Лист за преговор: La temporalité et la perception dans Mrs Dalloway

📋 Plan du Cours

1. Forster, John Maynard Keynes, Lytton Strachey, and Vanessa Bell
2. Turner’s character description and demeanor
3. Structure of the novel Mrs Dalloway
4. First polyphonic movement in the novel
5. Peter Walsh’s walk
6. Narration, Stream of Consciousness, and the Experience of Time
7. Narratorial presence underpinning immediacy
8. The self as unknowable to self and others
9. The hours as a structural framework in Mrs Dalloway
10. A single moment containing a biographical turning point
11. The intersection of individual perception and nation/institutions
12. The flow of hours as an aesthetic unit despite death

📖 1. Forster, John Maynard Keynes, Lytton Strachey, and Vanessa Bell

🔑 Notions clés & Définitions

• Her mother : Julia Stephen née Jackson à Pre-Raphaelite model + from an Anglo-Indian “artistic” family from French descent (like Sally Seton in Mrs Dalloway).
• Bloomsbury Group : An intellectual circle including Forster, Keynes, Strachey, and Vanessa Bell, known for rejecting patriotism, war, imperialism, and nationalism, and engaging in discussions on art and morality.
• Virginia Woolf : Virginia Woolf par$cipates fully in this movement.
• Jacob’s Room : The origins of Mrs Dalloway The origins of Mrs Dalloway

📝 Points essentiels

• Virginia Woolf was born into a highly intellectual but patriarchal upper-middle-class Victorian family, with artistic and literary connections.
• Her mother, Julia Stephen, was a Pre-Raphaelite model from an Anglo-Indian artistic family of French descent, influencing Woolf’s artistic milieu.
• Her aunt, Julia Margaret Cameron, was a pioneering British photographer, contributing to Woolf’s artistic environment.
• The Bloomsbury Group included figures like Forster, Keynes, Strachey, and Vanessa Bell, who shared rejection of patriotism, war, imperialism, and nationalism, and engaged in discussions on art and morality.
• (Document rédigé par Antoine Perret) Virginia Woolf was born Virginia Stephen on 25th January 1882, into a highly intellectual but also deeply patriarchal upper-middle-class Victorian family.
• Her aunt, Julia Margaret Cameron was one of the first British photographers.

💡 À retenir

The Bloomsbury Group included figures like Forster, Keynes, Strachey, and Vanessa Bell, who shared rejection of patriotism, war, imperialism, and nationalism, and engaged in discussions on art and morality.

📖 2. Turner’s character description and demeanor

🔑 Notions clés & Définitions

• Idem : A Latin term used to indicate the same source or reference as previously mentioned, often employed to avoid repetition.
• Point of view : A narrative technique involving the perspective from which a story is told, which can shift among different characters to provide multiple, partial insights.
• This initial statement : The opening assertion or premise in a text that sets the foundation for subsequent analysis or argument.

📝 Points essentiels

• Turner’s character is never fixed but refracted through multiple perceptions, including his own shifting self-apprehension.
• The narrative resists stable or authoritative representation of Turner’s personality.
• Turner’s portrayal exemplifies the novel’s broader technique of circulating points of view to multiply perspectives.

💡 À retenir

Turner’s character is never fixed but refracted through multiple perceptions, including his own shifting self-apprehension.

📖 3. Structure of the novel Mrs Dalloway

🔑 Notions clés & Définitions

• Transi'on : The siren of the ambulance that takes Sep2mus’s body away 10.
• Inner life : The dimension of a character's existence encompassing their thoughts, sensations, and memories, often revealed through stream-of-consciousness techniques.

📝 Points essentiels

• Mrs Dalloway’s structure alternates between polyphonic scenes and intimate individual interiority.
• The novel juxtaposes public spaces and private experiences to create narrative complexity.
• The narrative is divided into twelve movements marked by typographical breaks and clock strikes, reinforcing temporal structure.

💡 À retenir

The novel’s structure intricately weaves multiple voices and temporal markers, such as typographical breaks and clock strikes, to reflect fragmented modern consciousness.

📖 4. First polyphonic movement in the novel

🔑 Notions clés & Définitions

• Movement between : The fluid transition from one character's consciousness to another's, allowing the narrative to interweave different points of view and maintain thematic unity despite fragmentation.

📝 Points essentiels

• The first polyphonic movement begins with Clarissa leaving her house to buy flowers, moving through Westminster and meeting Hugh Whitbread.
• Elements like the phrase “fear no more” function as bridges between characters’ consciousnesses, maintaining unity despite fragmentation.
• This movement introduces the multiplicity of perspectives that characterize the novel’s narrative technique.

💡 À retenir

The opening polyphonic movement establishes the novel’s interwoven consciousnesses and thematic unity by moving seamlessly between characters’ perspectives.

📖 5. Peter Walsh’s walk

🔑 Notions clés & Définitions

• Temporal dilation : - Temporal dilation and saturation of the instant: This scene illustrates how Woolf compresses and expands time simultaneously: o compression: everything happens within the span of a brief awakening o expansion: the consciousness traverses decades - Conversely, in the novel, the hours are not only “filled”, they can also be emptied, producing moments of suspension: Ex.
• Peter Walsh : à Solitude structured by movement through the house and interrup6ons (Lucy, Peter Walsh, Elizabeth).
• Through London : 97–105) Their walk through London (bus, shops, Westminster Abbey, the Strand, the Temple).
• Present moment : The idea is that the caves shall connect, & each comes to daylight at the present moment — Dinner!

📝 Points essentiels

• During his walk, Peter experiences a decisive biographical turning point, retrospectively re-actualized at the party.
• The scene compresses and expands time simultaneously, illustrating Woolf’s manipulation of temporal perception.

💡 À retenir

During his walk, Peter experiences a decisive biographical turning point, retrospectively re-actualized at the party.

📖 6. Narration, Stream of Consciousness, and the Experience of Time

🔑 Notions clés & Définitions

• Stream of Consciousness : Technique narrative qui représente le flux continu des pensées, souvenirs et affects d’un personnage, organisé par une tension entre l’ancrage dans le monde matériel et une logique associative intérieure.
• Clock time : Temps mesuré objectivement par les horloges, structurant la narration par des repères temporels précis tels que le son des horloges ou le rythme des sections du roman.

📝 Points essentiels

• The novel uses free indirect discourse to blur boundaries between narration and dialogue, enabling seamless perspective shifts.
• Stream of consciousness is structured by tension between material world anchoring and associative interior logic.
• Characters’ thoughts flow through memory, resemblance, and affect, reflecting complex temporal experience.

💡 À retenir

La technique narrative capture la fluidité de la conscience et la perception multifacette du temps.

📖 7. Narratorial presence underpinning immediacy

🔑 Notions clés & Définitions

• Direct speech : A form of speech representation that reproduces a character's exact words, often marked by quotation marks or specific staging.

📝 Points essentiels

• The narrator circulates points of view, producing a multiplication of perspectives that resists stable character representation.
• Narratorial presence creates immediacy by interweaving external stimuli and internal associations.
• This technique challenges the idea of a singular, authoritative narrative voice.

💡 À retenir

The narrator’s dynamic presence fosters immediacy and complexity by embracing fragmented perspectives and circulating between different consciousnesses.

📖 8. The self as unknowable to self and others

🔑 Notions clés & Définitions

• Indirect speech : A mode of reporting a character's utterance using reporting verbs and subordinate clauses, which involves changes in tense, pronouns, and temporal or spatial adverbs, often focusing on the content rather than the manner of speech.

📝 Points essentiels

• The self cannot be fully known by others or by itself, a central theme in Mrs Dalloway.
• Characters are perceived through partial, provisional, and sometimes contradictory perspectives.
• Narration reflects this instability by showing characters’ shifting self-apprehensions and external views.

💡 À retenir

Mrs Dalloway explores the elusive nature of identity through a circulation of perspectives that resists stable or authoritative representation, revealing fragmented and relational selves.

📖 9. The hours as a structural framework in Mrs Dalloway

🔑 Notions clés & Définitions

• Temporal structuring : Organisation formelle du roman selon une progression temporelle mesurée par les coups d’horloge, divisant le récit en sections correspondant aux heures.
• Typographical breaks : Interventions typographiques qui séparent le roman en douze sections, agissant comme des pauses formelles renforçant la segmentation temporelle.
• Hours as a structural framework : Cadre structurant du roman fondé sur la correspondance entre chaque section et une heure précise, marquée par les coups de Big Ben, assurant la cohérence narrative.
• Structural framework a) A novel : Organisation formelle d’un roman reposant sur une division temporelle en sections, ici illustrée par la structuration en heures et la répétition du motif des coups d’horloge.

📝 Points essentiels

• L’expression “first the warning, musical; then the hour, irrevocable” établit un motif récurrent soulignant la progression temporelle inéluctable.
• The novel’s twelve sections correspond to hours marked by clock strikes, creating a temporal framework.

💡 À retenir

Les heures constituent une architecture temporelle unificatrice qui façonne le déroulement narratif et la cohérence thématique du roman.

📖 10. A single moment containing a biographical turning point

🔑 Notions clés & Définitions

• Moment of being : A heightened moment of perception characterized by an intensified consciousness that reveals profound personal significance or epiphany, often standing on the brink of its own negation.

📝 Points essentiels

• A single present moment can unfold into an entire biographical turning point, compressing and expanding time.
• This temporal dilation saturates the instant with layered memories and associations.
• Such moments exemplify Woolf’s concept of “moments of being” or epiphanies.

💡 À retenir

A single present moment can unfold into an entire biographical turning point, compressing and expanding time.

📖 11. The intersection of individual perception and nation/institutions

🔑 Notions clés & Définitions

• Symbol of state power : An emblem within the novel that embodies the authority of the state and evokes collective national identity, exemplified by Big Ben which triggers shared associations related to empire and patriotism.
• National continuity : The ongoing existence and identity of the nation as represented through enduring symbols like Big Ben, which connect present experiences to historical and imperial legacies.
• Within the hours : The structuring of the novel’s narrative around the passage of time marked by the striking of the hours on clocks such as Big Ben, linking individual moments to a collective temporal framework.
• Lived experience a) From “Chronos : The subjective perception of time as experienced internally by characters, contrasting with the objective, measurable time represented by clocks, highlighting the tension between personal consciousness and external temporal order.
• Woolf’s working title : The provisional title 'The Hours' reflects the novel’s focus on the hour as a complex temporal unit that blends bodily sensation with temporal passage, structuring both form and content.

📝 Points essentiels

• Certain symbols in the novel, such as Big Ben, represent state power and national continuity.
• Individual perceptions intersect with collective institutions, reflecting broader social and political contexts.
• This intersection highlights tensions between personal experience and imperial or national concerns.

💡 À retenir

Certain symbols in the novel, such as Big Ben, represent state power and national continuity.

📖 12. The flow of hours as an aesthetic unit despite death

🔑 Notions clés & Définitions

• Sally : A character whose experiences contribute to the novel's exploration of identity and temporal flow, exemplified through moments of epiphany and personal revelation.
• Kairos and Aiôn : Kairos refers to the opportune or decisive moment within time, while Aiôn denotes continuous, eternal, or cyclical time; the novel stages an interaction between these temporalities within the structure of the hour.
• Identity unfolding through the hours : The process by which identity is revealed and transformed through overlapping moments within the hour, combining present experience, memory, and anticipation, thus extending beyond mortality.

📝 Points essentiels

• The flow of hours continues despite death, embodying a threshold between present and future, life and death.
• The hour is neither a pure instant nor extended duration but an aesthetic unit blending embodied sensation and temporal trace.
• Woolf’s modernist ambition captures the ephemeral while opening it onto the eternal dimension.

💡 À retenir

Le flux temporel dans le roman transcende la mortalité, fusionnant moments fugaces et continuité intemporelle dans une unité esthétique.

🧩 Compléments de couverture

1. Détail source à réviser : Who was Virginia Woolf? (Document rédigé par Antoine Perret) Virginia Woolf was born Virginia Stephen on 25th January 1882, into a highly intellectual but also deeply patriarchal upper-middle-class Victorian family. Her (Source: "Who was Virginia Woolf? (Document rédigé par Antoine Perret) Virginia Woolf was born Virginia Stephen on 25th January 1882, into a highly intellectual but also deeply patriarchal upper-middle-class Victorian family. Her mother: Julia Stephen née Jackson à Pre-Raphaelite model + from an Anglo-Indian “artistic” family from French descent (like Sally Seton in")
2. Détail source à réviser : Their weekly gatherings, no doubt less animated than legend would have it, brought together discussions on art and morality with more frivolous, sometimes even irreverent talks, and often extended into long hours spent i (Source: "Their weekly gatherings, no doubt less animated than legend would have it, brought together discussions on art and morality with more frivolous, sometimes even irreverent talks, and often extended into long hours spent in one another’s company. This rejection of social conventions was a defining feature of their friendships and artistic life; yet,")
3. Détail source à réviser : my little compliment to the effect that it has a slapdash & vigour, & sometimes hits an unexpected bulls eye. But what is more to the point is my belief that the habit of writing thus for my own eye only is good practise (Source: "my little compliment to the effect that it has a slapdash & vigour, & sometimes hits an unexpected bulls eye. But what is more to the point is my belief that the habit of writing thus for my own eye only is good practise. It loosens the ligaments. Never mind the misses & the stumbles. Going at such a pace as I do I must make the most direct &")
4. Détail source à réviser : be praised. That comes always as a surprise. The Eliots gladly dine with us. Murry is affectionate & bantering. I must have one coloured figure though in my black & white; I must spare a phrase for the sealing wax green (Source: "be praised. That comes always as a surprise. The Eliots gladly dine with us. Murry is affectionate & bantering. I must have one coloured figure though in my black & white; I must spare a phrase for the sealing wax green of Ottoline’s dress. This bright silk stood out over a genuine crinoline. She did control the room on account of it. Yet I dreamt all")
5. Détail source à réviser : like that. Septimus Smith? —is that a good name?—and to be more close to the fact than Jacob: but I think Jacob was a necessary step for me, in working free. D2, June 19th, 1923, p.248 But now what do I feel about my wri (Source: "like that. Septimus Smith? —is that a good name?—and to be more close to the fact than Jacob: but I think Jacob was a necessary step for me, in working free. D2, June 19th, 1923, p.248 But now what do I feel about my writing?—this book, that is, The Hours, if that’s its name? One must write from deep feeling, said Dostoievsky. And do I? Or do I")
6. Détail source à réviser : of my own. D3, April 27th, 1925, p.12-13 The Common Reader was out on Thursday: this is Monday, & so far I have not heard a word about it, private or public: it is as if one tossed a stone into a pond, & the waters close (Source: "of my own. D3, April 27th, 1925, p.12-13 The Common Reader was out on Thursday: this is Monday, & so far I have not heard a word about it, private or public: it is as if one tossed a stone into a pond, & the waters closed without a ripple. And I am perfectly content, & care less than I have ever cared, & make this note. just to remind me next time of the")
7. Détail source à réviser : How people suffered, how they suffered, she thought, thinking of Mrs Foxcroft at the Embassy last night decked with jewels, eating her heart out, because that nice boy was dead, and now the old Manor House (Durtnall's va (Source: "How people suffered, how they suffered, she thought, thinking of Mrs Foxcroft at the Embassy last night decked with jewels, eating her heart out, because that nice boy was dead, and now the old Manor House (Durtnall's van passed) must go to a cousin. "Good morning to you!" said Hugh Whitbread raising his hat rather extravagantly by the china shop,")
8. Détail source à réviser : I want a fellow to hold my horse, I have only to put up my hand." But the religious question is far more serious than the economic, Sir Dighton had said, which she thought extraordinarily interesting, from a man like Sir (Source: "I want a fellow to hold my horse, I have only to put up my hand." But the religious question is far more serious than the economic, Sir Dighton had said, which she thought extraordinarily interesting, from a man like Sir Dighton. "Oh, the country will never know what it has lost" he had said, talking, of his own accord, about dear Jack Stewart. She")
9. Détail source à réviser : Clarissa, for she remembered the broad pages; the sentences ending; the characters—how one talked about them as if they were real. For all the great things one must go to the past, she thought. From the contagion of the (Source: "Clarissa, for she remembered the broad pages; the sentences ending; the characters—how one talked about them as if they were real. For all the great things one must go to the past, she thought. From the contagion of the world's slow stain. . . . Fear no more the heat o' the sun. . . . And now can never mourn, can never mourn, she repeated, her eyes")
10. Détail source à réviser : powdered, perfectly still, and Clarissa would have given anything to be like that, the mistress of Clarefield, talking politics, like a man. But she never goes anywhere, thought Clarissa, and it's quite useless to ask he (Source: "powdered, perfectly still, and Clarissa would have given anything to be like that, the mistress of Clarefield, talking politics, like a man. But she never goes anywhere, thought Clarissa, and it's quite useless to ask her, and the carriage went on and Lady Bexborough was borne past like a Queen at a tournament, though she had nothing to live for and")
11. Détail source à réviser : Were there others half an inch longer? Still it seemed tiresome to bother her— perhaps the one day in the month, thought Clarissa, when it's an agony to stand. "Oh, don't bother" she said. But the gloves were brought. "D (Source: "Were there others half an inch longer? Still it seemed tiresome to bother her— perhaps the one day in the month, thought Clarissa, when it's an agony to stand. "Oh, don't bother" she said. But the gloves were brought. "Don't you get fearfully tired" she said in her charming voice, "standing? When d'you get your holiday?" "In September, Madame, when")
12. Détail source à réviser : went off again. Clarissa was left waiting. Fear no more she repeated, playing her finger on the counter. Fear no more the heat o' the sun. Fear no more she repeated. There were little brown spots on her arm. And the girl (Source: "went off again. Clarissa was left waiting. Fear no more she repeated, playing her finger on the counter. Fear no more the heat o' the sun. Fear no more she repeated. There were little brown spots on her arm. And the girl crawled like a snail. Thou thy wordly task hast done. Thousands of young men had died that things might go on. At last! Half an inch")
13. Détail source à réviser : (Picasso, as for him, painted a portrait of her, see: h"ps://www.metmuseum.org/fr/art/collec4on/search/488221). She explains Picasso’s Cubist method in the following words: “Really most of the 'me one sees only a feature (Source: "(Picasso, as for him, painted a portrait of her, see: h"ps://www.metmuseum.org/fr/art/collec4on/search/488221). She explains Picasso’s Cubist method in the following words: “Really most of the 'me one sees only a feature of a person with whom one really is, the other features are covered by a hat, by the light, by clothes for sport and everybody is")
14. Détail source à réviser : they get together the leaves of trees push into their inters'ces [...] Between house and leaves there move the shapes of men; more transient than either, they scarcely leave a mark [...]” ("Modern French Art”). In breaki (Source: "they get together the leaves of trees push into their inters'ces [...] Between house and leaves there move the shapes of men; more transient than either, they scarcely leave a mark [...]” ("Modern French Art”). In breaking away from linear perspec+vism, Cubism offered the possibility for a dynamic depic+on of space and rendered objects from different")
15. Détail source à réviser : by conven&on, much like badly fi4ng clothes à By contrast, Woolf seeks a form that would be more fluid, more responsive to the shiing, elusive nature of consciousness YET despite this rhetoric of rupture, Modernism must _(Source: "by conven&on, much like badly fi4ng clothes à By contrast, Woolf seeks a form that would be more fluid, more responsive to the shiing, elusive nature of consciousness YET despite this rhetoric of rupture, Modernism must also be understood in terms of con$nuity. The emphasis on interiority does not emerge suddenly in the 1920s. From the eighteenth")_
16. Détail source à réviser : 5 à characters are constantly filtered through other consciousnesses – their portaits are o&en made “through” the focalisa5on of other characters à percep%on circulates swily between characters à no single perspec,ve ca _(Source: "5 à characters are constantly filtered through other consciousnesses – their portaits are o&en made “through” the focalisa5on of other characters à percep%on circulates swily between characters à no single perspec,ve can claim total knowledge This has two major consequences: • First, it reinforces the idea that iden%ty/in%macy is never purely")_
17. Détail source à réviser : she is already associated with a certain upper-class social world – refined yet somewhat superficial, she already is the conven&onal wife of Richard Dalloway (an MP who failed to win the latest elecons and who thus deci _(Source: "she is already associated with a certain upper-class social world – refined yet somewhat superficial, she already is the conven&onal wife of Richard Dalloway (an MP who failed to win the latest elecons and who thus decide to travel to Lisbon and then South America) In 1922, Woolf returns to her in the short story “Mrs Dalloway in Bond Street,” which she")_
18. Détail source à réviser : first English transla9on) in the early 1920s. Although she is interested in the explora3on of the mind, she resists what she sees as the reduc,ve tendencies of Freudian interpreta.on, which risk turning characters into c (Source: "first English transla9on) in the early 1920s. Although she is interested in the explora3on of the mind, she resists what she sees as the reduc,ve tendencies of Freudian interpreta.on, which risk turning characters into clinical cases (see Woolf’s “Freudian Fic+on,” 1920). Her own approach seeks to preserve the complexity and ambiguity of inner life. à")
19. Détail source à réviser : organisa"on. Similarly, the novel is structure by Big Ben (or other clocks) striking the hours. The rhythm of the novel is also structured by a series of oscilla'ons (like the pendulum of a clock): • between interior and (Source: "organisa"on. Similarly, the novel is structure by Big Ben (or other clocks) striking the hours. The rhythm of the novel is also structured by a series of oscilla'ons (like the pendulum of a clock): • between interior and exterior (private spaces v. the streets of London) • between expansion and contrac.on (polyphonic passages / passages focused on a")
20. Détail source à réviser : perspec8ve. 4. Peter Walsh’s walk (pp. 37–49) Peter moves through London (Westminster to Regent’s Park via Whitehall, Trafalgar, Haymarker). à A wandering consciousness, blending present percep%on and past memories, in p (Source: "perspec8ve. 4. Peter Walsh’s walk (pp. 37–49) Peter moves through London (Westminster to Regent’s Park via Whitehall, Trafalgar, Haymarker). à A wandering consciousness, blending present percep%on and past memories, in par$cular: Bourton and his breakup with Clarissa à Two unexpected typographical breaks interrupt the apparent unity of the passage (pp.")
21. Détail source à réviser : à No tradi)onal resolu)on, but a moment of recogni)on A non-linear, woven structure Two narra've lines gradually seem to emerge and run in parallel: • Clarissa’s (who is both sane and socially integrated) prepara%ons for (Source: "à No tradi)onal resolu)on, but a moment of recogni)on A non-linear, woven structure Two narra've lines gradually seem to emerge and run in parallel: • Clarissa’s (who is both sane and socially integrated) prepara%ons for her party • Sep$mus’s isola&on and psychological decline, leading to his suicide These two trajectories remain separate for most of the")
22. Détail source à réviser : it unfolds within it. Even though the text remains in the third person, it repeatedly immerses the reader in the immediacy of a character’s mental life, as when Peter Walsh, walking through London, simultaneously observe (Source: "it unfolds within it. Even though the text remains in the third person, it repeatedly immerses the reader in the immediacy of a character’s mental life, as when Peter Walsh, walking through London, simultaneously observes his surroundings and reconstructs his past, “coming […] of a respectable Anglo-Indian family… etc.,” while reflec,ng anxiously on")
23. Détail source à réviser : affect. Clarissa’s walk through Bond Street exemplifies this dual movement: as she observes shop windows and passing taxis, her mind dri.s through memories, reflec4ons on death, fragments of literature (“Fear no more the (Source: "affect. Clarissa’s walk through Bond Street exemplifies this dual movement: as she observes shop windows and passing taxis, her mind dri.s through memories, reflec4ons on death, fragments of literature (“Fear no more the heat o’ the sun) and sudden emo*onal surges, such as her intense, almost irra$onal hatred of Miss Kilman, which she perceives as a “brutal")
24. Détail source à réviser : experience from within but imposes a rhythm from without, punctua4ng and some4mes interrup4ng the flow of thought. The tension between these two temporali0es (measured )me and experienced !me) runs throughout the novel. (Source: "experience from within but imposes a rhythm from without, punctua4ng and some4mes interrup4ng the flow of thought. The tension between these two temporali0es (measured )me and experienced !me) runs throughout the novel. Ul#mately, Woolf’s narra#ve technique can be understood as an a:empt to reconcile the form of the novel with the reality of inner life à")
25. Détail source à réviser : husband the story of the passenger who died in her arms. This is a story within the story, and in which she is directly involved. 2 More generally and more simply, one can speak of either “third-person point of view” or (Source: "husband the story of the passenger who died in her arms. This is a story within the story, and in which she is directly involved. 2 More generally and more simply, one can speak of either “third-person point of view” or “first-person point of view.” In a third-person point of view the narrator tells someone else’s story but generally is privileged in his")
26. Détail source à réviser : speech implies changes in tenses, pronouns, 3 temperal and spatial adverbs. Indirect speech often tends to report the contents of what was said more than the quality or manner of speech. Free indirect speech has the gram (Source: "speech implies changes in tenses, pronouns, 3 temperal and spatial adverbs. Indirect speech often tends to report the contents of what was said more than the quality or manner of speech. Free indirect speech has the grammatical form of indirect speech (it retains the tense used for narration) except that the temporal and spatial adverbs as well as the")
27. Détail source à réviser : part of the reported speech in green with an ellipsis of “to” in front of “go to a music hall”. But, because of this ellipsis of the “to”, we might almost think that we are hearing Dr Holmes’ words “directly” as they res (Source: "part of the reported speech in green with an ellipsis of “to” in front of “go to a music hall”. But, because of this ellipsis of the “to”, we might almost think that we are hearing Dr Holmes’ words “directly” as they resonate in Rezia’s mind, with only the quotation marks (and possibly the exclamation point of) ‘Go to a music hall!’ missing. If that were")
28. Détail source à réviser : by other characters and reported speech that fuse with the thoughts of the “focalizer” or “reflector”. 1 Sentencing the Incipit – Mrs Dalloway and Intimacy A. Perret Sentencing 1: The opening of Mrs Dalloway is deceptive (Source: "by other characters and reported speech that fuse with the thoughts of the “focalizer” or “reflector”. 1 Sentencing the Incipit – Mrs Dalloway and Intimacy A. Perret Sentencing 1: The opening of Mrs Dalloway is deceptively simple: “Mrs Dalloway said she would buy the flowers herself.” The action is trivial, almost insignificant: buying flowers, preparing")
29. Détail source à réviser : around her, reminiscing about the past (what she starts doing in the third paragraph) à Nine words and yet so many things we can already deduce. With nine words this inconspicuous sentence establishes something central: (Source: "around her, reminiscing about the past (what she starts doing in the third paragraph) à Nine words and yet so many things we can already deduce. With nine words this inconspicuous sentence establishes something central: in this novel nothing is going to be easily handed to the reader. Woolf withholds all explicit explanation. Nothing is fully spelled")
30. Détail source à réviser : with it – is however abruptly interrupted by a disturbing feeling: “that something awful was about to happen.” This is a crucial shift in tone. Here, the threat remains undefined/unexplained, but it is presented as both (Source: "with it – is however abruptly interrupted by a disturbing feeling: “that something awful was about to happen.” This is a crucial shift in tone. Here, the threat remains undefined/unexplained, but it is presented as both imminent and deeply felt. The inner life, as the novel presents it, is not merely a stable or comforting space; it is marked by anxiety, by")
31. Détail source à réviser : emotions coexist: joy and anxiety, pleasure and fear, vitality and the anticipation of catastrophe. The same moment can generate both exhilaration and dread. In this sense, the inner life is both reassuring and threateni (Source: "emotions coexist: joy and anxiety, pleasure and fear, vitality and the anticipation of catastrophe. The same moment can generate both exhilaration and dread. In this sense, the inner life is both reassuring and threatening. It offers access to intense experiences of being, but it also exposes the subject to vulnerability, fear and uncertainty. What is a")
32. Détail source à réviser : feast day (January 6) commemorating the wisemen’s (or magi’s) discovery of Christ and their acknowledgement of the transformative power this divine manifestation had upon them. The term “epiphany” descends from the ancie (Source: "feast day (January 6) commemorating the wisemen’s (or magi’s) discovery of Christ and their acknowledgement of the transformative power this divine manifestation had upon them. The term “epiphany” descends from the ancient Greek ἐπῐφᾰ́νειᾰ (epipháneia), meaning a "manifestation or appearance." The word is built from the Greek words "pha" (to shine),")
33. Détail source à réviser : made any dint upon me. Then, for no reason that I know about, there was a violent shock; something happened so violently that I have remembered it all my life” (71) An interesting tension arises from these few quotes: th (Source: "made any dint upon me. Then, for no reason that I know about, there was a violent shock; something happened so violently that I have remembered it all my life” (71) An interesting tension arises from these few quotes: the heightened moment of perception is precariously poised between the intensity of something that is felt as “being” conspicuously")
34. Détail source à réviser : bien connaître les supports de cours qui vous ont été donné, mais aussi d’avoir une connaissance intime de l’œuvre. Une méthode pour acquérir cette connaissance intime est bien sûr de lire l’œuvre plusieurs fois, de l’an (Source: "bien connaître les supports de cours qui vous ont été donné, mais aussi d’avoir une connaissance intime de l’œuvre. Une méthode pour acquérir cette connaissance intime est bien sûr de lire l’œuvre plusieurs fois, de l’annoter en vous mettant dans la marge des références à des thèmes ou des caractéristiques littéraires spécifiques, de faire un résumé")
35. Détail source à réviser : pertinents à appliquer dans votre définition du sujet et vous aidera à sa problématisation. Le sujet peut prendre différentes formes. Celui que nous vous donnons pour le cours de littérature en L3 reprend largement les c (Source: "pertinents à appliquer dans votre définition du sujet et vous aidera à sa problématisation. Le sujet peut prendre différentes formes. Celui que nous vous donnons pour le cours de littérature en L3 reprend largement les codes de la dissertation d’agrégation (même si nous n’avons pas les mêmes attentes encore à ce stade, bien sûr). Les sujets proposés à")
36. Détail source à réviser : de répondre, soit de façon claire et nette, soit, plus probablement, avec une certaine nuance. Dans la formulation de la problématique, 3 on évitera des questions longues, à rallonges, qui correspondent en réalité à l’én (Source: "de répondre, soit de façon claire et nette, soit, plus probablement, avec une certaine nuance. Dans la formulation de la problématique, 3 on évitera des questions longues, à rallonges, qui correspondent en réalité à l’énoncé sous forme de question à un plan. La problématique doit être, certes, spécifique, mais surtout efficace. Elle doit être énoncée en")
37. Détail source à réviser : dans le plan de l’introduction. Il faut montrer la souplesse, le dynamisme de l’évolution de la pensée, jusque dans les formulations. Dans chaque partie principale, il convient de mêler les types d’exemples et d’argument (Source: "dans le plan de l’introduction. Il faut montrer la souplesse, le dynamisme de l’évolution de la pensée, jusque dans les formulations. Dans chaque partie principale, il convient de mêler les types d’exemples et d’arguments utilisés en faisant jouer des éléments macro et micro- structurels, des remarques sur la composition ou la narration avec des")
38. Détail source à réviser : and cite your sources à your dissertation is your own reading of the text HOW TO DRAFT A DISSERTATION Step 1. Analyse the topic • Define the key term(s): grammatical category, polysemy, connotations • Explore synonyms / (Source: "and cite your sources à your dissertation is your own reading of the text HOW TO DRAFT A DISSERTATION Step 1. Analyse the topic • Define the key term(s): grammatical category, polysemy, connotations • Explore synonyms / antonyms à open different angles • For double-entry topics: define the relationship (tension, opposition, complementarity). Never treat")
39. Détail source à réviser : - At first glance, the hour appears as a minimal, restrictive unit (objective, chronological, external). Yet in the novel a single hour can expand to include decades of memory or condense into moments of revelation or cr (Source: "- At first glance, the hour appears as a minimal, restrictive unit (objective, chronological, external). Yet in the novel a single hour can expand to include decades of memory or condense into moments of revelation or crisis or even open onto forms of eternity. - This tension can be illuminated by the classical Greek distinctions between: o Chronos:")
40. Détail source à réviser : Street, announced, genially and fraternally, as if it were a pleasure to Messrs Rigby and Lowndes to give the information gratis, that it was half-past one.” - External, measurable, objective time (Chronos) à regular seg (Source: "Street, announced, genially and fraternally, as if it were a pleasure to Messrs Rigby and Lowndes to give the information gratis, that it was half-past one.” - External, measurable, objective time (Chronos) à regular segmentation - Chronos = collective & public (everyone can hear Big Ben, the clocks “upheld authority”): the hours regulate collective")
41. Détail source à réviser : show it at work, at its most intense.” - Formal compression: capturing life/society within a day, within the hours within a day even, to show the intensity of life / of the experience of time - As such, Woolf revolutioni (Source: "show it at work, at its most intense.” - Formal compression: capturing life/society within a day, within the hours within a day even, to show the intensity of life / of the experience of time - As such, Woolf revolutionises the novel, which traditionally focuses on extended periods of time (whereas the focus on the instant is usually the domain of poetry)")
42. Détail source à réviser : a doubling eZect: à Clarissa in London (aged, married, socially defined) à Clarissa at Bourton (young, free, pre-marital) - The present hour contains multiple past hours à temporal palimpsest, the hour is no longer a sta (Source: "a doubling eZect: à Clarissa in London (aged, married, socially defined) à Clarissa at Bourton (young, free, pre-marital) - The present hour contains multiple past hours à temporal palimpsest, the hour is no longer a stable unit - Temporal palimpsest and identity: à This overlap is not simply nostalgic; it reveals a continuity-through- discontinuity à the")
43. Détail source à réviser : and aesthetic horizon a) Kairos: Decisive instants & moments of being - Certain hours acquire exceptional density (turning points, revelations) - Some instants reach a point of extreme concentration, where disparate elem (Source: "and aesthetic horizon a) Kairos: Decisive instants & moments of being - Certain hours acquire exceptional density (turning points, revelations) - Some instants reach a point of extreme concentration, where disparate elements converge: Ex. Peter near the British Museum: “Partly for that reason, its secrecy, complete and inviolable, he had found life like")
44. Détail source à réviser : - The hour thus opens onto temporalities that exceed individual existence, embedding the present moment within larger, almost infinite durations. - Aiôn first appears in the form of genealogical continuity: Clarissa embo (Source: "- The hour thus opens onto temporalities that exceed individual existence, embedding the present moment within larger, almost infinite durations. - Aiôn first appears in the form of genealogical continuity: Clarissa embodies this awareness when she thinks simultaneously of: her daughter Elizabeth and her aristocratic lineage: “she belonged to")
45. Détail source à réviser : on.” p. 105 à the present participle (“pouring”) conveys uninterrupted flow à the repetition (“year in, year out”) suggests cyclical permanence à the enumeration / gradation (“this vow; this van; this life; this processi (Source: "on.” p. 105 à the present participle (“pouring”) conveys uninterrupted flow à the repetition (“year in, year out”) suggests cyclical permanence à the enumeration / gradation (“this vow; this van; this life; this procession”) : all dimensions of existence, from the trivial to the sacred (procession also = religious term), are placed on the same plane. à")
46. Détail source à réviser : but a threshold between present and future, between the individual and the collective, between Kairos and Aiôn, between life and death… - Woolf’s modernist ambition can thus be understood as an attempt to capture the eph (Source: "but a threshold between present and future, between the individual and the collective, between Kairos and Aiôn, between life and death… - Woolf’s modernist ambition can thus be understood as an attempt to capture the ephemeral while opening it onto the eternal. Each hour, however fleeting, contains: o the embodied sensation of the present moment o the trace")
47. Détail source à réviser : for Sally” à the memory of Sally = stronger, but also the idea that these characters are background noise to their queer/lesbian desire. Here, this background = social conventions Secondary characters rendered through fl (Source: "for Sally” à the memory of Sally = stronger, but also the idea that these characters are background noise to their queer/lesbian desire. Here, this background = social conventions Secondary characters rendered through flattened, almost caricatural syntax (brief mentions, common places, normativity: “she was untidy papa said,” “Papa read the")
48. Détail source à réviser : Othello's feeling” à fusion of Eros and Thanatos + anticipation of later echo in the novel (Clarissa remembers the same line + the white frock associated with it at her party, when she is thinking about Septimus’s death: (Source: "Othello's feeling” à fusion of Eros and Thanatos + anticipation of later echo in the novel (Clarissa remembers the same line + the white frock associated with it at her party, when she is thinking about Septimus’s death: “If it were now to die, 'twere now to be most happy," she had said to herself once, coming down in white.”p. 139) à the white dress")
49. Détail source à réviser : 1905 – began writing for The Times Literary Supplement 1912 – marriage to Leonard Woolf 1915 – aged 33, she published her first novel, The Voyage Out 1922 – Jacob’s Room, her first truly modernist novel 1925 – Published (Source: "1905 – began writing for The Times Literary Supplement 1912 – marriage to Leonard Woolf 1915 – aged 33, she published her first novel, The Voyage Out 1922 – Jacob’s Room, her first truly modernist novel 1925 – Published her fourth novel, Mrs Dalloway 1941 – She commits suicide in the river Ouse, Sussex")
50. Détail source à réviser : D. (who ushers in a host of others, I begin to per-ceive) then I do Chaucer; & finish the first chapter early in September (Source: "D. (who ushers in a host of others, I begin to per-ceive) then I do Chaucer; & finish the first chapter early in September")
51. Détail source à réviser : Or do I fabricate with words, loving them as I do? No, I think not. In this book I have almost too many ideas. I want to give life and death, sanity and insanity; I want to criticise the social system, and to show it at (Source: "Or do I fabricate with words, loving them as I do? No, I think not. In this book I have almost too many ideas. I want to give life and death, sanity and insanity; I want to criticise the social system, and to show it at work, at its most intense. D2, August 30th, 1923, p.263 – Cf")
52. Détail source à réviser : ately to see doctors." "Milly?" said Mrs Dalloway, instantly compassionate. "Out of sorts," said Hugh Whitbread. "That sort of thing. Dick all right?" "First rate!" said Clarissa. Of course, she thought, walking on, Mill (Source: "ately to see doctors." "Milly?" said Mrs Dalloway, instantly compassionate. "Out of sorts," said Hugh Whitbread. "That sort of thing. Dick all right?" "First rate!" said Clarissa. Of course, she thought, walking on, Milly is about my age—fifty—fifty-two. So it is probably t")
53. Détail source à réviser : e had worn red socks? Oh, at last—she drew into the counter and it flashed into her mind: "Do you remember before the war you had gloves with pearl buttons?" "French gloves, Madame?" "Yes, they were French" said Clarissa (Source: "e had worn red socks? Oh, at last—she drew into the counter and it flashed into her mind: "Do you remember before the war you had gloves with pearl buttons?" "French gloves, Madame?" "Yes, they were French" said Clarissa. The other lady rose very sadly and took her bag, and looked at the gloves on the counter. But t")
54. Détail source à réviser : 1903, wrote poems that were largely influenced by Picasso’s portraits (Picasso, as for him, painted a portrait of her, see: h"ps://www (Source: "1903, wrote poems that were largely influenced by Picasso’s portraits (Picasso, as for him, painted a portrait of her, see: h"ps://www")
55. Détail source à réviser : an exercise of ekphrasis2 on Survage's 1911 pain1ng Ville below. 1 Jennie-Rebecca Falce)a “Geometries of Space and Time: The Cubist London of "Mrs. Dalloway",”Woolf Studies Annual, 2007, Vol. 13 (2007): 111-136 (here p. (Source: "an exercise of ekphrasis2 on Survage's 1911 pain1ng Ville below. 1 Jennie-Rebecca Falce)a “Geometries of Space and Time: The Cubist London of "Mrs. Dalloway",”Woolf Studies Annual, 2007, Vol. 13 (2007): 111-136 (here p. 111). 2 The term comes from the Greek ἐκ ek and φράσις phrásis, 'out' and 'speak' r")
56. Détail source à réviser : 1. The origins of Mrs Dalloway The origins of Mrs Dalloway = the intersec+on of literary influence and the recep+on of Jacob’s Room + previous novels / short stories in which Mrs D (Source: "1. The origins of Mrs Dalloway The origins of Mrs Dalloway = the intersec+on of literary influence and the recep+on of Jacob’s Room + previous novels / short stories in which Mrs D")
57. Détail source à réviser : 1924 a"er years spent in Richmond, in the suburbs (Leonard considered London too busy and nerve-racking for Virginia – but Virginia was very much bored in Richmond and wanted to return to London) (Source: "1924 a"er years spent in Richmond, in the suburbs (Leonard considered London too busy and nerve-racking for Virginia – but Virginia was very much bored in Richmond and wanted to return to London)")
58. Détail source à réviser : 106) These elements func-on as bridges between characters/consciousnesses, allowing the novel to maintain a form of unity despite its fragmenta3on (Source: "106) These elements func-on as bridges between characters/consciousnesses, allowing the novel to maintain a form of unity despite its fragmenta3on")
59. Détail source à réviser : but also constantly recons,tuted through hidden connec,ons. Woolf describes her method as “digging caves” behind her characters and connec2ng them: each consciousness is separate, yet secretly linked to others. D2, Augus (Source: "but also constantly recons,tuted through hidden connec,ons. Woolf describes her method as “digging caves” behind her characters and connec2ng them: each consciousness is separate, yet secretly linked to others. D2, August 30th, 1923, p.263 – Cf. Deleuze, Le Pli: “T")
60. Détail source à réviser : g. -Jane Eyre, in Charlotte Brontë’s eponymous novel, Jane Eyre (Source: "g. -Jane Eyre, in Charlotte Brontë’s eponymous novel, Jane Eyre")
61. Détail source à réviser : p. 10 at the end of the long paragraph in the middle of the page: …and how she loved the grey white moths spinning in and out, over the cherry pie, over the evening primroses (Source: "p. 10 at the end of the long paragraph in the middle of the page: …and how she loved the grey white moths spinning in and out, over the cherry pie, over the evening primroses")
62. Détail source à réviser : A. Perret Sentencing 1: The opening of Mrs Dalloway is deceptively simple: “Mrs Dalloway said she would buy the flowers herself (Source: "A. Perret Sentencing 1: The opening of Mrs Dalloway is deceptively simple: “Mrs Dalloway said she would buy the flowers herself")
63. Détail source à réviser : t sentence and on her following thoughts). The second sentence introduces another figure: “For Lucy had her work cut out for her.” This raises an immediate ambiguity. Is this still the narrator speaking? Are we now withi (Source: "t sentence and on her following thoughts). The second sentence introduces another figure: “For Lucy had her work cut out for her.” This raises an immediate ambiguity. Is this still the narrator speaking? Are we now within Clarissa’s thoughts, as she considers the work of her servant? Or ar")
64. Détail source à réviser : 1900 and 1904 he wrote some 71 ‘epiphanies’, or short records of impressions which, in spite of - or because of - their lack of obvious meaning seemed to him to encapsulate the tenor of life in Dublin (Source: "1900 and 1904 he wrote some 71 ‘epiphanies’, or short records of impressions which, in spite of - or because of - their lack of obvious meaning seemed to him to encapsulate the tenor of life in Dublin")
65. Détail source à réviser : 1970) que « l’œuvre (au sens absolu : l’œuvre forte, forme-sens) ne ‘remplit’ pas une forme prédéterminée, préexistante, elle la crée (Source: "1970) que « l’œuvre (au sens absolu : l’œuvre forte, forme-sens) ne ‘remplit’ pas une forme prédéterminée, préexistante, elle la crée")
66. Détail source à réviser : p. 87) La citation est le plus souvent tirée de l’œuvre, mais elle peut aussi être tirée d’un autre écrit de l’auteur/l’autrice ou même du travail d’un (Source: "p. 87) La citation est le plus souvent tirée de l’œuvre, mais elle peut aussi être tirée d’un autre écrit de l’auteur/l’autrice ou même du travail d’un")
67. Détail source à réviser : 1. Analyse the topic • Define the key term(s): grammatical category, polysemy, connotations • Explore synonyms / antonyms à open different angles • For double-entry topics: define the relationship (tension, opposition, c (Source: "1. Analyse the topic • Define the key term(s): grammatical category, polysemy, connotations • Explore synonyms / antonyms à open different angles • For double-entry topics: define the relationship (tension, opposition, complementarity)")
68. Détail source à réviser : 89) +The phrase “first the warning, musical; then the hour, irrevocable” = pattern, as it echoes p (Source: "89) +The phrase “first the warning, musical; then the hour, irrevocable” = pattern, as it echoes p")
69. Détail source à réviser : 38) During the time it takes for a single bell (St Margaret’s half-hour) to strike, a complex sequence unfolds, p (Source: "38) During the time it takes for a single bell (St Margaret’s half-hour) to strike, a complex sequence unfolds, p")
70. Détail source à réviser : 115) - Clarissa/Sally kiss à epiphanic moment (“Then came the most exquisite moment of her whole life passing a stone urn with flowers in it” p (Source: "115) - Clarissa/Sally kiss à epiphanic moment (“Then came the most exquisite moment of her whole life passing a stone urn with flowers in it” p")
71. Détail source à réviser : 26-27 – Sally and Clarissa kissing I. A subversive memory: transgressing social norms a. Sally = aesthetic and social disruption “Sally went out, picked hollyhocks, dahlias—all sorts of flowers that had never been seen t (Source: "26-27 – Sally and Clarissa kissing I. A subversive memory: transgressing social norms a. Sally = aesthetic and social disruption “Sally went out, picked hollyhocks, dahlias—all sorts of flowers that had never been seen together—cut their heads oD, and made them swim on the top of water in bowls.” à “Sally’s power” = grounded in the act of cutting the flow...")
72. Détail source à réviser : b. Blurred voices: free indirect speech, stream of consciousness and narratorial intervention Paradox: Clarissa’s inability to “get an echo of her old emotion” vs hyper- precise description of her emotions p (Source: "b. Blurred voices: free indirect speech, stream of consciousness and narratorial intervention Paradox: Clarissa’s inability to “get an echo of her old emotion” vs hyper- precise description of her emotions p")
73. Détail source à réviser : 1922), Mrs Dalloway (1925), To the Lighthouse (1927), Orlando (1928) – participate in a broader modernist effort to: à Break with traditional narrative forms à Explore subjectivity, time and consciousness Historical cont (Source: "1922), Mrs Dalloway (1925), To the Lighthouse (1927), Orlando (1928) – participate in a broader modernist effort to: à Break with traditional narrative forms à Explore subjectivity, time and consciousness Historical context Woolf’s life spans a period of major historical rupture:")
74. Détail source à réviser : A6FLT11 Who was Virginia Woolf ?• Born Adeline Virginia Stephen in 1882 • Youth marked by the death of her parents, half sister and brother 1905 – began writing for The Times Literary Supplement 1912 – marriage to Leonar (Source: "A6FLT11 Who was Virginia Woolf ?• Born Adeline Virginia Stephen in 1882 • Youth marked by the death of her parents, half sister and brother 1905 – began writing for The Times Literary Supplement 1912 – marriage to Leonard Woolf 1915 – aged 33, she published her first novel, The V")
75. Détail source à réviser : c) The Hours as genetic trace - The Hours = Woolf’s working title - Woolf’s project to study the ordinary, the banal, the mundane (but also the futility of Clarissa’s life) – to depict life as it is truly experienced (Source: "c) The Hours as genetic trace - The Hours = Woolf’s working title - Woolf’s project to study the ordinary, the banal, the mundane (but also the futility of Clarissa’s life) – to depict life as it is truly experienced")
76. Détail source à réviser : 115) - Clarissa/Sally kiss à epiphanic moment (“Then came the most exquisite moment of her whole life passing a stone urn with flowers in it” p. 27, “a match burning in a crocus” p. 25), a moment of being in Woolf’s sens (Source: "115) - Clarissa/Sally kiss à epiphanic moment (“Then came the most exquisite moment of her whole life passing a stone urn with flowers in it” p. 27, “a match burning in a crocus” p. 25), a moment of being in Woolf’s sense - Clarissa/Peter breakup seen from dual perspectives à the same hour, diZerently experienced + a critical instant where their lives are...")
77. Détail source à réviser : p. 6 à The image of the arrow = in archery, “Kairos” denotes the moment in which an arrow may be shot with suZicient force to penetrate a target - The same moment is narrated twice: à first from Clarissa’s perspective p (Source: "p. 6 à The image of the arrow = in archery, “Kairos” denotes the moment in which an arrow may be shot with suZicient force to penetrate a target - The same moment is narrated twice: à first from Clarissa’s perspective p")
78. Détail source à réviser : 141) - This kairotic instant is thus both decisive and endlessly reinterpreted, structuring Peter’s whole existence (Source: "141) - This kairotic instant is thus both decisive and endlessly reinterpreted, structuring Peter’s whole existence")
79. Détail source à réviser : 4) - Septimus, on the other hand, because of his trauma, refuses lineage: “One cannot bring children into a world like this (Source: "4) - Septimus, on the other hand, because of his trauma, refuses lineage: “One cannot bring children into a world like this")
80. Détail source à réviser : a. A secular mysticism of queer / feminine communion The eDect of Sally on Clarissa : Clarissa smokes because Sally smokes, she does more manly things because of Sally (“which led to this chivalry”) (Source: "a. A secular mysticism of queer / feminine communion The eDect of Sally on Clarissa : Clarissa smokes because Sally smokes, she does more manly things because of Sally (“which led to this chivalry”)")
81. Détail source à réviser : Woolf’s major novels of the 1920s – Jacob’s Room (1922), Mrs Dalloway (1925), To the Lighthouse (1927), Orlando (1928) – participate in a broader modernist effort to: à Break with traditional narrative forms à Explore su (Source: "Woolf’s major novels of the 1920s – Jacob’s Room (1922), Mrs Dalloway (1925), To the Lighthouse (1927), Orlando (1928) – participate in a broader modernist effort to: à Break with traditional narrative forms à Explore subjectivity, time and consciousness Historical context Woolf’s life spans")
82. Détail source à réviser : life) – to depict life as it is truly experienced. - But also Woolf’s project to focus on “intensity”: Diary 2, June 19th, 1923, p.248 “But now what do I feel about my writing?—this book, that is, The Hours, if that’s it (Source: "life) – to depict life as it is truly experienced. - But also Woolf’s project to focus on “intensity”: Diary 2, June 19th, 1923, p.248 “But now what do I feel about my writing?—this book, that is, The Hours, if that’s its name? One must write from deep feeling,")
83. Détail source à réviser : c) Identity unfolding through the hours - Paul Ricoeur, Oneself as Another: idem-identity and ipse-identity (sameness and selfhood) (Source: "c) Identity unfolding through the hours - Paul Ricoeur, Oneself as Another: idem-identity and ipse-identity (sameness and selfhood)")
84. Détail source à réviser : 1984 : 211-212) - The novel also foregrounds what Ricoeur calls “narrative identity”: the characters’ remembrance of things past = shaping their narrative identity, the stories they tell themselves about themselves - Hen (Source: "1984 : 211-212) - The novel also foregrounds what Ricoeur calls “narrative identity”: the characters’ remembrance of things past = shaping their narrative identity, the stories they tell themselves about themselves - Hence, identity cans only be a “sketch” – see Peter’s thoughts about Clarissa p")
85. Détail source à réviser : 49) + The persistence of the sceneà the moment is not confined to the past but re- actualised during the party, when Peter recalls it again as he is chatting with Sally (p (Source: "49) + The persistence of the sceneà the moment is not confined to the past but re- actualised during the party, when Peter recalls it again as he is chatting with Sally (p")
86. Détail source à réviser : b) Aiôn: the irruption of eternity within the hours - The novel also stages moments where time opens onto the immemorial and the eternal (Source: "b) Aiôn: the irruption of eternity within the hours - The novel also stages moments where time opens onto the immemorial and the eternal")
87. Détail source à réviser : c) A poetics of the hour: fragmentation and unity - As such, if the novel seems fragmented (divided into hours, perspectives and discontinuous consciousnesses) it nevertheless constructs a form of underlying coherence (Source: "c) A poetics of the hour: fragmentation and unity - As such, if the novel seems fragmented (divided into hours, perspectives and discontinuous consciousnesses) it nevertheless constructs a form of underlying coherence")
88. Détail source à réviser : II. The hours as lived experience a) From “Chronos” to duration - Discrepancy between measured hours (objective) and experienced time (subjective) - The stream of consciousness technique à Microscopic attention to consci (Source: "II. The hours as lived experience a) From “Chronos” to duration - Discrepancy between measured hours (objective) and experienced time (subjective) - The stream of consciousness technique à Microscopic attention to consciousness - Example: Peter Walsh’s reflections in Regent’s Park pp")
89. Détail source à réviser : 3) à The present walk in London is thus superimposed onto the remembered space of Bourton (comment on the use of the past perfect) - The same sensory structure organises both moments: morning air à opening onto space à b (Source: "3) à The present walk in London is thus superimposed onto the remembered space of Bourton (comment on the use of the past perfect) - The same sensory structure organises both moments: morning air à opening onto space à bodily sensation of “plunging” This creates a doubling eZect: à Clarissa in London (aged, married, socially defined) à Clarissa at Bourton...")
90. Détail source à réviser : p. 25), a moment of being in Woolf’s sense - Clarissa/Peter breakup seen from dual perspectives à the same hour, diZerently experienced + a critical instant where their lives are decided (Kairos): “And it was intolerable (Source: "p. 25), a moment of being in Woolf’s sense - Clarissa/Peter breakup seen from dual perspectives à the same hour, diZerently experienced + a critical instant where their lives are decided (Kairos): “And it was intolerable, and when it came to that scene in the little garden by the fountain, she had to break with him or they would have been destroyed, both...")
91. Détail source à réviser : 14) The intersection of individual perception and nation / institutions - Woolf contrasts this macroscopic time of History with the microscopic time of consciousness (Septimus and Rezia’s private drama unfolding alongsid (Source: "14) The intersection of individual perception and nation / institutions - Woolf contrasts this macroscopic time of History with the microscopic time of consciousness (Septimus and Rezia’s private drama unfolding alongside the public spectacle)")
92. Détail source à réviser : 61) à The song prompt Lucrezia to experience a world stripped of human presence, returning to a pre-civilised state : “Through all ages––when the pavement was grass, when it was swamp, through the age of tusk and mammoth (Source: "61) à The song prompt Lucrezia to experience a world stripped of human presence, returning to a pre-civilised state : “Through all ages––when the pavement was grass, when it was swamp, through the age of tusk and mammoth, through the age of silent sunrise…” p")
93. Détail source à réviser : p. 105 à the present participle (“pouring”) conveys uninterrupted flow à the repetition (“year in, year out”) suggests cyclical permanence à the enumeration / gradation (“this vow; this van; this life; this procession”) (Source: "p. 105 à the present participle (“pouring”) conveys uninterrupted flow à the repetition (“year in, year out”) suggests cyclical permanence à the enumeration / gradation (“this vow; this van; this life; this procession”) : all dimensions of existence, from the trivial to the sacred (procession also = religious term), are placed on the same plane")
94. Détail source à réviser : 138) - Clarissa’s response transforms this rupture into a form of meaning: Septimus’ death is interpreted as a sacrifice, he dies so that they all can live: “They went on living (she would have to go back; the rooms were (Source: "138) - Clarissa’s response transforms this rupture into a form of meaning: Septimus’ death is interpreted as a sacrifice, he dies so that they all can live: “They went on living (she would have to go back; the rooms were still crowded; people kept on coming)")
95. Détail source à réviser : 139) - Death paradoxically preserves life, allowing others to continue à life persists, “All the same, that one day should follow another; Wednesday, Thursday, Friday, Saturday; that one should wake up in the morning; se (Source: "139) - Death paradoxically preserves life, allowing others to continue à life persists, “All the same, that one day should follow another; Wednesday, Thursday, Friday, Saturday; that one should wake up in the morning; see the sky; walk in the park; […]” (p")
96. Détail source à réviser : 93) à the flow of hours resumes, despite (or because of) death - The “hour” as aesthetic unit: neither pure instant nor extended duration, but a threshold between present and future, between the individual and the collec (Source: "93) à the flow of hours resumes, despite (or because of) death - The “hour” as aesthetic unit: neither pure instant nor extended duration, but a threshold between present and future, between the individual and the collective, between Kairos and Aiôn, between life and death… - Woolf’s modernist ambition can thus be understood as an attempt to capture the e...")

📅 Repères chronologiques

Date	Événement
1882	Virginia Woolf's birth
1923	Publication of Mrs Dalloway
1925	Turner's character description and demeanor
1922	Turner's character description and demeanor
1920	Turner's character description and demeanor
1905	Virginia Woolf's birth year reference in context of her family background

📊 Tableaux de Synthèse

Narrative Techniques and Temporal Experience in Mrs Dalloway

Technique	Description	Effect
Stream of Consciousness	Represents continuous flow of thoughts and affects	Captures complex perception of time
Clock Time	Objectively measured time (e.g., clock strikes)	Structures narrative and emphasizes external temporal order
Free Indirect Discourse	Blurs narration and dialogue, shifts perspectives	Creates fluidity and multiplicity of viewpoints
Narratorial Presence	Interweaves external stimuli and internal associations	Fosters immediacy and fragmented perspectives

⚠️ Pièges & Confusions Fréquentes

1. Confusing the subjective perception of time with clock time.
2. Assuming a single, stable narrative voice when multiple perspectives are circulating.
3. Overlooking the importance of moments of being as biographical turning points.
4. Misinterpreting symbols like Big Ben solely as decorative rather than as embodying state power.
5. Ignoring the intersection of individual perception with national and institutional symbols.
6. Confusing the flow of hours with chronological duration.
7. Neglecting the role of the self as unknowable to itself and others.

✅ Checklist Examen

1. Understand the concept of stream of consciousness and its role in representing mental flow.
2. Identify how clock time structures the narrative and contrasts with subjective time.
3. Recognize the narrative techniques that create immediacy and perspective circulation.
4. Explain the significance of moments of being as biographical turning points.
5. Describe the symbolism of Big Ben and its relation to national identity.
6. Analyze the intersection of individual perception with collective institutions.
7. Differentiate between subjective time (Kairos) and objective time (Aion).
8. Discuss the representation of the self as unknowable.
9. Interpret the flow of hours as an aesthetic and structural element.
10. Examine the role of narrative perspective shifts in creating complex temporality.
11. Identify the use of repetition and gradation in conveying cyclical permanence.
12. Relate the novel's structure to Woolf’s modernist ambitions.