Woolf, Virginia
(London 1882-1941 Rodmell bei Lewes, Sussex, Selbstmord) : Schriftstellerin, Verlegerin
Name Alternative(s)
Stephen, Adeline Virginia
Subjects
Index of Names : Occident
/
Literature : Occident : Great Britain
Chronology Entries (27)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1913 |
Woolf, Virginia. Chinese stories. In : Times literary supplement ; 1 May (1913). In : The essays of Virginia Woolf. (London : Hogarth Press, 1986-2011). Vol. 2. Review of P'u Sung-ling [Pu Songling]. Strange stories from the lodge of leisures. [ID D31533]. According to Mr George Soulié, the translator of these stories, we seriously mistake the nature of the ordinary Chinaman if we imagine him any more exclusively occupied with the great classics of his literature than we are with ours. If we see him with a book in his hand it is likely to be 'a novel like the History of the Three Kingdoms or a selection of ghost stories'. Like us they have a hunger for novels and stories, which they read over and over again, so that, although in the West nothing is known about it, the influence of such light literature upon the Chinese mind 'is much greater than the whole bulk of the classics'. They may resemble us in their craving for something lighter, nearer to the life they know than the old and famous books, but in all else how different they are! The twenty-five stories in Strange Stories from the Lodge of Leisure, translated from the Chinese by George Soulié, were written in the second half of the eighteenth century by P'ou Song-Lin, at a time, that is, when with Fielding and Richardson our fiction was becoming increasingly robust and realistic. To give any idea of the slightness and queerness of these stories one must compare them to dreams, or the airy, fantastic, and inconsequent flight of a butterfly. They skim from world to world, from life to death. The people they describe may kill each other and die, but we cannot believe either in their blood or in their dissolution. The barriers against which we in the West beat our hands in vain are for them almost as transparent as glass. "Some people (one of the stories begins) remember every incident of their former existences; it is a fact which many examples can prove. Other people do not forget what they learned before they died and were born again, but remember only confusedly what they were in a precedent life. Wang, the acceptable of the yellow peach-blossom city, when people discussed such questions before him used to narrate the experience he had had with his first son." And the story which occupies three little pages tells how a boy had once been born a student, then a donkey, and then a boy again. Very often these stories are like the stories a child will tell of a sight which has touched its imagination for no reason that we can discover, lacking in point where we expect the point to come, suddenly breaking off and done with, but somehow memorable. Or it may be they are extravagantly sensational, or of the nature of fairy stories, where all is miraculously set right in the end, or again purposeless and callous as a child's stories, the good man being killed merely to make an end. But they all alike have a quality of fantasy and spirituality which sometimes, as in 'The Spirit of the River' or 'The River of Sorrows', becomes of real beauty, and is greatly enhanced by the unfamiliar surroundings and exquisite dress. Take, for example, the following description of a Chinese ghost: "He went farther and farther: the moving lights were rarer; ere long he only saw before him the fire of a white lantern decorated with two red peonies. The paper globe was swinging to the steps of a tiny girl clothed in the blue linen that only slaves wore. The light behind showed the elegant silhouette of another woman, this one covered with a long jacket made in a rich pink silk edged with purple. As the student drew nearer the belated walker turned round, showing an oval face and big long eyes wherein shone a bright speck cruel and mysterious." So queer and topsy-turvy is the atmosphere of these little stories that one feels, when one has read a number of them, much as if one had been trying to walk over the bridge in a willow pattern plate. |
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| 2 | 1917-1941 |
Library of Leonard and Virginia Woolf. [ID D31515]. Boxer indemnity and Chinese education : The question on the remission and allocation of the British share. (London: Chinese Association for the Promotion of Education, 1924). Review copy. China’s position in international finance. Pamphlets on Chinese Questions, 6. (London: Allen & Unwin, 1919). Chitty, J. R. Things seen in China. (London : Seeley, 1909). Coleman, Frederic Abernethy. The Far East unveiled : an inner history of events in Japan and China in the year 1916. (London : Cassell, 1918). Review copy. Fa-hsien. The travels of Fa-hsien (399-414 A.D.), or, Record of the Buddhist kingdoms [ID D7723]. Giles, Herbert Allen. Chaos in China [ID D7750]. Hakluyt, Richard. The principall nauigations, voiages and discoueries of the English nation [ID D1635]. Keeton, George Williams. The development of extraterritoriality in China. (London : Longmans, Green, 1928). Vol. 1. Mandeville, John, Sir. The Travels of Sir John Mandeville. (London : Macmillan, 1900). Oriental stories (La Fleur lascive orientale) : being a recueil of joyous stories hitherto unpublished. Translated from Arabian, Mongolian, Japanese, Indian, Tamil, Chinese, Persian, Malayan, and other sources. (Athens: Erotika Biblion Society, 1893). Polo, Marco. The book of Ser Marco Polo, the Venetian, concerning the kingdoms and marvels of the East. Transl. and ed. by Henry Yule. 3d ed., rev. (London : Murray, 1903). Vol. 2. [ID D5467]. Polo, Marco. The Travels of Marco Polo, the Venetian. Introd. by John Masefield. London : Dent, 1926). Pratt, John Thomas. China and Japan. (London : King and Staples, 1944). The relations between China and Japan during the last twenty-five years. (London : Allen & Unwin, 1919). 2 review copies. Robinson, Joan ; Adler, Sol. China : an economic perspective. (London : Fabian International Bureau, 1958). Russell, Bertrand. The problem of China [ID D5122]. The situation in the Taiwan area : position of the Soviet Union. (London: Soviet News, 1958). Wang, Chung-hui. Law reform in China. (London : Allen & Unwin, 1919). Review copy. Willoughby, Westel Woodbury. Foreign rights and interests in China. Rev. and enl. ed. Vol. 1-2. (Baltimore : Johns Hopkins University Press, 1927). Willoughby, Westel Woodbury. Opium as an international problem. (Baltimore: Johns Hopkins University Press, 1925). Review copy. The world peace and Chinese tariff autonomy. (London: Allen & Unwin, 1919). |
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| 3 | 1917-1944 |
Virginia Woolf. Works [ID D31517]. 1917 Woolf, Virginia. The mark on the wall. (Richmond : Hogarth Press, 1917). It is true that he does finally incline to believe in the camp; and, being opposed, indites a pamphlet which he is about to read at the quarterly meeting of the local society when a stroke lays him low, and his last conscious thoughts are not of wife or child, but of the camp and that arrowhead there, which is now in the case at the local museum, together with the foot of a Chinese murderess, a handful of Elizabethan nails, a great many Tudor clay pipes, a piece of Roman pottery, and the wine-glass that Nelson drank out of--proving I really don't know what. 1919 Woolf, Virginia. Kew gardens. (Richmond : Hogarth Press, 1919). "Wherever does one have one's tea?" she asked with the oddest thrill of excitement in her voice, looking vaguely round and letting herself be drawn on down the grass path, trailing her parasol, turning her head this way and that way, forgetting her tea, wishing to go down there and then down there, remembering orchids and cranes among wild flowers, a Chinese pagoda and a crimson crested bird; but he bore her on… But there was no silence; all the time the motor omnibuses were turning their wheels and changing their gear; like a vast nest of Chinese boxes all of wrought steel turning ceaselessly one within another the city murmured; on the top of which the voices cried aloud and the petals of myriads of flowers flashed their colours into the air… 1919 Woolf, Virginia. Night and day. (London : Hogarth Press, 1919). Chap. 1 She observed that he was compressing his teacup, so that there was danger lest the thin china might cave inwards... Chap. 4 The three of them stood for a moment awkwardly silent, and then Mary left them in order to see that the great pitcher of coffee was properly handled, for beneath all her education she preserved the anxieties of one who owns china... Chap. 9 All the books and pictures, even the chairs and tables, had belonged to him, or had reference to him; even the china dogs on the mantelpiece and the little shepherdesses with their sheep had been bought by him for a penny a piece from a man who used to stand with a tray of toys in Kensington High Street, as Katharine had often heard her mother tell... 1920 Woolf, Virginia. Solid objects. In : The Athenaeum ; October (1920). Anything, so long as it was an object of some kind, more or less round, perhaps with a dying flame deep sunk in its mass, anything--china, glass, amber, rock, marble--even the smooth oval egg of a prehistoric bird would do… He could only touch it with the point of his stick through the railings; but he could see that it was a piece of china of the most remarkable shape, as nearly resembling a starfish as anything--shaped, or broken accidentally, into five irregular but unmistakable points… At length he was forced to go back to his rooms and improvise a wire ring attached to the end of a stick, with which, by dint of great care and skill, he finally drew the piece of china within reach of his hands… The meeting was held without him. But how had the piece of china been broken into this remarkable shape? A careful examination put it beyond doubt that the star shape was accidental, which made it all the more strange, and it seemed unlikely that there should be another such in existence… The contrast between the china so vivid and alert, and the glass so mute and contemplative, fascinated him, and wondering and amazed he asked himself how the two came to exist in the same world… He now began to haunt the places which are most prolific of broken china, such as pieces of waste land between railway lines, sites of demolished houses, and commons in the neighbourhood of London. But china is seldom thrown from a great height; it is one of the rarest of human actions. You have to find in conjunction a very high house, and a woman of such reckless impulse and passionate prejudice that she flings her jar or pot straight from the window without thought of who is below. Broken china was to be found in plenty, but broken in some trifling domestic accident, without purpose or character… It weighed his pocket down; it weighed the mantelpiece down; it radiated cold. And yet the meteorite stood upon the same ledge with the lump of glass and the star-shaped china… As his standard became higher and his taste more severe the disappointments were innumerable, but always some gleam of hope, some piece of china or glass curiously marked or broken lured him on… 1922 Woolf, Virginia. Jacob's room. (Richmond : Hogarth Press, 1922). Chap. 3 The waiters at Trinity must have been shuffling china plates like cards, from the clatter that could be heard in the Great Court... Chap. 6 The Greeks—yes, that was what they talked about—how when all’s said and done, when one’s rinsed one’s mouth with every literature in the world, including Chinese and Russian (but these Slavs aren’t civilized), it’s the flavour of Greek that remains... Chap. 13 And Clara would hand the pretty china teacups, and smile at the compliment—that no one in London made tea so well as she did... 1923 Woolf, Virginia. The Chinese shoe. In : Nation & Athenaeum ; 17 Nov. (1923). In : The essays of Virginia Woolf. (London : Hogarth Press, 1986-2011). Vol. 3. Review of Fitzpatrick, Kathleen. Lady Henry Somerset. (London : J. Cape, 1923). "Lady Henry Somerset, her biographer says, 'came into the world with a far lagrger share of the joy of being alive' than is the lot of most. If that were so, no woman was ever more completely defrauded of her rights. The Victorian age was to blame ; her mother was to blame ; Lord Henry was to blame ; even the saintly Mr Watts was forced by fate to take part in the general conspiracy against her. Between them each natural desire of a lively and courageous nature was stunted, until we feel that the old Chinese custom of fitting the foot to the shoe was charitable compared with the mid-Victorian practice of fitting the woman to the system." 1923 Woolf, Virginia. Mrs Dalloway in Bond street. In : Dial ; vol. 75, no 1 (July 1923). 'Good morning to you!' said Hugh Whitbread raising his hat rather extravagantly by the china shop, for they had known each other as children. 'Where are you off to?'… It was much more important, he said, to get trade with China… 1925 Woolf, Virginia. Miss Mitford. The common reader : first series. (London : Hogarth Press, 1925). The touch about the cream, for instance, might be called historical, for it is well known that when Mary won £20,000 in the Irish lottery, the Doctor spent it all upon Wedgwood china… Lady Dorothy Nevill. she imported rare fish; spent a great deal of energy in vainly trying to induce storks and Cornish choughs to breed in Sussex; painted on china… 1925 Woolf, Virginia. Mrs Dalloway. (London : Hogarth Press, 1925). Devonshire House, Bath House, the house with the china cockatoo, she had seen them all lit up once; and remembered Sylvia, Fred, Sally Seton--such hosts of people; and dancing all night; and the waggons plodding past to market; and driving home across the Park… Choosing a pair of gloves--should they be to the elbow or above it, lemon or pale grey?--ladies stopped; when the sentence was finished something had happened. Something so trifling in single instances that no mathematical instrument, though capable of transmitting shocks in China… Of all, her mistress was loveliest--mistress of silver, of linen, of china, for the sun, the silver, doors off their hinges, Rumpelmayer's men, gave her a sense, as she laid the paper-knife on the inlaid table, of something achieved… For the Dalloways, in general, were fair-haired; blue-eyed; Elizabeth, on the contrary, was dark; had Chinese eyes in a pale face; an Oriental mystery; was gentle, considerate, still… It was expression she needed, but her eyes were fine, Chinese, oriental, and, as her mother said, with such nice shoulders and holding herself so straight, she was always charming to look at; and lately, in the evening especially, when she was interested, for she never seemed excited, she looked almost beautiful, very stately, very serene… The cold stream of visual impressions failed him now as if the eye were a cup that overflowed and let the rest run down its china walls unrecorded… 1927 Woolf, Virginia. The new dress. In : The New York magazine ; May (1927). [Geschrieben 1924]. at Easter--let her recall it--a great tuft of pale sand-grass standing all twisted like a shock of spears against the sky, which was blue like a smooth china egg, so firm, so hard, and then the melody of the waves… Barnet for helping her and wrapped herself, round and round and round, in the Chinese cloak she had worn these twenty years… 1927 Woolf, Virginia. To the lighthouse. (London : Hogarth Press, 1927). The window. Chap. 3 With her little Chinese eyes and her puckered-up face, she would never marry; one could not take her painting very seriously; she was an independent little creature, and Mrs. Ramsay liked her for it; so, remembering her promise, she bent her head. Chap. 5 And now," she said, thinking that Lily's charm was her Chinese eyes, aslant in her white, puckered little face, but it would take a clever man to see it, "and now stand up, and let me measure your leg," for they might go to the Lighthouse after all, and she must see if the stocking did not need to be an inch or two longer in the leg... Chap. 17 But, she thought, screwing up her Chinese eyes, and remembering how he sneered at women, "can't paint, can't write," why should I help him to relieve himself?... She faded, under Minta's glow; became more inconspicuous than ever, in her little grey dress with her little puckered face and her little Chinese eyes… The China rose is all abloom and buzzing with the yellow bee... Chap. 19 And she waited a little, knitting, wondering, and slowly rose those words they had said at dinner, "the China rose is all abloom and buzzing with the honey bee"… Time passes Chap. 4 So with the house empty and the doors locked and the mattresses rolled round, those stray airs, advance guards of great armies, blustered in, brushed bare boards, nibbled and fanned, met nothing in bedroom or drawing-room that wholly resisted them but only hangings that flapped, wood that creaked, the bare legs of tables, saucepans and china already furred, tarnished, cracked... Chap. 5 [She] began again the old amble and hobble, taking up mats, putting down china, looking sideways in the glass, as if, after all, she had her consolations, as if indeed there twined about her dirge some incorrigible hope... Chap. 9 Let the broken glass and the china lie out on the lawn and be tangled over with grass and wild berries… Then the roof would have fallen; briars and hemlocks would have blotted out path, step and window; would have grown, unequally but lustily over the mound, until some trespasser, losing his way, could have told only by a red-hot poker among the nettles, or a scrap of china in the hemlock, that here once some one had lived; there had been a house... The lighthouse Chap. 4 There was something (she stood screwing up her little Chinese eyes in her small puckered face)… Chap. 9 There was something (she stood screwing up her little Chinese eyes in her small puckered face)… He began following her from room to room and at last they came to a room where in a blue light, as if the reflection came from many china dishes, she talked to somebody; he listened to her talking... 1928 Woolf, Virginia. Orlando : a biography. (London : Hogarth Press, 1928). Preface I have had the advantage--how great I alone can estimate--of Mr Arthur Waley's knowledge of Chinese... Chap. 2 Indeed, when Orlando came to reckon up the matter of furnishing with rosewood chairs and cedar-wood cabinets, with silver basins, china bowls, and Persian carpets… Chap. 4 Nor could she do more as the ship sailed to its anchorage by London Bridge than glance at coffee-house windows where, on balconies, since the weather was fine, a great number of decent citizens sat at ease, with china dishes in front of them… Moreover, said Mrs Grimsditch, over her dish of china tea, to Mr Dupper that night… That the cup was china, or the gazette paper, she doubted… Whether the Nymph shall break Diana's Law, Or some frail China Jar receive a Flaw… So then one may sketch her spending her morning in a China robe of ambiguous gender among her books… Chap. 5 Coffee supplanted the after-dinner port, and, as coffee led to a drawing-room in which to drink it, and a drawing-room to glass cases, and glass cases to artificial flowers, and artificial flowers to mantelpieces, and mantelpieces to pianofortes, and pianofortes to drawing-room ballads, and drawing-room ballads (skipping a stage or two) to innumerable little dogs, mats, and china ornaments, the home--which had become extremely important--was completely altered… 1929 Woolf, Virginia. A room of one's own. (London : Hogarth Press, 1929). Chap. 1 What force is behind that plain china off which we dined, and (here it popped out of my mouth before I could stop it) the beef, the custard and the prunes?... Chap. 4 The wonder is that any book so composed holds together for more than a year or two, or can possibly mean to the English reader what it means for the Russian or the Chinese... 1931 Woolf, Virginia. The waves. (London : Hogarth Press, 1931). 'Now there are rounds of white china, and silver streaks beside each plate.'… Everything became softly amorphous, as if the china of the plate flowed and the steel of the knife were liquid… We listen to missionaries from China… There again comes that rollicking chorus. They are now smashing china--that also is the convention… Now again they are smashing the china--that is the convention… What malevolent yet searching light would Louis throw upon this dwindling autumn evening, upon this china-smashing and trolling of hunting-songs, upon Neville, Byron and our life here?... The veins on the glaze of the china, the grain of the wood, the fibres of the matting became more and more finely engraved. Everything was without shadow. A jar was so green that the eye seemed sucked up through a funnel by its intensity and stuck to it like a limpet… 'I like to be asked to come to Mr Burchard's private room and report on our commitments to China… That man there, by the cabinet; he lives you say, surrounded by china pots… And since beauty must be broken daily to remain beautiful, and he is static, his life stagnates in a china sea… I drop all these facts--diamonds, withered hands, china pots and the rest of it--as a monkey drops nuts from its naked paws… "She met him under the dark archway.'It is over,' he said, turning from the cage where the china parrot hangs."… We may wander to a lake and watch Chinese geese waddling flat-footed to the water's edge or see a bone-like city church with young green trembling before it… Each sight is an arabesque scrawled suddenly to illustrate some hazard and marvel of intimacy. The snow, the burst pipe, the tin bath, the Chinese goose--these are signs swung high aloft upon which, looking back, I read the character of each love; how each was different… 1933 Woolf, Virginia. Flush : a biography. (London : Hogarth Press, 1933). A million airs from China, from Arabia, wafted their frail incense into the remotest fibres of his senses… Just as an English peer who has lived a lifetime in the East and contracted some of the habits of the natives--rumour hints indeed that he has turned Moslem and had a son by a Chinese washerwoman--finds, when he takes his place at Court… 1937 Woolf, Virginia. The years. (London : Hogarth Press, 1937). Opposite them stood a Dutch cabinet with blue china on the shelves; the sun of the April evening made a bright stain here and there on the glass… There was a sudden roar of laughter; then the tinkle of a piano; then a nondescript clatter and chatter--of china partly… It was bare yet crowded. The table was too large; there were hard green-plush chairs; yet the table-cloth was coarse; darned in the middle; and the china was cheap with its florid red roses…. Here she was again in the paved alley; there were the old curiosity shops with their blue china and their brass warming-pans… She granted, as she looked round, the superiority of the Lodge china and silver; and the Japanese plates and the picture had been hideous; but this dining-room with its hanging creepers and its vast cracked canvases was so dark… There it was, sure enough. All the same, the party from China took a fancy to it… And here am I, she thought, looking at the china in the Dutch cabinet, in this drawing-room, getting a little spark from what someone said all those years ago--here it comes (the china was changing from blue to livid) skipping over all those mountains, all those seas… The smooth hard surface of the china with its red flowers seemed to her for a second a marvellous mystery… Like everything English, she thought, laying down her umbrella on the refectory table beside the china bowl, with dried rose leaves in it, the past seemed near, domestic, friendly… A nice vase of flowers stood on the dressing-table; there was the polished wardrobe and a china box by her bedside… He stood at the window for a moment admiring a lady of fashion in a charming hat who was looking at a pot in the curiosity shop opposite. It was a blue pot on a Chinese stand with green brocade behind it… They paused for a moment to look at a tree that was covered with pink blossoms in a china tub standing at the door… The table, with the gay china and the lamp, seemed ringed in a circle of bright light as she turned back… "Just back from India," he added. "A present from Bengal, eh?" he said, referring to the cloak. "And next year she's off to China," said Peggy... 1940 Woolf, Virginia. Roger Fry : a biography. (London : Hogarth Press, 1940). He also painted modestly, economically. With penny moist paints and twopenny Chinese white and penny brushes he decorated "two sweet little terra-cott plates 95 with pictures of flowers… A pile of books "as high as the tower of Babel and as intelligible I expect stood on his table. Among them, however, was Letters to John Chinaman, by Lowes Dickinson… Chinese pictures rather recently imported and an immense eighteenth-century carpet spread all over the floor… Half-consciously he would stretch out a hand and begin to alier the flowers in a vase, or pick up a bit of china, turn it round and put it down again… Pots were bought and coloured handkerchiefs, and he pointed out how the bold crude pattern was based on some half-forgotten tradition Russian or Greek, or Chinese?... And though the Orient Express was crowded, and a truculent Colonel, whom Roger Fry sized up correctly at first sight, refused to give up his comer seat had he not said that he would? he contrived somehow to convey an invalid who could not stand and a freight of fragile china successfully across Europe… All sorts of people were coming down Princess Lichnowsky, Lady Ottoline Morrell, G. L. Dickinson, a Chinese poet, a French poet, business men young artists… Then he is off to Poole, to practise throwing, glazing and painting on china… House-moving was an arduous occupation in the early days of peace; the price of linoleum, he groaned, was exorbitant; firm after firm refused to move his furniture; but at last two meat vans hired at Smithfield arrived at Durbins, and under Ms supervision porters who reeked of blood but were charming characters nevertheless removed the Chinese statues, the Italian cabinets, the negro masks and all the pots and plates that had made the big rooms at Durbins glow with so many different colours… the Victorian wall-paper was dabbed out with a stencil; and there in the garden for there was a "beautifully designed garden which stretches away for ever" by the side of a fountain presided over by a Chinese deity under the austere gaze of the tower of Holloway Jail he sat writing an article for the Athenaeum… "Je suis sur que je ne me trompe pas à Paris j'ai trouve un artiste jusqu'alors presqu' inconnu pour moi, Rouault, qui est surement un des grands genies de tous les temps. Je ne pen comparer ses dessins qu’à l'art Tang des Chinois dont il nous reste seulement quelques specimens"… In the house; there was the dining-room, looking out over the garden where his favourite irises nodded over the fountain presided over by the Chinese statue… Then there was the great lady, the patroness of art, who confronted with a blue Picasso, emitted "one of the great sayings of the century. Well, if you call them Chinese, I think they're beautiful, but if you call them French, I think they're quite stupid... He would show "hordes of school marms from the U.S.A. armed with note-books seeking information", round his rooms; and then "a very intelligent young man from Manchester" who was interested in Chinese pottery… And so at last the books came out one after another the books on French art, and Flemish art and British art; the books on separate painters; the books on whole periods of art; the essays upon Persian art and Chinese art and Russian art… There was the Derain picture of a spectral dog in ttie snow; the blue Matisse picture of ships in harbour. And there were the negro masks and the Chinese statues, and ail the plates the rare Persian china and the cheap peasant pottery that he had picked up for a farthing at a fair… "I shall be compelled to work out some of my ideas more fully." Soon he was "head over ears in Chinese art, and hardly know how to get through in time there's so much for me to learn. Here the phrase of the Chinese philosopher makes itself heard: "I homme natural resiste a la nature des choses, celui qui connait le Lao coule par les interstices"... 1941 Woolf, Virginia. Between the acts. (London : Hogarth Press, 1941). It took her five seconds in actual time, in mind time ever so much longer, to separate Grace herself, with blue china on a tray… She laid hold of a thick china mug… The Barn filled. Fumes rose. China clattered; voices chattered. Isa pressed her way to the table… She took it. "Let me turn away," she murmured, turning, "from the array"--she looked desolately round her--"of china faces, glazed and hard… The noise of china and chatter drowned her murmur… On the table they placed a china tea service… The Chinese, you know, put a dagger on the table and that's a battle… Nor the chatter of china faces glazed and hard… 1942 Woolf Virginia. Street haunting : a London adventure. In : Woolf, Virginia. The death of the moth and other essays. (London : Hogarth Press, 1942). [Geschriebne 1930]. "Take it!" she cried, and thrust the blue and white china bowl into our hands as if she never wanted to be reminded of her quixotic generosity… All this--Italy, the windy morning, the vines laced about the pillars, the Englishman and the secrets of his over desks where clerks sit turning with wetted forefinger the files of endless correspondences; or more suffusedly the firelight wavers and the lamplight falls upon the privacy of some drawing-room, its easy chairs, its papers, its china, its inlaid table, and the figure of a woman soul--rise up in a cloud from the china bowl on the mantelpiece… In what crevices and crannies, one might ask, did they lodge, this maimed company of the halt and the blind? Here, perhaps, in the top rooms of these narrow old houses between Holborn and Soho, where people have such queer names, and pursue so many curious trades, are gold beaters, accordion pleaters, cover buttons, or support life, with even greater fantasticality, upon a traffic in cups without saucers, china umbrella handles, and highly-coloured pictures of martyred saints… This packing up and going off, exploring deserts and catching fevers, settling in India for a lifetime, penetrating even to China and then returning to lead a parochial life at Edmonton… Here again is the usual door; here the chair turned as we left it and the china bowl and the brown ring on the carpet… 1942 Woolf, Virginia. Three pictures. In : Woolf, Virginia. The death of th4e moth and other essays. (London : Hogarth Press, 1942). [Geschrieben 1929]. A fine young sailor carrying a bundle; a girl with her hand on his arm; neighbours gathering round; a cottage garden ablaze with flowers; as one passed one read at the bottom of that picture that the sailor was back from China, and there was a fine spread waiting for him in the parlour; and he had a present for his young wife in his bundle; and she was soon going to bear him their first child… The imagination supplied other pictures springing from that first one, a picture of the sailor cutting firewood, drawing water; and they talked about China; and the girl set his present on the chimney-piece where everyone who came could see it; and she sewed at her baby clothes, and all the doors and windows were open into the garden so that the birds were flittering and the bees humming, and Rogers--that was his name--could not say how much to his liking all this was after the China seas... 1944 Woolf, Virginia. The legacy. In : Woolf, Virginia. A haunted house and other stories. (London : Hogarth press, 1944). Every ring, every necklace, every little Chinese box--she had a passion for little boxes--had a name on it… 1944 Woolf, Virginia. The man who lived his kind. In : Woolf, Virginia. A haunted house and other stories. (London : Hogarth press, 1944). And Prickett Ellis feeling something rise within him which would decapitate this young woman, make a victim of her, massacre her, made her sit down there, where they would not be interrupted, on two chairs, in the empty garden, for everyone was upstairs, only you could hear a buzz and a hum and a chatter and a jingle, like the mad accompaniment of some phantom orchestra to a cat or two slinking across the grass, and the wavering of leaves, and the yellow and red fruit like Chinese lanterns wobbling this way and that--the talk seemed like a frantic skeleton dance music set to something very real, and full of suffering… 1944 Woolf, Virginia. Moments of being. In : Woolf, Virginia. A haunted house and other stories. (London : Hogarth press, 1944). the china tea cups and the silver candlesticks and the inlaid table, for the Crayes had such nice things, were wonderful… 1944 Woolf, Virginia. . summing up. In : Woolf, Virginia. A haunted house and other stories. (London : Hogarth press, 1944). Since it had grown hot and crowded indoors, since there could be no danger on a night like this of damp, since the Chinese lanterns seemed hung red and green fruit in the depths of an enchanted forest, Mr. Bertram Pritchard led Mrs. Latham into the garden… |
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| 4 | 1932-2000 |
Virginia Woolf and China : general. 2008 / 2013 Cao Xiaoqin : Virginia Woolf was introduced in 1932 by Ye Gongchao and Chinese readers became acquainted with Woolf through Julian Bell's teaching in National Wuhan University (1935-1936). In the 1930s Woolf's novels influenced Ling Shuhua, Xu Zhimo and Lin Huiyin. From 1949 to 1979 there occurred a sudden silence in Chinese Woolf studies. During these decades of 'New China' literature by modernist writers such as Virginia Woolf were regarded as 'decadent' and therefore these works were 'totally denied, unable to be published openly, hardly found in libraries, and never taught in university classrooms'. From the 1980's on, there was a revived interest in Woolf among Chinese scholars. The large scale Chinese translations of Woolf's works began in the 1980s. Qu Shijing introduced Woolf in 1989. Chinese Woolf studies began increasingly systematic from the late 1990s. 2009 Jin Guanglan : The reception of Woolf has witnessed two stages, in which she is reviewed generally in a positive light. Te first stage from the early 1930s to the late 1940s may be characterized by so-called 'interaction' which sets the tone for the first part of the second stage. The first stage focuses on the interpretation and imitation of Woolf's stream-of-consciousness techniques, involves critique of her feminist essay 'A room of one's own', and culminates in Ling Shuhua's autrobiography, produced with the help of many British intellectuals including Woolf herself. The second stage of Woolf's reception begins in the 1980s with only a few scattered translations and critical essays, given that Woolf was closely connected with modernism, and associated with the various degrees of difficulty. Large scale translation and research of her works appear in the 1990s, which spawned what might be called 'Woolf fever' in the field of foreign literary criticism in China. Up to now, almost all of her novels and essays have been translated into Chinese, and several secondary research books as well as a great number of critical articles have been published. The political spects of Woolf – her concern with political issues, her representation of politics in her writings, her involvement in the public world, and her role as a public intellectual – are largely ignord. In fact, she continues to be generally regarded as an antipolitical writer. The few critical articles that explore Woolf's feminism deal only with her explicit representation of feminism in 'To the lighthouse' and her theoretical explication of androgyny in 'A room of one's own'. Woolf's cultural impact on contemporary Chinese writers is great. As promising writers or poets in China, such writers of the first generation of Woolf studies had a keen understanding of literature. In addition, they had bilingual and bicultural advantages, as well as exposure to the literary milieu of Woolf. Their direct contact with the Bloomsbury group made it possible for them to know the new literary trend. Although, the criticism generated during the first stage of Woolf scholarship is small in quantity, it is good in quality. The future of Woolf studies in China is promising because more and more intellectuals are engaged in researching her works. 2010 Lee Kwee-len : Virginia Woolf's reputation as a writer, critic, and writer has long traveled far and wide. While her popularity in Europe has been well documented, her reception in the Chinese-speaking world--which enjoys the largest population on earth--has been little discussed. This study represents an effort to trace the reception and influence of Woolf and her work in China and Taiwan, which share similar cultures and languages but have been separated by socio-political ideologies, back to as early as the 1920s. The discussion is temporally divided into four periods, from the pre-separation period before 1949, the pre-open-policy period before 1978, the pre-21st century period, through the most recent decade in the very beginning of the twenty-first century. Each period is shown to demonstrate its unique characteristics. The three decades before the Nationalist government retreated to Taiwan enjoyed a privilege of direct contact or correspondence with Woolf herself and her contemporaries. Such a privilege was nevertheless limited to the elite few, which in turn limited Woolf's overall reception. The next period witnessed a Woolf never so forlorn in the Chinese-speaking worlds. In China, she was totally silenced along with her modernist comrades. Her reception in Taiwan appeared somewhat better but was still hardly commensurate with the efforts introducing her and her contemporaries. The last two decades of the twentieth century saw her reception on the rise in both Taiwan and China. Their somewhat different readerships, however, distinguished the ways in which she had been received: while Taiwan was warm and quick to notice her social concerns, China was more critical in attitude and focused more on her literary theories. During the 2000s, Woolf's reception is argued to have matured to such an extent that it turns into influences as evidenced in the various artistic creations in response to her works and the various appropriations of her image as a feminist writer. From the sporadic budding in the first half of the twentieth century to its full blossom in the last decade, Woolf's reception is examined against its receiving environment and argued to vary with different factors at different times. |
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| 5 | 1932 |
[Woolf, Virginia]. Qiang sheng yi dian hen ji. Ye Gongchao yi. [ID D311573]. Ye Gongchao published the translation of Woolf's story The mark on the wall with a brief and objective introduction of Woolf's works and influence in British literature world. He describes Woolf as 'the most widely known novelist in the past decade', who got both praise and censure in British literary world. Ye notes that some celebrated novelists such as Arnold Bennett, H.G. Wells, John Galsworthy, Frank Swinnterton and H.J. Massingham held the idea that Woolf's works were written with extreme elegance, but without any value, while E.M. Forster, Clive Bell, Roger Fry, Lytton Strachey, John Maynard Keynes, and André Maurois responded that Woolf's opponents did not undertstand Woolf's representation of the emancipation of individuals. Ye claims that 'Woolf definitely has no intention to preach to her aufience or critique human life, which alone runs counter to the convention. What she is concerned with is neither the struggle of emotions nor problems of society and life, but the extremely vague, extremely abstract, and extremely acute feelings that psychoanalysis calls the subconsiousness'. Ye argues, Woolf's description of individuality is 'original', and thus her 'technique is absolutely valuable, 'because the novel is based on the presentation of individual behavior. Ye explains that he chose to translate The mark on the wall because it is 'the most typical representative work of Woolf's work. |
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| 6 | 1935-1937 |
Letters from Virginia Woolf. Letter from Virginia Woolf to Vanessa Bell ; 17 July, 1935. I was just sitting down to write to you last nicht when Julian [Bell] came in to say that he has got the Chinese professorship. You will have heard from him already. He seemed very excited, though also rather alarmed at the prospect. I wish it weren't for so long – though he says he can come back after a year. Still I suppose it's a great chance, and means that he will easily get something in England afterwards. Leonard thinks it an extraordinarily interesting job as it will mean being in the thick of Chinese politics, and Julian also felt this – what it means Chinese politics, I don’t know, nor I suppose to you. We had a long talk, and he was very charming and said that he felt it was time he made a complete break. Letter from Virginia Woolf to Julian Bell ; 14 Oct., 1935. We are all well in health, and spry in spirit ; but rather miss you, and I wish Q. wasn't going up to the potteries, however I rather suspect we shall make a push and come to China. Letter from Virginia Woolf to Julian Bell ; 25 Oct., 1935. Then Leonard heard from Tyrrell, whom you had also charmed. And now you are in your official residence on the banks of the Yangtse. Its useless to ask what youre doing at the moment much though I want o know. Letter from Virginia Woolf to Julian Bell ; 1st Dec., 1935. P.M. We have just been to the Chinese show, about which I don’t expect you want information… Letter from Vanessa Bell to Julian Bell ; 7 Dec. 1935. [About the first International Chinese exhibition of Art, Burlington House, London]. All London has gone Chinese… all the great dresses are going to be Chinese and no one talks of anything but Chinese art. Letter from Virginia Woolf to Lady Ottoline Morrell ; 5 Jan., 1936. We shall be back at the end of the week I think, and then I must go to the Chinese again – my one visit was as usual ruined by trying to dodge old friends (not you). And I'ver just been reading about the Chinese in some letters of Rogers [Fry] – he did all his off hand art criticism in letters, and I think its sometimes better than the printed – so fertile, so suggestive. [Exhibition of Chinese Art, The Royal Academy]. Letter from Virginia Woolf to Julian Bell ; 2 May, 1936. I feel instinctively that China is a little like a blue pot ; love a little flowery ; leaning a little scented. Letter from Virginia Woolf to Julian Bell ; 31 May 1936. [Julian Bell wrote to Virginia Woolf he wished he were in Sichuan or Peiping.] I hope now you are not dismal ; still it's a curse, your being so far away and then expect the mitigated culture of your university is rather like skimmed milk… In fact I think you are much to be envied. I wish I had spent three years in China at your age… Letter from Virginia Woolf to Julian Bell ; 14 Nov., 1936. Charles [Mauron] dined with us last night, and talked about you. He says for Gods sage don't leave China and come to fight in France – in Which I think he is right ; but no doubt he has said so already… Yes – tell me, what your amorous entanglements are ? I swear I wont reveal them. What about the Chinese ladies ? Are you wanting to come home ? What about a book on China ? We're having a bad season ; no one buys fiction… A Chinese evelope is a very nice sight, even though your pen is – well, a great black spider. Letter from Virginia Woolf to Vanessa Bell ; Saturday Oct., 1937. Thank you for sending [Richard] Rees' letter. It gives me the feeling I had when Julian came back from China… |
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| 7 | 1936 |
Letter from Julian Bell to Virginia Woolf.; Wuhan University (1936). It's lovely country and the Chinese are charming ; lecturing on the Moderns, 1890-1914 ; 1914-36. I have to read the writers ; what is one to do ; we all write too much ; I shall make the Lighthouse I think, a set book. |
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| 8 | 1938-1939 |
Letters between Virginia Woolf and Ling Shuhua. Letter from Virginia Woolf to Ling Shuhua ; 5 April, 1938. Dear Sue Ling, I hope you have had the letter I wrote in answer to your first letter. I wrote only a few days after I had yours. Now Vanesse [Bell] has just sent on your letter of March 3rd. I wish I could help you. I know what you have much more reason to be unhappy than we have even ; and therefore how foolish any advice must be. But my only advice – and I have tried to take it myself – is to work. So let us think how you could fix your mind upon something worth doing in itself. I have not read any of your writing, but Julian often wrote to me about it, and meant to show me some of it. He said too that you had lived a most interesting life ; indeed, we had discussed – I think in letters – the chance that you would try to write an account of your life in English. That is what I would suggest now. Your English is quite good enough to give the impression you wish to make ; and I could change anything difficult to understand. Will you make a beginning, and put down exactly anything you remember ? As no one in England knows you, the book could be more free than usual. Then I would see if it could not be printed. But please think of this : not merely as a distraction, but as a work that would be of great value to other people too. I find autobiographies much better than novels. You ask what books I would advise you to read : I think the English in the 18th Century wrote in the best way for a foreigner to learn from. Do you like letters ? There are Cowpers, [Horace] Walpoles ; very clear and easy ; Scotts novels ; (Rob Roy) ; Jane Austen ; then Mrs. Gaskells life of Charlotte Brontë ; then among modern writers, George Moore's novels – they are simply written too. I could send you English books, but I do not know if you have them already. But from your letters I see that you write very well ; you need not copy others, only find new words by reading quickly. I say nothing about politics. You know from what I said before how strongly the English are on your side but cannot do anything to help. We hear about China from friends here. But perhaps now there will be a change. The worst may be over. At any rate please remember that I am always glad if you will write and tell me anything about yourself : or politics : and it would be a great pleasure to me to read some of your writing, and criticize it : so think of writing your life, and if you only write a few pages at a time, I could read them and we could discuss it. I wish I could do more. We send you our best sympathy. Yours Virginia Woolf. Letter from Ling Shuhua to Virginia Woolf ; 25 May, 1938. I'm thinking all the stories I had told Julian and them down would be something to the Western people, perhaps some people with free thoughts or others who sympathize with all things human. If I could write this book in a very natural way – from it people coulde see some truths of life and art or sex which Westerners never have a chance even to think about them, that would be something worth doing. Letter from Ling Shuhua to Virginia Woolf ; 16 Nov. 1938. During these last weeks as all bad news brought out at once, we lost [Guangzhou] unexpectedly and Hankow [Hankou] had to withdraw our troops, and the West being in a helpless condition… As I understand that it is useless to got to the front to fight for we cannot find our enemy, we only see the machines… I dream… I saw my house in the ruin and broken furnitures, outside the hous the laying corps, the unburied corpses smelling badly. I think perhaps you would like to know a bit of extreme miserable mind feeling so I wrote this to tell you. Letter from Virginia Woolf to Ling Shuhua ; 9 April, 1938. Dear Sue Ling, I got your letter written on March 3rd a few days ago, and ansered it at once. But stupidly I forgot to send it by airmail – so I write this to tell you that I have written. And the olny thing of any interest I had to say was to ask you to write your autobiography, and to say I will gladly read it and give it any correction it needs. Now your other letter (March 24th) has just come, in which you tell me that you have begun to write this. I am so glad. Julian always told me that you had lived a most interesting life : and you say he also wanted you to write it down – simply, as it comes, not bothering about grammar at all. I also asked if you would like me to send you any old English books – 18th Century ones perhaps – so that you could learn words. But you will find this in my letter. Let me know if I can do anything to help you in your work. I am certain work is the only way in which one can live at this moment. I will send this now, and hope you will get it soon. We send our sympathy and shall always wish for news both of you and of your war, and politics. Yrs Virginia Woolf Letter from Ling Shuhua to Virginia Woolf ; 24 July, 1938. [Betr. Ling, Shu-hua. Ancient melodies [ID D31562]. If my book could give English readers some picture of real Chinese lives, some experience about Chinese who are as ordinary as any English people, some truth of life and sex which your people never have a chance to see it even seen by a child in the East, I shall be contented. I'm not those who only want satisfy readers' curiosity whether or not it's true to. Letter from Virginia Woolf to Ling Shua ; 27 July, 1938. Dear Madame Sue Ling, I have just seen Christopher Isherwood, who gave me the lovely little box with the two little gifts from you. I need not say that I am much touched that you should have got them for me, and I shall keep them on my table—not as a memory of you, for I have never seen you, but all the same I think of you often. Thank you so much. I heard from him how much they had enjoyed seeing you. But he was only here for a moment, and I did not have time to get much information from him. I hope however that you are going on with your work. I am sending you two little books, one is the [Mrs Gaskell] life of Charlotte Bronte, the other Lambs Essays. I think Lamb wrote very good English prose—but do not bother to read it as an exercise; only for pleasure—The life of Charlotte Bronte will perhaps give you a feeling for the lives of women writers in England in the 19th century—their difficulties, and how she overcame them. And it is a very interesting life in other ways. But I will send other books from time to time, on condition that you do not think you must thank me for them. And certainly you must never think of paying for them. They are so cheap in England. I can buy them for a few pence. Tell me the names of any you think you would like. We are just going down to Sussex, and I hope to have more time there. London is so crowded. There is a quiet time here politically for the moment. That is to say we are waiting for what Hitler may do next. People are tired of talking about war; but all the same we do nothing but buy arms. The air is full of aeroplanes at the moment. I hope some day you will write again and tell me how you are getting on with your work. And please remember how glad I shall be to give you any help I can in reading it and correcting any mistakes. But write exactly as you think—that is the only way. With my love, good bye. Please call me Virginia. I do not like being Mrs Woolf. Virginia Woolf. Letter from Virginia Woolf to Ling Shuhua ; 15 Oct., 1938. I am typing this, so as to save your eyes, for my writing is so hard to read. At last I have read the chapter you sent me – I put it off, for one reason At last I have read the chapter you sent me – I put it off, for one reason and another. Now I write to say that I like it very much. I think it has a great charm. It is also of course difficult for an English Person, at first, there is some incoherence, and one does not understand the different wives ; who they are ; which is speaking. But this becomes clear after a time, and then I feel a charm in the very unlikeness. I find the similes strange and poetical. How far it can be read by the public as it stands, I do not know. That I could only say if you would go on sending me more chapters. Then I should get the whole impression. This is only a fragment. Please go on ; write freely ; do not mind how directly you translate the Chinese into the English. In fact I would advise you to come as close to the Chinese both in style and meaning as you can. Give as many natural details of the life of the house, of the furniture as you like. And always do it as if you were writing Chinese. Then if it were to some extent made easy grammatically by someone English I think it might be ossible to keep the Chinese flavor and make it both understandable yet strange for the English. One of the reasons why I did not read it or write before was that we have been so uneasy in England ; we were almost sure of war. Everything was ready, even the gas masks served out, and orders given to house children from London. This atmoshphere made it difficult to fix ones mind on books. Now for the time at least that strain is over. Please forgive me then for having been so long in writing. Next Time you send me more chapters – soon I hope – I will write more quickly. We are just going to London. The houses there are still protected many of them with sand bags. But in China I know things are far worse. I find the only relief is to work. And I hope you will go on, writing, for it might be a very interesting book. Did you get a letter I wrote in August, and a parcel of books ? Tell me, for if they came sage I will send more. It is easy to get books cheaply in London. Please never think of paying for them. It is a great pleasure to me to send them. Tell me what you like. It is difficult to know. I am keeping the manuscript you sent. I can read your writing quite easily, so don't bother to type. Yours with love, Virginia Woolf Letter from Ling Shuhua to Virginia Woolf ; 31 Dec. 1938. I know there is very little chance for me to write a good book in English for the tool I use to do my work in something which I can not handle well. It is true in cooking too, if one uses a foreign pin [pan] or stove to cook a Chinese dish, it won't come out the same as the original. It often loses some good taste. In writing I don't know how far it counts. When I read a good translation, I feel a relief at once… Dear Virginia, I want you to tell me what shall I do since I am in a state of nervous tension. Oh, yet, how I hope you would be as kind as before to tell me to try it, don't despair. Letter from Virginia Woolf to Ling Shuhua ; 17 April, 1939. Dear Sue, I am so glad to hear that you have at last got my letter safely. I will always send them by air mail in future. I have heard several times from you, and I am keeping your chapters as they come. But I hope you keep copies, so that there may be no risk through the post. It is difficult to know what to advise you to do, except that I am sure you ought to go on writing. The difficulty is as you say about the English. I feel that the whole feeling of the book would be very much spoilt if some English were to put what you write into formal English prose; yet of course as it stands it is difficult for English readers to get at your full meaning. I suppose you could not dictate to an educated English person? Perhaps in that way the sense and the feeling could be combined. But it would depend entirely upon finding some¬one who could be quick enough to understand and able to express. I must of course leave this to you, as I do not know what opportunities you have. Meanwhile, I think it is best to get together as many chapters as possible; and then to read them all through together. One cannot get a true impression if one reads in little bits. But I have seen enough to be interested and charmed. Publication would of course depend upon many things so that it is useless to think of it—things we cannot control. But please go on, and let us hope that it will become more hopeful for books later. At the moment we are finding it very difficult to continue our publishing for nobody will read anything except politics; and we have had to make plans for taking our press away from London, and of course have to face the prospect, should there be war, of shutting up our publishing house altogether. It is very difficult to go on working under such uncertainty. But I myself feel it is the only pos¬sible relief from the perpetual strain. It has become worse here, since Italy also began to steal land [Albania]. We do not know if the American presi¬dent's appeal will be heard. If not, there is nothing can prevent war. We are spending Easter in the country; but all the time aeroplanes are crossing the house and every day we hear of some unfortunate refugee who asks for help. I am reading Chaucer and trying to write about our friend Roger Fry. Also Vanessa and her children come over and we play bowls, and try to go on with our painting and gardening as if we were sure of living another ten years. When I go to London I will see if I can find some books to send you. Only I find it so difficult to guess what you would like. Never mind; books are very cheap; and you can always throw them away. I have not seen Christopher Isherwood as I had hoped but he and Mr Auden like so many people have gone to America. They dont like it, I hear; but at any rate there is more feeling of security there; and they can work better so they say. But I had wanted to hear more about you. It seems millions of miles away—your life, from this. It is full spring here; and our garden has blue, pink, white flowers—and all the hills are deep green, but very small; and our little river is about as big as a large snake; Julian used to wade across it; and sail a tiny boat. On the other hand, people crowd together. We are hardly ever alone even for a day. Would you like this change of proportion? I often envy you, for being in a large wild place with a very old civilisation. I get hints of it in what you write. Do you ever send Vanessa your paintings? Please write whenever you like; and what¬ever happens please go on with your autobiography; for even though I cannot help yet with it, it will be a great thing to do it thoroughly. I am giving you the advice I try to take myself—that is to work without caring what becomes of it, for the sake of doing something impersonal. I will send this by air, and let me know if it comes safely. If so, I will go on if you dont mind these very scrappy letters; written in a garden house, after my morning working at my book. Yours Virginia Woolf Letter from Virginia Woolf to Ling Shuhua ; 16 July, 1939. Dear Sue, I am afraid that I have been very bad about answering your letters. It is partly that I am a very bad letter writer—after writing all the morning about Roger Fry, I hate the type writer. And then we went to France for a holiday, driving about Brittany; and directly after that my mother in law had an accident; was ill and died. And now we have to turn out of this house, which is crammed with books and papers and type and furniture and go to another. 37 Mecklenburgh Square will be our address in Septem¬ber. So I hope you will write there. Also it is difficult to think of any news worth sending. One only caps stories of war—and you have enough of your own. Here they say it must come next month. That is what Harold Nicolson who is in Parliament told me two nights ago. By this time one is so numb that it seems impossible to feel anything, save that dull vague gloom. We are getting used, I suppose. But it will be different when it comes. Like you, I find work the best thing; and I have more than I can do. It is dull work—sorting letters, trying to find quotations; trying to fit them together. Roger Fry left such masses of papers; and they are full of interest; but full too of detail. I keep wanting Julian to help me. I am keeping all your chapters together. As I told you, I shant read them till the book is done. And please go on with it, as it might be of such great interest. I am also sorry that I have never sent more books— I began to feel for one thing that books would never reach you. But I will get some cheap ones this week; chancing that you may like them. There again, I dont know what to send, whether new or old, poetry or fiction or biography. But tell me some time what it is that you would like. Thank you very much for the red and black poster, which I liked. And you say you are sending something else to Vanessa. I am just going to dine with her. That is a great pleasure. And I wish you lived near and could come in. These little meetings are the best things we have at present. We talk about pictures not about war. I am so sorry for all you are having to suffer—but what is the use of saying that, all these miles away? Any time you want to write please do. The letter will be sent on. Next week we go down to Sussex, Monk's House, Rodmell, Lewes is the address. Will one be able to work? Will one have to fill the house with refugees? There are aeroplanes always round us; and air raid shelters—but I still believe we shall have peace. And there I will stop. With my love and believe in my sympathy, futile as it seems. Yours Virginia Woolf |
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| 9 | 1938 | Ling Shuhua schreibt 1938, kurz nach dem Tod von Julian Bell : I happened to come across and read Virginia Woolf 's A toom of one's own, and I was quite carried away by her writing, so suddenly I decided to write and see if she were in my situation, what she would do. |
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| 10 | 1942 | E.M. Forster invited Xiao Qian to a Rede lecture on Virginia Woolf at the British Institute on 5 March 1942. Xiao wrote in his autobiography : "I, for my part, had long been interested in the English novel – I admired Woolf up in her ivory tower but almost worshipped Forster who welcomed the whole world into his books". |
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| 11 | 1943 |
Letter from Xiao Qian to W.J.H. Sprott about a talk he planned to give in Nottingham; 12 Oct. 1943. "I am very curious to know whether there are some people at Nottingham interested in Virginia Woolf's novels, and especially if there are people who have patiently read her and disagreed with her. She is so much a fact of Cambridge, that to discuss her here often ends in collective eulogy. Her reaction to the Midlands, industrial, Lawrentian ought to be very fresh to me (I am doing a book for China next spring on E.M. Forster and Virginia Woolf). If you think it possible to gather a handful of people, I would be glad to pose as an ardent fan of Virginia Woolf before them and evoke their vehement antagonism and thereby reap a rich Harvest." |
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| 12 | 1986 |
[Woolf, Virginia]. Lun xiao shuo yu xiao shuo jia [ID D31571]. Qu Shijing adopted a synthetic approach by citing Woolf's own words of literary theory, views and critical approaches. And then he makes his own analysis and evluastion. He separates Woolf's theory in seven major views : the view of time-change, the view of subjective reality, the view of character-centrism, the view of breaking the convention, the vie3w of experimentation, the view of the future novel, Woolf's literary ideal. |
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| 13 | 1988 |
Xiao, Qian. Wei dai di tu de lü ren [ID D20278]. [Leonard Woolf spent a weekend with Xiao Qian in October 1943]. In the evening he [Leonard] brought out a stack of Virginia's diaries and let me copy from them. Early in the next morning, we went together with heavy hearts to the little brook where she had taken her life. I stood there on the bank, wanting to rebuke the gurgling waters. Then I felt perhaps I was wrong. The brook was just going endlessly on its way. Maybe it had simply relieved another transparent and from further torment. |
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| 14 | 1988 |
Zhang, Feng. De Wu'erfu 'Dai luo wei fu ren' de yi shu zheng ti gan yu yi shi liu xiao shuo jie gou [ID D31616]. Zhang focuses on the technique of stream of consciousness, but instead of relating Woolf's style to concepts of character complexity and multiple perspective, he is interested in the implications of stream of consciousness for the creation and reception of the work of art. Going beyond an explanation of Woolf's style also enables a creative enactment of the artist's emotion – de-personalized and fused with the feelings of her characters. In addistion, Zhang suggests that Woolf's style, by matching the psychological process of human aesthetic response, enables readers to recreate, according to their own experience, the novel's emotion. Stream of consciousness becomes the vehicle for the 'inexpressible internal emotion' that is the 'complete image' of the novel ; it is also the means of communication and connection between writer and reader. For Zhang, the aesthetic response includes the poeti and emotional and such dimensions are evident not only in what interests her in Woolf's writing but also in the way Zhang writes herself. |
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| 15 | 1988 |
Wu'erfu yan jiu. Qu Shijing bian xuan. [ID D31602]. Forward : Qu locates Woolf's writing in the third of five stages in the development oft he English novel : in 'Music, Art, Literature', and in 'Woolf, Stream of Consciousness, Comprehensive Art'. He suggests that stream of consciousness leads to an understanding not only of Western literature but of Western poetry, painting, music and film as well. Qu refers to E.M. Forster's comment, "Our debt to her is in part this : she reminds us of the importance of sensation". |
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| 16 | 1990 |
Yang, Yuehua. Faguo nü xing zhu yi pi ping yu Fujini Wu'erfu [ID D31607]. Yang's article offers a comparative study of Woolf's feminist literary criticism and the French. As early as the 1920s, Woolf pioneered feminist literary criticism based on her profound exploration of the negative influence of social, historical and cultural convention on women and their literary creation as well as on the 'puculiarity' of their literature. Her A room of one's own, Women and fiction, Jane Austen, George Eliot and other essays well illustrate the realm, principle, and methodology of feminist literary criticism, whose objective is 'to challenge the patriarchal convention'. Woolf's feminist literary criticism includes 'the search for women's literary tradition, investigation of gender discrimination in literary practice, and exploration of the subject matter, genre and style of women's literature'. Yang also claims that Woolf holds that 'the aesthetic significance of a work rests not on what it expresses, but on how it does so ; a writer should be impersonal and non-utilitarian and an androgynous mindset is the best state a writer can reach'. |
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| 17 | 1994 |
Letter from Xiao Qian to Patricia Laurence ; 2 June 1994. In the late 40s, I came back to a China deep in civil war and I had to earn a living both working as professor at a university and a leader writer for the liberal newspaper Ta kung pao [Da gong bao]. After 49, especially in the 50-60s, even Jane Eyre and Jean Christophe were condemned as 'poisonous'. To translate [Virginia] Woolf was unthinkable. |
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| 18 | 1995 |
Tong, Yanping. Lu zai he fang : du fu Wu'erfu de 'Yi ge zi ji de fang jian' [ID D31608]. Tong sees Woolf's adrogynous mind for literary creation as a mere ideal because 'in most circumstances a male writer's style is different from a female one's', which betrays its authors's sexual identity. When composing their works, many writers have in mind their intended audience or particular artistic pursuit, so their aesthetic taste are determined or affected by their sex and life experiences. Tong argues that even in A room of one's own, Woolf contradicts herself at certain points both in the ideas she conveys and the tone she adopts. Tong concludes that even though the key of Woolf's concept of androgyny is to oppose sexual prejudice and discrimination, the androgynous mind for creation seems to be an ideal beyond reach. |
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| 19 | 1996 |
Lin, Shuming. Zhan zheng yin xiang xia zheng zha de fu Wu'erfu [ID D31609]. Lin explores Woolf's description of the two great forces : art and war and her denunciation of war in Mrs. Dalloway, To the lighthouse, The waves and Three guineas as well. |
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| 20 | 1998 |
Yang, Yuehua. Cong dui li zou xiang dui hua [ID D31606]. Yang offers an interpretation of the different gender principles and the metaphorical significance of androgyny through analysis of the three major characters, Mr. and Mrs. Ramsay and Lily Briscoe. Yang states that 'Woolf's female principle and male principle refer to the pecular characteristics each of human sexes possesses. Yang claims that Mrs. Ramsay's female principle is the female virtue and temperament. It can influence not only women but also men and, to some extent, excels the male principle approved by social convention. Mr. Ramsay is the representative of the male principle, who, as an obstinate, rigid and self-centered authority, is indifferent to the sufferings of his wife and children, and only concerned with his pursuit of absolute philosophical truth in terms of reason and logic. Yang believes that 'The third part of the novel indicates that with the passage of time and the test of the disaster the confrontation changed to dialogue and integration. Moreover, this dialogue and integration were established on the basis of restoration of the female principle. He concludes that 'The transition of the androgynous painter Lily Briscoe from a letter character to a major one reveals profoundly the progress of the masculine and feminine powers in an individual from imbalance to balance and integration as well, bringing her creative talent into full play'. |
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| 21 | 1999 |
Ma, Rui. Cong Wu'erfu dao xi su de nü xing zhu yi pi ping [ID D31610]. Ma argues that Woolf's A room of one's own is recognized as a classic for feminist criticism not simply because of the major thinking Woolf produces, but because of the emphatic breakthrough she makes with patriarchal theoretical discourses. It is reflected in her innovative choice of a narrator with an ambigious identity, her use of metaphor, symbolism, and fictionalization. Ma also argues that Woolf's narrative form demonstrages her continuing protest against patriarchal discursive models. Woolf's description of the narrator's pondering the question of women and fiction on the banks of a river is not only a reflection of 'my thinking process' but also 'a demonstration of the power of thinking'. Ma sees Woolf's essay itself as a metaphorical network, in which various metaphors such as the title, the setting Oxbridge, and so on are not only anchored in their specific significance respectivels, but also associated with one another. Together, they greatly helped to convey Woolf's feminist ideas about women and writing and 'created a different rhetorical discursive model', rather than merely serve as a rhetorical technique. Woolf also introduces fictionalization into literary criticism. |
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| 22 | 2000 |
Sheng, Ning. Guan yu Wu'erfu de 1910 [ID D31611]. Sheng Ning's essay offers a third discussion of Woolf's theory of fiction, investigating the reasons of Woolf's choice of time and rectifying the translation and interpretation of Woolf's diction 'human character'. 'Woolf's particular choice of the year and the month is the exhibition of the post-impressionist paintings organized by Woolf's friends Rogert Fry and Desmond MacCarthy'. Sheng claims, that Woolf sees the new artistic perception conveyed by this Post-Impressionist show as demonstrating an era-breaking change of self-understanding. Sheng holds that the most important idea Woolf wants to express in 'Mr. Bennett and Mrs. Brown' is that 'here is a character imposing itself upon another person. Hereis Mrs. Brown making someone begin almost automatically to write a novel about her'. Sheng concludes that 'what Woolf means is that on or about December 1910 the image of character changed. |
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| 23 | 2000 |
Wang, Jianxiang. Lun Fujiniya Wu'erfu de nü xing zhu yi li chang [ID D31612]. Wang identifies that Woolf's fundamental stand is to demand a female to be herself, and idependent self, different from the male, unattached to the male but harmonious with the male and the whole world. Wang distinguishes that if Mary Wollstonecraft's feminist claim remains at the level of women's equality with men, Woolf's has actually transcended the level of 'being equals' and and risen to the height of reconstructing a female self'. In fact, 'to be oneself' has become a powerful call for the later feminist movement. According to Woolf's analysis, the oppression imposed upon women by patriarchy in both history and literature penetrated every aspect of women's lives, exerted an imperceptible influence on their thinking, and even made them unconsciously internalize the convention of the mental, moral, and physical inferiority of women. As a result, women's consciousness of being themselves was lost. In order to reconstruct women's self-consciousness or to be themselves, Wang argues, in addition to gaining a room of her own and an income of five hundred pounds a year, women should endeavor four things : overcome self-deprecation, or in Woolf's words 'kill the angel in the house'; establish their own values ; come out of the narrow private world and enter the broad public world; and establish a harmonious relationship between the two sexes. |
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| 24 | 2000 |
Yin, Qiping. Wu'erfu xiao shuo guan bu lun [ID D31613]. Yin explores Woolf's theory of fiction on the basis of Qu Shijing's research and questions some of his conclusions as well. He argues 'that the whole body of Woolf's theoretical views can be attributed to her life-determinism'. 'What Woolf means by life includes both subjective impressions of the individual and the objective reality of society'. Yin claimes that Woolf's viewpoint that life is 'the proper end of fiction' constitutes the cornerstone of the whole body of Woolf's theory of fiction. Yin argues that the time-change (including human character chang) Woolf referred to took place not only in 1910, but throughout all historical periods. Yin reminds the reader that Woolf not only called on the novelist to constantly break the convention, but at the same time also opposed violent change, which 'suggests that she at least had realized the necessity of maintaining a blanance between inheriting and breaking the convention'. 'Woolf's ideal is that fiction should flourish together with poetry and philosophy'. 'Woolf's subjective impression is strongly tied to objective experience'. 'Woolf was concerned with the interaction of practical experience and subjective consciousness. Her view of reality is deeply rooted in actual life'. |
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| 25 | 2001 |
Shu, Yongzhen. Qu bie yu zheng he : dao deng da qu de nü xing zhu yi jie du [ID D31614]. Shu examined Woolf's critique of the traditional male logocentrism in To the lighthouse from the perspective feminist criticism by employing her ideas in A room of one's own. She asserts that 'If A room of one's own is Woolf's theoretical exposition of feminist literature, To the lighthouse is her practical employment of her feminist literary theory in fiction'. Woolf anchors her critique of the traditional dynamic between the sexes in her presentation of the binary oppositions of men and women resulted from male logocentrism. Mr. and Mrs. Ramsay represent two diametrically different worlds respectively ; the husband is a professional man with his career, belonging to society, while the wife is a typical 'angel in the house' without a job, gelonging to the family. Shu also analyzes three kinds of secondary oppositions between Mr. and Mrs. Ramsay. First, intelligence versus beauty. Mr. Ramsay is a remarkable and respectful philosopher whereas Mrs. Ramsay is a women of extreme beauty and heavenly goodness. What makes To the lighthouse different from traditional novels, Shu argues, is that Woolf does not rest satisfied with reflecting this historical phenomena, she further questioned it and puts forward her solutions as well to eliminate it. The second solution is well embodied in Woolf's characterization of Lily Briscoe who, seeking to unify disparate elements into a whole, finally sublimates her understanding of Mr. and Mrs. Ramsay's different personalities to become a real srtist with her painting. Shu writes that as male-centrism secured by the patriarchal system 'has penetrated into every aspects of culture including language, women have no language of their own to express their pecular experience and psychology, thus being deprived of voice. |
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| 26 | 2005 | Creation of the Virginia Woolf Academic Web in China, founded by Cao Xiaoqin. | |
| 27 | 2009 |
Woolf, Virginia. Mrs. Dalloway. (London : Hogarth Press, 1925). Liang Yuanyuan : Virginia Woolf has been internationally acclaimed as a modernist who audaciously pushed the frontier of narrative forms with her ingenious innovation and her lyrical rendering of commonplace details. Mrs. Dalloway manifests the novelist's virtuosities in the dissolution of traditional plot, the attention to the minutiae of the mind, and more conspicuously, the subtle manipulation of time. Renouncing the sequential, linear time as inadequate for tracing the fluidity of mental lives, Woolf immerses the reader in the flux of the protagonist's psychological time. She reinforces the motif of 'time' by juxtaposing the oppressive indications of clock time with the extended moments of intensity. This first successful novel in her innovative endeavors, demonstrates the delicacy and strength of Woolf's style, her power to express the incommunicable thought and to illuminate common experience and her modernistic preoccupation with, and sublte manipulation of 'time'. |
Bibliography (40)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1932 | [Woolf, Virginia]. Qiang sheng yi dian hen ji. Ye Gongchao yi. In : Xin yue ; vol. 4, no 1 (Jan. 1932). Übersetzung von Woolf, Virginia. The mark on the wall. (Richmond : Hogarth Press, 1917). [Erste Übersetzung von Woolf]. | Publication / Woolf34 | |
| 2 | 1935 |
[Woolf, Virginia]. Feilaxi. Wo'er fu zhu ; Shi Ying yi. (Shanghai : Shang wu yin shu guan, 1935). Übersetzung von Woolf, Virginia. Flush : a biography. (London : Hogarth Press, 1933). 狒拉西 |
Publication / Woolf29 | |
| 3 | 1936 |
Xi chuang ji. Bian Zhilin xuan yi. (Shanghai : Shang wu yin shu guan, 1936). (Wen xue yan jiu hui shi jie wen xue ming zhu cong shu). [Anthologie übersetzter Literatur ins Chinesische]. [Enthält Übersetzungen von Charles Baudelaire, Stéphane Mallarmé, Rainer Maria Rilke, André Gide, James Joyce, Virginia Woolf und einen Auszug aus Du côté de chez Swann von Marcel Proust]. [Proust ist 1934 in Da gong bao erschienen]. 西窗集 |
Publication / Prou22 | |
| 4 | 1946 |
[Woolf, Virginia]. Dao deng ta qu. Xie Qingyao yi shu. (Shanghai : Shang wu yin shu guan, 1946). (Zhong Ying wen hua xie hui wen yi cong shu). Übersetzung von Woolf, Virginia. To the lighthouse. (London : Hogarth Press, 1927). 到燈塔去 |
Publication / Woolf26 | |
| 5 | 1947 |
[Woolf, Virginia]. Yi jian zi ji de wu zi. Wu'erfu ; Wang Huan yi. (Shanghai : Wen hua sheng huo chu ban she, 1947). (Wen hua sheng huo cong kan ; 39). Übersetzung von Woolf, Virginia. A room of one's own. (London : Hogarth Press, 1929). 一間自己的屋子 |
Publication / Woolf48 | |
| 6 | 1973 |
[Woolf, Virginia]. Zi ji de fang zi. Weijinniya Wu'erfu zhu ; Zhang Xiuya yi. (Taibei : Chun wen xue chu ban she, 1973). Übersetzung von Woolf, Virginia. A room of one's own. (London : Hogarth Press, 1929). 自己的房子 |
Publication / Woolf52 | |
| 7 | 1976 |
[Woolf, Virginia]. Yi jian zi ji de fang zi. Wu'erfu yuan zhu ; Xu Shunde yi. (Taibei : Zheng wen, 1976). (Du zhe wen ku ; 194). Übersetzung von Woolf, Virginia. A room of one's own. (London : Hogarth Press, 1929). 一間自己的房子 |
Publication / Woolf49 | |
| 8 | 1979-1980 | Leave the letters till we're dead : the letters of Virginia Woolf. Ed. : Nigel Nicolson. Vol. 5-6. (London : The Hogarth Press, 1979-1980). | Publication / Woolf16 | |
| 9 | 1980-1985 |
[Woolf, Virginia]. Qiang shang de ban dian. Woerfu ; Wen Meihui yi. In : Wai guo xian dai pai zuo pin xuan. Vol. 2 [ID D16726]. Übersetzung von Woolf, Virginia. The mark on the wall. (Richmond : Hogarth Press, 1917). 墙上的斑点 |
Publication / YuanK2.28 |
|
| 10 | 1980-1985 |
[Woolf, Virginia]. Da luo wei fu ren. Wuerfu ; Guo Xu yi. In : Wai guo xian dai pai zuo pin xuan. Vol. 2 [ID D16726]. Übersetzung von Woolf, Virginia. Mrs. Dalloway. (New York, N.Y. : Harcourt, Brace and Co., 1925). 達洛衛夫人 |
Publication / YuanK2.29 |
|
| 11 | 1986 |
[Woolf, Virginia]. Lun xiao shuo yu xiao shuo jia. Fujiniya Wu'erfu zhu ; Qu Shijing yi. (Shanghai : Shanghai yi wen chu ban she, 1986). [Virginia Woolf on novels and novelists]. 論小說與小說家 |
Publication / Woolf32 | |
| 12 | 1987 |
[Woolf, Virginia]. Wu'erfu. Weijiniya Wu'erfu yuan zhu ; Cai Yuanhuang zhu bian ; Liu Liangya yi. (Taibei : Guang fu shu ju gu fen you xian gong si, 1987). (Dang dai shi jie xiao shuo jia du ben ; 5). [Übersetzung von ausgewählten Short stories von Woolf]. 吳爾夫 |
Publication / Woolf39 | |
| 13 | 1988 |
[Woolf, Virginia]. Da luo wei fu ren ; Dao deng ta qu. Fujiniya Wumifu zhu ; Sun Liang, Su Mei, Qu Shijing yi. (Shanghai : Shanghai yi wen chu ban she, 1988). (20 shi ji wie guo wen xue cong shu). Übersetzung von Woolf, Virginia. Mrs. Dalloway. (New York, N.Y. : Harcourt, Brace and Co., 1925. Übersetzung von Woolf, Virginia. To the lighthouse. (London : Hogarth Press, 1927). 达洛卫夫人 ; 到灯塔去 |
Publication / Woolf20 | |
| 14 | 1988 |
[Woolf, Virginia]. Dai luo wei fu ren. Hang Xiang deng ta ; Weiqinniya Wu'erfu zhu ; Chen Huihua, Kong Poyun deng yi. (Taibei : Zhi wen, 1988). (Xin chao shi jie ming zhu ; 47). Übersetzung von Woolf, Virginia. Mrs. Dalloway. (New York, N.Y. : Harcourt, Brace and Co., 1925). Übersetzung von Woolf, Virginia. To the lighthouse. (London : Hogarth Press, 1927). 戴洛維夫人.航向燈塔 |
Publication / Woolf23 | |
| 15 | 1990 |
[Woolf, Virginia]. Wu'erfu zuo pin jing cui. Wumifu zhu ; Li Naikun xuan bian. (Shijazhuang : Hebei jiao yu chu ban she, 1990). (Shi jie wen xue bo lan). [Übersetzung der besten Werke von Woolf]. 伍尔夫作品精粹 |
Publication / Woolf47 | |
| 16 | 1993 |
[Woolf, Virginia]. Mei li jia ren Oulanduo. Weijiniya Wu'erfu yuan zhu ; Zhu Naichang yi. (Taibei : You shi wen hua shi ye gong si, 1993). (You shi dian ying guang chang ; 3). Übersetzung von Woolf, Virginia. Orlando : a biography. (London : Hogarth Press, 1928). 美麗佳人歐蘭朶 |
Publication / Woolf33 | |
| 17 | 1993 |
[Woolf, Virginia]. Wu'erfu sui bi ji. Wu'erfu ; Kong Xiaojiong, Huang Mei yi. (Shenzhen : Hai tian chu ban she, 1993). [Übersetzung der Essays von Woolf]. 伍尔芙随笔集 |
Publication / Woolf45 | |
| 18 | 1994 |
[Woolf, Virginia]. Aolanduo : yi bu zhuan ji. Wei Hong, Ming Le yi. (Ha'erbin : Ha'erbin chu ban she, 1994). Woolf, Virginia. Orlando : a biography. (London : Hogarth Press, 1928). 奧兰多 |
Publication / Woolf17 | |
| 19 | 1994 |
[Woolf, Virginia]. Chun jing zhi quan : Wu'erfu sui bi ji. Weijiniya Wuerfu zhu ; Kong Xiaojiong, Huang Mei yi. (Taibei : You shi wen hua, 1994). (Ming jia guan chang ; 6. Sui bi xi lie). [Übersetzung der gesammelten Essays von Woolf]. 純淨之泉 : 伍爾芙隨筆集 |
Publication / Woolf18 | |
| 20 | 1995 |
[Woolf, Virginia]. Shu he hua xiang. Weijiniya Wu'erfu zhu ; Liu Bingshan yi. (Beijing : Sheng huo, du shu, xin zhi san lian shu dian, 1995). (Wen hua sheng huo yi cong). Übersetzung von Woolf, Virginia. Books and portraits. (London : Hogarth Press, 1977). 书和画像 |
Publication / Woolf36 | |
| 21 | 1996 |
[Woolf, Virginia]. Weijiniya Wu'erfu wen xue shu jian. Cheng Daixi zhu bian ; Wang Zhengwen, Wang Kaiyu deng yi ; Chen Taoyu jiao. (Hefei : Anhui wen yi chu ban she, 1996). (Wai guo zuo jia wen xue shu jian cong shu). [Übersetzung der Korrespondenz von Woolf]. 維吉尼亞吳爾夫文學書簡 |
Publication / Woolf38 | |
| 22 | 1997 |
[Woolf, Virginia]. Da luo wei tai tai ; Dao deng ta qu ; Hai lang. Fujiniya Wumifu zhu ; Gu Qinan, Ma Ainong, Wu Junxie yi. (Beijing : Ren min wen xue chu ban she, 1997). Übersetzung von Woolf, Virginia. Mrs. Dalloway. (New York, N.Y. : Harcourt, Brace and Co., 1925. Übersetzung von Woolf, Virginia. To the lighthouse. (London : Hogarth Press, 1927). Übersetzung von Woolf, Virginia. The waves. (London : Hogarth Press, 1931). 达洛维太太 ; 到灯塔去 ; 海浪 |
Publication / Woolf21 | |
| 23 | 1997 |
[Woolf, Virginia]. Sui yue. Wu'erfu ; Jin Guanglan yi. (Lanzhou : Dunhuang wen yi chu ban she, 1997). (Shi jie jie chu nü zuo jia jing dian cong shu). Übersetzung von Woolf, Virginia. The years. (London : Hogarth Press, 1937). 岁月 |
Publication / Woolf37 | |
| 24 | 1997 |
[Woolf, Virginia]. Wu'erfu ri ji xuan. Fujiniya Wu'erfu zhu ; Dai Hongzhen, Song Binghui yi. (Tainjin : Bai hua wen yi chu ban she, 1997). (Wai guo ming jia san wen cong shu). [Übersetzung der Tagebücher von Woolf]. 伍爾芙日記選 |
Publication / Woolf43 | |
| 25 | 1998 |
[Woolf, Virginia]. Yi wu. Wu'erfu ; Yang Jingyuan yi. (Taibei : Hong fan shu dian you xian gong si, 1998). (Shi jie wen xue da shi sui shen du ; 36). [The heritage]. 遺物 |
Publication / Woolf50 | |
| 26 | 1999 |
[Woolf, Virginia]. Deng ta xing. Song Deming yi. (Taibei : Lian jing chu ban shi ye gong si, 1999). (Lian jing jing dian). Übersetzung von Woolf, Virginia. To the lighthouse. (London : Hogarth Press, 1927). 燈塔行 |
Publication / Woolf27 | |
| 27 | 1999 |
[Woolf, Virginia]. Wu'erfu pi ping san wen. Qu Shijing bian xuan. (Shanghai : Shanghai wen yi chu ban she, 1999). (Gus hi hui tu shu guan wen ku. Jing dian zhu zuo xi lie. Wai guo san wen). [Übersetzung von Prosa-Werken von Woolf]. 伍尔夫批评散文 |
Publication / Woolf42 | |
| 28 | 2000 |
[Woolf, Virginia]. Dai luo wei fu ren. Weijiniya Wu'erfu zhu ; Shi Lanting yi. (Taibei : Xi dai, 2000). (Shi jie wen xue dian cang ban ; 16). Übersetzung von Woolf, Virginia. Mrs. Dalloway. (New York, N.Y. : Harcourt, Brace and Co., 1925). 戴洛維夫人 |
Publication / Woolf22 | |
| 29 | 2000 |
[Woolf, Virginia]. Dan shui : yi ge Wu'erfu de xi ju. Wu'erfu zhu ; Yang Ziyi yi. (Taibei : Tang shan chu ban she, 2000). (Dang dai jing dian ju zuo yi cong ; 4). Übersetzung von Woolf, Virginia. Freshwater : a comedy. (London : Hogarth Press, 1976). [Geschrieben 1923, Neufassung 1935. Erstaufführung Vanessa's Studio, London, für die Mitglieder der Bloomsbury Group]. 淡水一個吳爾芙的喜劇 |
Publication / Woolf24 | |
| 30 | 2000 |
[Woolf, Virginia]. Dao deng ta qu. Qu Shijing yi. (Shanghai : Shanghai yi wen chu ban she, 2000). (Fujiniya Wumifu wen ji). Übersetzung von Woolf, Virginia. To the lighthouse. (London : Hogarth Press, 1927). 到灯塔去 |
Publication / Woolf25 | |
| 31 | 2000 |
[Woolf, Virginia]. Deng ta zhi lu. Weizhenniya Wu'erfu zhu ; Jiang Xiaotang yi. (Taibei : Wei de wen hua chu ban Taibei xian zhong he shi, 2000). (Fu shi wen xue ; 9). Übersetzung von Woolf, Virginia. To the lighthouse. (London : Hogarth Press, 1927). 燈塔之旅 |
Publication / Woolf28 | |
| 32 | 2000 |
[Woolf, Virginia]. Fujiniya Wu'erfu wen ji. (Shanghai : Shanghai yi wen chu ban she, 2000). [Übersetzung der Gesammelten Werke von Woolf]. 弗吉尼亚•伍尔夫文集 |
Publication / Woolf30 |
|
| 33 | 2000 |
[Woolf, Virginia]. Hai lang. Fujiniya Wumifu zhu ; Cao Yuanyong yi. (Shanghai : Shanghai wen yi chu ban she, 2000). (Fuliniya Wumifu wen ji). Übersetzung von Woolf, Virginia. The waves. (London : Hogarth Press, 1931). 海浪 |
Publication / Woolf31 | |
| 34 | 2000 |
[Woolf, Virginia]. Wu'erfu. Weijiniya Wu'erfu yuan zhu ; Cai Yuanhuang zhu bian ; Liu Liangya yi. (Taibei : Guang fu shu ju gu fen you xian gong si, 1987). (Dang dai shi jie xiao shuo jia du ben ; 5). [Übersetzung von ausgewählten Short stories von Woolf]. 吳爾夫 |
Publication / Woolf40 | |
| 35 | 2000 |
[Woolf, Virginia]. Wu'erfu jing xuan ji. Wumifu zhu ; Huang Mei bian xuan. (Jinan : Shandong wen yi chu ban she, 2000). (Wai guo wen xue ming jia jing xuan shu xi. Liu ming jiu zhu bian). [Übersetzung ausgewählter Werke von Woolf]. 吴尔夫精选集 |
Publication / Woolf41 | |
| 36 | 2000 |
[Woolf, Virginia]. Wu'erfu san wen. Wu'erfu ; Liu Bingshan bian. (Beijing : Zhongguo guang bo dian shi chu ban she, 2000). (Shi jie wen hua ming ren wen ku). [Übersetzung der Essays von Woolf]. 伍尔夫散文 |
Publication / Woolf44 | |
| 37 | 2000 |
[Woolf, Virginia]. Zi ji de fang jian. Weijinniya Wu'erfu zhu ; Song Weihang yi. (Taibei : Tan suo wen hua, 2000). (Literary ; 3). Übersetzung von Woolf, Virginia. A room of one's own. (London : Hogarth Press, 1929). 自己的房間 |
Publication / Woolf51 | |
| 38 | 2001 |
[Woolf, Virginia]. Wu'erfu sui bi quan ji. Fujiniya Wumifu zhu ; Shi Yunlong yi. (Beijing : Zhongguo she hui ke xue chu ban she, 2001). (Shi jie san wen sui bi da xi). [Übersetzung der gesammelten Essays von Woolf]. 伍尔芙随笔全集 |
Publication / Woolf46 | |
| 39 | 2008 |
Cao, Xiaoqin. The reception of Virginia Woolf in China. In : Virginia Woolf : art, education, and internationalism : selected papers from the 17th annual Conference on Virginia Woolf, Miami University. Ed. by Diana Royer and Madelyn Detloff. (Clemson, S.C. : Clemson University Digital Press, 2008). http://www.clemson.edu/cedp/cudp/pubs/vwcon/17.pdf. |
Publication / Woolf5 | |
| 40 | 2014 |
Virginia Woolf : http://gutenberg.net.au/pages/woolf.html. http://www.online-literature.com/virginia_woolf/ |
Web / Woolf2 |
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Secondary Literature (37)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1929 |
Xu, Zhimo. Guan yu nü zi. In : Xin yue ; vol. 2, no 8 (1929). [Betr. Virginia Woolf, Katherne Mansfield, Jane Austen, Brontë sisters, Elizabeth Barrett Browning]. 关于女子 |
Publication / XuZ11 |
|
| 2 | 1937 |
Jin, Donglei. Yingguo wen xue shi gang. (Shanghai : Shang wu yin shu guan, 1937). [Geschichte der englischen Literatur ; enthält Virginia Woolf]. 英国文学史纲 . |
Publication / JinD1 | |
| 3 | 1964 |
Yuan, Kejia. Ying mei yi shi liu xiao shuo ping shu. In : Wen xue yan jiu ji kan ; vol. 1 (1964). [Survey of stream-of-consciousness fiction in Britain and America]. [Betr. James Joyce, Virginia Woolf, William Faulkner]. 英美意识流小说评述 |
Publication / YuanK3 | |
| 4 | 1978 | Wong, Cynthia Sau-ling. A study of Roger Fry and Virginia Woolf from a Chinese perspective. Dissertation Stanford University, 1978. | Publication / Woolf11 | |
| 5 | 1988 |
Wu'erfu yan jiu. Qu Shijing bian xuan. (Shanghai : Shanghai wen yi chu ban she, 1989). (Wai guo wen xue yan jiu zi liao cong shu). [Studien über Virginia Woolf]. 伍尔夫研究 |
Publication / Woolf59 | |
| 6 | 1988 |
Zhang, Feng. De Wu'erfu 'Dai luo wei fu ren' de yi shu zheng ti gan yu yi shi liu xiao shuo jie gou. In : Wai guo wen xue ping lun ; vol. 5 (1988). [Artistic unity and stream of consciousness in 'Mrs. Dalloway']. [Betr. Virginia Woolf]. 的吴尔夫黛洛维夫人的艺术整体感与意识流小说结构 |
Publication / Woolf72 |
|
| 7 | 1989 |
Qu, Shijing. Yi shi liu xiao shuo jia Wu'erfu. (Shanghai : Shanghai wen yi chu ban she, 1989). [Abhandlung über Virginia Woolf]. 意识流小说家伍尓夫 |
Publication / Woolf60 | |
| 8 | 1990 |
Yang, Yuehua. Faguo nü xing zhu yi pi ping yu Fujini Wu'erfu. In : Sichuan wai guo yu xue yuan xue bao ; vol. 15, no 3 (1999). [French feminist literary criticism and Virginia Woolf]. 法国女性主义批评与弗吉尼职伤尔夫 |
Publication / Woolf63 | |
| 9 | 1994 | Tsui, Wing Yi Wanda. Female identity in Virginia Woolf and Wang Anyi. (Diss. Chinese University of Hong Kong, 1994). | Publication / Woolf13 | |
| 10 | 1995 |
Tong, Yanping. Lu zai he fang : du fu Wu'erfu de 'Yi ge zi ji de fang jian'. In : Wai guo wen xue ping lun ; vol. 2 (1995). [Where is the way out ? : reading Virginia Woolf's A room of one's own]. 童燕萍 路在何方 : 读弗•伍尔夫的一个自己的房间 |
Publication / Woolf64 | |
| 11 | 1996 |
Lin, Shuming. Zhan zheng yin xiang xia zheng zha de fu Wu'erfu. In : Wai guo wen xue pi ping ; vol. 3 (1996). [V. Woolf struggling under the shadow of war]. 战争阴影下挣扎的弗伍尔夫 |
Publication / Woolf65 | |
| 12 | 1996 |
Cuddy-Keane, Melba ; Li, Kay. Passage to China : East and West and Woolf. In : The South Carolina review ; vol. 29, no 1 (1996). http://www.clemson.edu/cedp/cudp/scr/articles/scr_29-1_keane_Li.pdf. |
Publication / Woolf71 |
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| 13 | 1997 |
Laurence, Patricia. The China letters : Julian Bell, Vanessa Bell, and Ling Shu Hua. In : South Carolina review ; Spring (1997). [Betr. auch Virginia Woolf]. http://www.clemson.edu/cedp/cudp/scr/articles/scr_29-1_laurence.pdf. |
Publication / Woolf8 | |
| 14 | 1998 | Lau, Kam-fung. Female identity in contemporary Chinese and Western literature : Zhang Xinxin and Virginia Woolf . In : Tamkang review ; vol. 29, no 1 (1998). | Publication / Woolf9 |
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| 15 | 1998 |
Lu Yang ; Li Dingqing. Wu'erfu shi zen yang du shu xie zuo de. (Wuhan : Chang jiang wen yi chu ban she, 1998). (Jin qiang wei. Wai guo ming ren cheng gong jie mi cong shu). [Biographie von Virginia Woolf]. 伍尔夫是怎样读书写作的 |
Publication / Woolf58 | |
| 16 | 1998 |
Yang, Yuehua. Cong dui li zou xiang dui hua. In : Sichuan wai guo yu xue yuan xue bao ; vol. 4 (1998). [From confrontation to dialogue ; betr. Virginia Woolf]. 从对立走向对话报 |
Publication / Woolf62 | |
| 17 | 1999 | Tsai, Hsiu-chuang. Domestic space in Virginia Woolf and Eileen Chang. (Ann Arbor, Mich. : University Microfilms International, 1999). Diss. Univ. of Wisconsin, 1999. | Publication / Woolf12 | |
| 18 | 1999 |
Wu, Houkai. Fujiniya Wu'erfu : cun zai de shun jian. (Chengdou : Sichuan ren min chu ban she, 1999). (Xi fang ren wen si xiang jia hui gu cong shu). [Abhandlung über Virginia Woolf]. 弗吉尼亚伍尔夫 : 存在的瞬间 |
Publication / Woolf61 | |
| 19 | 1999 |
Ma, Rui. Cong Wu'erfu dao xi su de nü xing zhu yi pi ping. In : Wai guo wen xue yan jiu ; vol. 3 (1999). [Feminist criticism from Woolf to [Hélène] Cixous]. 从伍尔夫到西苏的女性主义批评 |
Publication / Woolf66 |
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| 20 | 2000 |
[Gardner, Howard]. Chao fan xin zhi : da shi ru he cheng wei da shi. Hahuade Jiadena zhu ; Xiao Fuyuan yi. (Taibei : Tian xia yuan jian chu ban, 2000). (Tian xia wen hua xin li li zhi xi lie ; 113). Übersetzung von Gardner, Howard. Extraordinary minds : portraits of exceptional individuals and an examination of our extraordinariness. (New York, N.Y. : Basic Books, 1997). [Betr. Sigmund Freud, Mahatma Gandhi, Virginia Woolf, Wolfgang Amadeus Mozart]. 超凡心智 : 大師如何成為大師 |
Publication / Woolf53 | |
| 21 | 2000 |
[Gardner, Howard]. Jie chu de tou nao : dui wo men zi shen de jian yan. Huohuade Jiadena zhu ; Le Wenqing, Wang Li yi. (Beijing : Zhongguoa you yi chu ban gong si, 2000). Übersetzung von Gardner, Howard. Extraordinary minds : portraits of exceptional individuals and an examination of our extraordinariness. (New York, N.Y. : Basic Books, 1997). [Betr. Sigmund Freud, Mahatma Gandhi, Virginia Woolf, Wolfgang Amadeus Mozart]. 杰出的头脑对我们自身的检验 |
Publication / Woolf54 | |
| 22 | 2000 |
[Gordon, Lyndall]. Fujiniya Wu'erfu : yi ge zuo jia de sheng ming li cheng. Lindemi Gede zhu ; Wu Houkai yi. (Chengdou : Sichuan ren min chu ban she, 2000). Übersetzung von Gordon, Lyndall. Virginia Woolf, a writer's life. (New York, N.Y. : Norton, 1984). 弗吉尼亚伍尔夫 : 一个作家的生命历程 |
Publication / Woolf55 | |
| 23 | 2000 |
[Lehmann, John]. Wu'erfu. Yuehan Leimen zhu ; Yu Guangzhao yi ; Liu Liangya shen ding. (Taibei : Mao tou ying chu ban she, 2000). (Zuo jia yu zuo pin ; 7). Übersetzung von Lehmann, John. Virginia Woolf and her world. (London : Thames and Hudson, 1975). 吴尔芙 |
Publication / Woolf57 | |
| 24 | 2000 |
Sheng, Ning. Guan yu Wu'erfu de 1910. In : Wai guo wen xue ping lun ; no 3 (2000). [Virginia Woolf : on or about December 1910]. 伍尔夫的1910年的12月 |
Publication / Woolf67 | |
| 25 | 2000 |
Wang, Jianxiang. Lun Fujiniya Wu'erfu de nü xing zhu yi li chang. In : Sichuan wai guo yu xue yuan xue bao ; vol. 16, no 2 (2000). [On Virginia Woolf's feminine views]. 论弗吉尼亚伤尔夫的女性主义立场 |
Publication / Woolf68 | |
| 26 | 2000 |
Yin, Qiping. Wu'erfu xiao shuo guan bu lun. In : Hangzhou shi fan xue yuan xue bao ; vol. 4 (2000). A supplementary study of Virginia Woolf's views on fiction]. 伍尔夫小说观补论 |
Publication / Woolf69 | |
| 27 | 2000 |
[Lehmann, John]. Wuerfu. Yuehan Leiman zhu ; Yu Guangzhao yi. (Taibei : Mao tou ying chu ban, 2000). (Zuo jia yu zuo pin xie lie ; 7). Übersetzung von Lehmann, John. Virginia Woolf and her world. (New York, N.Y. : Harcourt Brace Jovanovich, 1975). 吳爾芙 |
Publication / LehJ1 | |
| 28 | 2001 |
Shu, Yongzhen. Qu bie yu zheng he : dao deng da qu de nü xing zhu yi jie du. In : Wai guo wen xue yan jiu ; vol. 1 (2001). [Differentiation and integration : a feminist reading of 'To the lighthouse' von Virginia Woolf]. 区别与整合 : 到灯塔去的女性主义解读 |
Publication / Woolf70 | |
| 29 | 2003 |
Library of Leonard and Virginia Woolf. http://ntserver1.wsulibs.wsu.edu/masc/onlinebooks/woolflibrary/woolflibraryonline.htm. |
Web / Woolf1 |
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| 30 | 2003 | Laurence, Patricia. Lily Briscoe's Chinese eyes : Bloomsbury, modernism, and China. (Columbia, S.C. : University of South Carolina Press, 2003). [Betr. Virginia Woolf, Ling Shuhua, Julian Bell]. | Publication / Woolf3 |
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| 31 | 2008 |
Laurence Patricia. Hours in a Chinese library: re-reading Virginia Woolf, Bloomsbury, and modernism. In : Virginia Woolf : art, education, and internationalism : selected papers from the 17th annual Conference on Virginia Woolf, Miami University. Ed. by Diana Royer and Madelyn Detloff. (Clemson, S.C. : Clemson University Digital Press, 2008). http://www.clemson.edu/cedp/cudp/pubs/vwcon/17.pdf. |
Publication / Woolf14 | |
| 32 | 2008 |
[Laurence, Petricia]. Lili Buruisike de Zhongguo yan ju. Wang Jiangbo yi. (Shanghai : Shanghai shu dian chu ban she, 2008). Übersetzung von Laurence, Patricia. Lily Briscoe's Chinese eyes : Bloomsbury, modernism, and China. (Columbia, S.C. : University of South Carolina Press, 2003). [Betr. Virginia Woolf, Ling Shuhua, Julian Bell]. 丽莉布瑞斯珂的中国眼睛 |
Publication / Woolf56 | |
| 33 | 2009 | Jin, Guanglan. East meets West : Chinese reception and translation of Virginia Woolf. (Ann Arbor, Mich. : Pro Quest, University Microfilms International, 2011). (Diss. Univ. of Rhode Island, 2009). | Publication / Woolf4 |
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| 34 | 2009 | Liang, Yuanyuan. Stylistic and thematic significance of 'time' in Mrs. Dalloway. [Novel by Virginia Woolf]. In : A hundred flowers blossoming. Yang Xiao-ming, ed. (Lanham, Md. : University Press of America, 2009). | Publication / Woolf6 | |
| 35 | 2010 | Dojcinovic-Nesic, Biljana. Translation as border-crossing : Virginia Woolf 's case. In : Trans : revue de litérature générale et compare ; vol. 9 (2010). | Publication / Woolf10 |
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| 36 | 2010 |
Lee, Kwee-len. Virginia Woolf in China and Taiwan : reception and influence. (College Park, Md.: University of Maryland, 2010). (Diss. Univ. of Maryland, 2010). http://hdl.handle.net/1903/10801. |
Publication / Woolf15 | |
| 37 | 2013 | Cao, Xiaoqin. Virginia Woolf in contemporary Chinese media : an investigation. In : China and the humanities : at the crossroads of the human and the humane. Ed., Kang Tchou. (Champaign., Ill. : Common Ground Publ., 2013). | Publication / Woolf7 |