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extreme; as great as a man, some would say greater. But this is woman in fiction. In fact, as
Professor Trevelyan points out, she was locked up, beaten and flung about the room. A very queer, composite being thus emerges. Imaginatively she is of the highest importance; practically she is completely insignificant. She pervades poetry from cover to cover; she is all but absent from history. She dominates the lives of kings and conquerors in fiction; in fact she was the slave of any boy whose parents forced a ring upon her finger. Some of the most inspired words and profound thoughts in literature fall from her lips; in real life she could hardly read; scarcely spell; and was the property of her husband.
279:
306:
257:, in line with the thinking of the era, believed that only the boys of the family should be sent to school. In delivering the lectures outlined in the essay, Woolf is speaking to women who have the opportunity to learn in a formal setting. She moves her audience to understand the importance of their education, while warning them of the precariousness of their position in society. She sums up the stark contrast between how women are idealised in fiction written by men, and how patriarchal society has treated them in real life:
519:, founded in 1991, had an exhibit called A Room of Her Own, about which curator Alex Warner has written, "As I began work for the first exhibit installation of the Women’s Leather History Project, I was excited that we were both literally and figuratively making room for Leatherwomen’s history in the LA&M. It was out of this line of thinking that "A Room of Her Own" emerged, building on Virginia Woolf's 1929 feminist text that argues for women's need for space to think and create".
239:
293:
William establishes himself, Judith is trapped by what is expected of women. She runs away from home to London, is harassed and laughed at when she tries to become an actor, and is finally made pregnant by an actor-manager who said he would help her. She kills herself and "lies buried at some cross-roads where the omnibuses now stop outside the
292:
While
William learns, Judith is chastised by her parents should she happen to pick up a book, as she is inevitably abandoning some household chore to which she could be attending. Judith is betrothed, and when she does not want to marry, her father beats her, then shames her into the marriage. While
166:
In her essay, Woolf uses metaphors to explore social injustices and comments on women's lack of free expression. Her metaphor of a fish explains her most essential point, "A woman must have money and a room of her own if she is to write fiction". She writes of a woman whose thought had "let its line
432:
responded to Woolf's observation that only women with 'a room of their own' are in a position to write. Woolf herself was making the point that not all women in her society had such a safe space, but Walker continues the conversation by discussing the further exclusions suffered by women of colour.
416:
Some critics describe Woolf's concept of androgyny as a balance between various poles: intuition and reason, subjectivity and objectivity, anima and animus, heterosexuality and homosexuality, and manic and depressive. Androgyny in a writer translates to accepting both intuition and rationality as a
288:
In one section Woolf invents a fictional character, Judith, Shakespeare's sister, to illustrate that a woman with
Shakespeare's gifts would have been denied the opportunity to develop them. Like Woolf, who stayed at home while her brothers went off to school, Judith is trapped in the home: "She was
261:
Women have burnt like beacons in all the works of all the poets from the beginning of time. Indeed if woman had no existence save in the fiction written by men, one would imagine her a person of the utmost importance; very various; heroic and mean; splendid and sordid; beautiful and hideous in the
420:
On the other hand, seeing androgyny as a fusion would validate only a single mode of knowing. Farwell argues that since "the universal is most often identified with whatever is male, this definition can be and has been another means for demanding that a woman write like a man." Farwell interprets
381:
In one section of the book, describing the work of a fictional woman writer, Mary
Carmichael, Woolf deliberately invokes lesbianism: "Then may I tell you that the very next words I read were these – 'Chloe liked Olivia ...' Do not start. Do not blush. Let us admit in the privacy of our own
451:, a slave, who owned not even herself? This sickly, frail, Black girl who required a servant of her own at times—her health was so precarious—and who, had she been white, would have been easily considered the intellectual superior of all the women and most of the men in the society of her day.
412:
Marilyn R. Farwell has shed light on the difficulty around understanding androgyny in Woolf's work. Nancy
Topping Bazin defines Woolf's concept of androgyny as "the masculine and feminine should be balanced but not fused." In her definition, Bazin reveals an important debate in understanding
403:
believes Woolf was giving
Radclyffe Hall and other writers a demonstration of how to discuss lesbianism discreetly enough to avoid obscenity trials; "Woolf was offering her besieged fellow writer a lesson in how to give a lesbian talk and write a lesbian work and get away with it."
44:
844:
354:(referred to as "Lord Birkenhead") is mentioned, although Woolf further rebukes his ideas in stating she will not "trouble to copy out Lord Birkenhead's opinion upon the writing of women". Birkenhead was an opponent of suffrage. The essay quotes
175:
The essay was based on two papers Woolf read on 20 and 26 October 1928 to two
Cambridge student societies, the Newnham Arts Society at Newnham College and the ODTAA Society ("One Damn Thing After Another") at Girton College, respectively.
396:, the magistrate of Hall's obscenity trial, is not in the audience: "Are there no men present? Do you promise the figure of Sir Chartres Biron is not concealed? We are all women, you assure me? Then I may tell you ..."
209:
The title of the essay comes from Woolf's conception that "a woman must have money and a room of her own if she is to write fiction". The narrator of the work is referred to early on: "Here then was I (call me
362:, "that the impression left on his mind, after looking over any set of examination papers, was that, irrespective of the marks he might give, the best woman was intellectually the inferior of the worst man".
848:
447:, wrote that in order for a woman to write fiction she must have two things, certainly: a room of her own (with key and lock) and enough money to support herself. What then are we to make of
167:
down into the stream". As the woman starts to think of an idea, a guard enforces a rule whereby women are not allowed to walk on the grass. Abiding by the rule, the woman loses her idea.
1167:
339:. Harrison is presented in the essay only by her initials separated by long dashes, and Woolf first introduces Harrison as "the famous scholar, could it be J---- H---- herself?"
180:, then known as Elsie Phare, was the president of the Newnham Arts Society at the time and wrote an account of the paper, "Women and Fiction", for the college magazine,
505:. A literary journal launched in Vancouver, Canada in 1975 by the West Coast Feminist Literary Magazine Society, or the Growing Room Collective, was originally called
382:
society that these things sometimes happen. Sometimes women do like women." Woolf references the obscenity trial and public uproar resulting from the publishing of
315:
In the essay, Woolf constructs a critical and historical account of women writers thus far. Woolf examines the careers of several female authors, including
435:
570:"Yestreen the Queen had four Maries / This nicht she'll hae but three, O / There was Mary Beaton, and Mary Seaton / And Mary Carmichael, and me, O."
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350:'s (referred to as "Z") uncompromising dismissal of West as an "'arrant feminist'". Among the men attacked for their views on women,
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way to knowledge. The interpretation of androgyny as balance would imply validating many voices and perceptions.
374:
was published that she thought when it was published she would be "attacked for a feminist & hinted at for a
246:
The essay examines whether women were capable of producing, and in fact free to produce, work of the quality of
335:. In addition to female authors, Woolf also discusses and draws inspiration from noted scholar and feminist
230:, about a lady-in-waiting who is facing execution for having had a child with the King, a child she killed.
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151:, first published in September 1929. The work is based on two lectures Woolf delivered in October 1928 at
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218:, Mary Carmichael or by any name you please—it is not a matter of any importance)". The two Marys were
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as adventurous, as imaginative, as agog to see the world as he was. But she was not sent to school."
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Cramer, Patricia (2005). "Jane
Harrison and Lesbian Plots: The Absent Lover in Virginia Woolf's
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226:; they - along with Mary Carmichael - are also characters in a 16th-century Scottish ballad,
392:(1928). Before she can discuss Chloe liking Olivia, the narrator has to be assured that Sir
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Aspects of
Bloomsbury: Studies in Modern English Literary and Intellectual History
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Woolf's ambivalence in defining androgyny from fear of being called a feminist.
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This section is about a fictional character. For the real-life individual, see
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Virginia Woolf, Cambridge and A Room of One's Own: 'The Proper Upkeep of Names
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1094:"Room of One's Own, A · British Universities Film & Video Council"
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1117:"THEATER; Eileen Atkins, In a Class By Herself – The New York Times"
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androgyny: whether to see it as a balance or fusion of two parts.
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78:
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43:
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Shiach, Morag (ed.) (2008). "Introduction", in
Virginia Woolf.
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The Singing Tradition of Child's Popular Ballads (Abridgement)
188:, the college principal, whose family were key members of the
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128:
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358:, through the words of his (possibly inaccurate) biographer
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Farwell, Marilyn (1975). "Virginia Woolf and Androgyny".
471:; a television adaptation of that play was broadcast on
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196:. It was published in 1929 as a book with six chapters.
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943:
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813:
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A Study Guide to Virginia Woolf's A Room of One's Own
759:. Princeton: Princeton University Press, p. 321.
1299:"About the LA&M – Leather Archives & Museum"
1274:
Encyclopedia of Post-Colonial Literatures in English
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640:
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A number of cultural ventures have been named after
1321:"A Room of Her Own – Leather Archives & Museum"
920:Robin Majumdar; Allen McLaurin (1 September 2003).
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810:
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649:. Hounsmill: MacMillan Press Ltd. pp. 113–115.
1034:
845:"The Friendship Between Churchill and F. E. Smith"
1037:In Search of Our Mothers' Gardens: Womanist Prose
847:. The Churchill Center and Museum. Archived from
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635:
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436:In Search of Our Mothers' Gardens: Womanist Prose
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653:
297:". William lives on and establishes his legacy.
1041:. New York: Harcourt Brace Jovanovich. p.
184:. Woolf stayed at Newnham at the invitation of
600:"FAQ: A Room of One's Own Publication History"
233:
1372:
1168:"A Room of One's Own Bookstore Changes Hands"
999:. London: Cecil Woolf Publishers, p. 33.
893:Eileen Barrett; Patricia Cramer (July 1997).
1066:Gale, Cengage Learning (15 September 2015).
455:
530:Feminism: The Essential Historical Writings
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1347:"Virginia Woolf and Feminist Aesthetics"
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1548:A Haunted House and Other Short Stories
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736:A Room of One's Own: And, Three Guineas
694:Oxford Dictionary of National Biography
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1072:. Gale, Cengage Learning. p. 11.
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739:. Oxford University Press, p. 5.
614:from the original on 24 December 2012.
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533:(1972), a notable anthology in which
301:Building a history of women's writing
266:
1271:Eugene Benson; L.W. Conolly (2004).
1143:Lamkin, Patricia (28 October 2011).
861:
1345:Longworth, Deborah (1 March 2017).
608:University of Alabama in Huntsville
595:. London: Hogarth Press. p. 4.
352:F. E. Smith, 1st Earl of Birkenhead
192:. At Girton she was accompanied by
13:
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1188:
1145:"The Phases of Balancing the Moon"
1002:
866:. The Archives Hub. Archived from
688:Tullberg, Rita McWilliams (2004).
490:(2011) was inspired by the essay.
399:Woolf scholar and feminist critic
329:Anne Finch, Countess of Winchilsea
14:
1838:
1339:
204:
122:172 (Hogarth Press first edition)
19:For the Wisconsin bookstore, see
1769:From the Diary of Virginia Woolf
896:Virginia Woolf: Lesbian Readings
862:Moad, Rosalind (21 March 2003).
755:Bronson, Bertrand (ed.) (2015).
370:Woolf wrote in her diary before
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1022:(4): 433–436 – via JSTOR.
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501:was founded by five women as a
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1191:"Shout, shout, let it all out"
1166:Kirch, Claire (13 June 2018).
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610:. 20 January 1998. p. 1.
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81:, women, literature, education
1:
1096:. Bufvc.ac.uk. 6 January 1991
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365:
1541:The Duchess and the Jeweller
1242:"Frequently Asked Questions"
675:. United Kingdom:
467:that premiered in 1989 with
443:Virginia Woolf, in her book
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407:
16:1929 essay by Virginia Woolf
7:
1353:, University of Birmingham.
671:Woolf, Virginia.
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517:Leather Archives and Museum
515:in 2007. Additionally, the
234:Women's access to education
10:
1843:
1623:Mr. Bennett and Mrs. Brown
1277:. Routledge. p. 897.
1115:Matt Wolf (3 March 1991).
899:. NYU Press. p. 218.
597:For a different date, see
283:Newnham College, Cambridge
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159:, women's colleges at the
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926:. Routledge. p. 22.
677:Harcourt Brace Jovanovich
645:Rosenbaum, S. P. (1998).
591:Woolf, Virginia (1935) .
463:was adapted as a play by
456:Adaptations and influence
310:Girton College, Cambridge
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118:
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1739:Adrian Stephen (brother)
1658:A Letter to a Young Poet
1555:The Widow and the Parrot
557:
547:100 Books of the Century
497:. In 1975 the bookstore
386:'s lesbian-themed novel
147:is an extended essay by
94:Harcourt Brace & Co.
26:Not to be confused with
1827:Plays for one performer
1802:Books by Virginia Woolf
1734:Thoby Stephen (brother)
1724:Leslie Stephen (father)
1714:Leonard Woolf (husband)
1016:Contemporary Literature
679:, 1991. Pages 3-4.
161:University of Cambridge
1719:Julia Stephen (mother)
1598:Roger Fry: A Biography
1170:. Publishersweekly.com
1033:Walker, Alice (2004).
604:Virginia Woolf Seminar
453:
389:The Well of Loneliness
312:
285:
264:
243:
1729:Vanessa Bell (sister)
1323:. Leatherarchives.org
1301:. Leatherarchives.org
992:Marcus, Jane (1996).
441:
342:Woolf also discusses
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1672:A Sketch of the Past
1504:The Mark on the Wall
1458:Orlando: A Biography
968:Studies in the Novel
870:on 23 December 2012.
224:Mary, Queen of Scots
1807:Hogarth Press books
1637:A Room of One's Own
1351:A Room of One's Own
1217:"Room of One's Own"
708:A Room of One's Own
673:A Room of One's Own
593:A Room of One's Own
551:A Room of One's Own
535:A Room of One's Own
499:A Room of One's Own
495:A Room of One's Own
477:Masterpiece Theatre
461:A Room of One's Own
445:A Room of One's Own
372:A Room of One's Own
337:Jane Ellen Harrison
295:Elephant and Castle
248:William Shakespeare
194:Vita Sackville-West
144:A Room of One's Own
48:First edition cover
38:
1591:Flush: A Biography
1525:The String Quartet
1122:The New York Times
712:, British Library.
503:feminist bookstore
488:Balancing the Moon
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286:
267:Judith Shakespeare
255:Sir Leslie Stephen
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178:Elsie Duncan-Jones
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29:A Room with a View
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1518:Monday or Tuesday
1451:To the Lighthouse
1284:978-1-134-46848-5
1252:on 6 October 2015
1197:on 6 October 2016
1189:Knight, Chelene.
1079:978-1-4103-3526-5
933:978-1-134-72404-8
906:978-0-8147-1263-4
883:, pp. 80–81.
807:, pp. 71–73.
783:, pp. 64–66.
507:Room of One's Own
439:, Walker writes:
348:Desmond MacCarthy
220:ladies-in-waiting
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111:Publication place
64:Cover artist
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1665:Moments of Being
1644:The London Scene
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549:, which lists
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394:Chartres Biron
384:Radclyffe Hall
367:
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356:Oscar Browning
346:, questioning
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268:
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235:
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206:
205:The Four Marys
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157:Girton College
149:Virginia Woolf
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833:
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821:
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273:Judith Quiney
263:
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242:Woolf in 1927
240:
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228:Mary Hamilton
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1771:(song cycle)
1768:
1760:
1752:
1744:
1706:
1701:Monk's House
1663:
1649:
1642:
1636:
1635:
1630:On Being Ill
1628:
1621:
1596:
1589:
1571:
1546:
1516:
1484:
1477:
1470:
1456:
1449:
1437:Mrs Dalloway
1435:
1430:Jacob's Room
1428:
1421:
1414:
1399:Bibliography
1350:
1325:. Retrieved
1315:
1303:. Retrieved
1293:
1273:
1266:
1254:. Retrieved
1250:the original
1245:
1236:
1224:. Retrieved
1220:
1211:
1199:. Retrieved
1195:the original
1184:
1172:. Retrieved
1161:
1153:the original
1148:
1138:
1126:. Retrieved
1120:
1110:
1098:. Retrieved
1088:
1068:
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1036:
1028:
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868:the original
857:
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839:
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751:
735:
729:
724:, p. 8.
717:
707:
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646:
632:, p. 5.
603:
592:
586:
566:
553:as number 69
550:
541:
534:
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510:
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494:
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444:
442:
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430:Alice Walker
428:
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371:
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344:Rebecca West
341:
333:George Eliot
314:
291:
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260:
252:
245:
208:
181:
174:
165:
143:
142:
141:
68:Vanessa Bell
34:
28:
1797:1929 essays
1707:Dreadnought
1583:Biographies
1511:Kew Gardens
1174:29 December
1149:@This Stage
537:is included
401:Jane Marcus
321:Jane Austen
92:, England,
1792:1929 books
1786:Categories
1573:Freshwater
1256:31 October
1226:31 October
950:Woolf 1935
881:Woolf 1935
832:Woolf 1935
820:Woolf 1935
805:Woolf 1935
793:Woolf 1935
781:Woolf 1935
769:Woolf 1935
722:Woolf 1935
660:Woolf 1935
630:Woolf 1935
578:References
480:in 1991.
366:Lesbianism
317:Aphra Behn
216:Mary Seton
212:Mary Beton
1822:Monodrama
1761:The Hours
1753:The Hours
1745:The Hours
1479:The Years
1472:The Waves
1221:MMemoryBC
1201:5 October
964:The Waves
425:Criticism
408:Androgyny
327:sisters,
182:Thersites
135:470314057
86:Publisher
1327:24 April
1305:24 April
1128:30 April
1100:30 April
980:29533720
612:Archived
542:Le Monde
523:See also
486:'s play
376:sapphist
79:Feminism
1763:(opera)
1747:(novel)
1684:Related
171:History
114:England
75:Subject
1755:(film)
1608:Essays
1408:Novels
1281:
1076:
1049:
978:
930:
903:
743:
545:'s
331:, and
325:Brontë
323:, the
200:Themes
54:Author
1565:Drama
996:'
976:JSTOR
558:Notes
119:Pages
1709:hoax
1464:film
1443:film
1329:2020
1307:2020
1279:ISBN
1258:2015
1228:2015
1203:2016
1176:2019
1130:2020
1102:2020
1074:ISBN
1047:ISBN
928:ISBN
901:ISBN
741:ISBN
512:Room
155:and
129:OCLC
1043:235
966:".
473:PBS
433:In
378:".
222:to
1788::
1244:.
1219:.
1147:.
1119:.
1045:.
1020:16
1018:.
1004:^
972:37
970:.
942:^
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637:^
620:^
606:.
602:.
319:,
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1380:e
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1104:.
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1055:.
982:.
936:.
909:.
710:"
706:"
696:.
662:.
275:.
32:.
23:.
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