Denne oppgaven er en tekst- og adaptasjonsanalyse av to romaner av Virginia Woolf, Mrs Dalloway og Orlando, med vekt på transformasjonene fra litterært verk til film. Prosjektet undersøker hva som skjer når disse tekstuniversene blir transponert til kunstneriske billed/lyd-utrykk, og gjør med dette en komparativ analyse av romanforelegget i forhold til filmversjonen. Med utgangspunkt i en påstand om at modernistiske verker vanskelig lar seg transponere til andre medier, undersøker oppgaven hvilke grep som er blitt gjort i disse filmatiseringene. Fokuset ligger på å finne ut hvilke filmatiske hovedgrep som er blitt tatt i bruk, for å fremstille Woolfs fiksjonsuniverser. Målet med studien er å undersøke om det oppstår en meningsendring i de filmatiske ekvivalentene til foreleggene. I tillegg blir det gjort tekstanalyser av romanene, som undersøker deres språk, stil, tone og tema. Siden det er verker av Virginia Woolf som blir undersøkt, er det særlig interessant å konsentrere seg om typiske «woolfske» kompositorisk-stilistiske grep. Tekstanalysen av Mrs Dalloway tar for seg Woolfs bruk av «stream of consciousness»-teknikken for å fremstille indre tankemonologer hos karakterene. Dette er også hovedfokuset i filmanalysen, som tar for seg de filmatiske virkemidlene for å fremstille indre tale hos karakterene og hvordan filmen greier å erstatte romanens indre diskurs ved bruk av audio-visuelle virkemidler. I tekstanalysen av Orlando ligger fokuset på tematikken og sjangerkonvensjoner. Romanens ukonvensjonelle forhold til protagonistens kjønn og alder, samt dens tilknytning til Woolfs relasjon med Vita Sackville-West, blir belyst både i tekstanalysen og i filmanalysen. I transponeringen til filmmediet er det interessant og studere hvordan romanens ironi og parodi kommer til utrykk.

Thesis (M.A.)--University of North Carolina Wilmington, 2008. / Title from PDF title page (viewed September 24, 2008) Includes bibliographical references (36-39)

Diss.--Fachbereich Historisch-Philologische Wissenschaften--Göttingen--Georg-August-Universität, 1988/89. Titre de soutenance : Geschichte und ihre Medien zwischen Tradition und Moderne. Darstellung, Substanz und Bedeutung von Geschichte in ausgewählten Texten Virginia Woolfs.

Thesis (M.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 73-74).

Thesis (M.A.)--Georgia State University, 2009. / Title from file title page. Randy Malamud, committee chair; Paul Schmidt, Lee Anne Richardson, committee members. Description based on contents viewed Aug. 13, 2009. Includes bibliographical references (p, 91-97).

Thesis (M.A.)--Brigham Young University. Dept. of English, 2007. / Includes bibliographical references (p. 86-91).

Thesis (M.A.)--University of Hong Kong, 1997. / Includes bibliographical references (leaf 73-74). Also available in print.

Th.--Lett.--Nice, 1980. / Index.

Made available in DSpace on 2014-06-12T18:34:14Z (GMT). No. of bitstreams: 2 arquivo8189_1.pdf: 2465450 bytes, checksum: 6d07fd333d2d853ad275d5991b569f38 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2003 / This study presents a comparative analysis between Virginia Woolf s Orlando and Jacqueline Harpman s Orlanda. It takes as a starting point the fact that Harpman houses Woolf s novel inside her own text and plays overtly with parody, citation, allusion, and mise en abyme, techniques which had already been used by Woolf. The analysis points out the way Harpman transcontextualizes the structural elements in Woolf s novel and reexamines questions that had been raised by Woolf almost seventy years ago. This research goes beyond the technical features to demonstrate that the heart of the matter may reside in human being s eagerness to be accepted as a multiple self, what leads the analysis into studying the mythical representations of the double. After demonstrating the way Harpman transcontextualizes the key elements in Woolf s novel, the analysis follows the itinerary of the double in both narratives, focusing primarily on Narcissus and the Androgyne and secondarily on other mythical figures like Apollo and Daphne

The purpose of this thesis is to examine in Virginia Woolfs fiction the demonic imagery of violence as it constitutes her ultimate conception of reality. Her novels record the self's ritualistic and symbolic journey into the interior landscape of the unconscious, each work probing behind the carefully wrought illusions of social reality in an effort to define that dark and violent inner truth. This quest in search of the self is essentially and necessarily narcissistic, frequently ending in disaster for the individual searcher who mistakes surface reflection for reality. Ultimately, Woolf depicts man as isolated and fragmented in his attempts to find pattern and meaning in life, and the inherent stubbornness which causes him to fight for life is seen throughout her novels in the recurring theme of identity lost, regained, and lost again. In this doomed world of Virginia Woolfs fiction, the tortuous and narrow path of man's destiny can, and does, lead only to the grave. In The Voyage Out, her first novel, Woolf uses consistently the violent imagery of disintegration that pervades all her fiction. Rachel Vinrace, the young, inexperienced heroine of the book, flees the sterility and isolation of her room for the glittering world of experience, only to drown in the "cool translucent wave" of that very experience. And as the long night of this book ends, the morning light brings no relief and no sense of rebirth—only a terrible reminder of life's pointless cycle of light leading to inevitable darkness. Indeed, Rachel Vinrace's return to the sterile darkness from which she emerged establishes the central metaphor in all Virginia Woolf's fiction. Although Night and Day appears to be a comedy of manners, it is a black comedy of life in a suffocating world where the individual must deny himself and his feelings in an effort to survive. The artificiality of the plot and structure only serves to underscore the artificiality of social life where truth is sacrificed in order to maintain the illusion of harmony and beauty, where the appearance of order and tranquility disguises the violence inherent in a society that worships conformity. In Jacob's Room the individual is never able to form a lasting relationship and remains isolated in a world where it is impossible to ever really know another. Jacob, in his restless, futile quest for identity, becomes a symbol of modern man, doomed to wander through the desert of life in a hopeless search for meaning amid the ruins of the past. The images of violence in Mrs. Dalloway once again create an impression of existence as a living death where the individual, enslaved by convention, is no longer able to communicate with others. Clarissa Dalloway's parties are her "offering" to life, an attempt to maintain order and balance in the face of the chaos which threatens to engulf her; yet, terrified of dying, her existence becomes a living death, an emotional suicide, mirroring the actual suicide of Septimus Smith. In To The Lighthouse the party is over long before the story has finished. With the unexpected death of Mrs. Ramsay, who has seemed to offer a beacon of warmth and security for those engaged on the voyage out, Mrs. Ramsay's family and friends are plunged into the darkness and confusion of the night, where they are no longer able to ignore the fact that life's harsh fruit is death. Virginia Woolfs penultimate novel, The Years, is a chronicle of three generations in the Pargiter family, reflecting the increasing sterility and isolation of modern society, where man must continue the endless dance macabre, doomed like Antigone to a living death. In Between The Acts, Woolfs final and most profound novel, the images of violence well up as if from the layer of mud at the bottom of the cesspool, spreading in ever-widening circles, pulling each one of the characters relentlessly into the vortex of loneliness and despair. As each falters and plunges to the bottom, he is faced with the reality that only bones lie in the mud beneath. And the "voyage out" in search of the self, failing to bring man to the shores of understanding and acceptance, becomes instead, an endless spiral of senseless repetition in which one must either drown or go mad. / Arts, Faculty of / English, Department of / Graduate