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Between the Acts


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Between the Acts

Between the Acts

Between the Acts The Time of Modernism

Denis Argent: Between the acts

The Moral Asymmetry Between Acts And Omissions*

Bringing the Literary Past to Life in Between the Acts

MENTAL CAPACITY AT THE MARGIN: THE INTERFACE BETWEEN TWO ACTS

Between the Texts: Virginia Woolf’s Acts of Revision

Buddhism in Virginia Woolf’s Between the Acts

Language and Identity in Ancient Narratives: The Relationship between Speech Patterns and Social Context in the Acts of the Apostles, Acts of John, and Acts of Philip. By Julia A. Snyder.

Arrangement between Egypt and the Anglo-Egyptian Sudan concerning the Reciprocal Communication of Judicial Acts and the Surrender of Offenders, signed 17 May 1902

Michael Herbert and Susan Sellers (eds), Virginia Woolf, The Waves.Mark Hussey (ed.), Virginia Woolf, Between The Acts.

Additional Acts between France and Spain for the Regulation of Fishing etc. in the Bidassoa, signed at Bayonne, 31 March 1859

Declaration between Baden and Italy relative to the Communication of Judicial Acts and the Execution of Commissions Rogatory, signed at Florence, 23 January 1868

Declaration between Belgium and Luxemburg respecting the Reciprocal Communication of Civil Acts, signed at The Hague, 21 March 1879

Agreement between Belgium and France for the better Prosecution of Acts prejudicial to the Armed Forces, signed at Brussels, 14 August 1914

The Reconciliations of Poetry in Virginia Woolf’s Between the Acts; or, Why it’s “perfectly ridiculous to call it a novel”

Convention between Belgium and France relative to the Registration of Acts etc., signed at Lille, 12 August 1843

Acts between France and Hanover, signed at Suhlingen, and on the Elbe, 3 June, 5 July, 1803

 

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The last novel of V. Woolf, published shortly after her death in 1941. It has been seen as her final statement on art as the transforming and unifying principle of life.

The action takes place at a middle‐sized country house, Poyntz Hall, the home of the Oliver family, and Woolf's central metaphor is the enacting of a village pageant, which aspires to portray nothing less than the sweep of English history, by means of songs, tableaux, parody, pastiche, etc.; it ends by presenting the audience its own mirror‐image, in the present, as a megaphoned voice demands how civilization could be built by ‘orts, scraps and fragments like ourselves?’ The pageant is directed by the sexually ambiguous Miss la Trobe, who represents the ever‐dissatisfied artist, and its scenes are interwoven with scenes in the lives of the audience; together, the illusion and the reality combine as a communal image of rural England, past and present—‘a rambling capricious but somehow unified whole’.

Subjects: Literary Studies (20th Century onwards).


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Virginia Woolf (1882—1941) writer and publisher


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