Dual voice and submerged authorial intention in Virginia Woolf 's A Room of One's Own

2021 ◽  
Vol 23 (1) ◽  
pp. 103-118
Author(s):  
Seokwoo Kwon ◽  
Keyword(s):  
Virginia Woolf ◽  
Authorial Intention ◽  
Room Of One's Own

An Office of Her Own? Alice Munro and the Legacy of Writing with In-Authority

2018 ◽  
Author(s):  
Eva Mendez
Keyword(s):  
Women Writers ◽  
Short Story ◽  
Virginia Woolf ◽  
Women's Writing ◽  
Alice Munro ◽  
Rhetorical Strategy ◽  
Shared Interest ◽  
Room Of One's Own ◽  
Point Of Departure ◽  
Women’S Writing

In Alice Munro’s short story “The Office,” the protagonist claims an office of her own in which to write. Munro’s narrative can thus be read as engaging with the ideas on the spatial conditions for women’s writing which Virginia Woolf famously explored in A Room of One’s Own. My paper takes this thematic connection as a point of departure for suggesting that a Woolfian legacy shapes Munro’s “The Office” in ways which go beyond a shared interest in spaces for women’s writing. Both A Room of One’s Own and “The Office,” this paper argues, use the discussion of women’s writing spaces as a launching pad for exploring in how far women writers may claim for themselves traditionally masculine positions of authorship and authority, and in what ways authoritative forms of literary discourse may be transformed by women’s writing. In both A Room of One’s Own and “The Office,” the interruption as element of plot and rhetorical strategy plays a central role in answering these questions.

scholarly journals "The blindfold test"

1970 ◽  
Vol 57 ◽  
pp. 37-54
Author(s):  
Sabina Versieck
Keyword(s):  
Gender Difference ◽  
Virginia Woolf ◽  
Women's Writing ◽  
Men And Women ◽  
The Difference ◽  
Room Of One's Own ◽  
Women’S Writing ◽  
The Way

Is there a recognisable gender difference in the way men and women write?Is it possible to tell an author's gender from his or her prose? Or as E.M.Forster puts it: when you are reading a book can you teil instinctively whetherit is the work of a man or a woman? Virginia Woolf is concerned with thesequestions in (a.o.) A Room of One's Own; E.M. Forster writes about them inThe Feminine Note in Literature. Both Woolf's views and those of E.M.Forster on the difference between men's writing and women's writing and onsexual difference in general are examined and compared and put in a broadercontext.

scholarly journals Money and a Room of One’s Own?! A Feminist Deconstruction of the Situation of Female Jazz Musicians 1960–1980

2017 ◽  
Vol 16 (1) ◽  
pp. 81-93
Author(s):  
Katharina Schmidt
Keyword(s):  
Present Article ◽  
Virginia Woolf ◽  
Structured Interviews ◽  
Cultural Contexts ◽  
Music Making ◽  
The Arts ◽  
Room Of One's Own ◽  
Musical Styles

‘What does it take for a woman to be able to write a novel?' asks Virginia Woolf in A Room of One's Own. The answer is surprisingly mundane: She needs money and a room of her own. Although Woolf writes at length about passion and talent, she concludes that material preconditions are actually more crucial. Similarly, the present article argues that there has been no lack of interest in jazz among female musicians, but a lack of socially accepted possibilities for professionalisation. This article endeavours to deconstruct some of the socio-cultural contexts and frameworks of music-making in a feminist way. To this end, the most crucial findings from semi-structured interviews with Norma Winstone, Sidsel Endresen, Aki Takase and Uschi Brüning are presented and discussed. To contextualise the interviews, Bourdieu's analyses of the academic and literary fields will be referred to with relation to the institutionalisation of jazz, while questions of canonicity and historiography will be discussed, as well as questions surrounding performativity and corporeality. Linking up with research surrounding these issues in other musical styles, this article attempts to map and contextualise the debate about gender and the arts in its complex, sometimes controversial and even paradoxical dynamic.

Virginia Woolf in Arabic: A Feminist Paratextual Reading of Translation Strategies

2020 ◽  
pp. 166-182
Author(s):  
Hala Kamal
Keyword(s):  
Virginia Woolf ◽  
Arab World ◽  
Feminist Perspective ◽  
Feminist Critique ◽  
Historical Overview ◽  
Translation Strategies ◽  
Critical Approaches ◽  
The 1960S ◽  
Room Of One's Own

This chapter offers a feminist critique of the strategies used in translating Virginia Woolf’s work into Arabic. The study examines the representation of Woolf in Egypt and the Arab World, detailing the shift from emphasis on Woolf as a modernist novelist to a feminist writer. It begins with a historical overview of Woolf’s works translated into Arabic since the 1960s, followed by a discussion of the critical approaches to the translated texts from a feminist perspective, with particular emphasis on the significance of a paratextual analysis. The last section is devoted to examining A Room of One’s Own (1929) as a case study of the translation of Woolf into Arabic. The chapter ends by highlighting the ethical dimensions embedded in the translation strategies related to Virginia Woolf and feminist texts in general.

Trans-Dialogues: Exploring Virginia Woolf’s Feminist Legacy to Contemporary Polish Literature

2020 ◽  
pp. 332-353
Author(s):  
Paulina Pająk
Keyword(s):  
Virginia Woolf ◽  
Contemporary Fiction ◽  
Central European ◽  
Cultural Contexts ◽  
Polish Literature ◽  
Vital Part ◽  
Feminist Fiction ◽  
Polish Culture ◽  
Room Of One's Own ◽  
Nobel Prize Laureate

This chapter addresses the role Virginia Woolf plays in contemporary Polish literature, examining the significance of her modernist legacy – as a vital part of planetary feminism – to Polish feminist fiction. Though Woolf entered Polish culture in the 1920s and her hybrid fictional forms were translated in the 1950-60s, her reception was delayed. Feminist rewritings of Woolf’s oeuvre began to emerge after the first Polish translations of Orlando (1994) and A Room of One’s Own (1997), followed by her auto/biographical writings. Polish writers – Joanna Bator, Sylwia Chutnik, Marta Konarzewska, Renata Lis, Izabela Morska, Maria Nurowska, and Olga Tokarczuk – transform, rewrite and re-use Woolf’s works in Central European cultural contexts. The most visible signs of Woolf’s ‘afterlives’ are transtextual relations between contemporary fiction, biographies of Woolf and her oeuvre. This chapter explores biofiction with Woolfian themes and intertextual echoes that enhance polyphonic effects. It also focuses on hypertextuality by analysing the functions of Woolfian hypotexts, for instance, tracing back the generic fusing of the Nobel Prize Laureate Tokarczuk’s ‘constellation novels’ to Woolf’s hybrid fictional forms. The chapter applies Jessica Berman’s ‘trans critical optic’ that allows to read Polish textual dialogues with Woolf from transdisciplinary, transnational and transgender perspectives.

Sign in / Sign up

Export Citation Format

Share Document