Virginia Woolf’s seventh novel,The Waves,first published by the Hogarth Press in 1931,is widely regarded as her most experimental piece of writing.The complex and elusive structure of the work,the least representatio...Virginia Woolf’s seventh novel,The Waves,first published by the Hogarth Press in 1931,is widely regarded as her most experimental piece of writing.The complex and elusive structure of the work,the least representational among Woolf’s novels,challenges the reader’s assumptions about the inner and the outer world.In the absence of a substantial story,of a convincing plot and well-defined characters,the reader is called upon to search for a deeper coherence and more profound meanings.Indeed,in The Waves the modernist writer strives for a fresh way of expressing a vision of wholeness in a broken world.The present article attempts to reread Woolf’s self-conscious novel in the double perspective of separation and reunion,of dispersal and recomposition.A close reading of selected passages will show how the poetics of fragmentation and the poetics of wholeness coexist in Woolf’s narrative,pervading the imagery and the symbols of the text.In more than one sense,the dialectic between division and unity,fragmentation and wholeness can be identified as the structuring force of the novel;most tellingly,this textual dynamism is reflected in the oscillatory motion of the waves,continuously breaking and merging.展开更多
This study entails a first approach to epistemic modality in Woolf＇s essays. In particular, we will distinguish between assertive and non-assertive epistemic modality. Woolf uses assertive epistemic modality when tra...This study entails a first approach to epistemic modality in Woolf＇s essays. In particular, we will distinguish between assertive and non-assertive epistemic modality. Woolf uses assertive epistemic modality when transmitting her criticism to, sometimes, women＇s inferiority condition in history, revealing Woolf＇s more confident stance. These markers are different from those used in more ＂gentle＂ themes related to reviewing an author and her work. In this second case, non-assertive epistemic modality is more frequent. Being less harsh towards an author＇s surroundings and her literary production, Woolf＇s stance proves less self-assured. The corpus consists of 10 short essays. We also refer to her longer essays A Room of One＇s Own （1929） and Three Guineas 0938）. They were selected bearing in mind their subject-matter. Half of them deal with literature and women writers, their lives and works; the other half ones also have to do with women-related topics, but referring to their position in history and their difficulties to undertake, for example, a literary career. Some concluding remarks indicate the predominance of non-assertive epistemic modality in relation to an intersubjective reading of her texts. This reading favours the inclusion of her audience in her commentary about women writing.展开更多
The paper probes into the connotations of tea in Virginia Woolt＇s The Years, showing historical changes of the relationship between women and tea. On the basis of the female characters＇ attitude and their understand...The paper probes into the connotations of tea in Virginia Woolt＇s The Years, showing historical changes of the relationship between women and tea. On the basis of the female characters＇ attitude and their understanding of tea, the tea values shed light on the culturally feminine roles, identity, social identity changes and family position in the Victorian Era and the New Era.展开更多
Unlike traditional fiction, Virginia Woolf＇s ＂The Mark on the Wall＂ doesn＇t have lively characters, detailed setting, or intriguing plot. Discarding the traditional narrative mode of zero focalization, the narrato...Unlike traditional fiction, Virginia Woolf＇s ＂The Mark on the Wall＂ doesn＇t have lively characters, detailed setting, or intriguing plot. Discarding the traditional narrative mode of zero focalization, the narrator adopts a new fixed internal focalization, interwoven with the first person external point of view. By weakening the physical time and space, the narrator tells the story according to her psychological time and space, stressing the moment of importance, through which the writer highlights her subjective reality.展开更多
This paper studies a short fiction of Virginia Woolf The Mark on the Wall.Woolf held the literary theory "moments of being" and believed that the moments ordinary enough in itself had an extraordinary effect...This paper studies a short fiction of Virginia Woolf The Mark on the Wall.Woolf held the literary theory "moments of being" and believed that the moments ordinary enough in itself had an extraordinary effect on people's imagination.Based on many diaries,essays and fictions of Woolf,and the related literature review,this paper analyzes the "moments of being" represented in The Mark on the Wall.It's is found that the moments of being are truth of being,both the external word and inner world.Woolf catches her mind sparks,seeks the truth and free thinking in each moment during her life.展开更多
In this paper, the author read Henry James＇s The Awkward Age and Virginia Woolf＇s Mrs Dalloway＇s Party, in order to demonstrate the dialectical moment of London＇s age and ageless. The age of London is in the chara...In this paper, the author read Henry James＇s The Awkward Age and Virginia Woolf＇s Mrs Dalloway＇s Party, in order to demonstrate the dialectical moment of London＇s age and ageless. The age of London is in the character of literary works, as Clarissa Dalloway comes to show the reader her feelings while walking on the London street. At the gate of St James Park, she has the dialectical moment of feeling ＂very young; at the same time unspeakably aged＂ （Woolf, 2010）. That is a moment which represents a particular sense of personal history, when the past comes into one＇s own living present.展开更多
To write about art and literature depicting London is often to write about Romantic poetry and novels,and to draw attention to the green and pleasant parts of the lands as hills,vales,woods,and all their rural relativ...To write about art and literature depicting London is often to write about Romantic poetry and novels,and to draw attention to the green and pleasant parts of the lands as hills,vales,woods,and all their rural relatives.Urban areas are often cast as dark mills,restaurants with oyster-shells,hospitals,and underground stations,for example,whilst rural places are celebrated,but their inspiration and beauty is to be found in the more civic depictions.Such poems and novels can enable us to envisage the city in a new life and even uncover the histories of a place.This paper will shed light on London in the eyes of literature,both as a civic and a cultural city,in order to draw more attention to the city as both an urban and rural place.This paper will also shed light on the great poets as William Wordsworth,John Keats,D.H.Laurence,and novelists such as Charles Dickens,Sam Selvon Salvo,and Virginia Woolf.展开更多
Virginia Woolf,one of the foremost modernist authors of the 20th century and a pioneer in the use of stream of conscious-ness,is also known for her feminism and idea of androgyny.She brings androgyny into full view in...Virginia Woolf,one of the foremost modernist authors of the 20th century and a pioneer in the use of stream of conscious-ness,is also known for her feminism and idea of androgyny.She brings androgyny into full view in her novel Orlando:A Biography.Through this novel,Woolf express clearly that androgyny is the ideal existential form and thus calls attention to the issue of gender and feminism.It will mainly focus on androgyny and feminism in Orlando.展开更多
This article discusses the impact of the Post-Impressionist Exhibition that Roger Fry organized in London in 1910 on Virginia Woolf's ideas on the novel.Her dissatisfaction with the state of the genre finds expres...This article discusses the impact of the Post-Impressionist Exhibition that Roger Fry organized in London in 1910 on Virginia Woolf's ideas on the novel.Her dissatisfaction with the state of the genre finds expression in her diary and in her criticism of the work of the Edwardian novelists.Jacob's Room(1922),her first truly experimental novel,deploys some of the painterly techniques that the post-impressionist painters and vanguard movements of the 1910s effected.It represents a decisive step in her search for a new form for a new novel.展开更多
This article examines the importance of the short story form for the Bloomsbury writers and how their aesthetic theories influenced its composition, structure and content. Often overlooked in the history of the genre,...This article examines the importance of the short story form for the Bloomsbury writers and how their aesthetic theories influenced its composition, structure and content. Often overlooked in the history of the genre, the Bloomsbury short story has a claim to be an important aspect of the twentieth-century accounts of the short story form. Attention to Virginia and Leonard Woolf, Katherine Mansfield, Vita Sackville- West, E.M. Forster and others, such as Arnold Bennett and D.H. Lawrence, indicates their widespread engagement with the genre and the ways in which they treated it from fragmented conversation, as in Woolf s ＂The String Quartet,＂ to Foster＇s employment of linear narrative detail in ＂The Road from Colonus.＂ Formal experiments with syntax, imagery, and vocabulary and prose rhythm exhibit the seriousness of the short story for Bloomsbury authors. The influence of the Russians is particularly important with Che- kov dominating the reading and writing of Woolf, Mansfield, Lawrence and others. The very form of publication--mostly journals and magazines--is also crucial in shaping the length and structure of the short story. Attention to experimentation, as well as renewal, of the genre balances the impact of the short story on writers today and the question of a successor to the efforts and achievements of Bloomsbury＇s authors. A reading of the short stories of Julian Barnes explores this possibility.展开更多
文摘Virginia Woolf’s seventh novel,The Waves,first published by the Hogarth Press in 1931,is widely regarded as her most experimental piece of writing.The complex and elusive structure of the work,the least representational among Woolf’s novels,challenges the reader’s assumptions about the inner and the outer world.In the absence of a substantial story,of a convincing plot and well-defined characters,the reader is called upon to search for a deeper coherence and more profound meanings.Indeed,in The Waves the modernist writer strives for a fresh way of expressing a vision of wholeness in a broken world.The present article attempts to reread Woolf’s self-conscious novel in the double perspective of separation and reunion,of dispersal and recomposition.A close reading of selected passages will show how the poetics of fragmentation and the poetics of wholeness coexist in Woolf’s narrative,pervading the imagery and the symbols of the text.In more than one sense,the dialectic between division and unity,fragmentation and wholeness can be identified as the structuring force of the novel;most tellingly,this textual dynamism is reflected in the oscillatory motion of the waves,continuously breaking and merging.
文摘This study entails a first approach to epistemic modality in Woolf＇s essays. In particular, we will distinguish between assertive and non-assertive epistemic modality. Woolf uses assertive epistemic modality when transmitting her criticism to, sometimes, women＇s inferiority condition in history, revealing Woolf＇s more confident stance. These markers are different from those used in more ＂gentle＂ themes related to reviewing an author and her work. In this second case, non-assertive epistemic modality is more frequent. Being less harsh towards an author＇s surroundings and her literary production, Woolf＇s stance proves less self-assured. The corpus consists of 10 short essays. We also refer to her longer essays A Room of One＇s Own （1929） and Three Guineas 0938）. They were selected bearing in mind their subject-matter. Half of them deal with literature and women writers, their lives and works; the other half ones also have to do with women-related topics, but referring to their position in history and their difficulties to undertake, for example, a literary career. Some concluding remarks indicate the predominance of non-assertive epistemic modality in relation to an intersubjective reading of her texts. This reading favours the inclusion of her audience in her commentary about women writing.
文摘The paper probes into the connotations of tea in Virginia Woolt＇s The Years, showing historical changes of the relationship between women and tea. On the basis of the female characters＇ attitude and their understanding of tea, the tea values shed light on the culturally feminine roles, identity, social identity changes and family position in the Victorian Era and the New Era.
文摘Unlike traditional fiction, Virginia Woolf＇s ＂The Mark on the Wall＂ doesn＇t have lively characters, detailed setting, or intriguing plot. Discarding the traditional narrative mode of zero focalization, the narrator adopts a new fixed internal focalization, interwoven with the first person external point of view. By weakening the physical time and space, the narrator tells the story according to her psychological time and space, stressing the moment of importance, through which the writer highlights her subjective reality.
文摘This paper studies a short fiction of Virginia Woolf The Mark on the Wall.Woolf held the literary theory "moments of being" and believed that the moments ordinary enough in itself had an extraordinary effect on people's imagination.Based on many diaries,essays and fictions of Woolf,and the related literature review,this paper analyzes the "moments of being" represented in The Mark on the Wall.It's is found that the moments of being are truth of being,both the external word and inner world.Woolf catches her mind sparks,seeks the truth and free thinking in each moment during her life.
文摘In this paper, the author read Henry James＇s The Awkward Age and Virginia Woolf＇s Mrs Dalloway＇s Party, in order to demonstrate the dialectical moment of London＇s age and ageless. The age of London is in the character of literary works, as Clarissa Dalloway comes to show the reader her feelings while walking on the London street. At the gate of St James Park, she has the dialectical moment of feeling ＂very young; at the same time unspeakably aged＂ （Woolf, 2010）. That is a moment which represents a particular sense of personal history, when the past comes into one＇s own living present.
文摘To write about art and literature depicting London is often to write about Romantic poetry and novels,and to draw attention to the green and pleasant parts of the lands as hills,vales,woods,and all their rural relatives.Urban areas are often cast as dark mills,restaurants with oyster-shells,hospitals,and underground stations,for example,whilst rural places are celebrated,but their inspiration and beauty is to be found in the more civic depictions.Such poems and novels can enable us to envisage the city in a new life and even uncover the histories of a place.This paper will shed light on London in the eyes of literature,both as a civic and a cultural city,in order to draw more attention to the city as both an urban and rural place.This paper will also shed light on the great poets as William Wordsworth,John Keats,D.H.Laurence,and novelists such as Charles Dickens,Sam Selvon Salvo,and Virginia Woolf.
文摘Virginia Woolf,one of the foremost modernist authors of the 20th century and a pioneer in the use of stream of conscious-ness,is also known for her feminism and idea of androgyny.She brings androgyny into full view in her novel Orlando:A Biography.Through this novel,Woolf express clearly that androgyny is the ideal existential form and thus calls attention to the issue of gender and feminism.It will mainly focus on androgyny and feminism in Orlando.
文摘This article discusses the impact of the Post-Impressionist Exhibition that Roger Fry organized in London in 1910 on Virginia Woolf's ideas on the novel.Her dissatisfaction with the state of the genre finds expression in her diary and in her criticism of the work of the Edwardian novelists.Jacob's Room(1922),her first truly experimental novel,deploys some of the painterly techniques that the post-impressionist painters and vanguard movements of the 1910s effected.It represents a decisive step in her search for a new form for a new novel.
文摘This article examines the importance of the short story form for the Bloomsbury writers and how their aesthetic theories influenced its composition, structure and content. Often overlooked in the history of the genre, the Bloomsbury short story has a claim to be an important aspect of the twentieth-century accounts of the short story form. Attention to Virginia and Leonard Woolf, Katherine Mansfield, Vita Sackville- West, E.M. Forster and others, such as Arnold Bennett and D.H. Lawrence, indicates their widespread engagement with the genre and the ways in which they treated it from fragmented conversation, as in Woolf s ＂The String Quartet,＂ to Foster＇s employment of linear narrative detail in ＂The Road from Colonus.＂ Formal experiments with syntax, imagery, and vocabulary and prose rhythm exhibit the seriousness of the short story for Bloomsbury authors. The influence of the Russians is particularly important with Che- kov dominating the reading and writing of Woolf, Mansfield, Lawrence and others. The very form of publication--mostly journals and magazines--is also crucial in shaping the length and structure of the short story. Attention to experimentation, as well as renewal, of the genre balances the impact of the short story on writers today and the question of a successor to the efforts and achievements of Bloomsbury＇s authors. A reading of the short stories of Julian Barnes explores this possibility.
