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Mrs. Dalloway by Virginia, Woolf
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Mrs. Dalloway (original 1925; edition 2007)

by Virginia, Woolf

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13,940239148 (3.88)1 / 908
Member:Celso
Title:Mrs. Dalloway
Authors:Virginia, Woolf
Info:Mem Martins, Europa-América, 2007.
Collections:Biblioteca
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Mrs. Dalloway in Bond Street and Other Stories by Virginia Woolf (1925)

  1. 181
    The Hours by Michael Cunningham (PLReader)
  2. 91
    The Yellow Wall-Paper {story} by Charlotte Perkins Gilman (KayCliff)
  3. 40
    In Search of Lost Time by Marcel Proust (caflores)
  4. 20
    Ulysse I by James Joyce (caflores)
  5. 11
    Five Bells by Gail Jones (fountainoverflows)
  6. 00
    Life and Death of Harriett Frean by May Sinclair (DanLovesAlice)
    DanLovesAlice: As much as Clarissa Dalloway is a product of a constrictive society, Sinclair's Harriet Frean is even worse. Severely psychologically affected in later life by her parent's rules, her individuality and freedom is ruined by always 'behaving beautifully'.… (more)
  7. 05
    Great Books by David Denby (Anonymous user)
1920s (6)
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English (220)  Spanish (4)  French (4)  Dutch (2)  Catalan (2)  Swedish (2)  Norwegian (1)  German (1)  Italian (1)  All (1)  All (238)
Showing 1-5 of 220 (next | show all)
Absolutely loved it. It’s so complex you have to slow down and read each paragraph as its own story. Truly a poetic masterpiece ( )
  caanderson | Dec 4, 2016 |

http://irinamariatracy.wordpress.com/

“It was a silly, silly dream, being unhappy.”

Virginia Woolf reușește să creeze un fir epic bazat în mare parte pe gândurile personajelor și nu pe acțiunile acestora care par nesemnificative. De altfel, esența personajelor nu este cu nimic deosebită de cea a oamenilor obișnuiți care nu fac obiectul unei nuvele. Singurele care merită relatate și conturează dilemele nuvelei sunt trăirile acestora și impactul gesturilor care sunt conturate într-un mod cât mai teatral. Nuvela are două personaje centrale. Clarissa Dalloway, care trăiește în ”prezentul continuu” al tinereții sale petrecute la Bourton și Septimus Warren Smith care trăiește în ”prezentul continuu” al anilor petrecuți pe front, ca soldat. Ambele personaje se agață de perioada de glorie din viața lor în care aleg să și sfârșească.

Clarissa Dalloway este snoabă. Nu foarte frumoasă. Nu foarte interesantă, chiar deloc. Însă perspectiva ei asupra vieții (în care se complace) este plină de dileme sentimentale și de interese egoiste pe care și le asumă. Firul epic al nuvelei este sărac în acțiune (fiind rezumat la prezentarea unei singure zile din viața Clarissei Dalloway) dar bogat în trăiri dispersate în diverse personaje. Doamna Dalloway se pregătește încă din primele rânduri ale nuvelei, să organizeze una dintre seratele ei de mare anvergură, unde invită lumea bună a Londrei anilor 1920, serată cu care nuvela se și încheie. Pe parcursul pregătirilor, doamna Dalloway este ”vizitată” de fantomele trecutului care au transformat-o în femeia împlinită și totuși atât de nefericită pe care o descoperă în oglindă în timp ce se aranjează pentru marele eveniment. Căsătorită cu Richard Dalloway și mama unei fiice de 18 ani, Elisabeth, Clarissa retrăiește prin prisma vieții convenționale pe care a ales-o, neîmplinirea iubirii adevărate și slăbiciunea de a nu fi trăit în afara convențiilor sociale cărora li s-a închinat împinsă de familie și mai ales de tatăl ei. Peter Walsh, cel care în tinerețe o iubise necondiționat pe Clarissa și o ceruse în căsătorie pentru a fi refuzat categoric, își face apariția în dimineața pregătirii seratei mult așteptate. Vizita după douăzeci de ani de absență a lui Peter, o tulbură profund pe Clarissa care conștientizează, ca pentru prima dată, lipsa iubirii din viața ei. Richard Dalloway nu îi mai declarase iubirea de mult, nu pentru că nu ar mai fi iubit-o, ci pentru că trecuse mult prea mult timp de când îi mărturisise asta ultima oară. Întreaga ei fericire se bazează pe ideea de posesiune. Când își prezintă fiica în fața lui Peter Walsh, ca o victorie a vieții ei maritale, Clarissa folosește introducerea ”Iat-o pe Elisabeth a mea!”, lucru ce îl deranjează vizibil pe Peter care nu înțelege de ce ”Iat-ope Elisabeth!” nu ar fi fost o prezentare suficientă. Elisabeth este fiica ei și nu a lui. Este rodul iubirii ei cu un alt bărbat, un bărbat mai bun, mai ”așezat”, mai ”aplecat” asupra vieții de familie decât a fost el vreodată. ”Elisabeth a mea” este o ofensă sentimentală la adresa istoriei lor idilice și mai ales la adresa sentimentelor lui care dăinuie și după 20 de ani!

Planul nuvelei nu se desfășoară însă doar în jurul Clarissei și a seratei pregătite de distinsa aristocrată. Sindrofia Clarissei pare o scuză pentru a aduce în prim plan amintiri și oameni care nu își mai au locul în prezentul femeii de 52 de ani care a devenit. Avem veterani de război bântuiți și ei de fantomele lor, un pic mai dramatice decât spiritele romantismului care zac în Clarissa și Peter. Septimus Warren Smith, un veteran de război care suferă de stres traumatic, este observat de Peter Walsh petrecându-și amiaza pe o bancă în parc alături de soția lui italiancă. Doi oameni fiecare cu dramele lor, care nu interacționează dar se observă și oarecum se ”recunosc” ca fiind parte a aceluiași sentiment de nefericire, chiar dacă bazat pe ipoteze diferite. Stăpânit de halucinații reprezentate în mare parte de prietenul său Evan ucis în război, Septimus se retrage acasă pentru a primi vizita medicului psihiatru. Târziu în aceeași seară, Septimus decide să își pună capăt zilelor și se aruncă de la fereastră murind pe loc sub privirile soției sale.

Petrecerea Clarissei, care încununează toate momentele nuvelei și aduce în aceeași casă personaje controversate cu o istorie mai mult sau mai puțin comună însă legate prin fire puternice de apartenență ale aceluiași mediu social, se dovedește a fi un succes forțat. Prietena ei, Sally Seton, cu care își petrecea vacanțele la Bourton și pentru care avea o atracție inexplicabilă datorită exuberanței sale și a dezinvolturii cu care trata oamenii, își face apariția neinvitată la serată și petrece mare parte a timpului depănând amintiri alături de Peter Walsh, și el parte din grupul de la Bourton. Clarissa află despre sinuciderea lui Septimus și, în locul simpatiei așteptate de cei prezenți, ea îl invidiază pentru decizia și curajul cu care a comis acest act, considerându-l ca pe o încercare reușită de a își păstra fericirea. Septimus a ales să nu mai trăiască într-o lume care nu îl mai reprezintă și în care nu se mai regăsește. Clarissa însă, epatează prin evenimente mondene organizate pentru a evidenția o fericire mascată. ( )
  IrinaMariaTracy | Oct 14, 2016 |
This book can be hard going. It's like a really rich piece of food - you have to take it in small chunks. However, it's a really rewarding reading experience. The language is beautiful and Woolf captures the characters in such minute detail that you have a complete picture of who they actually are.

Some might find the stream-of-consciousness style a bit grating - I did in parts - but otherwise an utterly fascinating vignette. ( )
  thebookmagpie | Aug 7, 2016 |
Instead of reviewing Mrs Dalloway here, I thought I'd mention the experience I had in teaching it.

I asked my class (a course on Modernism) what it is they look for when they read a book. Unanimously they said "plot", the story.

Mrs Dalloway is not, by any means, a plot-driven book. It is not about actions, but rather thoughts, and how thoughts contribute to (fruitless) (in)action.

I drew their attention to technique, to Woolf's strategies of perspective and interiority. When viewed through the lens of narrative structure and style, the text (about which they were only moderately enthused) became more sensible to them, but not necessarily more interesting.

I am tempted to arrive at a universal conclusion about how the present generation of young people has been taught to think empirically, which in a literary sense means reading for the events of the book, as if it were a list of dates to memorize upon which they will be tested.

In the vast majority, students do not look at the "how" of a text, they do not look at the surface of the narrative, or the text as a constructed object. Drawing attention to technique, strategy, style, and construction, I think, is the main job of today's professor of literature.

It is an uphill battle. ( )
2 vote voncookie | Jun 30, 2016 |
Instead of reviewing Mrs Dalloway here, I thought I'd mention the experience I had in teaching it.

I asked my class (a course on Modernism) what it is they look for when they read a book. Unanimously they said "plot", the story.

Mrs Dalloway is not, by any means, a plot-driven book. It is not about actions, but rather thoughts, and how thoughts contribute to (fruitless) (in)action.

I drew their attention to technique, to Woolf's strategies of perspective and interiority. When viewed through the lens of narrative structure and style, the text (about which they were only moderately enthused) became more sensible to them, but not necessarily more interesting.

I am tempted to arrive at a universal conclusion about how the present generation of young people has been taught to think empirically, which in a literary sense means reading for the events of the book, as if it were a list of dates to memorize upon which they will be tested.

In the vast majority, students do not look at the "how" of a text, they do not look at the surface of the narrative, or the text as a constructed object. Drawing attention to technique, strategy, style, and construction, I think, is the main job of today's professor of literature.

It is an uphill battle. ( )
  anna_hiller | Jun 22, 2016 |
Showing 1-5 of 220 (next | show all)

Among Mrs. Woolf's contemporaries, there are not a few who have brought to the traditional forms of fiction, and the stated modes of writing, idioms which cannot but enlarge the resources of speech and the uses of narrative. Virginia Woolf is almost alone, however, in the intricate yet clear art of her composition. Clarissa's day, the impressions she gives and receives, the memories and recognitions which stir in her, the events which are initiated remotely and engineered almost to touching distance of the impervious Clarissa, capture in a definitive matrix the drift of thought and feeling in a period, the point of view of a class, and seem almost to indicate the strength and weakness of an entire civilization.
 

» Add other authors (54 possible)

Author nameRoleType of authorWork?Status
Woolf, Virginiaprimary authorall editionsconfirmed
Bell, VanessaCover artistsecondary authorsome editionsconfirmed
Brunt, NiniTranslatorsecondary authorsome editionsconfirmed
Cunningham, ValentineIntroductionsecondary authorsome editionsconfirmed
Duffy, Carol AnnIntroductionsecondary authorsome editionsconfirmed
Hämäläinen, KyllikkiTranslatorsecondary authorsome editionsconfirmed
Howard, MaureenForewordsecondary authorsome editionsconfirmed
Risvik, KariTranslatorsecondary authorsome editionsconfirmed
Scalero, AlessandraTranslatorsecondary authorsome editionsconfirmed
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Mrs. Dalloway said she would buy the flowers herself.

For Lucy had her work cut out for her. The doors would be taken off their hinges; Rumpelmayer’s men were coming. And then, thought Clarissa Dalloway, what a morning—fresh as if issued to children on a beach.
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"Mrs. Dalloway," "Mrs. Dalloway's Party," "The Mrs. Dalloway Reader," and "Mrs. Dalloway" in combination with other titles (e.g., "The Waves" or "To the Lighthouse") are each distinct works or combinations of works. Please preserve these distinctions, and don't combine any of the other works with this one. Thank you.
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Book description
s Clarissa Dalloway walks through London on a fine June morning, a sky-writing plane captures her attention. Crowds stare upwards to decipher the message while the plane turns and loops, leaving off one letter, picking up another. Like the airplane's swooping path, Virginia Woolf's Mrs. Dalloway follows Clarissa and those whose lives brush hers--from Peter Walsh, whom she spurned years ago, to her daughter Elizabeth, the girl's angry teacher, Doris Kilman, and war-shocked Septimus Warren Smith, who is sinking into madness.

As Mrs. Dalloway prepares for the party she is giving that evening, a series of events intrudes on her composure. Her husband is invited, without her, to lunch with Lady Bruton (who, Clarissa notes anxiously, gives the most amusing luncheons). Meanwhile, Peter Walsh appears, recently from India, to criticize and confide in her. His sudden arrival evokes memories of a distant past, the choices she made then, and her wistful friendship with Sally Seton.
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Amazon.com Amazon.com Review (ISBN 0156628708, Paperback)

As Clarissa Dalloway walks through London on a fine June morning, a sky-writing plane captures her attention. Crowds stare upwards to decipher the message while the plane turns and loops, leaving off one letter, picking up another. Like the airplane's swooping path, Virginia Woolf's Mrs. Dalloway follows Clarissa and those whose lives brush hers--from Peter Walsh, whom she spurned years ago, to her daughter Elizabeth, the girl's angry teacher, Doris Kilman, and war-shocked Septimus Warren Smith, who is sinking into madness.

As Mrs. Dalloway prepares for the party she is giving that evening, a series of events intrudes on her composure. Her husband is invited, without her, to lunch with Lady Bruton (who, Clarissa notes anxiously, gives the most amusing luncheons). Meanwhile, Peter Walsh appears, recently from India, to criticize and confide in her. His sudden arrival evokes memories of a distant past, the choices she made then, and her wistful friendship with Sally Seton.

Woolf then explores the relationships between women and men, and between women, as Clarissa muses, "It was something central which permeated; something warm which broke up surfaces and rippled the cold contact of man and woman, or of women together.... Her relation in the old days with Sally Seton. Had not that, after all, been love?" While Clarissa is transported to past afternoons with Sally, and as she sits mending her green dress, Warren Smith catapults desperately into his delusions. Although his troubles form a tangent to Clarissa's web, they undeniably touch it, and the strands connecting all these characters draw tighter as evening deepens. As she immerses us in each inner life, Virginia Woolf offers exquisite, painful images of the past bleeding into the present, of desire overwhelmed by society's demands. --Joannie Kervran Stangeland

(retrieved from Amazon Thu, 12 Mar 2015 18:23:14 -0400)

(see all 9 descriptions)

Depicts the events, thoughts, and actions of a single day in the life of Clarissa Dalloway.

(summary from another edition)

» see all 19 descriptions

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3 editions of this book were published by Penguin Australia.

Editions: 0141182490, 0141198508, 024195679X

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Editions: 1909438014, 1909438022

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