In the introduction to David Wittenberg’s book Time Travel: The Popular Philosophy of Narrative, he defines the concept of ‘psychohistoriography’ in terms of time travel narratives as “concern[ing] the meaning of the individual historical event and its capacity to affect and define the broader historical record, as well as, alternatively, the capacity of that historical record to define and characterize the individual event.” And so, when analyzing time travel narratives he first makes the distinction that “it is not the specific theoretical or philosophical issue at hand, nor its unusual level of complexity, but rather the mode in which that issue is woven into the substance of the narrative itself”. And second, that the ambiguity of the term ‘history’ “unites the objective with the subjective side” and “comprehends not less what has happened than the narration of what has happened” (Wittenberg, 11). In other words, according to Wittenberg, when it comes to time travel fiction, it is crucial to see that how history is written is as important as, if not more important than, the events of history themselves. In Orlando, Virginia Woolf creates a fictional biography in which her narratological interjections situate us in Woolf’s time while simultaneously placing the focus on the time-travelling gender-shifting Orlando, and thus allowing us to view history through Orlando’s own personal history.
Throughout Orlando, it becomes increasingly apparent that the narration of what has happened dominates over what actually has happened. That is, Woolf stylistically narrates history in a way that confounds the common conception of time as exclusive and cleanly incremented, while simultaneously inserting the biographer’s own time within the na...
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...onstrates how these terms of temporality hold no great significance to the passage of life.
Overall, the character Orlando works to enact Wittenberg’s “fundamental psychohistoriographical question” of how the past is reconstructed by or within the present in the way she caries her history with her while still representing the spirit of each age – a portrayal that would not have been possible without the narratology of time travel (Wittenberg, 14). Furthermore, the novel as a whole demonstrates how Woolf values the very mode of representing the past over the “facts” of history themselves: namely, in the way the biographical style of the novel places more importance on Orlando’s personal events than historical ones, as well as in the way the notion of time itself is depicted as an apparatus incapable of fully conveying the interpretability and subjectivity of history.
The setting is London in 1854, which is very different to anything we know today. Johnson’s description of this time and place makes it seem like a whole other world from the here and now....
When inquiring about the comparisons and contrasts between Melville’s Benito Cereno and Frederick Douglass’s Narrative of the Life of an American Slave, Written by Himself, the following question almost inevitably arises: Can a work of fiction and an autobiography be compared at all? Indeed, the structure of the two stories differs greatly. Whereas Douglass’s Narrative adapts a typical pattern of autobiographies, i.e. a chronological order of birth, childhood memories, events that helped shape the narrator etc., Benito Cereno is based on a peculiar three-layered foundation of a central story recounting the main events, a deposition delineating the events prior to the first part, and an ending.
... to mind works written by subsequent generations of women novelists. One sees Chopin’s text straining toward, among other elements, the narrative innovations achieved in Virginia Woolf’s Mrs. Dalloway and The Waves. One is also reminded of the “lyric” novels of the American writer Carole Maso, whose so-called experimental works typically eschew plot and conventional linear narration. In a recent book of essays, Maso admits that her erotic novel Aureole was “shaped by desire’s magical and subversive qualities,” she notes; “[desire] imposed its swellings, its ruptures, its erasures, it motions.” (Break Every Rule, 115). If contemporary authors like Maso are able to access such boundless spheres of narrative play, it may be due in part to the pioneering efforts of writers such as Chopin, who first began to articulate the need for such liberating spaces in the novel.
Woolf’s pathos to begin the story paints a picture in readers minds of what the
Historically, women have been treated as second class citizens. The Napoleonic Code stated that women were controlled by their husbands and cannot freely do their own will without the authority of their husband. This paper shows how this is evident in the "Story of an Hour" by Kate Chopin and " A Rose for Emily" by William Faulkner. In both stories, the use of literary elements such as foreshadowing, symbolism, and significant meaning of the titles are essential in bringing the reader to an unexpected and ironic conclusion.
Before White Teeth begins its journey in exploring the roots of a specific and collective history through various ideological stances, Zadie Smith opens with a reminder that “What is past is prologue”. The novel’s epigraph, a gravid phrase taken from Shakespeare’s The Tempest, tells us the story about to unfold is an inevitable one, a fated account. Smith’s narrator, from the very start knows this—she knows everything there is to know. She is blunt, bemused, casual and almost shaking their head at the stories she is relaying as if trying her best to elude the true sentiment attached and rooted at its very core. Searching for meaning, Smith’s listless characters bumble about, talking at each other through ideological vagaries and crusades of self-validation—all convenient and performative social veils. White Teeth succeeds in emphasizing these themes with its idiosyncratic narrator and a stylistic use of irony, carefully weaved in the novel’s long sentences, thick paragraphs, often interrupting thoughts and added anecdotes. It is an
The symbols and imagery used by Kate Chopin's in “The Story of an Hour” give the reader a sense of Mrs. Mallard’s new life appearing before her through her view of an “open window” (para. 4). Louise Mallard experiences what most individuals long for throughout their lives; freedom and happiness. By spending an hour in a “comfortable, roomy armchair” (para.4) in front of an open window, she undergoes a transformation that makes her understand the importance of her freedom. The author's use of Spring time imagery also creates a sense of renewal that captures the author's idea that Mrs. Mallard was set free after the news of her husband's death.
In Kate Chopin’s “The Story of an Hour” allows one to explore many ironic instances throughout the story, the main one in which a woman unpredictably feels free after her husband’s assumed death. Chopin uses Mrs. Mallard’s bizarre story to illustrate the struggles of reaching personal freedom and trying to be true to yourself to reach self-assertion while being a part of something else, like a marriage. In “The Story of an Hour” the main character, Mrs. Mallard, celebrates the death of her husband, yet Chopin uses several ironic situations and certain symbols to criticize the behavior of Mrs. Mallard during the time of her “loving” husband’s assumed death.
In her passage she imagines what it may have been like had William Shakespeare had a sister. She notices how difficult it would be even given the same talents as Shakespeare himself, to follow throughout and utilize them in her life. It is clear after reading further into Woolf's passage that obviously she lived in a different time period, only about fifty years apart though. The way she relates and tells a very similar story with an entirely different setting shows without the reader even knowing that she wa... ... middle of paper ... ...
In her novel Orlando, Virginia Woolf tells the story of a man who one night mysteriously becomes a woman. By shrouding Orlando's actual gender change in a mysterious religious rite, we readers are pressured to not question the actual mechanics of the change but rather to focus on its consequences. In doing this, we are invited to answer one of the fundamental questions of our lives, a question that we so often ignore because it seems so very basic - what is a man? What is a woman? And how do we distinguish between the two?
Clarissa Dalloway and Peter Walsh are defined by their memories. Virginia Woolf creates their characters through the memories they share, and indeed fabricates their very identities from these mutual experiences. Mrs. Dalloway creates a unique tapestry of time and memory, interweaving past and present, memory and dream. The past is the key to the future, and indeed for these two characters the past creates the future, shaping them into the people they are on the June day described by Woolf. Peter and Clarissa’s memories of the days spent at Bourton have a profound effect on them both and are still very much a part of them. These images of their younger selves are not broad, all-encompassing mental pictures, but rather the bits and pieces of life that create personality and identity. Peter remembers various idiosyncracies about Clarissa, and she does the same about him. They remember each other by “the colours, salts, tones of existence,” the very essence that makes human beings original and unique: the fabric of their true identities (30).
I read a story, after I finished reading it my mind was still reeling over what I had just read. Stories like this are quite impressive magnificent; they draw the reader into the story and leave them with a strong impact. How we interpret a text is in itself impressive, as every person is different, every interpretation is too. As I read “The Story of an Hour” by Kate Chopin, I could not help but notice that Kate Chopin uses the window to symbolize the future that Mrs. Mallard has been pinning for all her life. Chopin also uses Mrs. Mallard’s heart condition as a symbol of Mrs. Mallard’s marriage. The short story is consequentially the story of an oppressed woman who had to confine herself to the social norms of marriage. Through Formalism Criticism, we will explore the various symbols that Chopin uses to describe how Mrs. Mallard yearns for freedom, and through the Feminist Criticism, we will explore how the institution of marriage oppresses our heroin.
Woolf, Virginia. To the Lighthouse. Introduction by D.M. Hoare, Ph.D. London: J.M. Dent and Sons Ltd., 1960
“The Story of An Hour” by Kate Chopin, is a story that has been controversial since its publication in 1894, with reviews ranging from highly critical to great acclaim. The story follows Chopin’s character Mrs. Mallard who is introduced at the same time she is receiving news of her husband’s death. The story is largely a mixture of radical views for its time, subtle meanings, and symbolism. While modern day readers read this story with an open mind, many men - of the 1890’s and much of the 1900’s - would have been outraged at its surface meaning. However, even today Chopin’s story receives criticism for being a gross portrayal of a woman's loss. This is due to the fact that many individuals continue to view the story at face value. Nevertheless, readers of Chopin’s story will find themselves reacting either one extreme or the other. But it is this reader participation that is crucial in determining what the story will be. Despite all beliefs, Mrs. Mallard is a woman who is stuck in her time trying to escape society’s constraints, develop her own identity, all while “coping” with the loss of her husband.
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. Born in early 1882, Woolf was brought into an extremely literature driven, middle-class family in London. Her father was an editor to a major newspaper company and eventually began his own newspaper business in his later life. While her mother was a typical Victorian house-wife. As a child, Woolf was surrounded by literature. One of her favorite pastimes was listening to her mother read to her. As Woolf grew older, she was educated by her mother, and eventually a tutor. Due to her father’s position, there was always famous writers over the house interacting with the young Virginia and the Woolf’s large house library.