanent and stable structures. This is explored in the novel in a series of metaphors circling around treasure and jewels. While alert to the role of exterior factors, including time and memory, the novel maintains at least the possibility that some more internal form of the self exists and can be represented in fiction. This possibility is explored further in Woolf’s short story cycle Mrs. Dalloway’s Party, and leads into To the Lighthouse’s study of character and its ability to represent essential or internal aspects of self, the self as it exists in relation to other selves, and ultimately a projected or created version of character that reconciles this complexity. This is again carried out through the use of a extensive chain of metaphors which function symbolically in the text, and through a meditation on the nature of the relationship between real people and their fictional counterparts. While the novel offers no clear resolution, it gestures towards a type of characterisation, and hence a type of relationship, based on limited understanding and acceptance. This notion is picked up in The Waves, a novel which both explores the continuity of the self as represented by character over time - something that is also important in The Years - and explores the ways that characters can be represented and the implications this has for the types of unity that can, for good or for ill, be achieved. Again, a notion of a limited character, closer in form to caricature than to the whole and rounded characters often associated with Woolf, is proposed by the novel as a possible solution to the problem of character. In Woolf’s last two novels, The Years and Between the Acts, many of these themes reappear, and Woolf simultaneously situates her characters more firmly than ever in a comprehensible physical and social context, and uses them to explore areas where language and rationality cease to function.

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.