Download PDF by Karen Kaivola: All contraries confounded: the lyrical fiction of Virginia
By Karen Kaivola
Minor shelf put on. textual content is fresh, binding is tight, crease on disguise.
Read or Download All contraries confounded: the lyrical fiction of Virginia Woolf, Djuna Barnes, and Marguerite Duras PDF
Best women writers books
Hard earlier stories that declare anxiousness and antagonism among transatlantic Victorian authors, Jennifer Cognard-Black uncovers a version of reciprocal impact between 3 of the preferred ladies writers of the period. Combining analyses of non-public correspondence and print tradition with shut readings of key narratives, this research offers an unique background of transatlantic authorship that examines how those writers invented a collaborative aesthetics either inside and opposed to the dominant discourse of professionalism.
Girls and Exile in modern Irish Fiction examines how modern Irish authors have taken up the heritage of the Irish girl migrant. It situates those writers' paintings relating to higher discourses of exile within the Irish literary culture and examines how they have interaction with the complicated background of Irish emigration.
Anne, Emily, and Charlotte Brontë's literary representations of sickness and ailment mirror the main function affliction performed within the lives of the Victorians and its common reoccurrence in the Brontës' own lives. An in-depth research of the background of nineteenth-century medication presents the required cultural context to appreciate those representations, giving sleek readers a feeling of ways overall healthiness, sickness, and the physique have been understood in Victorian England.
- Women and Sexuality in the Novels of Thomas Hardy
- Translating poetic discourse : questions on feminist strategies in Adrienne Rich
- Challenging Boundaries: Gender and Periodization
- Deviant Modernism: Sexual and Textual Errancy in T. S. Eliot, James Joyce
- Donna Jo Napoli: Writing with Passion
- Religion, Reform, and Women's Writing in Early Modern England
Extra info for All contraries confounded: the lyrical fiction of Virginia Woolf, Djuna Barnes, and Marguerite Duras
6 The move to Bloomsbury created conditions favorable to Woolf's efforts to push back boundaries of "acceptable" female behavior and expression. Much has been made of Bloomsbury as an elite, effete, educated enclave of privilege and decadence. If it was all these things it was more: for Woolf it was a place of expansion and growth, a place where she could risk breaking cultural taboos. " he said. Can one really say it? I thought and we burst out laughing. With that one word all barriers of reticence and reserve went down.
Showalter maintains that Woolf's writing signals a withdrawal from the world and functions as ''an extension of her view of woman's social role: receptivity to the point of self-destruction, creative synthesis to the point of exhaustion and sterility" (296). Like Clarissa Dalloway and Mrs. Ramsey, who are acutely aware of and responsive to others, the writing absorbs and smoothes over conflict and difference. And if the writing absorbs conflict and difference, it carries out a certain kind of ideological work by diverting the reader's attention away from what is radical and subversive.
My terror of real life has always kept me in a nunnery" (Letters 4:180). However, if indeed she was ''sexually cowardly," she was hardly a prude: "If Eddy chooses to plunge his poker in an ant heap or a woman or the next young man he meets in Bond St. its [sic] all the same to me" (Letters 4:226). Moreover, despite the feminist content of her work, especially in such essays as A Room of One's Own and Three Guineas, Woolf did not choose to identify herself as a feminist. When she wrote of listening to two young men, she carefully disassociated herself from feminists: "If I were a feminist [their egotism] would throw great light on the history of the sexessuch complete self-absorption: such entire belief that a woman has nothing to do but listen" (Letters 4:312; emphasis mine).
All contraries confounded: the lyrical fiction of Virginia Woolf, Djuna Barnes, and Marguerite Duras by Karen Kaivola