THE PROCESS OF BECOMING: ENGENDERING THE SUBJECT IN MERCÈ RODOREDA AND VIRGINIA WOOLF

1987 ◽  
Vol 2 (2) ◽  
pp. 119-129
Author(s):  
MONA FAYAD
Keyword(s):  
Virginia Woolf ◽  
Merce Rodoreda ◽  
The Subject

scholarly journals Helen Southworth. Fresca. A Life in the Making. A Biographer’s Quest for a Forgotten Bloomsbury Polymath

2020 ◽  
Vol 9 ◽  
pp. R21-R24
Author(s):  
Heleen Van Duijn
Keyword(s):  
Virginia Woolf ◽  
Publishing House ◽  
Choral Conductor ◽  
Conscientious Objectors ◽  
Alternative Communities ◽  
The Subject ◽  
Hogarth Press ◽  
Fictional Autobiography

The subject of Southworth’s book is Francesca (Fresca) Allinson (1902–1945), a puppeteer, choral conductor, writer and creator of folksongs, whose life was cut short by drowning. She grew up in a gifted and thoroughly non-conformist family. Her brother Adrian, a painter, studied at the Slade school. Her father worked as a doctor at his practice in London, obtaining and practising his own unorthodox convictions about hygiene and diet. As a radical pacifist Fresca helped provide alternative communities for conscientious objectors (COs). Her fictional autobiography A Childhood was published in 1937, by the Hogarth Press, the publishing house of Leonard and Virginia Woolf.

scholarly journals Understanding the subject: Woolfss use of the Bildungsroman in the "Voyage Out" and "Jacob's Room"

2017 ◽  
Author(s):  
◽  
Alexandra Berger
Keyword(s):  
Virginia Woolf ◽  
Stream Of Consciousness ◽  
Scholarly Book ◽  
Prose Style ◽  
The World ◽  
Human Understanding ◽  
The Subject ◽  
Philosophical Questions ◽  
The Way ◽  
Jacob's Room

This project explores the way in which Virginia Woolf uses and subverts the classic nineteenthcentury genre, the Bildungsroman in her first novel (The Voyage Out) and her third novel (Jacob's Room) in order to posit questions about understanding subjectivity. Virginia Woolf's later novels are written in a prose style commonly called "stream-of-consciousness" or "mindstyle" that her first novel is not, and her third novel, although attempts this style of prose, is quite novice in its execution. Essentially, this project argues that it was through Woolf's use and complication of the Bildungsroman genre that she was able to pose philosophical questions about subjectivity and human understanding-- never answered in a concrete manner--that develop into her later, most famous style of prose in novels such as Mrs. Dalloway. This paper builds on Gregory Castle's scholarly book, The Modernist Bildungsroman, which was written in response to Franco Moretti's seminal book, The Way of the World.

Modernism and Physical Illness

2020 ◽  
Author(s):  
Peter Fifield
Keyword(s):  
Virginia Woolf ◽  
Physical Illness ◽  
Cultural Significance ◽  
Medical Work ◽  
Dorothy Richardson ◽  
Human Interactions ◽  
The World ◽  
The Subject ◽  
The Mind ◽  
Careful Thought

T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf’s ‘On Being Ill’, it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, both as sufferers and onlookers. Illness reorients the relation to and appearance of the world, making it appear newly strange; it determines the character of human interactions, and models of behaviour. As a topic illness requires new ways of writing and thinking, altered ideas of the subject, and a re-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.

scholarly journals Glimpsing Truth and “[Making] it whole”: Art as Personal and Social Unity in Virginia Woolf

2020 ◽  
Vol 6 (3) ◽  
Author(s):  
Megan Fairbairn
Keyword(s):  
Virginia Woolf ◽  
Human Beings ◽  
Internal Process ◽  
To The Lighthouse ◽  
Works Of Art ◽  
Social Unity ◽  
Between The Acts ◽  
The Subject

Multiplicity and unity echo throughout Virginia Woolf’s work, especially as related to art and its function. All three intersect in Woolf’s conception of moments of being, which induce a state of heightened perception and cognition, allowing the subject to transcend everyday modes of thinking and being. These moments are integral to art, as they inspire artists to create in order to unify intangible and fleeting experiences. Woolf’s novel To the Lighthouse follows painter Lily Briscoe along her journey from experiencing moments of being to exacting her vision on the canvas, focusing particularly on the hegemonic obstacles that interrupt this process. Woolf’s later novel Between the Acts narrativizes the playwright and director Miss La Trobe, focusing less on her internal process of creating art and more on how her art operates socially and ethically, as it necessarily involves the participation of human beings and nature itself. Through artist characters, both novelsshow how moments of being, as glimpses of higher unity, inspire works of art which in turn unify on both personal and socioethical levels.

Anamorphosis

2019 ◽  
pp. 69-108
Author(s):  
Paul Giles
Keyword(s):  
Virginia Woolf ◽  
Katherine Mansfield ◽  
Distorted Image ◽  
Salvador Dali ◽  
Spatiotemporal Representation ◽  
The Subject ◽  
As If

This chapter considers how the work of various modernists associated with Bloomsbury during the interwar years—E. M. Forster, Virginia Woolf, Nancy Cunard—engaged with antipodal dimensions that effectively disturbed normative spatiotemporal representation within their narratives. In this way, the heterodox versions of temporality projected more overtly by Australasian writers also associated with Bloomsbury, if more tangentially—Katherine Mansfield, Henry Handel Richardson—appear to be reciprocally mirrored within the Western canon, as if in an anamorphic image. Anamorphosis is a projection giving a distorted image of the subject when seen from a conventional viewpoint but produced in such a way that, if viewed from a particular angle, the distortion will disappear and the image come to appear normal. The term was applied to his own art by Salvador Dalí, but it might be argued that antipodean modernism bears an uncanny, anamorphic relation to Western modernism more generally.

Florence Melian Stawell and Virginia Woolf: Home-front Experience, The Price of Freedom, and Patriotism

2016 ◽  
Author(s):  
Karen L. Levenback
Keyword(s):  
Virginia Woolf ◽  
Trinity College ◽  
League Of Nations ◽  
Home Front ◽  
Great War ◽  
The Subject ◽  
Patriotism Education ◽  
Literary Output ◽  
The Great War

An Australian by birth, Florence Melian Stawell, who was educated as a classicist at both Trinity College (Melbourne) and Newnham College (Cambridge) was a civilian living in London during the Great War. She shared this experience with Virginia Woolf, Roger Fry, and many of their Bloomsbury friends. But unlike Woolf, whose life during the war has been the subject of some attention (my own Virginia Woolf and the Great War, for example), the home-front experience of Stawell and her literary output, including her anthology of poetry (The Price of Freedom) and her writings on a range of topics (patriotism, education, and the League of Nations among them), has been overlooked. This paper suggests that we may well find the Great War as a way into the life and work of this underappreciated woman, a contemporary of Virginia Woolf.

Modernist Soundscapes

2018 ◽  
Author(s):  
Angela Frattarola
Keyword(s):  
James Joyce ◽  
Virginia Woolf ◽  
Auditory Perception ◽  
Jean Rhys ◽  
Greek Philosophy ◽  
Sound Perception ◽  
Dorothy Richardson ◽  
Mechanical Reproduction ◽  
The Subject ◽  
The Moment

Modernist Soundscapes questions how early twentieth-century auditory technologies altered sound perception, and how these developments shaped the modernist novel. As the phonograph, telephone, talkie, and radio created new paths for connectivity and intimacy, modernist writers such as Dorothy Richardson and Virginia Woolf were crafting characters intimately connected by the prosody of voice, music, and the soundscape. As headphones piped nonlocal sounds into a listener’s headspace, Jean Rhys and James Joyce were creating interior monologues that were shaped by cosmopolitan and bohemian sounds. As the phonograph and tape recorder aestheticized noise through mechanical reproduction, Virginia Woolf and Samuel Beckett were deploying onomatopoeia and repetition to aestheticize words and make them sound out. Modernist Soundscapes encourages us to listen to these auditory narratives in order to grasp how the formal and linguistic experiments we have come to associate with modernism are partially a consequence of this historical attentiveness to sound. This heightened awareness of audition coincided with an emerging skepticism toward vision. Indeed, modernist writers turned to sound perception as a way to complicate the dominance of vision—a sensibility rooted in Greek philosophy that equated seeing with knowledge and truth. Without polarizing vision and audition, this book reveals how modernists tend to use auditory perception to connect characters, shifting the subject from a distanced, judgmental observer to a reverberating body, attuned to the moment.

scholarly journals Teatralizações femininas. Cecília Meireles e Sophia de Mello Breyner Andresen: tradutoras / Female Theatrical Performances. Cecília Meireles and Sophia de Mello Breyner Andresen: Translators

2020 ◽  
Vol 29 (3) ◽  
pp. 56
Author(s):  
Susana Scramim
Keyword(s):  
Virginia Woolf ◽  
Present Moment ◽  
Giorgio Agamben ◽  
Word Structure ◽  
Writing Practices ◽  
Poetry Translation ◽  
De Se ◽  
Theatrical Performances ◽  
The Subject ◽  
Ways Of Thinking

Resumo: O objetivo desta reflexão é comparar as práticas de escrita de duas poetas, a saber, Sophia de Mello Breyner Andresen e Cecília Meireles, com as traduções que fizeram, respectivamente, de Hamlet, Shakespeare, em 1987, e Orlando, Virgínia Woolf, em 1948. A partir da análise dessas traduções, comparadas a alguns poemas de ambas as poetas, pretende-se desenvolver a afirmação de Giorgio Agamben (2007) de que o poeta moderno elabora sua subjetividade sem deixar que esta fique marcada por um “lugar” ao qual ela devesse “retornar” em nome de uma originalidade primordial de sua palavra lírica. O sujeito decorrente desse processo está livre para viver esse momento presente no qual ele se encontra com sua incompletude e compreende que é feito de uma angústia analisável. Contemplar a linguagem é o modo de produzir subjetividades não essenciais. A tradução é um dos modos mais eficientes de se pensar a palavra. Sendo operada por deslocamentos incessantes, a prática da tradução é um interrogar-se sem cessar – e angustiadamente – pelo sentido da materialidade mesma da estrutura da palavra sem alcançar o sentido pleno do que é traduzido. A tradução faz surgir de um ato objetivo uma potência subjetiva, pois de seu vazio de conteúdo pode ser dito algo de novo.Palavras-chave: Sophia de Mello Breyner Andresen; Cecília Meireles; poesia brasileira; poesia portuguesa; tradução.Abstract: The purpose of this reflection is to compare the writing practices of the two poets, Sophia de Mello Breyner Andresen and Cecília Meireles, with the translations they made of Hamlet, Shakespeare, Breyner in 1987, and Orlando, Virginia Woolf, by Meireles in 1948. From the analysis of these translations, compared to some poems of both poets, it is intended to develop Giorgio Agamben’s (2007) claim that the modern poets elaborate their subjectivity without allowing it to be marked by a “place” to which they owe “return” in the name of a primordial originality of their lyrical word. The subject resulting from this process is free to live in this present moment in which they find themselves with their incompleteness and understand that they are made of an analyzable anguish. Contemplating language is the way to produce non-essential subjectivities. Translation is one of the most efficient ways of thinking about the word. Being operated by incessant displacements, translating is to constantly interrogate and distress oneself for the meaning of the very materiality of the word structure without reaching the full meaning of what is translated. Translation gives rise to subjective power from an objective act, because something new can be said of its content void.Keywords: Sophia de Mello Breyner Andresen; Cecília Meireles; Brazilian poetry; Portuguese poetry; translation.

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