Whitaker's Table of Precedency

600 Words2 Pages
bulb-icon

Recommended: Feminism in virginia woolf

How does “it” mean, what is “it” about and what does “it” reveal about the ethics of Virginia Woolf’s poetics of the implicit, and therefore of fiction? Through “A Mark on the Wall”, it is easy to examine the structural and thematic function in Woolf’s fictional prose around “Whitaker’s Table of Precedency”. As a pronoun replacing a noun or referring to a clause, “it” first seems to call for our knowledge of language as a code and designates language as explicit. “Ah, the mark on the wall! It was a snail”, the narrator of Woolf’s famous short story concludes in an anti-climactic moment deflating the reader’s expectations as to the nature of that “small round mark, black upon the white wall, about six or seven inches above the mantelpiece” described in the first paragraph. In what clearly reads as an ironical punch-line, “it” first refers to the mark before providing the reader with a definition — “it was a snail” — which puts an end to the thematic and imagistic meditation that it had triggered off in the first place. The deceived reader is left with the feeling that the ling...

Show More
Related

  • Diversity's False Solace Summary

    680 Words  | 2 Pages

    Author: Walter Benn Michaels is the chair of the Department of English at the University of Illinois at Chicago teaching literary theory, and American literature. Michaels has also has multiple essays and books published such as Against Theory, The shape of the Signifier, and Diversity's False Solace

    Read More

  • Muted Women in Virginia Woolf’s A Room of One’s Own and Elizabeth Barrett Browning’s Aurora Leigh

    2772 Words  | 6 Pages

    Muted Women in Virginia Woolf’s A Room of One’s Own and Elizabeth Barrett Browning’s Aurora Leigh. In the predominantly male worlds of Virginia Woolf’s

    Read More

  • Virginia Wolf

    332 Words  | 1 Pages

    In Virginia Woolf’s two passages describing two very opposite meals that was served at the men’s college and the other at the women’s college; reflects Woolf’s attitude toward women’s place in society.

    Read More

  • The Implicit Intimacy of Dickinson's Dashes

    1987 Words  | 4 Pages

    The dash in Emily Dickinson’s poetry, initially edited away as a sign of incompletion, has since come to be seen as crucial to the impact of her poems. Critics have examined the dash from a myriad of angles, viewing it as a rhetorical notation for oral performance, a technique for recreating the rhythm of a telegraph, or a subtraction sign in an underlying mathematical system.1 However, attempting to define Dickinson’s intentions with the dash is clearly speculative given her varied dash-usage; in fact, one scholar illustrated the fallibility of one dash-interpretation by applying it to one of Dickinson’s handwritten cake recipes (Franklin 120). Instead, I begin with the assumption that “text” as an entity involving both the reading and writing of the material implies a reader’s attempt to recreate the act of writing as well as the writer’s attempt to guide the act of reading. I will focus on the former, given the difficulties surrounding the notion of authorial intention a.k.a. the Death of the Author. Using three familiar Dickinson poems—“The Brain—is wider than the Sky,” “The Soul selects her own Society,” and “This was a Poet—It is that,”—I contend that readers can penetrate the double mystery of Emily Dickinson’s reclusive life and lyrically dense poetry by enjoying a sense of intimacy not dependent upon the content of her poems. The source of this intimacy lies in her remarkable punctuation. Dickinson’s unconventionally-positioned dashes form disjunctures and connections in the reader’s understanding that create the impression of following Dickinson through the creative process towards intimacy with the poet herself.

    Read More

  • College Meals

    545 Words  | 2 Pages

    Throughout Virginia Woolf’s writings, she describes two different dinners: one at a men’s college, and another at a women’s college. Using multiple devices, Woolf expresses her opinion of the inequality between men and women within these two passages. She also uses a narrative style to express her opinions even more throughout the passages.

    Read More

  • Emily Dickinson’s Poem It Was Not Death

    562 Words  | 2 Pages

    In Emily Dickinson’s poem “It Was Not Death”, Dickinson is stuck in a mental state of hopelessness and despair which she cannot define nor understand. As Dickinson does not know the cause of her anguish, she begins the poem by referring to her condition with an unidentified “it”, and throughout the poem she is trying to make sense of this “it”. The poem is written in ballad meter as it consists of four line stanzas that contain alternate lines of iambic tetrameter followed by iambic trimeter.

    Read More

  • Death Of The Moth Rhetorical Analysis

    1636 Words  | 4 Pages

    Woolf’s pathos to begin the story paints a picture in readers minds of what the

    Read More

  • Comparison of Robert Frost's and Seamus Heaney’s poetry,

    983 Words  | 2 Pages

    ...ttachment or emotion. Again, Heaney repeats the use of a discourse marker, to highlight how vividly he remembers the terrible time “Next morning, I went up into the room”. In contrast to the rest of the poem, Heaney finally writes more personally, beginning with the personal pronoun “I”. He describes his memory with an atmosphere that is soft and peaceful “Snowdrops and Candles soothed the bedside” as opposed to the harsh and angry adjectives previously used such as “stanched” and “crying”. With this, Heaney is becoming more and more intimate with his time alone with his brother’s body, and can finally get peace of mind about the death, but still finding the inevitable sadness one feels with the loss of a loved one “A four foot box, a foot for every year”, indirectly telling the reader how young his brother was, and describing that how unfortunate the death was.

    Read More

  • Virginia Woolf: Assertive or Introspective?

    3593 Words  | 8 Pages

    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.

    Read More

  • Martha's Madness

    663 Words  | 2 Pages

    Emily Dickinson once wrote “Much madness is divinest/Sense-To a discerning Eye.” Often in literature, a character’s madness or foolish action plays an important role. Such is the case with the play Who’s Afraid of Virginia Woolf? written in 1962, by Edward Albee. The author develops and revisits the inner conflict of Martha, the protagonist, which results from the struggle between her and society throughout the plot to highlight the theme of struggle between reality and illusion. Martha’s madness is used by Albee to reveal characteristics of American society in the 50s and 60s that reveal the seemingly mad behavior as reasonable.

    Read More

  • Existential Crisis In Mrs Dalloway

    781 Words  | 2 Pages

    The extensive descriptions of Mrs. Dalloway’s inner thoughts and observations reveals Woolf’s “stream of consciousness” writing style, which emphasizes the complexity of Clarissa’s existential crisis. She also alludes to Shakespeare’s Cymbeline, further revealing her preoccupation with death as she quotes lines from a funeral song. She reads these lines while shopping in the commotion and joy of the streets of London, which juxtaposes with her internal conflicts regarding death. Shakespeare, a motif in the book, represents hope and solace for Mrs. Dalloway, as his lines form Cymbeline talk about the comforts found in death. From the beginning of the book, Mrs. Dalloway has shown a fear for death and experiences multiple existential crises, so her connection with Shakespeare is her way of dealing with the horrors of death. The multiple layers to this passage, including the irony, juxtaposition, and allusion, reveal Woolf’s complex writing style, which demonstrates that death is constantly present in people’s minds, affecting their everyday

    Read More

  • Virginia Woolf's Mrs. Dalloway and Samuel Beckett's Waiting for Godot

    2439 Words  | 5 Pages

    Virginia Woolf’s Mrs. Dalloway and Samuel Beckett’s Waiting for Godot are representative works of two separate movements in literature: Modernism and Post-Modernism. Defining both movements in their entirety, or arguing whether either work is truly representative of the classifications of Modernism and Post-Modernism, is not the purpose of this paper; rather, the purpose is to carefully evaluate how both works, in the context of both works being representative of their respective traditions, employ the use of symbolism and allusion. Beckett’s play uses “semantic association” in order to convey meaning in its use of symbolism; Woolf’s novel employs a more traditional mode of conveying meaning in its own use: that is, the meaning of symbols in Mrs. Dalloway is found within the text itself. Woolf’s novel exists as its own entity, with the reader using the text as the only tool in uncovering any symbolic meaning, while Beckett’s play stimulates the audience in such a way that the audience projects their own meaning in the symbols presented.

    Read More

  • Feminist Narratology in Charlotte Gilman's The Yellow Wallpaper

    2446 Words  | 5 Pages

    (Lanser , 2008) describes one of the main views of feminist criticism as being ‘that narrative texts ... are profoundly ( if never simply) referential’. Semiotics in relation to verbal language is described by Herman as 'a conventional relation between signifier and signified' (p281) One way of combining the mimetic and semiotic is to look at the conventions in the semiotics of verbal language ‘which suggests a synthesis of feminist narratology reflecting the referential or mimetic as well as the semiotic experience of reading literature’. (Lanser, 2008 , p. 345)

    Read More

  • Literary Analysis: Kew Gardens

    1205 Words  | 3 Pages

    Woolf, therefore, takes advantage of the lyrical short stories’ structure to create a liminal space that both breaks through barriers to form a unified, impressionistic world and to emphasize the imposing negative aspects of such a transitory structure. As a result, Woolf prompts the reader to question whether the liminal space created within the short story is positive in its ability to unite nature and human or negative in its apparent unsustainability. Regardless, the form and structure of the short story are pivotal in Kew Gardens. Without the liminal space of the short story, it is questionable if Woolf could have succeeded in creating the unstable, yet peaceful, world in Kew Gardens.

    Read More

  • Virginia Woolf’s A Room of One’s Own: Women and Fiction

    1151 Words  | 3 Pages

    Woolf divided this thought into three categories: what women are like throughout history, women and the fiction they write, and women and the fiction written about them. When one thinks of women and fiction, what they think of; Woolf tried to answer this question through the discovery of the female within literature in her writing. Virginia Woolf Throughout her life Virginia Woolf became increasingly interested in the topic of women and fiction, which is highly reflected in her writing. To understand her piece, A Room of One’s Own Room, her reader must understand her.

    Read More

More about Whitaker's Table of Precedency

Open Document