Есе Virginia Woolf's A room of one's own as an example of feminist literature (ID:740047)

"A Room of One's Own" is the title of Virginia Woolf's essay published in 1929, first written at Newnham and Girton women's colleges in Cambridge. The future writer was born on January 25, 1882 in London. Her parents, Sir Leslie Stephen and Julia Princesp Duckworth, married after each of them was widowed. They moved into a shared house in Hyde Park Gate with their children from previous marriages. Virginia grew up among the children, but the atmosphere there was far from a family idyll. There were strict rules in the house, as well as an intellectual atmosphere, because Sir Stephen was a well-known figure in the literary world, and many famous personalities passed through the house. Life happened so that Virginia quickly lost both her parents, did not receive a higher education, and even ended up in a psychiatric hospital, including due to the harassment of her own brother. Suffering from mental illness all her life, Wolfe tried to compensate for it in her literary work. "A Room of One's Own, although not the writer's main work but a short essay, is considered one of the most important feminist metaphors (along with, for example, Shakespeare's Sister and Madwoman in the Attic) for women's independence and intellectual freedom. Nevertheless, Virginia Woolf did not receive such recognition from the women's movement immediately. The first wave of interest in the writer was focused primarily on Erich Auerbach's readings of "Mimesis. Reality as Represented in Western Literature" (1946). During this period, the public considered Wolfe to be the author of the book To the Lighthouse and the Waves, analyzed by Auerbach, the creator of the stream-of-consciousness technique that marked the collapse of the formerly stable world between the two wars. Accordingly, Wolfe's storytelling style and technique were considered a diagnosis of the world, an emanation of the disintegration of the subject, and a sign of modernity. Woolf, along with Lawrence, on the one hand, and Joyce, on the other, wrote in the rhythm of her era, permeated with psychoanalytically understandable mystery.