Virginia Woolf: Assertive or Introspective?
Virginia Woolf begins her memoir Moments of Being with a conscious attempt to write for her readers. While writing her life story, however, she begins to turn inwards and she becomes enmeshed in her writing. By focusing on her thoughts surrounding the incidents in her life instead of the incidents themselves, she unconsciously loses sight of her outward perspective and writes for herself. Her memoir becomes a loose series of declarations of her beliefs connected only by her wandering train of thought. Although Moments of Being deals largely with her conjectures, she is not trying to convince the reader of these beliefs' validity since she is so absorbed in the act of writing. What begins as an outwardly focused memoir evolves into Virginia Woolf's exploration of her thoughts and feelings.
Mrs. Woolf begins her memoir in an easygoing, conversational manner by deliberately reaching out to her audience. She states in her first paragraph that she knows many different ways to write a memoir but for lack of time cannot begin to sift through them all and so she simply begins by relating her first memory. Stating that she is not deciding upon a set method and formalizing that she will be informal demonstrates a frame of mind directed outward; it is her attempt to involve the reader in her work. The sympathetic reader feels as if he and Woolf are chatting about her life over a cup of tea. After narrating her first memory she returns to the structure of her memoir, explaining that she could never really succeed in conveying the feelings represented by her first memory without first describing herself. She notes: "Here I come to one of the memoir writer's difficulties – one of the reason...
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...me; it give me, perhaps because by doing so I take away the pain, a great delight to put the severed parts together. Perhaps this is the strongest pleasure known to me" (p. 72). She explains that it is through writing down her shocks that she both makes them real and takes away their pain. Viewing her memoir in this context, it is no surprise that she writes more to herself than to any audience. The simple act of writing about these shocks is possibly her greatest pleasure.
Although Virginia Woolf s Moments of Being begins with concern for her reader, she eventually gets caught up in her writing and writes on a more personal level. Rather than writing her autobiography to convince the reader of something, she writes a heartfelt, introspective work. In writing her autobiography, she is not searching for reader empathy; instead she is coming to terms with her past.
Langston Hughes was an African American poet who emerged during the Harlem Renaissance. The Harlem Renaissance strongly influenced most of Langston Hughes’s writing. In such works as “Dream”, “Still Here”, “Dream Deferred”, and “Justice” you see the clear messages that are trying to be voiced through his work.
It should be noted that gaining an identity in autobiographical writing is crucial “because literacy becomes a way of creating an identity where before there was none in the public discourse” (Finkelman, vol.2, 190). Although the identities of William and Ellen Craft may have been revealed partially before their narrative, their own words and experience have a much greater impact on the reader than if told by a secondary source.
Her memory of these events is a justified version of what she believes happened. This may alter the truth in her narration, leading to question the credibility of the source. According to Antonio Damasio, a comparable construct of dynamic memory may be fundamental in establishing human consciousness, which is a process that is linked to two stages known as "autobiographical self". This includes “core self” which creates an autobiographical identity which emerges through a special kind of story. This initial stage both enhances the awareness of the imagery of the “temporal and spatial context” and imposition of an experiential perspective. An instant projection made over and over which is the sense of the self in the act of knowing. This means that the governess reflecting her past, may have led to memory alteration, and what the readers are exposed to, is far from the truth. “That is, consciousness, seemingly a collection of disparate mental projects- thinking, daydreaming, planning, observing, as well as what we usually think of as remembering- occurs in the conjunction with the continuous reproduction of the “self”, or the unifying perspective that lends each separate construction its coherence.” (85). Perhaps her mental illness may have led to hearing needing an identity, along with the times she lived in, she projected her own fears onto the children, as a way to feel a sense of "self". Henry James used a point of view prose on purpose to steer the audience away from the actual truth. “I don’t know what you mean. I see nobody. I see nothing. I never have. I think you’re cruel. I don’t like you!” (James 215). The governess, so disoriented by her mind, doesn’t realize that she is projecting her own fears and demons created by her mind onto the ones she loves. In her mind, she blames the figures she sees, the things that threaten her and herself the most, not realizing she is the one struggling to
Erik Erikson developed eight psychosocial stages that occur through life. These stages help parents of younger children understand what the child is thinking and why they are acting the way that they do. For a person to become a well-rounded adult they need to succeed in each level. This essay will discuss the first six stages into young adulthood.
It is interesting to contrast the points of view of Alice Walker and Virgina Woolf on the same subject. These writers display how versatile the English language can be. Alice Walker was born in 1944 as a farm girl in Georgia. Virginia Woolf was born in London in1882. They have both come to be highly recognized writers of their time, and they both have rather large portfolios of work. The scenes they might have grown up seeing and living through may have greatly influenced their views of subjects which they both seem to write about.
Woolf’s pathos to begin the story paints a picture in readers minds of what the
Ultimately, the Roman Republic’s downfall lay in its lack of major wars or other crises, which led to a void of honor and leadership. War united all of Rome’s people, and provided the challenge to its leaders to develop honor and leadership by their causes and actions. The lack of war allowed the Roman Republic to stagnate and become self-indulgent. By the end of the Punic Wars, which combined these elements, Rome was sure to fail. Without a common thread uniting its society, the Roman Republic unraveled because it had nothing left holding it together.
It has been said of Anton Chekhov, the renown Russian short-story writer, that in all of his “work, there is never exactly a point. Rather we see into someone’s hear – in just a few pages, the curtain concealing these lives has been drawn back, revealing them in all their helplessness and rage and rancor.” Alice Munro, too, falls into this category. Many of her short-stories, such as “Royal Beatings” focus more on character revelation rather than plot.
To the Lighthouse by Virginia Woolf is a story that centers around the the value of memory to self. The story does this by centering around the characters that Woolf writes about, and their thoughts pertaining to their memories of one another. Woolf’s writing in To the Lighthouse is rich in her characters, Mrs. and Mr. Ramsay, their kids, and their friends’ thoughts and feelings towards everything they are going through, and more importantly, their thoughts and memories of one another. The reader learns about the characters’ through the complex thoughts Woolf’s characters’ have.
Bernstock, Shari. The Private self: theory and practice of women's autobiographical writings. New York: UNC Press Books, 1988. Print.
The style of writing that Woolf is best known for is that of the stream-of-consciousness. When considering why she chose to write A Room of One’s Own using a stream-of-consciousness narrative, it should be taken into account the purpose of the frequent interruptions that occur for the speaker. She is stopped by an Oxbridge beadle for walking on the lawn of the college and in due course forgets what she was contemplating. She says, “The only charge I could bring against the Fellows and Scholars of whatever the college might happen to be was that in protection of their turf, which has been rolled for 300 ...
. This story embodies how the author saw her experiences that she had lived through.
O’Brien Schaefer, Josephine. The Three-fold Nature of Reality in the Novels of Virginia Woolf. The Hague: Mouton and Co., 1965, pp. 111-13, 118-25. (Latham, pg. 72-78).
The first stage, which happens between birth and 18 months, is trust vs. mistrust. During this stage, an infant is confused about the world being a safe place and wonders if his or her needs will be met. As a result, the infant looks to the primary caretaker for consistent care and hope that his or her needs can be met. Erikson explains that those that receive constant care during this stage will develop a sense of trust. The basic virtue in this stage is hope. The second stage of this theory is autonomy vs. shame and doubt, which happens between 18 months and 3 years. During this stage, there is an increase in mobility and independence. Erikson explains that it is critical to allow the child to explore their limits and allow failure. The basic virtue in this stage is will. Initiative vs. Guilt that happens between 3 and 5 years is the stage that follows. During this stage, children take more initiative to engage with peers. Erikson explains that during this stage if children are given the opportunity to take initiative, they will develop a sense of security in their ability to lead. The basic virtue in this stage is purpose. Industry vs. Inferiority, which happens between 5 and 12 years, emphasizes school and friendships. Erikson believes that during this stage, children will seek approval from others by displaying skills that are valued by others. Additionally, he believes that if
Virginia Woolf's 'To the Lighthouse' is a fine example of modernist literature, like her fellow modernist writers James Joyce and D.H Lawrence. This novel in particular is of the most autobiographical. The similarities between the story and Woolf's own life are not accidental. The lighthouse, situations and deaths within the novel are all parallel to Woolf's childhood, she wrote in her diary 'I used to think of [father] & mother daily; but writing The Lighthouse, laid them in my mind ….(I believe this to be true – that I was obsessed by them both, unheathily; & writing of them was a necessary act). Woolf, Diary, 28 November 1928) Woolf like many other modernist writers uses stream of consciousness, this novel in particular features very little dialogue, preferring one thought, memory or idea to trigger another, providing an honest if not reliable account of the characters lives. There novels motifs are paired with many of the novels images. The novel features two main motifs that Woolf appears to be interested in examining, firstly we notice the relationships' between men and women and the other appears to be Woolf's use of parenthesis. The novels images only become apparent once these motifs have been explored, allowing the reader to examine the relationships between the different characters.