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Orlando 157 often it is only the clothes that keep the male or female likeness, while underneath the sex is the very opposite of what is above. (132–133) Th e stability that sex off ers for the delineation of the self is undermined to complicate and question the reader’s understanding of biography, even identity. However, the smoothness in the narration that Woolf achieves through the accommodation of the truthful (realistic) and the fantastic redirects the attention from the particularity of the detail—as unbelievable as it might be—to the portrait as a whole. Issues like compulsory heterosexuality and cross-dressing are tackled on several occasions—most memorably, of course, in the depiction of Orlando’s life, but also in other characters like Archduchess Harriet/Archduke Harry, for instance. Th e transformations are hardly seen as “magical” but rather as a necessary acceptance of the variable human identity. As the biographer writes the story of Orlando’s life and as Orlando herself contemplates the world that engulfs her, an amazing narrative that questions time and space, selves and gender identities, unfolds for the reader. It portrays the picaresque life of the ultimate trickster: one who outwits past, present, and future in her longevity and protean identity. As Bowlby writes, “Orlando destroys illusions about history and biography and not least about ‘a man’—or it might be a woman— ‘who can destroy illusions’” (1997: 110). By manipulating her readers’ expectations, Woolf creates a continually shifting and surprising text that challenges her readers to reconsider the nature of human identity and to resist the illusions that history fosters. WORKS CITED Bowlby, R. Feminist Destinations and Further Essays on Virginia Woolf. Edinburgh: Edinburgh University Press, 1997. Burns, Christy. “Re-Dressing Feminist Identities: Tensions between Essential and Constructed Selves in Virginia Woolf ’s Orlando,” Twentieth Century Literature 40 (Fall 1994): 342–364. Gilbert, S. Introduction. Orlando: A Biography. V. Woolf. London: Penguin Books, 1993. Goldman, J. Th e Cambridge Introduction to Virginia Woolf. Cambridge: Cambridge University Press, 2006.
158 Virginia Woolf Latham, J. (ed.) Critics on Virginia Woolf. London: George Allen and Unwin Ltd, 1970. Sackville-West, V. “Virginia Woolf and Orlando.” Critics on Virginia Woolf. Ed. J. Latham. London: George Allen and Unwin Ltd, 1970. Whitworth, M. Virginia Woolf. Oxford: Oxford University Press, 2005. Woolf, V. Orlando: A Biography. London: Penguin Books, 1993. . Th e Diary of Virginia Woolf (1915–1941), 5 vols. Ed. A. Bell and A. McNeillie. London: Hogarth Press, 1977–1984. . To the Lighthouse. London: Hogarth Press, 1927. . Mrs Dalloway. Oxford: Oxford University Press, 2000.
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Bloom's Literary Th emes f Alienati
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Bloom’s Literary Th emes THE TRIC
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, Contents . Series Introduction by
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Contents Th e Tempest (William Shak
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xii Series Introduction by Harold B
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, Volume Introduction by Harold Blo
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THE ADVENTURES OF HUCKLEBERRY FINN
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Th e Adventures of Huckleberry Finn
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the Works of sherman alexie ,. “F
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Th e Works of Sherman Alexie 11 Sup
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Th e Works of Sherman Alexie 13 reg
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Th e Works of Sherman Alexie 15 tea
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Th e Works of Sherman Alexie 17 A k
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The ConfidenCe-Man: his Masquerade
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Th e Confi dence-Man: His Masquerad
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DECAMERON (GIOVANNI BOCCACCIO) ,.
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Decameron 39 commonplace, eludes al
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Decameron 41 mercenary soldier, fal
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Decameron 43 pretends to confi de t
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Decameron 45 general laughter. Cala
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Decameron 47 For the storytellers j
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Decameron 49 alcuni, più gentili c
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Decameron 51 death and is, in this
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Decameron 53 city of Naples is iron
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Decameron 55 Th e Decameron constan
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Decameron 57 9. “Avvegna che, chi
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Decameron 59 20. It may be of inter
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Decameron 61 33. Lynn Th orndike, A
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THE NOVELS OF WILLIAM GOLDING Intro
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Th e Novels of William Golding 65 h
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Th e Novels of William Golding 67 u
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Th e Novels of William Golding 69 B
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Th e Novels of William Golding 71 t
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Th e Novels of William Golding 73 t
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Th e Novels of William Golding 75 I
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haMleT (William shakespeare) ,. “
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Hamlet 79 I picture the old fellow
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Hamlet 81 natural dignity of his tr
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Hamlet 83 the gruesome relics that
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Hamlet 85 Th e dialogue is terminat
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Hamlet 87 It appeared that our prop
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90 N. Scott Momaday Th e in-between
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92 N. Scott Momaday (Momaday, HMD,
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94 N. Scott Momaday with grace and
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96 N. Scott Momaday House made of d
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98 N. Scott Momaday fearsome experi
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100 N. Scott Momaday Jones, Peter N
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102 Franz Kafka notes in his deft a
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104 Franz Kafka hunger artist and t
Page 121 and 122: 106 Franz Kafka evoked by the narra
Page 123 and 124: 108 Franz Kafka Kafka, Franz. Th e
Page 125 and 126: 110 William Shakespeare Contours, C
Page 127 and 128: 112 William Shakespeare likeness of
Page 129 and 130: 114 William Shakespeare Th roughout
Page 131 and 132: 116 William Shakespeare the comic c
Page 133 and 134: 118 William Shakespeare he had, iro
Page 136 and 137: ODYSSEY (HOMER) ,. “A General Vie
Page 138 and 139: Odyssey 123 without offending again
Page 140 and 141: Odyssey 125 their own miscarriages.
Page 142 and 143: Odyssey 127 SECT. V Th e action 7 o
Page 144 and 145: Odyssey 129 he should have ended il
Page 146 and 147: Odyssey 131 a passion that begins a
Page 148 and 149: Odyssey 133 which we only read or h
Page 150 and 151: Odyssey 135 the rest of the work, w
Page 152 and 153: ON THE ROAD (JACK KEROUAC) ,. “Fa
Page 154 and 155: On Th e Road 139 person with extrao
Page 156 and 157: On Th e Road 141 for limitless spac
Page 158 and 159: On Th e Road 143 motion.” Whether
Page 160 and 161: On Th e Road 145 Buddha . . . sator
Page 162 and 163: On Th e Road 147 the middle of the
Page 164 and 165: On Th e Road 149 faith when Dean le
Page 166 and 167: ORLANDO (VIRGINIA WOOLF ) ,. “Wit
Page 168 and 169: Orlando 153 a rather masculine view
Page 170 and 171: Orlando 155 the biographer, the len
Page 174 and 175: ROSENCRANTZ AND GUILDENSTERN ARE DE
Page 176 and 177: Rosencrantz and Guildenstern are De
Page 184 and 185: Tar BaBy (toni morrison) Praisesong
Page 186 and 187: Tar Baby and Praisesong for the Wid
Page 202 and 203: THE TEMPEST (WILLIAM SHAKESPEARE) ,
Page 204 and 205: Th e Tempest 189 imitations of comm
Page 206 and 207: Th e Tempest 191 affi nity to the f
Page 208 and 209: Th e Tempest 193 under-current of h
Page 210 and 211: Th e Tempest 195 the latter allow a
Page 212 and 213: Th e Tempest 197 the fools for murd
Page 214 and 215: Th e Tempest 199 saved, but some, a
Page 216 and 217: Th e Tempest 201 rest, and we look
Page 218 and 219: Th e Tempest 203 stream of life hur
Page 220 and 221: Th e Tempest 205 meets the brutal.
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Th e Tempest 207 long known to the
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A THOUSAND AND ONE NIGHTS ,. “Sev
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A Th ousand and One Nights 211 ways
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A Th ousand and One Nights 213 top
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A Th ousand and One Nights 215 Just
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A Th ousand and One Nights 217 him
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UNCLE REMUS (JOEL CHANDLER HARRIS)
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Uncle Remus 221 Mixon’s view foun
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Uncle Remus 223 Harris calls “the
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Uncle Remus 225 the plantations at
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Uncle Remus 227 accused of a crime,
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“THE WIFE OF BATH’S TALE” (GE
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“Th e Wife of Bath’s Tale” 23
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242 Acknowledgments Warde, Frederic
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244 “Battle of the Maldon, Th e,
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246 Free Fall (Golding), 65 Freud,
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248 Lewis, R.W.B., 20, 30, 33, 34 l
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250 narrative, 183, 184 Tatem, Sout
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252 Th ousand and One Nights, A, 20
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