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virginia woolf, vita e opere, Appunti di Inglese

virginia woolf, scrittrice inglese

Tipologia: Appunti

2023/2024

Caricato il 29/10/2025

marta05.
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Virginia Woolf
1. Life
She was born in London in 1882. She grew up in a literary and intellectual atmosphere with
free access to her father’s library. She spent her summers at St Ives, a seaside town in
Cornwall, and the sea remained a central symbol in her art. The death of her mother when
she was 13 led her to depression. In 1904 she moved to Bloomsbury and together with her
sister Vanessa, she became a member of the Bloomsbury Group: the avant-garde of early
20th-century London. There she developed the stream of consciousness style.
In 1912 she married Leonard Woolf and In 1915 she started her literary career as a talented
novelist and critic.
The Second World War increased her anxiety and fears. so she put rocks into her pockets
and drowned herself in the River Ouse in 1941.
2. Literary career
Mrs Dalloway (1925): Describes Clarissa Dalloway and Sally Seton’s relationship as
young women.
Orlando (1928); Deals with androgyny.
3. A modernist writer
• Her main aim was to give voice to the complex inner world of feeling and memory;
• In her novels the omniscient narrator disappears
• the point of view shifted inside the characters’ minds through flashbacks, associations of
ideas, presented as a continuous flux.
5. Mrs Dalloway PLOT
The novel takes place over one day in june 1922
in London. It presents the interwoven stories
of Clarissa Dalloway and the shell shocked war veteran Septimus Warren Smith. At 10 a.m.
Clarissa goes to buy flowers for a party she is giving that evening.
While Clarissa is in the flower shop a car makes an explosive noise and a plane writes in the
sky. Septimus and his wife Lucrezia are
walking in the street. Septimus's mental disorder has necessitated the calling of Sir William
Bradshaw, a famous nerve specialist who advises him to go to a psychiatric hospital, but at 6
p.m. he throws himself out of the window of his room.The narration shifts to Clarissa's party,
where news of Septimus's suicide is discussed by the guests and Clarissa thinks of how
vulnerable Septimus might have felt and understands his uncompromising choice, feeling
ashamed about her own compromises.
setting
Is a small area of London five years after World War I, when George V was on the throne
and the society was changing. The modern technology of cars and airplanes represents a
London rushing towards modernity. Life expresses itself in moments of vision which are at
the same time objective (the clocks, the streets, the cars, the flowers) and yet subjectively
creative, since they are recreated every moment by active consciousness.
The tunnelling technique
Woolf digs into the characters’ past creating tunnels. Through these tunnels they connect at
specific moments in the narrative. This gives an idea of their personal history and unites
them even though they never meet.
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Virginia Woolf

1. Life She was born in London in 1882. She grew up in a literary and intellectual atmosphere with free access to her father’s library. She spent her summers at St Ives, a seaside town in Cornwall, and the sea remained a central symbol in her art. The death of her mother when she was 13 led her to depression. In 1904 she moved to Bloomsbury and together with her sister Vanessa, she became a member of the Bloomsbury Group: the avant-garde of early 20th-century London. There she developed the stream of consciousness style. In 1912 she married Leonard Woolf and In 1915 she started her literary career as a talented novelist and critic. The Second World War increased her anxiety and fears. so she put rocks into her pockets and drowned herself in the River Ouse in 1941. 2. Literary career ● Mrs Dalloway (1925): Describes Clarissa Dalloway and Sally Seton’s relationship as young women. ● Orlando (1928); Deals with androgyny. 3. A modernist writer

  • Her main aim was to give voice to the complex inner world of feeling and memory;
  • In her novels the omniscient narrator disappears
  • the point of view shifted inside the characters’ minds through flashbacks, associations of ideas, presented as a continuous flux. 5. Mrs Dalloway PLOT The novel takes place over one day in june 1922 in London. It presents the interwoven stories of Clarissa Dalloway and the shell shocked war veteran Septimus Warren Smith. At 10 a.m. Clarissa goes to buy flowers for a party she is giving that evening. While Clarissa is in the flower shop a car makes an explosive noise and a plane writes in the sky. Septimus and his wife Lucrezia are walking in the street. Septimus's mental disorder has necessitated the calling of Sir William Bradshaw, a famous nerve specialist who advises him to go to a psychiatric hospital, but at 6 p.m. he throws himself out of the window of his room.The narration shifts to Clarissa's party, where news of Septimus's suicide is discussed by the guests and Clarissa thinks of how vulnerable Septimus might have felt and understands his uncompromising choice, feeling ashamed about her own compromises. setting Is a small area of London five years after World War I, when George V was on the throne and the society was changing. The modern technology of cars and airplanes represents a London rushing towards modernity. Life expresses itself in moments of vision which are at the same time objective (the clocks, the streets, the cars, the flowers) and yet subjectively creative, since they are recreated every moment by active consciousness. The tunnelling technique Woolf digs into the characters’ past creating tunnels. Through these tunnels they connect at specific moments in the narrative. This gives an idea of their personal history and unites them even though they never meet.

charactersMrs Dalloway (Clarissa) : She is 51 and was the wife of a Conservative MP, Richard Dalloway, who has conventional views on politics and women’s rights. She has a form of depression characterised by opposing feelings:

  • her need for freedom and independence;
  • her class consciousness. To overcome her weakness and sense of failure, she imposes severe restrictions on her spontaneous feelings.

● Septimus Warren Smith A very sensitive man who loves poetry; He participated in World War I and is shell-shocked. The trauma of the death of his best friend during the war, caused him to have panic attacks, hallucinations and feelings of guilt.

Septimus and Clarissa can be seen as doubles. They both respond to experience in physical terms and depend upon their partners for stability and protection. They both think about death even if they manage to see beauty in the world despite suffering. In the end, however, psychic paralysis leads Septimus to suicide, whereas Clarissa never loses her awareness of the outside world as something external to herself and is prepared to go on.

MOMENT OF BEING Woolf wonders why some moments are so powerful and memorable that they can be vividly recalled, while other events are easily forgotten. She concludes that there are two kinds of experiences: moments of being and moments of non-being. Moments of being are acts experienced with awareness, while moments of nonbeing seem to be moments that the individual is not consciously aware of even as he experiences them.

6. Woolf vs Joyce Joyce shows his characters' thoughts through interior monologue, while Woolf doesn’t allow her characters' thoughts to flow without control and always maintains a logical and grammatical organisation. She blends streams of thought into a third-person narrative. Joyce is more interested in language experimentation accumulating details, while Woolf's use of words is almost poetic and emotional. Woolf's 'moments of being' are similar to Joyce's 'epiphanies': they are rare moments of insight during the characters' daily lives.

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  1. Virginia Woolf was mainly educated at home, where she read whatever she liked in her father's exceptional library.
  2. After her father's death in 1904, she moved to the Bloomsbury area of London and became a member of the Bloomsbury Group.
  3. Virginia Woolf was a Modernist novelist in the sense that she was interested in giving voice to the complex inner world of feeling and memory, focusing on the impressions events left on characters rather than traditional story elements. Woolf's novels featured a shift in narrative style with the omniscient narrator disappearing and the point of view moving inside the different characters' minds through techniques like flashbacks and associations of ideas.

aiuole nebbiose; e quanto amava le falene grigio-bianche che volteggiavano dentro e fuori, sopra la torta di ciliegie, sopra le primule della sera"! E come ha cominciato ad andare con la signorina Pym da Jarl? urtare, scegliere, sciocchezze, sciocchezze, si disse, sempre più dolcemente, come se questa bellezza, questo profumo, questo colore, e il fatto che Miss Pym le piacesse, fidandosi di lei, fossero un'onda che lasciava scorrere su di lei e sormontare quell'odio, quel mostro, supera tutto; e la sollevò sempre di più quando - oh! un colpo di pistola in strada! "Caro, quelle automobili," disse la signorina Pym, andando alla finestra per guardare, e tornando indietro e sorridendo in tono di scusa!3 con le mani piene di piselli odorosi, come se quelle automobili, quei pneumatici* di automobili, fossero tutti colpa sua. La violenta esplosione che fece sobbalzare la signora Dalloway e fece andare alla finestra la signorina Pym per scusarsi, provenne da un'automobile che si era fermata sul lato del marciapiede esattamente di fronte alla vetrina di Mulberry. I passanti, che naturalmente si fermavano a guardare, hanno fatto appena in tempo a scorgere un volto della massima importanza sullo sfondo del rivestimento color tortora', prima che una mano maschile tirasse la tenda'' e non si vedesse altro che un quadrato color tortora. Eppure le voci iniziarono subito a circolare dal centro di Bond Street a Oxford Street da un lato, al negozio di profumi di Atkinson dall'altro, passando invisibilmente, inudibilmente, come una nuvola, veloce, come un velo sulle colline, cadendo davvero con qualcosa dell'improvvisa sobrietà e immobilità di una nuvola su volti che un secondo prima erano stati completamente disordinati?. Ma ora il mistero li aveva sfiorati con la sua ala?; avevano sentito la voce dell'autorità; lo spirito della religione era all'estero? con gli occhi bendati e le labbra spalancate?. Ma nessuno sapeva di chi fosse stato visto il volto. Era del Principe di Galles, della Regina, del Primo Ministro? Di chi era quella faccia? Nessuno sapeva. Edgar J. Watkiss, con il suo rotolo di tubi di piombo? intorno al suo braccio, disse ad alta voce, con ironia ovviamente: "Il kyar del Proime Ministro?". Septimus Warren Smith, che si trovò nell'impossibilità di passare, lo sentì.