Questões de Inglês
18.480 Questões
Questão 59 14651456
UECE Específicas 2ª Fase 1° Dia 2025/2Seize the day – Virginia Woolf’s Mrs Dalloway at 100
[1] Mrs Dalloway is explicitly quotidian. It follows
ordinary people through ordinary activities on an
ordinary day – shopping, walking in the park, riding the
bus, going to appointments, mending a dress. As Woolf’s
[5] characters go about their day, scenes and impressions are
filtered through their individual consciousnesses,
threaded together with language, images and memories.
The novel opens with the famous line “Mrs
Dalloway said she would buy the flowers herself”, a
[10] sentence remarkable for its banality, as well as for its
commitment to the in medias res plunge into life that
Woolf was so keen on. The iconic status of the line is
demonstrated by the number of online parodies it
inspires, perhaps only surpassed by William Carlos
[15] Williams’s poem This Is Just To Say, which has become a
verified meme.
On Good Friday 1924, Woolf wrote on a page of
the manuscript she was drafting – then called The Hours
– that “I will write whatever I want to write.” She could
[20] write whatever she wanted to write because she owned
her own publishing house, The Hogarth Press. The actual
press was in the basement of her suburban Richmond
home.
Mrs Dalloway was the second of Woolf’s novels to
[25] be self-published in this way. Being a small-press
publisher allowed her to experiment formally in ways that
would have been impossible if she was working with a
mainstream publisher. In A Writer’s Diary, she describes
her process as both exploratory and technical. On August
[30] 30, 1923, she wrote: “I dig out beautiful caves behind my
characters”. Later, in October 1924: “I practise writing; do
my scales”.
Despite Woolf’s refusal to compromise with
mainstream tastes, Mrs Dalloway was well received. Her
[35] contemporaries recognised the novel’s importance
immediately. “An intellectual triumph”, proclaimed P.C.
Kennedy in the New Statesman; “a cathedral”,
pronounced E.M. Forster in the New Criterion. It sold
moderately well: 1,500 copies within about a month of its
[40] publication on May 14 – more than her prior novel,
Jacob’s Room, had sold in a year.
Woolf’s novel was revolutionary for its depiction of
same-sex attraction and mental illness, as well as for its
challenge to the novel form and representation of time.
[45] Septimus, so capable as a soldier in the Great War, buries
the trauma of seeing his commanding officer Evans killed,
only to have it resurface in visual and aural hallucinations,
of Evans behind the trees, and birds singing in Greek. He
perceives, as Clarissa does, the burden of the past upon
[50] the present, and he suffers as a result of the coercion of
the social system.
“In this book I have almost too many ideas,” Woolf
wrote in her diary on June 19, 1923. “I want to give life
and death, sanity and insanity; I want to criticise the
[55] social system, and to show it at work, at its most
intense.” Woolf’s ideas have inspired scores of
interpretations, focusing on time, space, reality,
psychology, domesticity, history, sexual relations, politics,
fashion, the environment, health and illness. She is now
[60] probably the most written-about 20th century English
author. I can remember vividly first reading this novel as
an undergraduate, after which I devoured Woolf’s
revolutionary 1929 essay A Room of One’s Own, which
criticised the educational, economic and social
[65] constraints that prevented women, in many instances,
from writing anything at all.
Woolf, of course, could and did write. This was a
function, as she knew, of her financial and class privilege.
In her fiction, she modelled a method of writing that
[70] critiques patriarchal thinking. She focuses our attention
on overlooked individuals and their inner lives, and she
splendidly undoes the Victorian conception of plot. Woolf
writes of the past emerging into the present day and the
present’s capacity to reshape the past. In her diary, she
[75] called this her “tunnelling process”. In tunnelling through
narrative, Woolf flung out a lot of what seems to be dust
– buying flowers, ogling girls, table manners and weight
gain, advertising, letter writing, doctor’s appointments,
eating eclairs in a department store cafe. The novel
[80] reminds us of these moments’ triviality, and their
significance, through repeated reference to the bells and
clocks of London striking the hour.
This is why the opening line – and the novel as a
whole – is so remarkable. It catches drops of shimmering
[85] reality from moments that can so easily go unremarked.
This, Woolf knew, was what writing needed to do: to stop
time. Her metaphor shows that Woolf’s thinking about
time also had a spatial dimension. These two dimensions
of space and time structure Mrs Dalloway’s theme and
[90] method, As David Daiches explained in his 1939 book The
Novel and the Modern World, Woolf first links a series of
different perspectives through a single shared moment in
time – marked by the sound of the bells – then switches
to an individual perspective, anchored in space, and
[95] moves through that individual’s memories.
Since its publication, Mrs Dalloway has continued
to inspire. Since the 1970s, she has enjoyed an
unparalleled position in the history of 20th century
letters. Michael Cunningham’s The Hours, Robin
[100] Lippincott’s Mr Dalloway and John Lanchester’s Mr
Phillips all appeared in the three years between 1998 and
2000, all of them reflecting Woolf’s legacy, tacitly or
explicitly. Because of the Oscar-winning film adaptation
by Stephen Daldry, Cunningham’s novel is the most
[105] recognisable of these three. The Hours revises Mrs
Dalloway through the stories of three women: Virginia
Woolf herself; Laura Brown, a 1950s housewife who
reads Mrs Dalloway; and Clarissa Vaughan, nicknamed
Mrs Dalloway by her former lover Richard, for whom she
[110] throws a literary party.
Mrs Dalloway shows us the ways that words can
both connect and sever. Characters pass each other on
the street, muse on a shared past, or witness the same
event from different vantage points and through different
[115] filters of personality and psyche. As Hermione Lee
explained, for Woolf “the really important life was
‘within’”.
Adapted from: https://theconversation/jan.30.2025
In the sentences “In A Writer’s Diary, she describes her process as both exploratory and technical.” and “…all appeared in the three years between 1998 and 2000, all of them reflecting Woolf’s legacy, tacitly or explicitly.”, the ‘s in Writer’s and in Woolf’s represents, respectively, the
Questão 58 14651449
UECE Específicas 2ª Fase 1° Dia 2025/2Seize the day – Virginia Woolf’s Mrs Dalloway at 100
[1] Mrs Dalloway is explicitly quotidian. It follows
ordinary people through ordinary activities on an
ordinary day – shopping, walking in the park, riding the
bus, going to appointments, mending a dress. As Woolf’s
[5] characters go about their day, scenes and impressions are
filtered through their individual consciousnesses,
threaded together with language, images and memories.
The novel opens with the famous line “Mrs
Dalloway said she would buy the flowers herself”, a
[10] sentence remarkable for its banality, as well as for its
commitment to the in medias res plunge into life that
Woolf was so keen on. The iconic status of the line is
demonstrated by the number of online parodies it
inspires, perhaps only surpassed by William Carlos
[15] Williams’s poem This Is Just To Say, which has become a
verified meme.
On Good Friday 1924, Woolf wrote on a page of
the manuscript she was drafting – then called The Hours
– that “I will write whatever I want to write.” She could
[20] write whatever she wanted to write because she owned
her own publishing house, The Hogarth Press. The actual
press was in the basement of her suburban Richmond
home.
Mrs Dalloway was the second of Woolf’s novels to
[25] be self-published in this way. Being a small-press
publisher allowed her to experiment formally in ways that
would have been impossible if she was working with a
mainstream publisher. In A Writer’s Diary, she describes
her process as both exploratory and technical. On August
[30] 30, 1923, she wrote: “I dig out beautiful caves behind my
characters”. Later, in October 1924: “I practise writing; do
my scales”.
Despite Woolf’s refusal to compromise with
mainstream tastes, Mrs Dalloway was well received. Her
[35] contemporaries recognised the novel’s importance
immediately. “An intellectual triumph”, proclaimed P.C.
Kennedy in the New Statesman; “a cathedral”,
pronounced E.M. Forster in the New Criterion. It sold
moderately well: 1,500 copies within about a month of its
[40] publication on May 14 – more than her prior novel,
Jacob’s Room, had sold in a year.
Woolf’s novel was revolutionary for its depiction of
same-sex attraction and mental illness, as well as for its
challenge to the novel form and representation of time.
[45] Septimus, so capable as a soldier in the Great War, buries
the trauma of seeing his commanding officer Evans killed,
only to have it resurface in visual and aural hallucinations,
of Evans behind the trees, and birds singing in Greek. He
perceives, as Clarissa does, the burden of the past upon
[50] the present, and he suffers as a result of the coercion of
the social system.
“In this book I have almost too many ideas,” Woolf
wrote in her diary on June 19, 1923. “I want to give life
and death, sanity and insanity; I want to criticise the
[55] social system, and to show it at work, at its most
intense.” Woolf’s ideas have inspired scores of
interpretations, focusing on time, space, reality,
psychology, domesticity, history, sexual relations, politics,
fashion, the environment, health and illness. She is now
[60] probably the most written-about 20th century English
author. I can remember vividly first reading this novel as
an undergraduate, after which I devoured Woolf’s
revolutionary 1929 essay A Room of One’s Own, which
criticised the educational, economic and social
[65] constraints that prevented women, in many instances,
from writing anything at all.
Woolf, of course, could and did write. This was a
function, as she knew, of her financial and class privilege.
In her fiction, she modelled a method of writing that
[70] critiques patriarchal thinking. She focuses our attention
on overlooked individuals and their inner lives, and she
splendidly undoes the Victorian conception of plot. Woolf
writes of the past emerging into the present day and the
present’s capacity to reshape the past. In her diary, she
[75] called this her “tunnelling process”. In tunnelling through
narrative, Woolf flung out a lot of what seems to be dust
– buying flowers, ogling girls, table manners and weight
gain, advertising, letter writing, doctor’s appointments,
eating eclairs in a department store cafe. The novel
[80] reminds us of these moments’ triviality, and their
significance, through repeated reference to the bells and
clocks of London striking the hour.
This is why the opening line – and the novel as a
whole – is so remarkable. It catches drops of shimmering
[85] reality from moments that can so easily go unremarked.
This, Woolf knew, was what writing needed to do: to stop
time. Her metaphor shows that Woolf’s thinking about
time also had a spatial dimension. These two dimensions
of space and time structure Mrs Dalloway’s theme and
[90] method, As David Daiches explained in his 1939 book The
Novel and the Modern World, Woolf first links a series of
different perspectives through a single shared moment in
time – marked by the sound of the bells – then switches
to an individual perspective, anchored in space, and
[95] moves through that individual’s memories.
Since its publication, Mrs Dalloway has continued
to inspire. Since the 1970s, she has enjoyed an
unparalleled position in the history of 20th century
letters. Michael Cunningham’s The Hours, Robin
[100] Lippincott’s Mr Dalloway and John Lanchester’s Mr
Phillips all appeared in the three years between 1998 and
2000, all of them reflecting Woolf’s legacy, tacitly or
explicitly. Because of the Oscar-winning film adaptation
by Stephen Daldry, Cunningham’s novel is the most
[105] recognisable of these three. The Hours revises Mrs
Dalloway through the stories of three women: Virginia
Woolf herself; Laura Brown, a 1950s housewife who
reads Mrs Dalloway; and Clarissa Vaughan, nicknamed
Mrs Dalloway by her former lover Richard, for whom she
[110] throws a literary party.
Mrs Dalloway shows us the ways that words can
both connect and sever. Characters pass each other on
the street, muse on a shared past, or witness the same
event from different vantage points and through different
[115] filters of personality and psyche. As Hermione Lee
explained, for Woolf “the really important life was
‘within’”.
Adapted from: https://theconversation/jan.30.2025
The following -ing words commanding (line 46), focusing (line 57), emerging (line 73), advertising (line 78) and shimmering (line 84) function in the text as
Questão 57 14651420
UECE Específicas 2ª Fase 1° Dia 2025/2Seize the day – Virginia Woolf’s Mrs Dalloway at 100
[1] Mrs Dalloway is explicitly quotidian. It follows
ordinary people through ordinary activities on an
ordinary day – shopping, walking in the park, riding the
bus, going to appointments, mending a dress. As Woolf’s
[5] characters go about their day, scenes and impressions are
filtered through their individual consciousnesses,
threaded together with language, images and memories.
The novel opens with the famous line “Mrs
Dalloway said she would buy the flowers herself”, a
[10] sentence remarkable for its banality, as well as for its
commitment to the in medias res plunge into life that
Woolf was so keen on. The iconic status of the line is
demonstrated by the number of online parodies it
inspires, perhaps only surpassed by William Carlos
[15] Williams’s poem This Is Just To Say, which has become a
verified meme.
On Good Friday 1924, Woolf wrote on a page of
the manuscript she was drafting – then called The Hours
– that “I will write whatever I want to write.” She could
[20] write whatever she wanted to write because she owned
her own publishing house, The Hogarth Press. The actual
press was in the basement of her suburban Richmond
home.
Mrs Dalloway was the second of Woolf’s novels to
[25] be self-published in this way. Being a small-press
publisher allowed her to experiment formally in ways that
would have been impossible if she was working with a
mainstream publisher. In A Writer’s Diary, she describes
her process as both exploratory and technical. On August
[30] 30, 1923, she wrote: “I dig out beautiful caves behind my
characters”. Later, in October 1924: “I practise writing; do
my scales”.
Despite Woolf’s refusal to compromise with
mainstream tastes, Mrs Dalloway was well received. Her
[35] contemporaries recognised the novel’s importance
immediately. “An intellectual triumph”, proclaimed P.C.
Kennedy in the New Statesman; “a cathedral”,
pronounced E.M. Forster in the New Criterion. It sold
moderately well: 1,500 copies within about a month of its
[40] publication on May 14 – more than her prior novel,
Jacob’s Room, had sold in a year.
Woolf’s novel was revolutionary for its depiction of
same-sex attraction and mental illness, as well as for its
challenge to the novel form and representation of time.
[45] Septimus, so capable as a soldier in the Great War, buries
the trauma of seeing his commanding officer Evans killed,
only to have it resurface in visual and aural hallucinations,
of Evans behind the trees, and birds singing in Greek. He
perceives, as Clarissa does, the burden of the past upon
[50] the present, and he suffers as a result of the coercion of
the social system.
“In this book I have almost too many ideas,” Woolf
wrote in her diary on June 19, 1923. “I want to give life
and death, sanity and insanity; I want to criticise the
[55] social system, and to show it at work, at its most
intense.” Woolf’s ideas have inspired scores of
interpretations, focusing on time, space, reality,
psychology, domesticity, history, sexual relations, politics,
fashion, the environment, health and illness. She is now
[60] probably the most written-about 20th century English
author. I can remember vividly first reading this novel as
an undergraduate, after which I devoured Woolf’s
revolutionary 1929 essay A Room of One’s Own, which
criticised the educational, economic and social
[65] constraints that prevented women, in many instances,
from writing anything at all.
Woolf, of course, could and did write. This was a
function, as she knew, of her financial and class privilege.
In her fiction, she modelled a method of writing that
[70] critiques patriarchal thinking. She focuses our attention
on overlooked individuals and their inner lives, and she
splendidly undoes the Victorian conception of plot. Woolf
writes of the past emerging into the present day and the
present’s capacity to reshape the past. In her diary, she
[75] called this her “tunnelling process”. In tunnelling through
narrative, Woolf flung out a lot of what seems to be dust
– buying flowers, ogling girls, table manners and weight
gain, advertising, letter writing, doctor’s appointments,
eating eclairs in a department store cafe. The novel
[80] reminds us of these moments’ triviality, and their
significance, through repeated reference to the bells and
clocks of London striking the hour.
This is why the opening line – and the novel as a
whole – is so remarkable. It catches drops of shimmering
[85] reality from moments that can so easily go unremarked.
This, Woolf knew, was what writing needed to do: to stop
time. Her metaphor shows that Woolf’s thinking about
time also had a spatial dimension. These two dimensions
of space and time structure Mrs Dalloway’s theme and
[90] method, As David Daiches explained in his 1939 book The
Novel and the Modern World, Woolf first links a series of
different perspectives through a single shared moment in
time – marked by the sound of the bells – then switches
to an individual perspective, anchored in space, and
[95] moves through that individual’s memories.
Since its publication, Mrs Dalloway has continued
to inspire. Since the 1970s, she has enjoyed an
unparalleled position in the history of 20th century
letters. Michael Cunningham’s The Hours, Robin
[100] Lippincott’s Mr Dalloway and John Lanchester’s Mr
Phillips all appeared in the three years between 1998 and
2000, all of them reflecting Woolf’s legacy, tacitly or
explicitly. Because of the Oscar-winning film adaptation
by Stephen Daldry, Cunningham’s novel is the most
[105] recognisable of these three. The Hours revises Mrs
Dalloway through the stories of three women: Virginia
Woolf herself; Laura Brown, a 1950s housewife who
reads Mrs Dalloway; and Clarissa Vaughan, nicknamed
Mrs Dalloway by her former lover Richard, for whom she
[110] throws a literary party.
Mrs Dalloway shows us the ways that words can
both connect and sever. Characters pass each other on
the street, muse on a shared past, or witness the same
event from different vantage points and through different
[115] filters of personality and psyche. As Hermione Lee
explained, for Woolf “the really important life was
‘within’”.
Adapted from: https://theconversation/jan.30.2025
The sentences “Despite Woolf’s refusal to compromise with mainstream tastes, Mrs Dalloway was well received.” and “As Woolf’s characters go about their day, scenes and impressions are filtered through their individual consciousnesses…” contain, respectively, a/an
Questão 54 14651353
UECE Específicas 2ª Fase 1° Dia 2025/2Seize the day – Virginia Woolf’s Mrs Dalloway at 100
[1] Mrs Dalloway is explicitly quotidian. It follows
ordinary people through ordinary activities on an
ordinary day – shopping, walking in the park, riding the
bus, going to appointments, mending a dress. As Woolf’s
[5] characters go about their day, scenes and impressions are
filtered through their individual consciousnesses,
threaded together with language, images and memories.
The novel opens with the famous line “Mrs
Dalloway said she would buy the flowers herself”, a
[10] sentence remarkable for its banality, as well as for its
commitment to the in medias res plunge into life that
Woolf was so keen on. The iconic status of the line is
demonstrated by the number of online parodies it
inspires, perhaps only surpassed by William Carlos
[15] Williams’s poem This Is Just To Say, which has become a
verified meme.
On Good Friday 1924, Woolf wrote on a page of
the manuscript she was drafting – then called The Hours
– that “I will write whatever I want to write.” She could
[20] write whatever she wanted to write because she owned
her own publishing house, The Hogarth Press. The actual
press was in the basement of her suburban Richmond
home.
Mrs Dalloway was the second of Woolf’s novels to
[25] be self-published in this way. Being a small-press
publisher allowed her to experiment formally in ways that
would have been impossible if she was working with a
mainstream publisher. In A Writer’s Diary, she describes
her process as both exploratory and technical. On August
[30] 30, 1923, she wrote: “I dig out beautiful caves behind my
characters”. Later, in October 1924: “I practise writing; do
my scales”.
Despite Woolf’s refusal to compromise with
mainstream tastes, Mrs Dalloway was well received. Her
[35] contemporaries recognised the novel’s importance
immediately. “An intellectual triumph”, proclaimed P.C.
Kennedy in the New Statesman; “a cathedral”,
pronounced E.M. Forster in the New Criterion. It sold
moderately well: 1,500 copies within about a month of its
[40] publication on May 14 – more than her prior novel,
Jacob’s Room, had sold in a year.
Woolf’s novel was revolutionary for its depiction of
same-sex attraction and mental illness, as well as for its
challenge to the novel form and representation of time.
[45] Septimus, so capable as a soldier in the Great War, buries
the trauma of seeing his commanding officer Evans killed,
only to have it resurface in visual and aural hallucinations,
of Evans behind the trees, and birds singing in Greek. He
perceives, as Clarissa does, the burden of the past upon
[50] the present, and he suffers as a result of the coercion of
the social system.
“In this book I have almost too many ideas,” Woolf
wrote in her diary on June 19, 1923. “I want to give life
and death, sanity and insanity; I want to criticise the
[55] social system, and to show it at work, at its most
intense.” Woolf’s ideas have inspired scores of
interpretations, focusing on time, space, reality,
psychology, domesticity, history, sexual relations, politics,
fashion, the environment, health and illness. She is now
[60] probably the most written-about 20th century English
author. I can remember vividly first reading this novel as
an undergraduate, after which I devoured Woolf’s
revolutionary 1929 essay A Room of One’s Own, which
criticised the educational, economic and social
[65] constraints that prevented women, in many instances,
from writing anything at all.
Woolf, of course, could and did write. This was a
function, as she knew, of her financial and class privilege.
In her fiction, she modelled a method of writing that
[70] critiques patriarchal thinking. She focuses our attention
on overlooked individuals and their inner lives, and she
splendidly undoes the Victorian conception of plot. Woolf
writes of the past emerging into the present day and the
present’s capacity to reshape the past. In her diary, she
[75] called this her “tunnelling process”. In tunnelling through
narrative, Woolf flung out a lot of what seems to be dust
– buying flowers, ogling girls, table manners and weight
gain, advertising, letter writing, doctor’s appointments,
eating eclairs in a department store cafe. The novel
[80] reminds us of these moments’ triviality, and their
significance, through repeated reference to the bells and
clocks of London striking the hour.
This is why the opening line – and the novel as a
whole – is so remarkable. It catches drops of shimmering
[85] reality from moments that can so easily go unremarked.
This, Woolf knew, was what writing needed to do: to stop
time. Her metaphor shows that Woolf’s thinking about
time also had a spatial dimension. These two dimensions
of space and time structure Mrs Dalloway’s theme and
[90] method, As David Daiches explained in his 1939 book The
Novel and the Modern World, Woolf first links a series of
different perspectives through a single shared moment in
time – marked by the sound of the bells – then switches
to an individual perspective, anchored in space, and
[95] moves through that individual’s memories.
Since its publication, Mrs Dalloway has continued
to inspire. Since the 1970s, she has enjoyed an
unparalleled position in the history of 20th century
letters. Michael Cunningham’s The Hours, Robin
[100] Lippincott’s Mr Dalloway and John Lanchester’s Mr
Phillips all appeared in the three years between 1998 and
2000, all of them reflecting Woolf’s legacy, tacitly or
explicitly. Because of the Oscar-winning film adaptation
by Stephen Daldry, Cunningham’s novel is the most
[105] recognisable of these three. The Hours revises Mrs
Dalloway through the stories of three women: Virginia
Woolf herself; Laura Brown, a 1950s housewife who
reads Mrs Dalloway; and Clarissa Vaughan, nicknamed
Mrs Dalloway by her former lover Richard, for whom she
[110] throws a literary party.
Mrs Dalloway shows us the ways that words can
both connect and sever. Characters pass each other on
the street, muse on a shared past, or witness the same
event from different vantage points and through different
[115] filters of personality and psyche. As Hermione Lee
explained, for Woolf “the really important life was
‘within’”.
Adapted from: https://theconversation/jan.30.2025
The sentences “It follows ordinary people through ordinary activities on an ordinary day…” and “…she splendidly undoes the Victorian conception of plot.” contain, respectively, a/an
Questão 53 14651346
UECE Específicas 2ª Fase 1° Dia 2025/2Seize the day – Virginia Woolf’s Mrs Dalloway at 100
[1] Mrs Dalloway is explicitly quotidian. It follows
ordinary people through ordinary activities on an
ordinary day – shopping, walking in the park, riding the
bus, going to appointments, mending a dress. As Woolf’s
[5] characters go about their day, scenes and impressions are
filtered through their individual consciousnesses,
threaded together with language, images and memories.
The novel opens with the famous line “Mrs
Dalloway said she would buy the flowers herself”, a
[10] sentence remarkable for its banality, as well as for its
commitment to the in medias res plunge into life that
Woolf was so keen on. The iconic status of the line is
demonstrated by the number of online parodies it
inspires, perhaps only surpassed by William Carlos
[15] Williams’s poem This Is Just To Say, which has become a
verified meme.
On Good Friday 1924, Woolf wrote on a page of
the manuscript she was drafting – then called The Hours
– that “I will write whatever I want to write.” She could
[20] write whatever she wanted to write because she owned
her own publishing house, The Hogarth Press. The actual
press was in the basement of her suburban Richmond
home.
Mrs Dalloway was the second of Woolf’s novels to
[25] be self-published in this way. Being a small-press
publisher allowed her to experiment formally in ways that
would have been impossible if she was working with a
mainstream publisher. In A Writer’s Diary, she describes
her process as both exploratory and technical. On August
[30] 30, 1923, she wrote: “I dig out beautiful caves behind my
characters”. Later, in October 1924: “I practise writing; do
my scales”.
Despite Woolf’s refusal to compromise with
mainstream tastes, Mrs Dalloway was well received. Her
[35] contemporaries recognised the novel’s importance
immediately. “An intellectual triumph”, proclaimed P.C.
Kennedy in the New Statesman; “a cathedral”,
pronounced E.M. Forster in the New Criterion. It sold
moderately well: 1,500 copies within about a month of its
[40] publication on May 14 – more than her prior novel,
Jacob’s Room, had sold in a year.
Woolf’s novel was revolutionary for its depiction of
same-sex attraction and mental illness, as well as for its
challenge to the novel form and representation of time.
[45] Septimus, so capable as a soldier in the Great War, buries
the trauma of seeing his commanding officer Evans killed,
only to have it resurface in visual and aural hallucinations,
of Evans behind the trees, and birds singing in Greek. He
perceives, as Clarissa does, the burden of the past upon
[50] the present, and he suffers as a result of the coercion of
the social system.
“In this book I have almost too many ideas,” Woolf
wrote in her diary on June 19, 1923. “I want to give life
and death, sanity and insanity; I want to criticise the
[55] social system, and to show it at work, at its most
intense.” Woolf’s ideas have inspired scores of
interpretations, focusing on time, space, reality,
psychology, domesticity, history, sexual relations, politics,
fashion, the environment, health and illness. She is now
[60] probably the most written-about 20th century English
author. I can remember vividly first reading this novel as
an undergraduate, after which I devoured Woolf’s
revolutionary 1929 essay A Room of One’s Own, which
criticised the educational, economic and social
[65] constraints that prevented women, in many instances,
from writing anything at all.
Woolf, of course, could and did write. This was a
function, as she knew, of her financial and class privilege.
In her fiction, she modelled a method of writing that
[70] critiques patriarchal thinking. She focuses our attention
on overlooked individuals and their inner lives, and she
splendidly undoes the Victorian conception of plot. Woolf
writes of the past emerging into the present day and the
present’s capacity to reshape the past. In her diary, she
[75] called this her “tunnelling process”. In tunnelling through
narrative, Woolf flung out a lot of what seems to be dust
– buying flowers, ogling girls, table manners and weight
gain, advertising, letter writing, doctor’s appointments,
eating eclairs in a department store cafe. The novel
[80] reminds us of these moments’ triviality, and their
significance, through repeated reference to the bells and
clocks of London striking the hour.
This is why the opening line – and the novel as a
whole – is so remarkable. It catches drops of shimmering
[85] reality from moments that can so easily go unremarked.
This, Woolf knew, was what writing needed to do: to stop
time. Her metaphor shows that Woolf’s thinking about
time also had a spatial dimension. These two dimensions
of space and time structure Mrs Dalloway’s theme and
[90] method, As David Daiches explained in his 1939 book The
Novel and the Modern World, Woolf first links a series of
different perspectives through a single shared moment in
time – marked by the sound of the bells – then switches
to an individual perspective, anchored in space, and
[95] moves through that individual’s memories.
Since its publication, Mrs Dalloway has continued
to inspire. Since the 1970s, she has enjoyed an
unparalleled position in the history of 20th century
letters. Michael Cunningham’s The Hours, Robin
[100] Lippincott’s Mr Dalloway and John Lanchester’s Mr
Phillips all appeared in the three years between 1998 and
2000, all of them reflecting Woolf’s legacy, tacitly or
explicitly. Because of the Oscar-winning film adaptation
by Stephen Daldry, Cunningham’s novel is the most
[105] recognisable of these three. The Hours revises Mrs
Dalloway through the stories of three women: Virginia
Woolf herself; Laura Brown, a 1950s housewife who
reads Mrs Dalloway; and Clarissa Vaughan, nicknamed
Mrs Dalloway by her former lover Richard, for whom she
[110] throws a literary party.
Mrs Dalloway shows us the ways that words can
both connect and sever. Characters pass each other on
the street, muse on a shared past, or witness the same
event from different vantage points and through different
[115] filters of personality and psyche. As Hermione Lee
explained, for Woolf “the really important life was
‘within’”.
Adapted from: https://theconversation/jan.30.2025
The sentence “… I devoured Woolf’s revolutionary 1929 essay A Room of One’s Own, which criticised the educational, economic and social constraints ...” contains a/an
Questão 52 14651341
UECE Específicas 2ª Fase 1° Dia 2025/2Seize the day – Virginia Woolf’s Mrs Dalloway at 100
[1] Mrs Dalloway is explicitly quotidian. It follows
ordinary people through ordinary activities on an
ordinary day – shopping, walking in the park, riding the
bus, going to appointments, mending a dress. As Woolf’s
[5] characters go about their day, scenes and impressions are
filtered through their individual consciousnesses,
threaded together with language, images and memories.
The novel opens with the famous line “Mrs
Dalloway said she would buy the flowers herself”, a
[10] sentence remarkable for its banality, as well as for its
commitment to the in medias res plunge into life that
Woolf was so keen on. The iconic status of the line is
demonstrated by the number of online parodies it
inspires, perhaps only surpassed by William Carlos
[15] Williams’s poem This Is Just To Say, which has become a
verified meme.
On Good Friday 1924, Woolf wrote on a page of
the manuscript she was drafting – then called The Hours
– that “I will write whatever I want to write.” She could
[20] write whatever she wanted to write because she owned
her own publishing house, The Hogarth Press. The actual
press was in the basement of her suburban Richmond
home.
Mrs Dalloway was the second of Woolf’s novels to
[25] be self-published in this way. Being a small-press
publisher allowed her to experiment formally in ways that
would have been impossible if she was working with a
mainstream publisher. In A Writer’s Diary, she describes
her process as both exploratory and technical. On August
[30] 30, 1923, she wrote: “I dig out beautiful caves behind my
characters”. Later, in October 1924: “I practise writing; do
my scales”.
Despite Woolf’s refusal to compromise with
mainstream tastes, Mrs Dalloway was well received. Her
[35] contemporaries recognised the novel’s importance
immediately. “An intellectual triumph”, proclaimed P.C.
Kennedy in the New Statesman; “a cathedral”,
pronounced E.M. Forster in the New Criterion. It sold
moderately well: 1,500 copies within about a month of its
[40] publication on May 14 – more than her prior novel,
Jacob’s Room, had sold in a year.
Woolf’s novel was revolutionary for its depiction of
same-sex attraction and mental illness, as well as for its
challenge to the novel form and representation of time.
[45] Septimus, so capable as a soldier in the Great War, buries
the trauma of seeing his commanding officer Evans killed,
only to have it resurface in visual and aural hallucinations,
of Evans behind the trees, and birds singing in Greek. He
perceives, as Clarissa does, the burden of the past upon
[50] the present, and he suffers as a result of the coercion of
the social system.
“In this book I have almost too many ideas,” Woolf
wrote in her diary on June 19, 1923. “I want to give life
and death, sanity and insanity; I want to criticise the
[55] social system, and to show it at work, at its most
intense.” Woolf’s ideas have inspired scores of
interpretations, focusing on time, space, reality,
psychology, domesticity, history, sexual relations, politics,
fashion, the environment, health and illness. She is now
[60] probably the most written-about 20th century English
author. I can remember vividly first reading this novel as
an undergraduate, after which I devoured Woolf’s
revolutionary 1929 essay A Room of One’s Own, which
criticised the educational, economic and social
[65] constraints that prevented women, in many instances,
from writing anything at all.
Woolf, of course, could and did write. This was a
function, as she knew, of her financial and class privilege.
In her fiction, she modelled a method of writing that
[70] critiques patriarchal thinking. She focuses our attention
on overlooked individuals and their inner lives, and she
splendidly undoes the Victorian conception of plot. Woolf
writes of the past emerging into the present day and the
present’s capacity to reshape the past. In her diary, she
[75] called this her “tunnelling process”. In tunnelling through
narrative, Woolf flung out a lot of what seems to be dust
– buying flowers, ogling girls, table manners and weight
gain, advertising, letter writing, doctor’s appointments,
eating eclairs in a department store cafe. The novel
[80] reminds us of these moments’ triviality, and their
significance, through repeated reference to the bells and
clocks of London striking the hour.
This is why the opening line – and the novel as a
whole – is so remarkable. It catches drops of shimmering
[85] reality from moments that can so easily go unremarked.
This, Woolf knew, was what writing needed to do: to stop
time. Her metaphor shows that Woolf’s thinking about
time also had a spatial dimension. These two dimensions
of space and time structure Mrs Dalloway’s theme and
[90] method, As David Daiches explained in his 1939 book The
Novel and the Modern World, Woolf first links a series of
different perspectives through a single shared moment in
time – marked by the sound of the bells – then switches
to an individual perspective, anchored in space, and
[95] moves through that individual’s memories.
Since its publication, Mrs Dalloway has continued
to inspire. Since the 1970s, she has enjoyed an
unparalleled position in the history of 20th century
letters. Michael Cunningham’s The Hours, Robin
[100] Lippincott’s Mr Dalloway and John Lanchester’s Mr
Phillips all appeared in the three years between 1998 and
2000, all of them reflecting Woolf’s legacy, tacitly or
explicitly. Because of the Oscar-winning film adaptation
by Stephen Daldry, Cunningham’s novel is the most
[105] recognisable of these three. The Hours revises Mrs
Dalloway through the stories of three women: Virginia
Woolf herself; Laura Brown, a 1950s housewife who
reads Mrs Dalloway; and Clarissa Vaughan, nicknamed
Mrs Dalloway by her former lover Richard, for whom she
[110] throws a literary party.
Mrs Dalloway shows us the ways that words can
both connect and sever. Characters pass each other on
the street, muse on a shared past, or witness the same
event from different vantage points and through different
[115] filters of personality and psyche. As Hermione Lee
explained, for Woolf “the really important life was
‘within’”.
Adapted from: https://theconversation/jan.30.2025
The sentences “She could write whatever she wanted…” and “Her metaphor shows that Woolf’s thinking about time also had a spatial dimension.” contain, respectively, a/an
Pastas
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