The General Plight of Women in Literature

For Woolf, this included different sex relationships than had prevailed in the nineteenth century.

Woolf's personal life shows considerable deflexion from the mores of her time, yet her belles-lettres also show that she was fully aware of the social restrictions faced by women in general. In her fiction, relationships amid women serve as examples of how women can and do support wiz an other(prenominal) in some cases, and undermine one another in others. Among these relationships are mother-daughter relationships which in part may deign from her get odd relationship with her mother and from her observation of other such relationships. The mother-daughter relationship is key in much of Woolf's fiction.

The supply of the plight of women in society has been addressed directly by different writers, and Virginia Woolf showed concern for the matter in her criticism as in her fiction, and also indicated that she was looking to her own life as a source. Woolf's approach to the issue of women and fiction was firmly grounded in a general theory of literature:

She argued that the writer was the reaping of her or his historical component, and that material conditions were of crucial importance. Secondly, she claimed that these material circumstances had a profound effect on the psychological aspects of writing, and that they could be seen to influence the nature of the creative work

Higgins, Lesley and Marie-Christine Leps. "Passport, Please": Legal, Literary, and Critical Fictions of Identity." College Literature 25 (1 Jan 1998), 94-138.

Woolf, Virginia. A Room of One's Own. wise York: Harcourt Brace Jovanovich, 1981.

Woolf, Virginia. The Moment and Other Essays. New York: Harcourt Brace Jovanovich, 1975.

Frequently, the subtleties of mother-daughter alignments, for which few narrative conventions render been formulated, are relegated to the reason of a dominant romantic or courtship plot.

As women novelists increasingly exhaust or dismiss the possibilities of the romantic plot, however, they have tended to inscribe the maternal subplot more emphatically (Abel 95).

Woolf's views of the feminization of heartbreak can be seen as reflecting in part her own family situation and the place of her generate in her thinking, as rise up as her ambiguous view of the mother-daughter relationship. Woolf's father was preoccupied with writing, enchantment her mother was unable to cope with all of the repressions that emanated from the father's moods and from the difficulty in raising eight minorren. Woolf used metaphors of weaving and connecting in describing her mother, as Madeline Moore notes:

The feelings it describes about both her parents are now very complex, and those concerning her father display all the unresolvable issues that a strongwilled child feels toward a dominating parent, particularly one who was thrown into a slough of despond when he found himself a widower, for a second time, at the age of sixtythree . . . [I]t is this latter(prenominal) image of the selfcentered Victorian paterfamilias, here representing the usual male tendency to turn women into slaves, that serves as the necessary conceptual framework for a proper understanding of the author's life and writings (Powers 43).

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