March 7, 2017

A Room of One's Own and Three Guineas by Virginia Woolf

By Virginia Woolf

WITH AN creation, PLUS wide NOTES AND REFERENCES by way of HERMIONE LEE

This quantity combines books that have been one of the maximum contributions to feminist literature this century. jointly they shape a super assault on sexual inequality. A Room of One's personal, first released in 1929, is a witty, urbane and persuasive argument opposed to the highbrow subjection of ladies, fairly ladies writers. The sequel, 3 Guineas, is a passionate polemic which pulls a startling comparability among the tyrannous hypocrisy of the Victorian patriarchal method and the evils of fascism.

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Additional resources for A Room of One's Own and Three Guineas

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Brau’s feminization of the danza also dovetails with the still-strong literary tradition of romanticism in the Caribbean colonies at the time, a move- t h e d a n z a a n d t h e p l e n a / 16 ment that also explains the gendering of the Puerto Rican danza. As romantic music, the danza is usually based on a biographical sentimental experience, and as programmatic music its titles and lyrics refer us systematically to the female loved one, the amada. 28 During the nineteenth century, a time of exile for many Latin American liberal writers, the desire for the idealized woman extended also to the fatherland, to one’s birthplace.

Taking a satirical, parodic tone and perspective, the plena summarizes the events and the subsequent subjective reaction of the people in stanzas structured according to the Hispanic oral tradition, featuring eight-syllable lines with assonant rhyme. Unlike its above-mentioned counterparts, the plena is much more concise. Its lyrics are characterized by a call-andresponse structure between the soloist and the chorus, which sings the refrain, an element clearly derived from the African musical heritage and that A Sensual Mulatta Called the Plena / 29 is part of the tradition of salsa music.

43 That Pedreira strategically ignored and did not even allude to Lola Rodríguez de Tió’s “Borinqueña,” a text that belies his characterizations of the danza as feminine and passive (in its lyrics as much as in its authorship), is not surprising given the radical oppositionality that Tió’s text embodies. That the most aggressive, “masculine,” politically dangerous, and collectively powerful version of “La Borinqueña” was written by a woman undermines Pedreira’s arguments regarding the “feminine” aspects of Puerto Rican culture and about women themselves.

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