Bøger af Virginia Woolf

To the Lighthouse (1927) is widely considered one of the most important works of the twentieth century. With this ambitious novel, Woolf established herself as one of the leading writers of modernism.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

In these texts, Virginia Woolf considers the implications of the historical exclusion of women from education and from economic independence. In A Room of One's Own (1929), she examines the work of past women writers, and looks ahead to a time when women's creativity will not be hampered by poverty, or by oppression. In Three Guineas (1938), however, Woolf argues that women's historical exclusion offers them the chance to form a political and cultural identity which could challenge the drive towards fascism and war.

The Voyage Out is a novel written by Virginia Woolf, published in 1915. The story follows the journey of a young woman named Rachel Vinrace, who embarks on a voyage to South America with her aunt and uncle. Along the way, she meets a diverse group of characters, including the charming and enigmatic Terence Hewet, with whom she forms a deep connection.As Rachel navigates the complexities of her relationships with those around her, she begins to question her own identity and purpose in life. The novel explores themes of love, desire, gender roles, and the search for meaning in a rapidly changing world.Woolf's writing style is characterized by her use of stream-of-consciousness narration and her keen observations of human behavior and psychology. The Voyage Out is considered a seminal work in the development of modernist literature, and is praised for its vivid descriptions of exotic locales and its nuanced portrayal of complex characters.Overall, The Voyage Out is a thought-provoking and beautifully written novel that offers a compelling exploration of the human condition.In the streets of London where beauty goes unregarded, eccentricity must pay the penalty, and it is better not to be very tall, to wear a long blue cloak, or to beat the air with your left hand.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

Monday or Tuesday offers us an insight into Virginia Woolf's excursions into the "stream of consciousness" writing she became so famous for. Her words are "Moments of being," in a format of a collection of short stories mainly concerned with people's thoughts as well as psychology, and the human condition.

Jacob's Room is Virginia Woolf's first truly experimental novel. It is a portrait of a young man, who is both representative and victim of the social values which led Edwardian society into war. Jacob's life is traced from the time he is a small boy playing on the beach, through his years in Cambridge, then in artistic London, and finally making a trip to Greece, but this is no orthodox Bildungsroman. Jacob is presented in glimpses, in fragments, as Woolf breaks down traditional ways of representing character and experience. The novel's composition coincided with the consolidation of Woolf's interest in feminism, and she criticizes the privilege thoughtless smugness of patriarchy, "the other side," "the men in clubs and Cabinets." Her stylistic innovations are conscious attempts to realize and develop women's writing and the novel dramatizes her interest in the ways both language and social environments shape differently the lives of men and women.

Orlando: A Biography is a novel by Virginia Woolf, first published on 11 October 1928. A high-spirited romp inspired by the tumultuous family history of Woolf's lover and close friend, the aristocratic poet and novelist Vita Sackville-West, it is arguably one of Woolf's most popular and accessible novels: a history of English literature in satiric form. The book describes the adventures of a poet who changes sex from man to woman and lives for centuries, meeting the key figures of English literary history. Considered a feminist classic, the book has been written about extensively by scholars of women's writing and gender and transgender studies. There have been several adaptations: in 1989 director Robert Wilson and writer Darryl Pinckney collaborated on a theatrical production. A film adaptation was released in 1992, starring Tilda Swinton as Orlando. Another stage adaption by Sarah Ruhl premiered in New York City in 2010. In 2016, composer Peter Aderhold and librettist Sharon L. Joyce premiered am opera based on the work at the Braunschweig State Theater.

Rachel Vinrace embarks for South America on her father's ship and is launched on a course of self-discovery in this modern version of the mythic voyage. In one of Woolf's wittiest, most satirical novels, we are introduced to Clarissa Dalloway, the central character of Woolf's later novel, Mrs. Dalloway. The mismatched jumble of passengers on the ship provide Woolf with ample opportunity to satirize Edwardian life.

Night and Day is a novel by Virginia Woolf first published on 20 October 1919. Set in Edwardian London, Night and Day contrasts the daily lives and romantic attachments of two acquaintances, Katharine Hilbery and Mary Datchet. The novel examines the relationships between love, marriage, happiness, and success. Katharine Hilbery is beautiful and privileged, but uncertain of her future. She must choose between becoming engaged to the oddly prosaic poet William Rodney, and her dangerous attraction to the passionate Ralph Denham. As she struggles to decide, the lives of two other women - women's rights activist Mary Datchet and Katharine's mother, Margaret, struggling to weave together the documents, events and memories of her own father's life into a biography - impinge on hers with unexpected and intriguing consequences. Virginia Woolf's delicate second novel is both a love story and a social comedy, yet it also subtly undermines these traditions, questioning a woman's role and the very nature of experience.

Monday or Tuesday, a classical book, has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

Virginia Woolf's greatest works, To the Lighthouse, A Room of One's Own, and Mrs. Dalloway, offer readers a captivating glimpse into the human experience. With her innovative writing style and acute observations of the human condition, Woolf explores themes of love, loss, and the search for identity. Her works continue to resonate with readers, providing a powerful and thought-provoking reflection on the complexities of life, society, and the individual psyche. - A collection of some of the most acclaimed and beloved works by the author. - Unique and innovative writing style - Explores themes of love, loss, identity, and the complexities of human relationships - Includes some of the most celebrated and influential works of modernist literature - The book offers readers the opportunity to experience these timeless works firsthand and appreciate their enduring legacy.

In Jacob's Room, Virginia Woolf takes readers on a journey through the life of Jacob Flanders, a young man coming of age in early 20th-century England. Through Woolf's vivid and evocative prose, we see Jacob navigate the complexities of love, friendship, and societal expectations as he grows from a boy into a man. Woolf's experimental narrative style and use of stream of consciousness add a layer of depth to the story, allowing readers to fully immerse themselves in Jacob's thoughts and experiences. As we follow Jacob through his life, we also witness the changing world around him, from the political upheaval of World War I to the shifting social norms of the time. Through it all, Woolf's writing captures the essence of a generation coming of age in a rapidly changing world.

Although known for her later experiments with style and structure, Virginia Woolf set out in her early novels to master the traditional form. Her second novel, Night and Day, presents itself as a seemingly conventional marriage plot, complete with love triangles, broken engagements, and unrequited affections. Beneath these conventional trappings, however, the book¿s deeper concerns are resolutely subversive. The main characters¿a quartet of friends and would-be lovers¿come together, pull apart, and struggle to reconcile socially-prescribed norms of love and marriage with their own beliefs and ambitions.

Hvordan forhindres krig? Spørgsmålet stilles til Virginia Woolf på kanten til 2. verdenskrig. Hendes svar er denne bog. For at forhindre krig kræver det ifølge Woolf et opgør med den patriarkalske kultur, som leder til militarisme. Derfor skal kvinder gøres økonomisk uafhængige og have lige adgang til uddannelse, arbejdsmarkedet og den offentlige debat. Sprogligt virtuost og intellektuelt overbevisende giver Virginia Woolf i dette klassiske essay fra 1938 svar på et spørgsmål, som i dag fortsat er smerteligt aktuelt.Virginia Woolf (1882-1941) er en af de største skønlitterære forfattere nogensinde og har skrevet romanklassikere som "Til fyret", "Mrs. Dalloway" og "Bølgerne".Bogen er en del af serien Feministisk bibliotek, der samler fire af de mest markante feministiske stemmer fra de sidste 100 år og introducerer de vigtigste diskussioner om forholdet mellem køn, magt og historie

Mrs. Dalloway takes place over the course of a single day in a woman's life in 1920's London. There are flowers to buy, outfits to choose, but also a visit from a past lover, and the tragic fate of a young war veteran who cannot adjust to life in post-war London. Virginia Woolf's supple and mesmerizing account of an ordinary day draws the reader into the minds, perceptions, and emotions of an astonishingly varied and vivid cast of characters. Woolf reminds us that each day, hour, and even minute of our lives harbors the potential to transform us and those around us. The novel ranks among those rare, timeless books that speak to us anew with each reading. Includes Woolf's short story, "Mrs. Dalloway in Bond Street," a uniquely insightful new afterword, and a detailed biographical timeline.

Probably Virginia Woolf¿s best-known novel, Mrs. Dalloway, originally published in 1925, is a glorious, ground-breaking text. On the surface, it follows Clarissa Dalloway, an Englishwoman in her fifties, minute by minute through the June day on which she is having a party. At a deeper level, however, the novel demonstrates, through an effortless stream of consciousness, the connections formed in human interaction¿whether these interactions are fleeting, or persist through decades.This is a novel to read and cherish, if only to marvel at Woolf¿s linguistic acrobatics. Words and phrases swoop and soar like swallows. Woolf¿s sentences are magnificent: sinuous, whirling, impeccably detailed. As narrative perspective shifts from character to character¿sometimes within a single sentence¿readers come to understand the oh-so-permeable barrier between self and other. Through Clarissa we meet Septimus Warren Smith, his wife Rezia, and a cast of dozens more, all connected by the ¿leaden circles¿ of Big Ben marking the passage of every hour, by the pavements of Bloomsbury that lead everywhere and nowhere. Modernist London has never been portrayed more sublimely: replete with birdsong and flowers, resplendent in sunshine, youthful yet eternal¿and even in the aftermath of war and pandemic, resilient.Mrs. Dalloway is Woolf¿s attempt to express that which may be inexpressible. It offers a close examination of how difficult it is, even when our hearts are brimming, to say what we really feel; and it examines the damage we inflict through our reticence with words, our withholding of love. It is a novel of the soul, and a work of immense beauty.

We rely on your support to help us keep producing beautiful, free, and unrestricted editions of literature for the digital age.Will you support our efforts with a donation?In her third novel, Virginia Woolf departs from conventional narrative and explores storytelling through discordant scenes and impressions. Jacob Flanders¿ life story is told through the perspectives of the people in his life.In Jacob¿s Room, we see Jacob grow from a young boy to an ardent student of Classical culture while the world around him moves closer to an impending war. Jacob is described in flashes by the women around him¿his mother and his lovers.

Pero, me diréis, le hemos pedido que nos hable de las mujeres y la novela. ¿Qué tiene esto que ver con una habitación propia? Intentaré explicarme. Cuando me pedisteis que hablara de las mujeres y la novela, me senté a orillas de un río y me puse a pensar qué significarían esas palabras. Quizás implicaban sencillamente unas cuantas observaciones sobre Fanny Burney; algunas más sobre Jane Austen; un tributo a las Brontë y un esbozo de la rectoría de Haworth bajo la nieve; algunas agudezas, de ser posible, sobre Miss Mitford; una alusión respetuosa a George Eliot; una referencia a Mrs. Gaskell y esto habría bastado. Pero, pensándolo mejor, estas palabras no me parecieron tan sencillas. El título las mujeres y la novela quizá significaba, y quizás era éste el sentido que le dabais, las mujeres y su modo de ser; o las mujeres y las novelas que escriben; o las mujeres y las fantasías que se han escrito sobre ellas; o quizás estos tres sentidos estaban inextricablemente unidos y así es como queríais que yo enfocara el tema. Pero cuando me puse a enfocarlo de este modo, que me pareció el más interesante, pronto me di cuenta de que esto presentaba un grave inconveniente. Nunca podría llegar a una conclusión. Nunca podría cumplir con lo que, tengo entendido, es el deber primordial de un conferenciante: entregaros tras un discurso de una hora una pepita de verdad pura para que la guardarais entre las hojas de vuestros cuadernos de apuntes y la conservarais para siempre en la repisa de la chimenea.

Al acercarse a la playa cada barra se alzaba, se amontonaba sobre sí misma, rompía, y se deslizaba un sutil velo de agua blanca sobre la arena. La ola se detenía, y después volvía a retirarse arrastrándose, con un suspiro como el del durmiente cuyo aliento va y viene en la inconsciencia. Poco a poco, la oscura raya en el horizonte se aclaraba, como si las partículas suspendidas en una vieja botella de vino hubieran descendido al fondo, dejando verde el vidrio. También más allá se aclaraba el cielo, como si el blanco poso hubiera descendido, o como si el brazo de una mujer recostada bajo el horizonte hubiera alzado una lámpara, y planas barras blancas, verdes y amarillas se proyectaban en el cielo, como las varillas de un abanico. Entonces, la mujer alzó más la lámpara, y el aire pareció devenir fibroso y apartarse de la verde superficie, chispeante y llameando, en rojas y amarillas hebras como el humeante fuego que ruge en una hoguera. -Poco a poco, las hebras de la hoguera se fundieron en un resplandor, en una incandescencia que alzó el peso del gris cielo lanudo, poniéndolo encima de él, y lo convirtió en millones de átomos de suave azul. La superficie del mar se hizo despacio transparente, y estuvo destellante y rizada hasta que las oscuras barras quedaron casi borradas. Lentamente, el brazo que sostenía la lámpara la alzó más, y después más, hasta que la ancha llama se hizo visible. Un arco de fuego ardía en el borde del horizonte, y a su alrededor el mar lanzaba llamas doradas.

La señora Dalloway dijo que ella misma compraría las flores.Porque Lucy ya le había hecho todo el trabajo. Las puertas serían sacadas de sus goznes; los hombres de Rumpelmayer iban a venir. Y entonces, pensó Clarissa Dalloway, ¡qué mañana! ¿fresca como si fuesen a repartirla a unos niños en la playa. ¡Qué deleite! ¡Qué zambullida! Porque eso era lo que siempre había sentido cuando, con un leve chirrido de goznes, que todavía ahora seguía oyendo, había abierto de golpe las puertaventanas y se había zambullido en el aire libre de Bourton. Qué fresco, qué tranquilo, más que ahora desde luego, estaba el aire en las primeras horas de la mañana; como el aleteo de una ola, el beso de una ola, frío y cortante y sin embargo (para los dieciocho años que tenía entonces), solemne, sintiendo, como sentía allí de pie en la ventana abierta, que algo terrible estaba a punto de suceder; mientras miraba las flores, los árboles, el humo escapando entre su fronda, y a los grajos volando arriba y abajo; de pie y mirando hasta que Peter Walsh dijo: «¿Mirando a las musarañas?» ¿¿eso dijo?¿. «Prefiero a los hombres antes que las musarañas» ¿¿eso dijo? Debió decirlo en el desayuno cuando ella había salido a la terraza. Peter Walsh. Volvería de la India un día de éstos, en junio o julio, había olvidado cuándo, pues sus cartas eran terriblemente pesadas; eran sus dichos lo que una recordaba; sus ojos, su cortaplumas, su sonrisa, su mal genio y, una vez que miles de cosas se habían disipado completamente ¿¡qué cosa tan extraña!¿ unos cuantos dichos como éste, sobre las musarañas. Se irguió un poco sobre el bordillo esperando que pasara el camión de Durtnall. Una mujer encantadora, pensó Scrope Purvis (que la conocía como uno conoce a los vecinos de Westminster); tenía el no sé qué de un pajarillo, del arrendajo, verde azulado, ligera, vivaracha, aunque tenía cincuenta años cumplidos, y muy pálida desde su enfermedad. Ahí estaba ella encaramada, sin verlo, esperando a cruzar, bien erguida.

Era una noche de verano y, en la amplia estancia con ventanas que daban al jardín, hablaban acerca del pozo negro. El consejo del condado había prometido llevar agua al pueblo, pero no lo había cumplido. La señora Haines, esposa del caballero terrateniente, una mujer que tenía cara de oca y unos ojos saltones, como si vieran algo que tragar en la acequia, dijo con afectación:¿¡Vaya tema de conversación en una noche como esta!Entonces hubo un silencio; una vaca mugió, y esto dio pie a que la señora Haines comentara cuán raro era que, siendo niña, jamás hubiera temido a las vacas, solo a los caballos. Aunque había que tener en cuenta que, cuando era muy pequeña, todavía en el cochecito, un caballo de tiro había pasado a un dedo de su cara. Su familia, dijo la señora Haines al anciano que estaba sentado en un sillón, había residido cerca de Liskeard durante siglos. Las tumbas que había en el cementerio así lo demostraban.Fuera, un pájaro gorjeó. ¿¿Un ruiseñor? ¿preguntó la señora Haines.No, los ruiseñores no llegaban tan al norte. Era un pájaro diurno que, animado por otro día sustancioso y suculento, por los gusanos y los caracoles y la arenilla, gorjeaba incluso dormido.

Hay una frase en la «Vida de Gray», del doctor Johnson, que bien pudo ser escrita en todas esas salas, demasiado humildes para ser llamadas bibliotecas, aunque llenas de libros, donde gente anónima se entrega a la lectura: «¿ me regocijo de coincidir con el lector común; pues el sentido común de los lectores, incorrupto por prejuicios literarios, después de todos los refinamientos de la sutileza y el dogmatismo de la erudición, debe decidir en último término sobre toda pretensión a los honores poéticos». Define sus cualidades; dignifica sus fines; se dedica a una actividad que devora una gran cantidad de tiempo, y sin embargo tiende a no dejar tras de sí nada muy sustancial: la sanción al reconocimiento del gran hombre. El lector común, como da a entender el doctor Johnson, difiere del crítico y del académico. Está peor educado, y la naturaleza no lo ha dotado tan generosamente. Lee por placer más que para impartir conocimiento o corregir las opiniones ajenas. Le guía sobre todo un instinto de crear por sí mismo, a partir de lo que llega a sus manos, una especie de unidad ¿un retrato de un hombre, un bosquejo de una época, una teoría del arte de la escritura. Nunca cesa, mientras lee, de levantar un entramado tambaleante y destartalado que le dará la satisfacción temporal de asemejarse al objeto auténtico lo suficiente para permitirse el afecto, la risa y la discusión. Apresurado, impreciso y superficial, arrancando ora este poema, ora esa astilla de un mueble viejo, sin importarle dónde lo encuentra o cuál sea su naturaleza siempre y cuando sirva a su propósito y complete su estructura, sus deficiencias como crítico son demasiado obvias para señalarlas; pero si, como afirmaba el doctor Johnson, tiene voz en el reparto último de los honores poéticos, entonces, tal vez, merezca la pena anotar unas cuantas de las ideas y opiniones que, insignificantes por sí mismas contribuyen, no obstante, a tan grandioso resultado.

Mrs. Dalloway by Virginia Woolf is a modernist masterpiece that takes readers on a mesmerizing journey through the thoughts and experiences of its characters. Immerse yourself in Woolf's innovative narrative style and explore the complexities of human consciousness and societal expectations. Experience Woolf's lyrical prose and stream-of-consciousness storytelling. Engage with the inner lives of the characters and their interconnected narratives. Reflect on themes of identity, time, and the constraints of social conventions. Delve into Woolf's exploration of gender roles and the impact of World War I. This edition presents Woolf's groundbreaking novel with a beautifully designed cover, making it an essential addition to the collection of literary enthusiasts and fans of modernist literature.

Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind.? If Shakespeare had a sister as talented as he, would she have got the same opportunities to develop her skills? Constructed around Woolf's idea that to write fiction a woman must have money and a room of her own, this revolutionary work depicts a woman's predicaments as she struggles deep within for some place of her own where she can work without restrictions. it brings forth the differences, biases and conventional attitudes that have caused immense suffering to women across the centuries. A major work of the twentieth-century feminist literature, a Room of One's Own is an extended essay based on a series of lectures titled? Women and Fiction? delivered at two women's colleges in Cambridge. More than half a century after its publication, this book continues to be an inspiration for women across the globe.