According To Descartes There Is No Proof That Animals Virginia Woolf and ‘A Room of One’s Own’

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Virginia Woolf and ‘A Room of One’s Own’

Virginia Woolf published her long story, chapter 6, ‘A Room of One’s Own’, in 1929, based on a series of talks she had given the previous year at Girton and Newnham, two women’s colleges at Cambridge University. By then, a well-known and respected novelist, the topic she explored was ‘Women and Fiction’. Published just ten years after women’s emancipation in Britain, the book is considered a forerunner of the popular feminist literary work of the late 20th century.

Although she did not have a formal education, Virginia Woolf was a good reader. She uses the narrative approach of a fictional girl named Mary who is given any of three names, exploring the theme of ‘Women and Fiction’. He says that a woman needs a ‘room of her own’ (a closet) and money to live in (500 a year for Mary). What he clearly says, after carefully researching the history of the lives led by men and women in relation to each other in the past, and up to the date of his discussion, is that women are forbidden to express art and literature because of their wealth. , personal submission, and social status, not because of a lack of natural ability or skill.

The purpose of this article is to analyze, and to comment on the use of the author’s two groups starting from the middle, full of history, in the groups of the difference between men and women. Although two of the two categories, imagination, imagination, and fiction/reality, are explored in this article, Woolf’s awareness of the complexities of the apparent binary categories is much more extensive and will be analyzed in detail in the following paragraphs.

Although there does not seem to be any ‘opposite’ in nature, dualism seems to be ingrained in human language and thought. Binary opposites or polarizations are not always logical opposites but they are necessary for language units to have meaning and meaning. Following the Saussurean classification, he often believes that ‘binary opposition is one of the most important principles of language management’, while ‘combined contrasts’ are not always ‘contradictory’, in the true sense, he believes that it is necessary as a way of calling for the ‘complexity of events’ ‘. Many linguists believe that ‘binary discrimination is a child’s first logical activity’. Another strong influence on dualism in the West was the dualism of Descartes.

Binary thinking is also systematic. One of the two words is considered good and the other bad. Religious thought cannot exist without the division of guilt and innocence. Architects believe that the world is made up of men/women, roles, voices and ideas. For example, masculinity (phallus) is associated with control and femininity (nini) with passivity. Post-structuralists want to disrupt all binary concepts, not allowing one to be superior to the other, and provide examples of counter-terrorism that opposes itself and undermines its authority.

However, there is a growing consensus that these ‘oppositions’ are aspects of a deeper unity and ‘all so-called opposites such as mind/mind and spirit/matter are only ‘apparent’ binary opposites’ (Forceville, 1996). Woolf’s text, after using plurals in her text, concludes by acknowledging the ‘deep unity’ by acknowledging the qualities of ‘male’ and ‘female and male’ in human nature.

Enough has been said about the importance of binary thinking in the use of language until recently that it is not surprising that Woolf’s story contains many difficult situations between the obvious. Of course, the main concern when talking about ‘Women and Fiction’ is defining and defining the topic. Woolf shows that this is not a simple matter. In the course of his research by reading books written by men about women, he finds many ‘fictions’ such as the insistence that women are inferior in every way. Such opinions are not based on ‘reality’. Woolf shows the effects of discrimination and exclusion of women by asking the reader to imagine Shakespeare’s sister with similar gifts. Forbidden to fulfill any of her creative goals and desires, Judith Shakespeare commits suicide in the only way that ancient women were expected and allowed to do, to give birth.

Since Woolf’s stories are presented from her point of view and she does not pretend to be a scholar, she encourages her audience not to expect the final word. He uses a fictional device to illustrate his points based on material he finds in the British Museum Library. At Oxbridge college he visits, perhaps by invitation, figures like the Beadle, Friends and Scholars whom he casually mentions in Chapter 1 back at the end, emphasizing their importance to the story and its context. They were prevented from trespassing on their ‘space’, literally and figuratively. He was not allowed in the library there because of his sexuality. They meet and question whether it is a lie or the truth. They also confuse pre-war and post-war perceptions. He describes the trees and the river at Oxbridge as vague and left after sunset, becoming dignified and looking forward to the morning. He also talks about “laughter” and “hurt”. His ideas are clear and understandable mainly because of the use of these two identifiers.

The hypocritical theme continues with the contrast between the lunch served at a men’s boarding school at Oxbridge and the ‘poor’ dinner at a women’s college. Although gold and silver are said to be ‘buried’ within the 500-year-old mansions run by Kings and nobles, the women’s college built in the 1860s struggled to raise its first 30,000. He contrasts the security and prosperity of men against the poverty and insecurity of women throughout history which is reflected in all aspects of their lives.

In Chapter Two, he talks about the celebrations and confusions and pleasures and boredom associated with the roles of masculinity and femininity. When he talks about the freedom from fear and bitterness inherited from his aunt Mary who died, he can also distinguish that it is grief and tolerance (‘tolerance’) that he feels for a woman because of her free role. Reflecting on the culinary delights he had enjoyed the day before, he wonders why men drink wine while women drink water. He also distinguishes two types of anger that Prof von X had in his essay ‘The Mental, Moral and Physical Inferiority of the Female Sex’. His anger at women’s support was initially a complex feeling of disgust as it was transformed into an ‘easy and comfortable’ anger that he could use constructively.

By Chapter Three, he has not come out with facts, but only thoughts that destroy women (fiction). Now they are turning to historians (of course). He refers to the ‘History of England’ by Prof. Trevelyan. There he finds the degrading treatment of women and men during the Elizabethan era considered normal. Beating women was a regular practice. Marriages were pre-arranged to suit men. In contrast, the women depicted in the books had the dignity and dignity denied to the average pregnant woman. Women ‘burned like lamps in the works of all poets from the beginning.’ Although women in books, such as Antigone, Cleopatra, Lady Macbeth and Emma Bovary can be ‘brave or ugly’, ‘beautiful or ugly’, ‘very beautiful or very ugly’, the common woman was a person with nothing, hidden from view. . Many binaries in this chapter such as ‘women are more important’ than ‘they were meaningless’.

When we get to Chapter Four, we will encounter Lady Winchilsea’s problems with poetry, where Aphra Behn is doing her best with her play. This also supports Woolf’s insight into why and how women are denied freedom. Woolf first uses the word ‘incandescent’ to describe creative ideas, such as the quote from Lady Winchilsea. He needed his mind to ‘get rid of all obstacles and anger.’ But unfortunately it was ‘harassed and disturbed by hatred and grievances’. Aphra Behn was the first woman in England to make a living through her writing, although her life did not claim to be worthy of imitation. However, Behn paved the way for 18th century women novelists such as the Bronte sisters, Jane Austen and George Eliot. In her descriptions and early 19th-century literature, Woolf speaks of their virtues in sarcastic terms such as swift rather than careless, descriptive without being precious.

In Chapter 5 Woolf introduces a female storyteller she calls Mary Carmichael. This is an imaginary picture that is chosen to show what is lost in writing from the point of defense and opposition. Woolf appreciates the fact that Carmichael no longer identifies as a woman in her contemplative writings. There are writings like ‘the goodness of heaven’ and ‘the destruction of hell’, compared to writings that are ‘deep, deep and bright’ and others, ‘lazy and routine’. She advises contemporary women writers to ‘lighten your life with its depth and depth, with its vanity and generosity’. Although Carmichael’s fiction may have been ‘drawn by a publisher in a decade’, Woolf is confident that his successors in ‘a century’ would have achieved their full and glorious potential.

In Chapter Six Woolf describes a man and a woman approaching each other from opposite sides of the street. The setting is a London street seen by the author from his apartment window. He took a taxi and was driven away. For Woolf this is a sign of binaries coming together. The problems they had in the past two days have subsided, and now they are realizing ’emotional unity’. As Coleridge said, idealism is androgynous. A true producer is ‘visible’ and ‘undivided’. Sex stands in the way of creativity. He says that ‘it is fatal for anyone who writes to think about his sexuality.’ Finally he comes to the conclusion that good writing comes from the marriage of opposites. Gender, masculinity/femininity is no longer important. True, creative and lasting fiction comes from imaginations that are free from material and can meet reality.

Virginia Woolf critically examined many binary concepts including masculinity/femininity, imagination/emotion, and fact/fiction in her long essay on feminism and fiction. This brief analysis shows that he came to the conclusion that it is the unsettled mind, which is ‘naturally formed, transparent and indivisible’ that can arrive at ‘truth’ by ‘accumulating many mistakes’. His understanding of the volatility and complexities of business philosophy presented in this book marks him as one of the pioneering, innovative thinkers of his time.

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