1. Larking and Plunging HUM 3285: British and American Literature Spring 2011 Dr. Perdigao February 2, 2011

2. Robert Harms’ Mrs. Dalloway (1995) http://www.durhampress.com/harms/index.html

4. Like Ulysses? (Sorry, it won’t go away) http://hubcap.clemson.edu/~sparks/TVSeminar/dallwalkmap.html

5. Virginia Woolf (1882-1941) Born Adeline Virginia Stephens on January 25, 1882 in London Father Leslie Stephen “Victorian critic, philosopher, biographer, and scholar” (2080), member of “intellectual aristocracy” of Victorian England; mother Julia Jackson Duckworth, of Duckworth publishing family Mother died in 1895, Virginia suffered mental breakdown; half sister Stella ran household until her death in 1897 Father died in 1904, Virginia suffered second mental breakdown; brother dies of typhoid in 1906 Vanessa ran household, moves family to Bloomsbury; “The Bloomsbury Group” Leonard Woolf had joined Civil Service, returned in 1911; married Virginia

6. Virginia Woolf (1882-1941) Virginia starts writing The Voyage Out in 1908, finishes in 1913, published in 1915 Second realistic novel Night and Day (1919) 1917—Woolfs start own press, Hogarth; Virginia publishes through it after 1921; press published Eliot’s Poems (1919) Moved back to London from Surrey; publishes Mrs. Dalloway (1925) Orlando (1928), masculinity, femininity Jacob’s Room (1922) Mrs. Dalloway (1925) To the Lighthouse (1927) The Waves (1931) Three Guineas (1938) Between the Acts (1941) [posthumous]

7. A shopping list Technology—planes, trains, and automobiles? Sky-writing; ideas of language Race, class, gender, sexual orientation Repression and burial; return of consciousness The double—Dr. Jekyll, Dostoevsky’s “The Double” Presence of war, for Dalloway and for Smith As “war novel” Unfulfilled characters, concealed relationships Peter, Evans, Sally Changing perspectives: “eye” versus “I”

8. Reflections and refractions Five years after the war, 1923 Day in June—back to Ulysses; Woolf’s reception of Joyce’s text Constructing character of Clarissa, shifting perspectives, “not this” and “not that” Third person omniscient narrator; free indirect discourse with limited omniscience (learned from Joyce) Dichotomies within the text Movement between attraction to solitude and connection to others Angst and delight Death as solitude or embrace? Uses of memory—for Clarissa, for Septimus

9. Writing as revision “The Hours” as working title Differences in manuscript, with ending: Clarissa’s suicide as double plot; madness/sanity split Party to end with her death: “Eight said Big Ben, nine, ten, eleven; and then with a sort of finality, though presumably the strokes were accurately spaced the last no more empathic than the first twelve... But Clarissa was gone” Changes to “For there she was” as symbolic death http://litimag.oxfordjournals.org/content/early/2010/06/25/litimag.imq018.full

10. Deconstruction Versions of Clarissa at end; disembodied in last 8 pages, only alive in dialogue, part of conversations but absent (mentioned 32 times after her body disappears) “Where’s Clarissa?”: “There she was” Does she return? Has the experience changed her view? Postmodernist absent presence

11. Playing parts No body, in memory with Peter—her dress, “something floating” : Nobody? Must be completed by others because she is not real, a symbol Idea of voyeurism—Clarissa in London; characters viewing Clarissa; Ellie at party Insights come from watching others Clarissa enacts his death Actress all along