Virginia Woolf's rich and imaginative use of language was partly a result of her keen interest in foreign literatures and languages - mainly Greek and French, but also Russian, German and Italian. As ...a translator she naturally addressed herself both to contemporary standards of translation within the university, but also to readers like herself. In Three Guineas she ranged herself among German scholars who used Antigone to critique European politics of the 1930s. Orlando outwits the censors with a strategy that focuses on Proust's untranslatable word. The Waves and The Years show her looking ahead to the problems of postcolonial society, where translation crosses borders. In this in-depth study of Woolf and European languages and literatures, Emily Dalgarno opens up a rewarding new way of reading her prose.
This is the first book to explore Virginia Woolf's preoccupation with the literary past and its profound impact on the content and structure of her novels.
Narratology is concerned with the study of narratives; but surprisingly it does not usually distinguish between original and translated texts. This lack of distinction is regrettable. In recent years ...the visibility of translations and translators has become a widely discussed topic in Translation Studies; yet the issue of translating a novel's point of view has remained relatively unexplored. It seems crucial to ask how far a translator's choices affect the novel's point of view, and whether characters or narrators come across similarly in originals and translations. This book addresses exactly these questions. It proposes a method by which it becomes possible to investigate how the point of view of a work of fiction is created in an original and adapted in translation. It shows that there are potential problems involved in the translation of linguistic features that constitute point of view (deixis, modality, transitivity and free indirect discourse) and that this has an impact on the way works are translated. Traditionally, comparative analysis of originals and their translations have relied on manual examinations; this book demonstrates that corpus-based tools can greatly facilitate and sharpen the process of comparison. The method is demonstrated using Virginia Woolf's To The Lighthouse (1927) and The Waves (1931), and their French translations.
Austen and Woolf are materialists, this book argues. ‘Things’ in their novels give us entry into some of the most contentious issues of the day. This wholly materialist understanding produces worldly ...realism, an experimental writing practice which asserts egalitarian continuity between people, things and the physical world. This radical redistribution of the importance of material objects and biological existence, challenges the traditional idealist hierarchy of mind over matter that has justified gender, class and race subordination. Entering their writing careers at the critical moments of the French Revolution and the First World War respectively, and sharing a political inheritance of Scottish Enlightenment scepticism, Austen’s and Woolf’s rigorous critiques of the dangers of mental vision unchecked by facts is more timely than ever in the current world dominated by fundamentalist neo-liberal, religious and nationalist belief systems.
In The Great War and the Language of Modernism, Vincent Sherry reopens long unanswered questions regarding the influence of the 1914 war on the verbal experiments of modernist poetry and fiction. ...Sherry recovers the political discourses of the British campaign and establishes the language to which literary modernism responds with its boldest initiatives. In its wholly new reading of Woolf, Eliot, and Pound, this book restores the historical content and depth of this literature and reveals its most daring import.
En realidad, me tomaría un daiquiri en El Floridita o un mojito en La Bodeguita con Ernest Hemingway. ¿Nos imaginan sentados en la barra, al genio y a mí, casi como una groupie literaria? En ...síntesis, en ella Hemingway nos da la clave de lectura de sus propias obras: en la superficie del texto solo se halla presente la punta del iceberg, mientras que el mayor porcentaje de la historia se halla oculto y debe ser descubierto por el lector, a partir de lo efectivamente leído. La mujer ve por la ventana un gato o una gata -el neutro del inglés no nos permite definir un género para este pequeño e indefenso animal, aunque probablemente sea gata y la dama se identifique con ella- bajo la lluvia y quiere rescatarlo. Uno de los ejemplos de mayor estruendo es su último capítulo, cuando cede la voz a los pensamientos de Molly Bloom: explotan el lenguaje y sus normas, explotan los significados, explotan los prejuicios de género.
In her timely contribution to revisionist approaches in modernist studies, Lorraine Sim offers a reading of Virginia Woolf's conception of ordinary experience as revealed in her fiction and ...nonfiction. Contending that Woolf's representations of everyday life both acknowledge and provide a challenge to characterizations of daily life as mundane, Sim shows how Woolf explores the potential of everyday experience as a site of personal meaning, social understanding, and ethical value. Sim's argument develops through readings of Woolf's literary representations of a subject's engagement with ordinary things like a mark on the wall, a table, or colour; Woolf's accounts of experiences that are both common and extraordinary such as physical pain or epiphanic 'moments of being'; and Woolf's analysis of the effect of new technologies, for example, motor-cars and the cinema, on contemporary understandings of the external world. Throughout, Sim places Woolf's views in the context of the philosophical and lay accounts of ordinary experience that dominated the cultural thought of her time. These include British Empiricism, Romanticism, Platonic thought and Post-Impressionism. In addition to drawing on the major novels, particularly The Voyage Out, Mrs. Dalloway, and To the Lighthouse, Sim focuses close attention on short stories such as 'The Mark on the Wall', 'Solid Objects', and 'Blue & Green'; nonfiction works, including 'On Being Ill', 'Evening over Sussex: Reflections in a Motor-car', and 'A Sketch of the Past'; and Woolf's diaries. Sim concludes with an account of Woolf's ontology of the ordinary, which illuminates the role of the everyday in Woolf's ethics.
The pleasure and excitement of exploring Virginia Woolfs writings is at the heart of this book as Julia Briggs reconsiders Woolfs work - from some of her earliest fictional experiments to her late ...short story The Symbol and from the most to the least familiar of her novels.
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