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Copyright of Alsun Beni-suef International Journal of Linguistics, Translation & Literature / Mağallaẗ Kulliyyaẗ Alsun Banī Swaīf Al-Dawliyyaẗ Li Luġawīyāt wa Al-Tarğamaẗ wa Al-Adab is the property of Beni Suef University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the twentieth century the appearance of a great number of innovative verbal and visual portraits, created by modernist writers and painters, haunted by questions of identity and human representability, was determined by the tangible shift in sociocultural ideas about selfhood and the manners of its construction. Analyzing the poetics of literary and pictorial portraits created by Gertrude Stein, Virginia Woolf, William Carlos Williams, Ezra Pound, Henri Matisse, Pablo Picasso, Vincent van Gogh, and Paul Cézanne, this paper focuses on the intermedial flexibility of this genre and investigates the strategies of destruction and deformation of traditional referential portrait conventions through the juxtaposition of mimetic and non-mimetic elements, the "still life" approach to portraiture, intertextual scaffolding, activation of genre memory, and the parodization of the concept of resemblance. It demonstrates that the indexical tracing of the individual's particular identity as a traditional function of portraiture is replaced in modernist portraiture by the fluid process of identity construction and erosion. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Law & Society/Revue Canadienne Droit et Societe (Cambridge University Press) is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper attempts to find out the antithetical balance of certain features incorporated into Virginia Woolf's characters in To the Lighthouse, such as emotions are counterbalanced by intellectual vigour, pathos by enrapture or euphoria and hardheadedness by physical actions. Virginia Woolf's greatest artifice was the creation of a striking balance between pathos and humour, imagination and concretion, intellect and emotions, and performative action and immanent. Her art relies purely on the aesthetics and dramaturgy of very complacent characters to a troll of being under the impression of whims and caprice, but that capricious and mercurial nature of her characters again, through her very instant stylistic recoil, resumes stability and sensibility. The same we find in the very onset of To the Lighthouse when James's romantic thought process is punctured and swatted by a rigorously unqualified reply from Mr. Ramsay about the unfriendly English weather, and a thought-process that was initially ignited and inflamed by the mother-warmth from Mrs. Ramsay. Such were the emotions counterpoised by Woolf through pure amalgamation of romanticism and realisms. As Woolf creates this balance through the help of gender expostulation and as elements emanate from her gender doing, therefore this papers employs this gender polemic as its theoretical framework to use the percepts from Judith Butler's Gender Trouble, properly referenced at the works cited. The paper concludes by the remarks that gender politics, in order to attempt gender balance, offers a fertile ground for Woolf to establish a good balance between pathos and homour, regret and optimism, intellect and emotions, bereavement and fluke, romantic and de(romantic) ideals. Fruther aim of this paper is to examine Virginia Woolf's contribution in giving to the world a new concept of ideal femininity. Mrs. Woolf has celebrated femininity in her novels. Woolf, in her novels, has tried to bring out the anguish and emptiness that permeates in the lives of women. She has artistically crystallized the strife of a female that goes through in her mind. Woolf in this chaotic world tries to create a harmony which can be achieved when both the genders establish a close rapport with each other. She aims at creating a monoclinous world in which there is balance between intellect and emotion, man and woman, heart and mind. [ABSTRACT FROM AUTHOR]

The aim of this paper is to investigate the interplay between narrative style, gender and fashion within Woolf's Orlando. This study delves into how Woolf's use of a biographical narrative approach in a fantasy novel facilitates the exploration of gender stereotypes and their subsequent blurring. In this regard, through a meticulous analysis of Orlando, Woolf ingeniously employs the biographical style to transcend traditional literary boundaries. This stylistic choice allows for a deliberate blurring of reality and fantasy, prompting a transformative narrative experience. Within this narrative framework, the significance of fashion and attire emerges as essential tools for challenging conventional gender norms: clothing serves as a powerful vehicle for destabilising preconceived notions of gender. By situating Orlando's fluid identity and evolving gender presentation within the context of clothing choices, the novel portrays the malleability of gender constructs. The blurring of genders is skilfully intertwined with the blurring of reality, forging a narrative tapestry that offers profound insights into societal perceptions of identity. In conclusion, this paper illuminates how Woolf's novel enables a thoughtprovoking exploration of gender stereotypes, ultimately advocating for a more inclusive and fluid understanding of identity through the lens of fashion and attire. [ABSTRACT FROM AUTHOR]

On one hand, Brontë's Victorian Realist text, Jane Eyre, is miles apart from Woolf's quintessential Modernist text, Mrs Dalloway. While, on the other hand, both texts are connected through a similar anxiety to portray madness: a dangerous antithesis to society itself. This paper attempts an analysis of both texts' supposed mad characters, Bertha and Septimus, respectively, who posit as alter egos to the eponymous protagonists. Often declared as a radical other, or controlled through physical impositions, or perceived as a threatening force, madness has constantly been a victimised and ostracised entity in society. However, by bringing these two distinct texts in a conversation, this paper attempts to capture the crucial changes in the attitude towards madness as the nineteenth century turned into the twentieth. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract This paper considers the nature of creativity in Virginia Woolf's novel To the Lighthouse, in which she said she had finally 'laid the ghosts' of her parents, after many years of being obsessed with them, her mother in particular. Woolf was very familiar with the psychoanalytic concepts of her day, owing to the social milieu and publishing context of the 'Bloomsbury' intellectual circle. She acknowledged that all her writings were in some sense autobiographical. Despite periods of severe depression, she preferred not to have an analysis but to pursue her own self-analysis through her writings. This paper pursues in detail the evolution of the image of 'internal parents', known in modern psychoanalysis as the 'combined internal object' (Klein, Meltzer) and taken to be the key source of an individual's creativity. The aim is to distinguish the realistic portrayal of external parents from the creative story that is told and indeed discovered by the writer, focussing on its experiential and experimental evolution within the structure of the novel itself. Woolf spoke of the 'androgynous' nature of creative work, and this, it is suggested, refers not simply to the aesthetic interweaving of complementary qualities represented in the story, but to the sense of a governing aegis of parental bisexual objects who work towards and achieve a constructive relationship in the inner world, capable of repairing defects that exist in the external world. Woolf preferred not to interpret her own works symbolically but suggested that readers may do so. The family journey to the Lighthouse is often seen in terms of a spiritual journey, as well as an artistic one, and can also be interpreted in psychoanalytic terms of an internal reconstruction or reparation. [ABSTRACT FROM AUTHOR]

Copyright of Internationales Archiv für Sozialgeschichte der deutschen Literatur is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper sketches a tour de force of philosophical as well as poetic concepts of time from G. Vico (ricorsi), F. Nietzsche (Wiederkunft), V. Woolf (Orlando), W. Benjamin (Ur/Sprung), E. Auerbach (figura) and Hannah Arendt ("in-between"). It maps the returns and lapses of time from cycles to spirals, theoretical models, and visualizations which are brought forth to solve the problem of how not to fall back into earlier already overcome stages of development, and to realize the network of strings between now and then in order to make a difference in the future. I will underline the statement that we have no access to the archives of history as long as we are not traveling back to the future. For history is not enclosed in the past, it is reassembled by future tasks: from Vico's chronological monsters as illegitimate descendants to Zarathustra's pregnancies as preparation for the return of the unbearable, from the queer feeling of time vibrations in Virginia Woolf's Orlando to Benjamin's jumping sessions from origin to origin, from Auerbach's vertical lift to Arendt's "in-between.". [ABSTRACT FROM AUTHOR]

The debates concerning Orlando's magical sex transformation and its main concern with gender trouble are ever growing. Yet it seems a very significant fact is neglected in this debate, the extent the male Orlando is different from the female. Till Orlando is a man, he holds a very rigid and sedentary view of gender roles and reproduces the old cliché about men and women. As soon as he becomes a woman, she starts to view the world in a nomadic distribution. The present paper uses Deleuze's theory of time and his notions of sedentary and nomadic to represent how time and sex transformation are connected to a split subjectivity and the birth of a new female subject/artist. The sex transformation is a tremendous event that splits Orlando into a before and an after. The male Orlando is not equal to "the act" which is to go beyond the spirit of his age and become an artist who is able to affirm androgynous and nomadic worldview. Through "becoming woman" Orlando abandons his sedentary view of the world and becomes nomadic and at last, completes her poem "The Oak Tree". Through metamorphosis and a split subjectivity, Orlando becomes equal to "the act". [ABSTRACT FROM AUTHOR]

Copyright of Annual Review of the Faculty of Philosophy / Godisnjak Filozofskog Fakulteta is the property of Faculty of Philosophy, University of Novi Sad and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper I offer a reading of Virginia Woolf's story "A Haunted House" from the perspectives of hauntology and heterotopic spatiality. I argue that, initiating with this story, spectrality prevails in Virginia Woolf's writing and haunts her literary corpus. By examining the mystical element rhythmic practice brings to the story, and by linking it to thencept of haunting and spectrality, I discuss the use of haunting and spectres to question modernity's connection to the past. I emphasize that Woolf questions the relation of modernity to the past, which does not necessarily mean that the past has always negative connotations for her, but rather that she distrusts modernity and suspects that it might betray her. By focusing on the quintessential role of the house, I claim that the house transforms into a heterotopic place where boundaries between spaces and times blur and the past, the present, and the future merge, as a result of which the house becomes a space of encounter, which is a way of resisting the rigid conceptualizations of spatio-temporality. [ABSTRACT FROM AUTHOR]

This paper explores Virginia Woolf's 1937 radio broadcast (and later essay) 'Craftsmanship' in the context of craft culture. As Woolf considers the word judiciously and playfully throughout 'Craftsmanship', it becomes a nexus point for an entanglement of ideas around making, creating, and producing. This paper places Woolf's understanding of craft practices in the context of contemporary debates regarding the legacy of the arts and crafts movement, Roger Fry's work in the Omega Workshops, and her own experience in the Hogarth Press. While it is tempting to see the Hogarth Press as a model of craft culture, Woolf was sceptical about any nostalgia for craft practices, often rather sloppy with the craft of book making, and deeply ambivalent about any valorization of craft. Without dismissing the significant place of the Hogarth Press in discussions about craft culture, this paper is most interested in Woolf's repeated use of 'craft' to talk about the work of the writer. It explores Woolf's own ambivalent engagement with writing as 'craft' and questions what it might mean to see Woolf as a craftswoman. It pays attention to her suspicion of privileging 'well made' writing over imagination and emotion, her attitudes towards the professionalism of craft (particularly in the context of gender), as well as the often permeable boundaries between her 'craft' and her 'art'. For Woolf, the troublesome word 'craft' leads to, associates with, and intersects with concepts central to her life and work, including art, imagination, inspiration, production, process, amateurism, professionalism, education, skill, and vocation. [ABSTRACT FROM AUTHOR]

Copyright of Çankaya University Journal of Humanities & Social Sciences is the property of Cankaya University Journal of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper argues for a complex and sustained engagement with logic in Virginia Woolf's early fiction. Her 1899 diary, pasted into Isaac Watts's Logick (1786), contains Woolf's earliest literary compositions. Initially, Woolf selected Watts's book because of its size and binding, but closer examination reveals considerable interaction with Logick. As the first book Woolf made, and her first formal literary experiment, it is significant that the diary responds to, and reacts against, traditional logic. Woolf's early essays and novels continue this agonistic relationship with the logic of Leslie Stephen, G. E. Moore and Bertrand Russell, creating a productive tension that helps shape To the Lighthouse. [ABSTRACT FROM AUTHOR]

This paper gives a survey of approaches to the analysis of Virginia Woolf's "Blue & Green" (1921), a meditative sketch, a prose poem that belongs to experimental modernist prose, integrating various mimetic and diegetic techniques highlighting the issue of colour perception from its symbolic, eidetic, and intermedial perspectives tightly linked to the specificity of human imagination. The paper brings these research perspectives together, elaborating them to further introduce, in the forthcoming paper, a new vista of Woolf's "Blue & Green" interpretation via the phenomenon of focus dissipation as a ludic narrative and/or mimetic technique based on text-driven attentional shifts. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to present an analysis of the theme of love, focusing on romantic relationships, in novels by Virginia Woolf and Graham Swift. Chronologically, these two authors belong to Modernism and Postmodernism, respectively. The paper will start from observations about romantic relationships in a selection of their novels and correlate these observations with the features of love associated with these literary movements. We could notice the fact that love as romance is not the main focus of any of these novels, as a general feature. In Woolf's novels, characters look inward, and focus on their individual process of development. In Swift's novels, love is just an episode in the individuals' lives, yet one that does matter. Modernist literature marks a change with what has been before in literature in terms of narrative technique, narrative focus, understanding of romantic relationships, and is generally open to experimentation. Postmodernist literature continues this trend. This is visible in the way Swift experiments with crossing the borders between poetry and prose in his fiction, as far as the lyricism associated with his stories is concerned. The same mixture of genres is found in Woolf's novels, with respect to the way the characters confess their emotions related to love. Swift's characters are looking for sharing emotional connection with their significant other, family and friends. Emotion is an integral part of all his novels, contrary to the expectations set up by the "waning of affect" in Postmodernism (Winnberg 2004). Both authors, through the attention to the emotional experiences, show that they are universal human needs, in spite of what the current trends are, whether imposed by society, which sees marriage as social convention, or individual fulfillment through a relationship. [ABSTRACT FROM AUTHOR]

The article offers information on various library special collections related to Virginia Woolf which include The Beinecke Rare Book and Manuscript Library of Yale University Library, British Library Manuscript Collections, and Harry Ransom Humanities Research Center of University of Texas at Austin.

Social media has become an almost ubiquitous method of communication and engagement, not only in the information sector but right across the increasingly digitalized world. Likewise, it has played a large role in the development of fourth-wave feminism and in movements such as #YesAllWomen, #FreeTheNipple and #MeToo, as well as in calls for improvements to the representation of gender in media. This paper draws together both aspects in order to critique and reflect upon the current usage of social media as it pertains to the representation of gender in UK university libraries, archives and special collections. It explores the challenges of utilizing such media for academic institutions deeply rooted in discourses of authority and heteronormative patriarchal power. It uses a sample of social media posts to foreground and examine a number of successes and shortcomings, with discussions informed by critical theory. In particular, foundational texts of feminist theory, such as Virginia Woolf's A Room of One's Own (1929) and Black Looks: Race And Representation (1992) by bell hooks, are used to frame explorations of gender and intersectionality in university collections; ultimately seeking to discover how information professionals may better represent the diverse nature of their collections on social media platforms. [ABSTRACT FROM AUTHOR]

The article presents a guide of several library collections and manuscripts. It includes the Beinecke Rare Book and Manuscript Library, which can be found at the Yale University Library. Another is the British Library Manuscript Collection which contains diaries related to Virginia Woolf. It also includes the Harry Ransom Humanities Research Center, which is found at the University of Texas in Austin.

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Human life as represented in literature is intricately connected with time and space. In Bakhtin’s words, this is equal to saying that the human perception and construction of experience have an essential chronotopic pattern. This is one of the basic structural principles adopted by a modernist writer as Virginia Woolf in her novels. Caught between past, present and future, between objective time and the subjective time of Bergsonian duration, Woolf’s protagonists enact metaphorical plunges into their inner infernos through flashbacks triggered by the spatio-temporal coordinates that define their diegetic positions. This paper aims to explore Woolf’s revisionary mode which projects the characters’ struggles on a background saturated with mythological allusions that provide a frame from within which restrictive traditional models and social conventions are subtly contested. [ABSTRACT FROM AUTHOR]

Copyright of Signa is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This annotated transcription adds context and brings new significance to a Virginia Woolf manuscript titled "As to criticism" that is currently preserved in the Virginia Woolf papers at Smith College Special Collections. I argue that this six-page document is not an abandoned piece of nonfiction as it has to date been considered but, rather, a draft of the preface to The Common Reader (1925) that was written in February 1924. Reclassifying the manuscript as such allows for a more nuanced consideration of Woolf's work on The Common Reader over its four years of development. "As to criticism" serves as an important bridge between the published preface and an earlier version of the preface titled "Byron & Mr Briggs" that was written in March 1922. Reading these three versions of the preface sequentially invites us to trace Woolf's developing ideas about expertise, education, and reading practices in her nonfiction work as well. [ABSTRACT FROM AUTHOR]

An up-to-date guide to library special collections on substantial scholarship on the work of the British author Virginia Woolf is presented. Information offered includes the name and description of each collection, contact person and the library address, and access requirements. The collections include the Henry W. and Albert A. Berg Collection of English and American Literature at the New York Public Library in New York City.

The manuscripts of a developing autobiography and the letters exchanged between Virginia Woolf and Ling Shuhua have been misunderstood. Critics often broach Woolf’s mentorship when discussing their correspondence. They hold that Woolf’s advice and guidance contributed to the creation and composition of Ling’s autobiography, Ancient Melodies (1953). Ling has, then, either been characterized as an exemplification of Eurocentric assumptions of modernist tutelage or has been assimilated into a paradigm of influence dominant in global modernist studies. Drawing on unpublished materials related to the Ling-Woolf correspondence in the archives at the University of Sussex, the New York Public Library, and King’s College, Cambridge, this article offers a revisionary account of a scholarly consensus that sees Woolf as a modernist master through her putative intellectual and literary influence on Ling. In repudiating the legitimization of Ling as a minor modernist figure, who owes the inception and development of her autobiography to Woolf, this paper also rethinks cross-cultural literary relations in the twentieth century by redirecting the critical emphasis on high-energy transnational interactions to episodes of less dynamic exchanges. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to present an analysis of the theme of solitude, which is present in the novels written by Virginia Woolf and Graham Swift. This theme unites the two authors' novels and explains the way they create the lyrical type of novel, by starting out with intertextual references to the British Romantic poets, where loneliness is a common theme. In order to illustrate the theme of solitude, a selection of moments and characters' situations will be analyzed in the present paper, according to the features that Modernism and Postmodernism have in common. The theme of loneliness adds to the features of previous movements used in Modernist and Postmodernist novels, which together create the lyrical novel. The lyrical novel shows the same reconciliation of contradictions which was found in Romantic poetry. Characters experience contradictory feelings and thoughts regarding various aspects of their lives, and all of them are united by being expressed in the lyrical novel. [ABSTRACT FROM AUTHOR]

The mode of nostalgia for past happiness is central in contemporary accounts of earlier epochs, and it becomes particularly visible in British prose fiction set in the first half of the twentieth century. I argue that in such accounts memories and recollections are shaped by the mode of nostalgia. This paper focuses on the aspects of reflective nostalgia as recently theorized by Svetlana Boym. It opens with a short introduction into the history of nostalgia and the experience of war for generating a nostalgic longing for the past. It also elaborates on the etymological issues and implications suggested by concepts of nostos [the return] and algos [pain]. I would argue that memories featured in British twentieth-century prose fiction are influenced by the workings of nostalgia which may be either idealizing or imbued with pain and sorrow. Consequently, I claim that the focus placed on the act of nostos promotes the interplay of nostalgia and the pastoral mode; by contrast, the expression of algos rather selects the elegiac mode. Thus, the paper seeks to prove that the different foci of nostalgia influence the modality of the twentieth-century prose fiction, as exemplified in "To the Lighthouse" by Virginia Woolf and "The Go-Between" by L. P. Hartley. [ABSTRACT FROM AUTHOR]

This paper takes as its starting point a letter written by Virginia Woolf in 1940 which speculates about the possibility of ending war. 'Can we change sex characteristics?' Woolf asks. 'How can we alter the crest and the spur of the fighting cock?' In writing this letter, Woolf recalls a passage she read in 1932 from the biological textbook The Science of Life, co-written by Julian Huxley: a passage which, in Woolf's terms, describes a 'hen that became a cock or vice versa'. The paper demonstrates that Woolf's writing of this period, particularly Three Guineas and Between the Acts, responds to Huxley's works of popular biology, specifically their discussion of secondary sex characteristics, hormones, and the mutability of biological sex, in order to envision a way out of the repeating cycle of violent domination that she traces in contemporary society, and to conceive of a future society not built upon a binary model of sex or gender. It proposes a non-linear conception of feminist history in which Woolf's texts—with their depiction of sex as plural and alterable through human agency—display a sympathy with our current understanding of sex: an aspect of her writing that has been overlooked by intermediate commentators. [ABSTRACT FROM AUTHOR]

Copyright of Itinerários - Revista de Literatura is the property of Itinerarios - Revista de Literatura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)