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Virginia Woolf and Zora Neale Hurston: Female voice and the dynamics of female communal expression.

机译：弗吉尼亚·伍尔夫（Virginia Woolf）和佐拉·尼尔·赫斯顿（Zora Neale Hurston）：女性声音和女性共同表达的动力。

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摘要

This dissertation explores the nature of communal voice in the work of Zora Neale Hurston and Virginia Woolf. These two writers---whose cultural, political, economic and racial realities were quite divergent---have rarely been linked in literary study; yet, in examining their work, I have found that their creative responses to seemingly antithetical personal circumstances were analogous. While the white, British Woolf was born into economic and social privilege, Hurston, as an African American female, was twice removed from any exercise of social power. Woolf's joint ownership of Hogarth Press enabled her to publish as she wished with unimpeded access to a readership; Hurston, by contrast, had access to an audience only through her white patron, Mrs. Osgood Mason. Despite their dissimilar situations, Zora Neale Hurston and Virginia Woolf developed approaches to narrative and character that bear striking similarities.;Chapter One examines both authors' early efforts at multivocal narrative and collective speech. Focusing on Hurston's 1926 short story "Sweat" and her first novel, Jonah's Gourd Vine (1934), and Woolf's novels Mrs. Dalloway (1925) and To the Lighthouse (1927), I look at the foundations of communal vision that can be found in these early works. Chapter Two examines issues of communal voice in Hurston's masterpiece, Their Eyes Were Watching God. In this novel Hurston traverses between embracing community and rejecting its circumscriptions. While she illuminates drawbacks of traditional community, the novel expresses a search for an alternative community. Chapter Three explores communal voice in The Waves (1931), The Years (1937) and Between the Acts (1941). A paradox defines these late works. While Woolf creates a multivocal narrative, her message often questions the possibility of community. Chapter Four compares Hurston's and Woolf's collaborations, including Hurston's collaboration with Langston Hughes on Mule Bone and her work with anthropologist Franz Boas. Woolf's collaborative endeavors include her biography of her friend Roger Fry, her creative relationship with her husband, Leonard Woolf, and her fruitful collaborations with her sister Vanessa.
机译：本文探讨了Zora Neale Hurston和Virginia Woolf工作中公共声音的本质。这两位作家-他们的文化，政治，经济和种族现实大相径庭-在文学研究中很少联系在一起。然而，在检查他们的作品时，我发现他们对看似对立的个人情况的创造性反应是相似的。尽管白人白人英国伍尔夫（Woolf）享有经济和社会特权，但作为非裔美国女性的赫斯顿（Hurston）两次被剥夺了任何行使社会权力的权力。伍尔夫（Woolf）对霍加斯出版社（Hogarth Press）的共同所有权使她得以如愿发行，不受阻碍地获得读者。相比之下，赫斯顿只能通过她的白人赞助人奥斯古德·梅森夫人来吸引观众。尽管情况截然不同，但佐拉·尼尔·赫斯顿（Zora Neale Hurston）和弗吉尼亚·伍尔夫（Virginia Woolf）提出了具有惊人相似性的叙事和性格方法。第一章考察了两位作者在多声叙事和集体演讲中的早期努力。着眼于赫斯顿（Hurston）1926年的短篇小说“汗水”（Sweat）和她的第一本小说，乔纳（Jonah）的葫芦藤（Gourd Vine）（1934），以及伍尔夫（Woolf）的小说《太太（Mrs. Dalloway）》（1925）和《到灯塔去》（To the Lighthouse）（1927），我着眼于可以找到的共同愿景的基础。在这些早期作品中。第二章探讨了赫斯顿的杰作《他们的眼睛正看着上帝》中的公共声音问题。在这本小说中，赫斯顿在拥抱社区和拒绝社区的限制之间穿梭。虽然她阐明了传统社区的弊端，但小说表达了对另类社区的追求。第三章探讨了《海浪》（1931），《岁月》（1937）和《两幕之间》（1941）中的公共声音。悖论定义了这些后期的作品。伍尔夫（Woolf）创造了一个多语言的叙事，但她的信息经常质疑社区的可能性。第四章比较了赫斯顿和伍尔夫的合作，包括赫斯顿与兰斯顿·休斯在M骨上的合作以及她与人类学家弗朗兹·博阿斯的合作。伍尔夫的合作努力包括她的朋友罗杰·弗莱（Roger Fry）的传记，她与丈夫伦纳德·伍尔夫（Leonard Woolf）的创作关系，以及与姐姐凡妮莎（Vanessa）的卓有成效的合作。

著录项

  • 作者

    Recht, Sydney Gail.;

  • 作者单位

    Fordham University.;

  • 授予单位 Fordham University.;
  • 学科 Literature Comparative.;Literature English.;Literature American.
  • 学位 Ph.D.
  • 年度 1998
  • 页码 251 p.
  • 总页数 251
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 文学理论;
  • 关键词

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