Imposing Our Own Ideological Frameworks onto Virginia Woolf and Her Wr

Imposing Our Own Ideological Frameworks onto Virginia Woolf and Her Writing Whenever we try to imagine the feelings or motives of a writer, we impose our own thoughts and ideas, our own biases, onto that person and their work. Perhaps in order to justify our choices or legitimate the philosophies that we hold dear, we interpret texts so that they fall into place in our own ideological frameworks. Literature, because it engages with the most important and passionate questions in life, evokes responses in readers that emanate not only from the mind but also from the subconscious and from the deepest places in the heart. Writers like Virginia Woolf ask, and sometimes answer, questions about life's meaning, about the nature and importance of relationships, about spirituality, work, family, identity and so on. It is what makes writing fascinating and the critiquing of writing something more than an intellectual exercise. When we interpret a text, we bring our own hopes, fears, joys and beliefs to the forefront, despite our claims of intellectual objectivity, and what is at stake is not just an evaluation of the work itself, but often an evaluation of our political, social, psychological and emotional identities. What we see or read into a text can become a kind of experiment, a literary depiction of the way we see, or would like to see, and interpret ourselves and our world. Often, in the course of interpreting, we feel compelled to name and label both writer and text in order to talk about them in ways that make sense to us, and in order to pinpoint them in relation to ourselves. When we label anything, we attempt to control or own it; we assign values or a set of rules to that person or object. What is lost in that process... ... Voyage Out." Modern Fiction Studies 38.1(1992): 269. Meese, Elizabeth. "When Virginia Looked at Vita, What Did She See; or, Lesbian: Feminist: Woman - What's the differ(e/a)nce?" Feminist Studies 18.1 (1992):105. Nicolson, Nigel. Portrait of a Marriage. New York: Atheneum, 1973. Nicolson, Nigel and Joanne Trautmann, eds. The Letters of Virginia Woolf. Vol. 3. New York: Harcourt Brace, 1977. Smith, Patricia Juliana. Lesbian Panic: Homoeroticism in Modern British Women's Fiction. New York: Columbia UP, 1997. Woolf, Virginia. A Room of One's Own. San Diego: Harcourt Brace, 1979. --- . "A Sketch of the Past." Moments of Being. Ed. Jeanne Schulkind. New York: Harcourt Brace, 1976. --- . Mrs. Dalloway. San Diego: Harcourt Brace, 1925. --- . Three Guineas. San Diego: Harcourt Brace, 1938. --- . To the Lighthouse. San Diego: Harcourt Brace, 1927. Imposing Our Own Ideological Frameworks onto Virginia Woolf and Her Wr Imposing Our Own Ideological Frameworks onto Virginia Woolf and Her Writing Whenever we try to imagine the feelings or motives of a writer, we impose our own thoughts and ideas, our own biases, onto that person and their work. Perhaps in order to justify our choices or legitimate the philosophies that we hold dear, we interpret texts so that they fall into place in our own ideological frameworks. Literature, because it engages with the most important and passionate questions in life, evokes responses in readers that emanate not only from the mind but also from the subconscious and from the deepest places in the heart. Writers like Virginia Woolf ask, and sometimes answer, questions about life's meaning, about the nature and importance of relationships, about spirituality, work, family, identity and so on. It is what makes writing fascinating and the critiquing of writing something more than an intellectual exercise. When we interpret a text, we bring our own hopes, fears, joys and beliefs to the forefront, despite our claims of intellectual objectivity, and what is at stake is not just an evaluation of the work itself, but often an evaluation of our political, social, psychological and emotional identities. What we see or read into a text can become a kind of experiment, a literary depiction of the way we see, or would like to see, and interpret ourselves and our world. Often, in the course of interpreting, we feel compelled to name and label both writer and text in order to talk about them in ways that make sense to us, and in order to pinpoint them in relation to ourselves. When we label anything, we attempt to control or own it; we assign values or a set of rules to that person or object. What is lost in that process... ... Voyage Out." Modern Fiction Studies 38.1(1992): 269. Meese, Elizabeth. "When Virginia Looked at Vita, What Did She See; or, Lesbian: Feminist: Woman - What's the differ(e/a)nce?" Feminist Studies 18.1 (1992):105. Nicolson, Nigel. Portrait of a Marriage. New York: Atheneum, 1973. Nicolson, Nigel and Joanne Trautmann, eds. The Letters of Virginia Woolf. Vol. 3. New York: Harcourt Brace, 1977. Smith, Patricia Juliana. Lesbian Panic: Homoeroticism in Modern British Women's Fiction. New York: Columbia UP, 1997. Woolf, Virginia. A Room of One's Own. San Diego: Harcourt Brace, 1979. --- . "A Sketch of the Past." Moments of Being. Ed. Jeanne Schulkind. New York: Harcourt Brace, 1976. --- . Mrs. Dalloway. San Diego: Harcourt Brace, 1925. --- . Three Guineas. San Diego: Harcourt Brace, 1938. --- . To the Lighthouse. San Diego: Harcourt Brace, 1927.