哪里能找到弗吉尼亚伍尔夫的生平介绍英文版VirginiaWoolfwasborninLondon,asthedaughterofJuliaJacksonDuckworth,amemberoftheDuckworthpublishingfamily,andLeslieStephen,aliterarycritic,afriendofMeredith,HenryJames,Tennyson,Matth
哪里能找到弗吉尼亚伍尔夫的生平介绍英文版
Virginia Woolf was born in London, as the daughter of Julia Jackson Duckworth, a member of the Duckworth publishing family, and Leslie Stephen, a literary critic, a friend of Meredith, Henry James, Tennyson, Matthew Arnold, and George Eliot, and the founder of the Dictionary of National Biography. Leslie Stephen’s first wife had been the daughter of the novelist William Makepeace Thackeray. His daughter Laura from the first marriage was institutionalized because of mental retardation. In a memoir dated 1907 she wrote of her parents, "Beautiful often, even to our eyes, were their gestures, their glances of pure and unutterable delight in each other."Woolf was educated at home by her father, and grew up at the family home at Hyde Park Gate. In mddle age she described this period in a letter to Vita Sackville-West: "Think how I was brought up! No school; mooning about alone among my father’s books; never any chance to pick up all that goes on in schools throwing balls; ragging; slang; vulgarities; scenes; jealousies!" Woolf’s youth was shadowed by series of emotional shocks - her half-brother Gerald Duckworth sexually abused her and her mother died when she was in her early teens. Stella Duckworth, her half sister, took her mother’s place, but died a scant two years later. Leslie Stephen, her father, suffered a slow death from cancer. When her brother Toby died in 1906, she had a prolonged mental breakdown.Following the death of her father in 1904, Woolf moved with her sister Vanessa and two brothers to the house in Bloomsbury, which would become central to activities of the Bloomsbury group. "And part of the charm of those Thursday evenings was that they were astonishingly abstract. It was not only that Moore’s book had set us all discussing philosophy, art, religion; it was that the atmosphere - if in spite of Hawtrey I may use that word - was abstract in the extreme. The young men I have named had no ’manners’ in the Hyde Park Gate sense. They criticized our arguments as severely as their own. They never seemed to notice how we were dressed or if we were nice looking or not." (from Moments of Being, ed. by Jeanne Schulkind, 1976) Vanessa agreed to marry the critic of art and literature Clive Bell. Virginia’s economic situation improved she she inherited ￡2,500 from an aunt.From 1905 Woolf began to write for the Times Literary Supplement. In 1912 she married the political theorist Leonard Woolf, who had returned from serving as an administarator in Ceylon (now Sri Lanka). Woolf published her first book, The Voyage Out, in 1915. In 1919 appeared Night and Day, a realistic novel set in London, contrasting the lives of two friends, Katherine and Mary. Jacob’s Room (1922) was based upon the life and death of her brother Toby.With To the Lighthouse (1927) and The Waves (1931) Woolf established herself as one of the leading writers of modernism. On the publication of To the Lighthouse, Lytton Strachey wrote: "It is really most unfortunate that she rules out copulation - not the ghost of it visible - so that her presentation of things becomes little more... than an arabesque - an exquisite arabesque, of course." The Waves is perhaps Woolf’s most difficult novel. It follows in soliloquies the lives of six persons from childhood to old age. Louis Kronenberger noted in The New York Times that Woolf was not really corncerned with people, but "the poetic symbols, of life--the changing seasons, day and night, bread and wine, fire and cold, time and space, birth and death and change."In these works Woolf developed innovative literary techniques in order to reveal women’s experience and find an alternative to the male-dominated views of reality. In her essay ’Mr. Bennett and Mrs. Brown’ Woolf argued that John Galsworthy, H.G. Wells and other realistic English novelist dealt in surfaces but to get underneath these surfaces one must use less restricted presentation of life, and such devices as stream of consciousness and interior monologue and abandon linear narrative.Mrs. Dalloway (1925) formed a giant web of thoughts of several groups of people during the course of a single day. There is little action, but much movement in time from present to past and back again through the characters memories. The central figure, Clarissa Dalloway, is a wealthy London hostess. She spends her day in London preparing for her evening party. She recalls her life before World War I, berofe her marriage to Richard Dalloway, and her friendship with the unconventional Sally Seton, and her relationship with Peter Walsh. At her party she never meets the shell-shocked veteran Septimus Smith, one of the first Englishmen to enlist in the war. Sally returns as Lady Rossetter, Peter Walsh is still enamored with Mrs. Dalloway, the prime minister arrives, and Smith commits suicide. To the Lighthouse had a tripartite structure: part 1 presented the Victorian family life, the second part covers a ten-year period, and the third part is a long account of a morning in which ghosts are laid to rest. The central figure in the novel, Mrs. Ramsay, was based on Woolf’s mother. Also other characters in the book were drawn from Woolf’s family memories."So that is marriage, Lily thought, a man and a woman looking at a girl throwing a ball." (from To the Lighthouse)During the inter-war period Woolf was at the center of literary society both in London and at her home in Rodmell, near Lewes, Sussex. She lived in Richmond from 1915 to 1924, in Bloomsbury from 1924 to 1939, and maintained the house in Rodmell from 1919-41. The Bloomsbury group was initially based at the Gordon Square residence of Virginia and her sister Vanessa (Bell). The consolidation of the group’s beliefs in unifying aesthetic concerns occurred under the influence of the philosopher G.E. Moore (1873-1958). The group included among others E.M. Forster, Lytton Strachey, Clive Bell, Vanessa Bell, Duncan Grant, and Leonard Woolf. By the early 1930s, the group ceased to exist in its original form.In the event of a Nazi invastion, Woolf and Leonard had made provisions to kill themselves. After the final attack of mental illness Woolf loaded her pockets with stones and drowned herself in the River Ouse near her Sussex home on March 28, 1941. On her note to her husband she wrote: "I have a feeling I shall go mad. I cannot go on longer in these terrible times. I hear voices and cannot concentrate on my work. I have fought against it but cannot fight any longer. I owe all my happiness to you but cannot go on and spoil your life." Her suicide has colored interpretations of her works, which have been read perhaps too straightly as explorations of her own traumas.Virginia Woolf’s concern with feminist thematics are dominant in A Room of One’s Own (1929). In it she made her famous statement: "A woman must have money and a room of her own if she is to write fiction." The book originated from two expanded and revised lectures the author presented at Cambridge University’s Newnham and Girton Colleges in October 1928. It deals with the obstacles and prejudices that have hindered women writers, and analyzes the differences between women as objects of representation and women as authors of representation. Woolf argued that a change in the forms of literature was necessary because most literature had been "made by men out of their own needs for their own uses." In the last chapter it explores the possibility of an androgynous mind. Woolf refers to Coleridge who said that a great mind is androgynous and states that when this fusion takes place the mind is fully fertilized and uses all its faculties. "Perhaps a mind that is purely masculine cannot create, any more than a mind that is purely feminine..." Three Guineas (1938) examined the necessity for women to make a claim for their own history and literature. Orlando (1928), a fantasy novel, traced the career of the androgynous protagonist from a masculine identity within the Elisabethan court to a feminine identity in 1928. The book was illustrated with pictures of Woolf’s lover, Vita Sackville-West, dressed as Orlando. According to Nigel Nicolson, the initiative to start the affair came as much on Virginia’s side as on the more experienced Vita’s. Their relationship coincided with a period of great creative productivity in Woolf’s career as a writer. In 1994 Eileen Atkins dramatized their letters in her play Vita and Virginia, starring Atkins and Vanessa Redgrave.As an essayist Woolf was prolific, publishing some 500 essays in periodicals and collections, beginning 1905. Characteristic for Woolf’s essays are dialogic nature of style and continual questioning of opinion - her reader is often directly addressed, in a conversational tone, and her rejection of an authoritative voice links her essays to the tradition of Montaigne.
virginia woolf 的简介
弗吉尼亚·伍尔夫（Virginia Woolf 1882－1941）原名弗吉尼亚·斯蒂芬，是英国现代著名的女小说家、评论家和散文作者。她的小说创作实践推动了现代小说的发展，她的理论进一步巩固了意识流小说的地位，她的影响在文学上经久不衰。但是，40年代到60年代，在英国对伍尔夫的评价一直偏低。从70年代起，英国文学研究领域却突发了对她重新研究的兴趣，甚至对她的“发疯”、相貌、癖性、爱好、私生活等等都有人进行专题研究。弗吉尼亚·伍尔夫已成为英国文学界的一位传奇人物。
为什么说virginia woolf是运用意识流的大师
virginia woolf是运用意识流的大师她善于运用象征暗示等手法去反映人物心灵世界的微妙变化，表现生活的意义，人生的价值。
意识流小说是典型的心理小说，人物的意识流动成为小说的绝对主体。《墙. 上的斑点》突破传统小说的套路，没有情节，没有环境，也没有结局，作者只抓住人物瞬间的没有行动的印象感觉和沉思冥想，将我们引入人物的精神世界。小说的叙述者面目模糊，从文中内容推测，可能是一-位女性，-位妻子，但这并不重要，重要的是她看到墙上的斑点以后所引|发的内心活动。这内心活动主要是通过自由联想的方式表现出来的，于是我们看到在作者的遐想中，既有迅即更迭的生活速写,又有浅尝辄止的历史点击，还有不时生发的迷惘、虚幻的人生感喟，以及或愉快或忧郁的情绪。
有人曾经指责伍尔夫的小说过分关注自我和内心，缺乏社会性。其实,当我们读到伍尔夫发出的“该死的战争;让战争见鬼去吧"的心声时，读到她想像出的那个“没有教授、没有专家、没有警察面孔的管家”，也没有“尊卑序列表"的“十分可爱的世界”时，社会的"微尘”已然落到了作者的心灵上,并且激起了回响与反应。这说明，不描写社会生活，并不等于远离社会生活。通过人物的意识来折射现实,同样能表现出社会性。这正如伍尔夫自己所认为的那样:“小说就像一-张蜘蛛网。 也许只是极其轻微地黏附着，然而它还是四只脚都黏附在生活之上。”因此，从作者无拘无束的意识流动中，我们依然可以看到作者对于人生的思索，对于现实的不满，以及对于自由、理想的追求。
传统小说中也有心理描写，但那些心理描写都是局部的，是依附于人物、情节或环境并为之服务的。意识流小说则将人物心理的意识流动作为独立的事件，置于作品的主体位置，表现出对传统小说的反叛性。
Virginia Woolf 说的“伟大的灵魂都是雌雄同体”的英文原文是什么
错了, 这句话不是伍尔夫提的, 现在国内的网络真喜欢生搬硬套. 原话是" A great mind must be androgynou". 出自Samuel Taylor Coleridge的. 包括网上流传的Lenoard给Virginia的情书内容, 只有前面两句是真的, 后面全部都是杜撰的.
谁能提供一些Virginia Woolf的professions for women的写作背景谢谢！！
关于Virginia Woolf： Born in England, Virginia Woolf was the daughter of Leslie Stephen, a well-known scholar. She was educated primarily at home and attributed her love of reading to the early and complete access she was given to her father’s library. With her husband, Leonard Woolf, she founded the Hogarth Press and became known as member of the Bloomsbury group of intellectuals, which included economist John Maynard Keynes, biographer Lytton Strachey, novelist E. M. Forster, and art historian Clive Bell. Although she was a central figure in London literary life, Woolf often saw herself as isolated from the mains stream because she was a woman. Woolf is best known for her experimental, modernist novels, including Mrs. Dalloway(1925) and To the Lighthouse(1927) which are widely appreciated for her breakthrough into a new mode and technique--the stream of consciousness. In her diary and critical essays she has much to say about women and fiction. Her 1929 book A Room of One’s Own documents her desire for women to take their rightful place in literary history and as an essayist she has occupied a high place in 20th century literature. The common Reader (1925 first series; 1932 second series) has acquired classic status. She also wrote short stories and biographies. “Professions for Women” taken from The collected Essays Vol 2. is originally a paper Woolf read to the Women’s Service League, an organization for professional women in London. She was mentally unstable, and in 1942, she drowned herself.
virginia woolf 的个人简介（英文）
【生平】Adeline Virginia Woolf (née Stephen; 25 January 1882 – 28 March 1941) was an English writer and one of the foremost modernists of the twentieth century. During the interwar period, Woolf was a significant figure in London literary society and a central figure in the influential Bloomsbury Group of intellectuals. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One’s Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction." Woolf suffered from severe bouts of mental illness throughout her life, thought to have been the result of what is now termed bipolar disorder,and committed suicide by drowning in 1941 at the age of 59.【作品及影响】Woolf began writing professionally in 1900, initially for the Times Literary Supplement with a journalistic piece about Haworth, home of the Brontë family. Her first novel, The Voyage Out, was published in 1915 by her half-brother’s imprint, Gerald Duckworth and Company Ltd. This novel was originally titled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life. Lytton Strachey and Woolf at Garsington, 1923 Woolf went on to publish novels and essays as a public intellectual to both critical and popular success. Much of her work was self-published through the Hogarth Press. She is seen as a major twentieth-century novelist and one of the foremost modernists.Woolf is considered a major innovator in the English language. In her works she experimented with stream of consciousness and the underlying psychological as well as emotional motives of characters. Woolf’s reputation declined sharply after World War II, but her importance was re-established with the growth of feminist criticism in the 1970s.Virginia Woolf’s peculiarities as a fiction writer have tended to obscure her central strength: she is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters’ receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions.Woolf has often been credited with stream of consciousness writing alongside her modernist contemporaries like James Joyce and Joseph Conrad. The intensity of Virginia Woolf’s poetic vision elevates the ordinary, sometimes banal settings—often wartime environments—of most of her novels. For example, Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars.To the Lighthouse (1927) is set on two days ten years apart. The plot centres on the Ramsay family’s anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation’s inhabitants in the midst of war, and of the people left behind. It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them.Orlando (1928) is one of Virginia Woolf’s lightest novels. A parodic biography of a young nobleman who lives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf’s lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, though it is also a satirical treatment of Vita and her work. In Orlando, the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed in order for it to be mocked.The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centred novel.Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog’s point of view. Woolf was inspired to write this book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was produced for the first time in 1932 by the actress Katharine Cornell. Her last work, Between the Acts (1941), sums up and magnifies Woolf’s chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history. This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse. While Woolf’s work can be understood as consistently in dialogue with Bloomsbury, particularly its tendency (informed by G. E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie’s ideals.Woolf’s works have been translated into over 50 languages by writers such as Jorge Luis Borges and Marguerite Yourcenar.