Virginia Woolf as Feminist

Black, Naomi

doi:10.7591/9781501722219

Cited by 53 publications

(9 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…I am not alone in reaching this conclusion; Jane Marcus in particular agrees with me and referred to you variously as “a guerilla fighter [and writer] in a Victorian skirt” whose enemy was the British patriarchy, capitalism and imperialism in all of its forms (Marcus, 1981, p. 1), a “raider on received history,” “redeemer of lost lives,” “rescuer and deliverer of stranded ghosts” (Marcus, 1981, p. 3), and a “woman warrior” (Marcus, 1981, p. 4) to allude to the ways you sought to “storm the citadel of male dominance” (Marcus, 1981, p. 4) and “untie women’s tongues” (Marcus, 1981, p. 12). Your work is first and foremost feminist, because of the initial focus on women and the overarching goal to complete abolishment of tyranny and all hierarchies of power and entitlement, and words and writing were the feminist weapons you felt best served the cause (Black, 2004, p. 49). While the great battle of World War II began to rage in the skies above you and apple blossoms snowed onto the grass in the front garden, on Wednesday, 15 May 1940, the following idea took hold, “the army is the body: I am the brain.…”

Section: Virginia Let Us Converse Some More About Our Work With Youmentioning

confidence: 99%

Writing Radically as Women With Virginia Woolf: Why?

Mackinlay

Madden

Mickelburgh

et al. 2022

Qualitative Inquiry

View full text Add to dashboard Cite

In a short essay titled “Why,” Virginia Woolf daringly questioned the ways in which knowledge is produced, performed, and proclaimed as particular kinds of truths in institutions of power and authority, including academic writing. She subversively suggested, “The little twisted sign that comes at the end of the question has a way of making the rich writhe” and advised that such questions choose their “asking place with care”. In this article, we suggest that the “post” scholarship moment is the moment to ask new questions about the ways Woolfian inspired life-writing as a performance of self and social worlds might be engaged to trouble and open up what the “product” and performance of academic work, words, and worlds might come to be.

show abstract

Section: Virginia Let Us Converse Some More About Our Work With Youmentioning

confidence: 99%

Writing Radically as Women With Virginia Woolf: Why?

Mackinlay

Madden

Mickelburgh

et al. 2022

Qualitative Inquiry

View full text Add to dashboard Cite

show abstract

“…There was a trend that only a few young women were permitted to enter school as early as the mid-1500s, however, those young women were not permitted to continue college, nor work in professional fields. A lady's legitimate training comprised of learning how to sew, paint, move, and play instruments (Black, 2004). Her essential occupation was to keep the house and look and sound lovely.…”

Section: Elizabethan Period and Complexity Of Gendermentioning

confidence: 99%

Protrusion of Simon de Beauvoir, A Propelled Portrayal of Feminism in Orlando on Elizabethan Epoch

Bashir

Sarfraz

Rehman

et al. 2020

JCCT

View full text Add to dashboard Cite

It is a stiff known fact that in chauvinistic society, a female has been taken as a suppressed commodity. The ultimate dependence is the main factor in the marginalization of females in society. Although, in a country where the female population is more than men’s, such topics of female subjugation can be traced from the shared history. This study aims at the various factors through which the main character of the movie and novel “Orlando” has gone through the acute transformation from a weaker position to being in command and strong. This paper is based on the qualitative methodology and it will probe traces through which the protagonist is viewed through the lens of Simon de Beauvoir’s Second Sex and gender differences (Beauvoir, 1993). Complete analysis in terms of the body language from being submissive to outrageous, from vulnerable to gaining strength, this research will significantly try to scan all the aspects through which a character is transformed. This paper will also try to probe the socio-psychological factors through which an individual suffers through the anguish (Ranjan, 2019 ). The protagonist's anguish has been depicted and will be analyzed in the light of famous feminist theorist Simon de Beauvoir's “The Second Sex” (Beauvoir, 1976). While engaging and clashing for the dependability this investigation likewise examines the complexities agonized over the opportunity of enunciation of the protagonist from the two portrayals that are film and text. This examination will open vistas to contemplate the grievance forced by the financial components that pressurises a person, as far as possible, where one has to decide between giving up or revolting against the shackles of society. By the execution of Beauvoir's idea on the screen transformation of "Orlando" composed by Virginia Woolf (Woolf, 1993), the spitting image of women in Elizabethan civilization and her insurrection is illustrated. This paper is a significant effort to highlight the cobwebs encapsulating an individual and their strife to survive and breathe in the same existing world.

show abstract

“…60 The concept of the bedroom is not dissimilar to Virginia Woolf 's famous essay, A Room of One's Own, in which Woolf espouses a modern woman's need for a room as a symbol of privacy and income. 61 It is an essential space for generating 'new forms of art and of life' . 62 In the cyber age, girls' bedroom culture could also include online formats such as chat rooms and networking sites.…”

Section: Gender In Shōjo Culturementioning

confidence: 99%

"Girls are dancin": shōjo culture and feminism in contemporary Japanese art

Wakeling¹

2011

View full text Add to dashboard Cite

This article explores the gender-transgressive expressions found in shōjo culture in order to highlight the potential for feminist analysis in the prevalence of the shōjo motif in contemporary Japanese art. Shōjo culture is a fascinating cultural space, within contemporary Japanese culture, which fosters creative expressions of gender that negate or make complex hegemonic categories. Departing from stereotypes of Japanese girls, this article will pay particular interest to an emerging wave of figurative contemporary art practices in which the figure of the shōjo is utilised for a new generation of feminist critique. Aoshima Chiho, Kunikata Mahomi, Takano Aya, Sawada Tomoko and Yanagi Miwa are among the current artists who feature the shōjo motif in contexts that foreground female subjectivities found paralleled in shōjo culture. These works will then be contextualised in the greater picture of current trends and themes in global contemporary feminist art.

show abstract

Virginia Woolf as Feminist

Cited by 53 publications

References 0 publications

Writing Radically as Women With Virginia Woolf: Why?

Writing Radically as Women With Virginia Woolf: Why?

Protrusion of Simon de Beauvoir, A Propelled Portrayal of Feminism in Orlando on Elizabethan Epoch

"Girls are dancin": shōjo culture and feminism in contemporary Japanese art

Contact Info

Product

Resources

About