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The Orlando

2019-05-13 来源: 51due教员组 类别: Paper范文

下面为大家整理一篇优秀的paper代写范文- The Orlando,供大家参考学习,这篇论文讨论了《奥兰多》。小说《奥兰多》讲述了一个名叫奥兰多的传奇故事,他是一个贵族,因为受到女王的喜爱而被送进了皇宫。他后来在詹姆斯国王统治时期失宠了。从那以后,奥兰多决定与世隔绝,和吉普赛人住在一起。之后奥兰多卷入了土耳其伊斯坦布尔的叛乱,也卷入了当时发生的叛乱。

Orlando,奥兰多,essay代写,paper代写,作业代写

The thesis statement: Virginia Woolf believes firmly that any successful writer or artist, including Woolf herself, has to possess androgyny characteristic just like Orlando from Woolf’s novel Orlando.

In general, this essay is a critical analysis of the statement made by Virginia Woolf regarding what constitutes a good writer and successful artist. In specific, Virginia Woolf claims that all good writers and successful artists should have androgyny characteristics like Orlando from Virginia Woolf’s book named Orlando. Three books and articles that are related to the life and artistic creation of Woolf would be used in the critical essay as the focus from which key information would be drawn for the purpose of data analysis in this essay. The defending of the thesis would be detailed and in-depth by citing both the book Orlando and other cited sources that are peer reviewed related to Woolf and her work.

The novel, Orlando, presents the legendary story of a man named Orlando, who was a man of nobility and was sent to the palace as he was liked by the Queen. He was later out of favor in the period which is ruled by King James. After that, Orlando decided to live in seclusion from the rest of the world and lived with the gypsies. Orlando was invovled in the rebellion in Istanbul, Turkey and got invovled in the rebellion that happened there and then.

Orlando’s life was portrayed as one that is spectacular compared with oridnary people due to his folowing experienced. In particular, after one night stay in a hotel with a dancing partner, he transferred gender for some resons after various days asleep in a row. However, the apearance of Orlando did not change at all. Therefore, he became a she as a result of this experience. After his arrival in Britain, Orlando engaged in the high class society of the UK and get aquainted with various famous writers in the country and eventually married to a captain and gave birth to a child afterwards. She also got prizes for her work in literature as she constantly improved her reputation in the indsutyr and abiliyt to write. The life of Orlando ranged from the Elizabeth period in the 16th century to 1928, which lasted for over four centuries.

The rising thought over feminism in France reached its peak in the 1960s which focused on study of the language philosophy. in such a philosophy of feminism, women and men are two different poles of the world that are against each other representign conflicted interests of eahc other. Theefore, men and women would naturally fight each other under such a thought. In addition, men were considered as representative of positive value while women were excluded from the value centure. In effect, under such a philosophy, women exist only to prove the value of men as the centure of the value system.

For men, they have the incentive to safeguard such a system built on such philosophy and strength that one gender is advantaged against the other. Such a thought has been widely expressed and criticized by the feminim ideals as women and men were no longer consdiered as conflicted interests holder. In fact, for these researchers, women became a significant constituting part of the world instead of being considered as supplements to their male counterparts.

The intersting life experience of Orlando hihglights the significant limitation of the philosophy of sexual duality which promotes the conflict of men and women in interests  and what different genders stand for. This can be seen in the first sentence in the first sentence in chapter one of the novel Orlando, in which the narrator stated in a sense of humor and irony that,

He — for there could be no doubt of his sex, though the fashion of the time did something to disguise it — was in the act of slicing at the head of a Moor which swung from the rafters. (Orlando 1)

Note: first sentence of chapter 1 in Orlando

This is the first sentence that depicted a scene of a man slicing at the head of a Moor. As a start of the first chapter, the author depicted a scene that help bring the readers back to the period of time in a vivid manner without use of too much articulation of the background of that scene. This demonstrates the high skill in presenting what the author would like to let the readers see and the specific manner that the author would like such illustration to be in.

In specific, Orlando the youth is actually behaving in the aggressive way that a typical aristocratic young man would do in the period of Renaissance. However, the words after ‘though’ actually posed a certain level of doubt over the male quality of the character that was taking the act. This indicated a sense of vagueness that goes throughout the entire novel.

In fact, the novel Orlando adopted deconstruction as a strategy to tackle the traditional classification of gender. In particular, there are always both male and female characters in a single person within the novel. As a result, the differences in gender is not so substantial any more under such depiction. In addition, the difference between the two genders even becomes doubtful.

The mixing of the characters of two genders within one person is a heavily used technique in the novel in order to depict the personality and behavior of Orlando, who is a person of sentiment, imagination, and with the quality of a writer, and poet. Actually the combination of the personality traits from both women and men becomes even more noticeable after Orlando was changed into female. For example, Orlando was portrayed, as a woman, to be honest, tolerant, adventurous, brave and active, while hating doing housework as a woman. These are actually the personality traits of men at the time and were illustrated in the person who was by then a woman. Nevertheless, it is rather clear that Orlando the woman also demonstrates typical personality traits of women. For example, she did not have a strong eagerness over power and control over others as men usually do. In addition, she was also considerate, sympathetic and easy to shed tears to the suffering of both herself and other people.

The words and deeds of Orlando becomes even more interesting as gender is indispensable from the influence of the culture that the person is in. under any specific culture, people usually assign themselves to only one side of the duality in the gender conflict that is portrayed traditionally. Therefore, people believe that they should discipline their own behavior under established norms. According to Julia Kristeva on the topic of feminism, text is only a practice of meaning, instead of using the subject to control language and put the subject into the power network, which is shown as follows:

Focusing, like structuralism, on language as the starting-point for a new kind of thought on politics and the subject, the group based its work on a new understanding of history as text; and of writing (ecriture) as production, not representation. Within these parameters, they sought to elaborate new concepts for the description of this new vision of the social or signifying space (Kristeva, with her coinage of terms such as 'intertextuality', 'signifying practice' or 'signifiance', 'paragramme', 'genotext' and 'phenotext', was the main exponent of this specific trend) (The Kristeva Reader 78)

In a similar sense, Orlando is a subject that is undergoing constant change and development. The social gender of Orlando also changes as he goes throughout different social and language context. After being able to marry the person that she loves as a woman, she felt herself fortunate to become a true woman and shed tears for the joy and even conceived a child. However, she naturally became and assumed the role of a ‘Ser’ when she changed back into male clothing. His actions as a person or pretending to be a woman also shows her action based on her male personality traits, including having a duel, becoming a captain, and the rumor about she having an affair with another lady.

The peak of the conflict of genders within Orlando took place in the ship that took her back to Britain, where she found that both genders can have significant limitations and shortages regarding extra visions. As are result, the characteristics from both genders fought heatedly and fiercely in an imagined battle in her own mind. In the end, her female side of gender personality is relatively advantaged in comparison under a specific context, in which she was accompanied by the captain and under the cheer of approaching her home country.

In fact, it is through the following balls held by aristocratic class, dining, and getting married to a man that Orlando finally ascertained her gender as a woman instead of a man. Therefore, this means the subject is trying to get used to the environment while being checked and  influenced by the environment as well. in this process of adapting to the context and getting influenced by it, some factors in the person’s characteristics and personality were overshadowed and hidden. This reflects the power of context to shape the features and characteristics of a subject.

Same as Orlando, Woolf herself believes that androgyny is the best psychological status that a writer or artist can have in artistic creation. In particular, Woolf argues that a person is under the influence and limitation of two different conflicting forces, namely the force of man and that of woman. Therefore, similar to what happens to Orlando in the novel, Woolf also believes that the side of woman in the mind of man should take effect in certain context. However, at the same time, alternatively woman should also communicate with the side of man in her own mind. Therefore, the ideal status is one in which the personality of the two genders can stay in harmony with each other.

That is why Woolf claims that,

It is fatal for anyone who writes to think of their sex … And fatal is no

figure of speech; for anything written with that conscious bias is doomed to death (Diary of Virginia Woolf, 104)

this means Woolf believes that it is fatal to be a man or woman pure and simple one must be a woman manly or a man womanly as a writer or an artist in other genres. By such a statement, Woolf apparently realized the significant limitation for the theory of gender essence and challenged the value system that puts value of man at the centre of the universe and considers woman to be supplements and subordinates only.

However, despite the criticism that Woolf demonstrated in such statements, it should be noted that Woolf is still in the shoes of traditional sexual duality when  stated the necessity for writers and artists to possess characteristics from both genders. In specific, Woolf still considers the characteristics of females as the opposite side of the personality traits of their male counterparts. Therefore, in this regard, Woolf is not so different from the supporters of sexual duality.

Gorsky argued in his book Virginia Woolf that Woolf was trying to find a proper balance between imagination, illusion and reality regarding the truth of the genders of men and women (Virginia Woolf, 1995).  This is why Orlando has to adapt slowly to the pace of life and reach a status of perfection for androgyny in only one body. There is no way to guess whether Virginia designed the female attribute in the personality of Orlando as a factor from nature or nurture. However, the existence of androgyny on Orlando, and Woolf herself, showed that Woolf had also heated conflict and connection regarding the sense of man and woman. This is definitely a rewarding process for Woolf, despite the possibility that it might also be rather difficult at the time that it occurs.

The thought that Orlando had depicted is not just a way to show the combination and conflict of the two personalities, but also a solution that can be used to stop the long term existence of gender coercion and prejudice that women suffer as a result of the power of men and the sexual duality theory.

The debates regarding androgyny that had happened in the minds of Woolf might be the explanation to the success of the novel Orlando and Woolf’s other works. Such success also inspires thinking about the ways that artists and writers should deal with the gender personalities within their minds. Orlando in the novel transferred from the man character to that of a woman. In the process of writing Orlando, Woolf is also able to rethink her ideas on androgyny which is integrated into her literature works as well as knowledge and theory in aesthetics. The lesson that has been learnt from the writing of Orlando might be the reason as to why Virginia Woolf strengthened for multiple times that a sense of a singular sex is the true enemy of achieving and fulling one’s artistic potential. In particular, artists usually fail to uncover the recognitions, feelings and understanding of the heart due to the occupation of only one type of gender characteristics in the writer or artist. This is believed by Woolf as the one significant reason that prevents art creation from entering a higher stage.

such evidence is believed to be rather trustworthy, as was acclaimed also in the another work:

The 1915 diary supplies our first glimpse of Virginia Woolf the full-blown diarist, the Woolf employing Scott’s (and Pepys’s) ‘loose, free & easy’style to pass from inner to outer world and from the sinking of the Formidable to the sacking of Lizzy the maid. Narratives start; people swiftly appear; threads of a rich tapestry are taken up and brandished with amused attention. A world comes alive—as in a novel. One suspects Woolf does not know at this moment what she has started. (Becoming Virginia Woolf: Her Early Diaries and the Diaries She Read, 173)

This ensures the assertive view that this author has toward the significant value that the diary of Virginia Woolf can help identify what happens within her mind as well. As a result, it naturally means that the conflict over androgyny in the inner mind of Woolf is highly possible and can be believed as a reasonable implication.

In conclusion, this essay critically evaluates the belief of Virginia Woolf that any successful writer or artist, including herself, should have androgyny characteristic just like Orlando from Woolf’s novel Orlando in order to be successful in literature and artistic works. The essay draws the critiques and analysis of the novel Orlando from various authors and their peer reviewed academic works, including articles and books. The essay makes use of multiple peer reviewed articles and published books regarding Virginia Woolf and her work, which are all considered as appropriate sources that can be trusted. Therefore, the arguments that are cited from these peer reviewed academic works is considered as concete evidence for understanding the mentality of Virginia Woolf as well as what she was thinking while she was writing Orlando. According to these sources, Woolf was writing Orlando while she actually herself assumed the role of Orlando. As a result, Woolf can also have the feeling that Orlando has in the novel. The development of the mentality and perception that Virginia Woolf had toward the significance of androgyny toward successful artistic creativity is therefore represented by what she wrote in the novel.

The essay eventually determines that Orlando discovers the significance of androgyny for an artist based on her own experience of wring the novel Orlando. In particular, according to Woolf, without androgyny, artists would usually fail to uncover the recognitions, feelings and understanding of the heart. This is because, in such conditions, human heart is occupied too heavily by thoughts of only one gender. As a result, this might prevent the artist or writer from achieving the highest level of art creations in their work which prevents art creation from entering a higher stage.

References

Gorsky, Sussan. Virginia Woolf. Twayne New York, 1995.

Kristeva, Julia. The kristeva reader. Columbia University Press, 1986.

Lounsberry, Barbara. Becoming Virginia Woolf: Her Early Diaries and the Diaries She Read. University Press of Florida, 2014.

Woolf, Virginia, and Anne Olivier Bell. "Diary of virginia woolf, volume 3: 1925-1930." (1980).

Woolf, Virginia. "Orlando." ICD-10 literarisch. VS Verlag für Sozialwissenschaften, 1990. 390-393.

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