Virginia Woolf, in her novels, set out to portray the self and the limits associated with it. She wanted the reader to understand time and how the characters could be caught within it. She felt that time could be transcended, even if it was momentarily, by one becoming involved with their work, art, a place, or someone else. She felt that her works provided a change from the typical egotistical work of males during her time, she makes it clear that women do not posses this trait. Woolf did not believe that women could influence as men through ego, yet she did feel [and portray] that certain men do hold the characteristics of women, such as respect for others and the ability to understand many experiences. Virginia Woolf made many of her time realize that traditional literature was no longer good enough and valid.

She caused many women to become interested in writing, and can be seen as greatly influential in literary history Virginia Woolf recognized that in Post-war England old social hierarchies had broken down, and that literature must rediscover itself in a new and altogether more fluid world; the realist novel must be superseded by one in which objective reality is replaced by the impressions of subject iv consciousness. A new way of writing appeared, it was the famous ‘stream of Conciousness’: It was developed a method in order to get the character through its conscience’s states; the character is understood by the way it moves, talks, eats, looks, and everything it does. Although the term ‘stream of consciousness’ is rightly applied to the work of Virginia Woolf, it was first borrowed in 1918 from William James to describe the novels of Dorothy Richardson. Richardson described her work as an attempt to ‘produce a feminine equivalent of the current masculine realism’.

The method was more and more used in English Fiction in the study ‘A Room of One’s Own’ (1929), where the existence of a private space, and of a private income, is seen as a prerequisite for the development of a woman writer’s creativity. ‘A Room of One’s Own’ is, however, far more than an insistent plea for privacy, leisure, and education; it is a proclamation that women’s writing has nearly come of age. It meditates on the pervasiveness of women as the subjects of poetry and on their absence from history; it plays as fancifully as the narrator of ‘Orlando’ might with the domestic fate of a woman Shakespeare, b.

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