2026-09-21T17:18:04Zhttps://dspace.mit.edu/server/oai/requestoai:dspace.mit.edu:1721.1/357032026-06-05T20:27:34Zcom_1721.1_7582com_1721.1_7581col_1721.1_131024
Diana Henderson, Ruth Perry and Shankar Raman.
Rodal, Jocelyn (Jocelyn Aurora Frampton)
Massachusetts Institute of Technology. Dept. of Humanities.
Massachusetts Institute of Technology. School of Humanities, Arts, and Social Sciences. Literature Section.
Massachusetts Institute of Technology. Literature Section
Massachusetts Institute of Technology. Department of Humanities
2007-01-10T21:02:10Z
2007-01-10T21:02:10Z
2006
2006
http://hdl.handle.net/1721.1/35703
71248827
Thesis (S.B. in Literature)--Massachusetts Institute of Technology, Dept. of Humanities, 2006.
Includes bibliographical references (leaves 68-70).
Introduction: "I hear a sound," said Rhoda, "cheep, chirp; cheep, chirp; going up and down" (9). Thus Virginia Woolf introduces Rhoda in her opening to The Waves. But almost immediately, this sound is transformed: " 'The birds sang in chorus first,' said Rhoda. 'Now the scullery door is unbarred. Off they fly. Off they fly like a fling of seed. But one sings by the bedroom window alone' " (10-11). While the birds were originally a unified, collective sound, "going up and down" as one, now they fly away as many, spreading like seeds that will eventually grow individually to create separate new lives. Rhoda implies that they sang as one only because they had no other choice - the door was barred, and they were jailed together. However, the single bird remaining by the window deep in song is a noteworthy figure. Like Rhoda, and human consciousness itself, it might be lonely or free, proudly individual or vulnerable in its solitude.
by Jocelyn Rodal.
S.B. in Literature
70 leaves
4067050 bytes
4069754 bytes
application/pdf
application/pdf
eng
Massachusetts Institute of Technology
M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission.
http://dspace.mit.edu/handle/1721.1/7582
Humanities.
Humanities, Arts, and Social Sciences. Literature Section.
Woolf, Virginia, 1882-1941. Waves.
"One world, one life" : the politics of personal connection in Virginia Woolf's The waves
Politics of personal connection in Virginia Woolf's The waves
Thesis
application/pdf
false
Publication
unknown
unknown
<Publication xmlns="https://www.openaire.eu/cerif-profile/1.1/" id="213bcb93-9e21-416f-abfb-220b616d407d">
<Type xmlns="https://www.openaire.eu/cerif-profile/vocab/COAR_Publication_Types">http://purl.org/coar/resource_type/c_1843</Type>
<Language>eng</Language>
<Title>"One world, one life" : the politics of personal connection in Virginia Woolf's The waves</Title>
<Subtitle>Politics of personal connection in Virginia Woolf's The waves</Subtitle>
<PublishedIn>
<Publication>
</Publication>
</PublishedIn>
<PublicationDate>2006</PublicationDate>
<Authors>
<Author>
<DisplayName>Rodal, Jocelyn (Jocelyn Aurora Frampton)</DisplayName>
<Affiliation>
<OrgUnit>
</OrgUnit>
</Affiliation>
</Author>
</Authors>
<Editors>
</Editors>
<Publishers>
<Publisher>
<DisplayName>Massachusetts Institute of Technology</DisplayName>
<OrgUnit />
</Publisher>
</Publishers>
<License>http://dspace.mit.edu/handle/1721.1/7582</License>
<Keyword>Humanities.</Keyword>
<Keyword>Humanities, Arts, and Social Sciences. Literature Section.</Keyword>
<Abstract>Introduction: "I hear a sound," said Rhoda, "cheep, chirp; cheep, chirp; going up and down" (9). Thus Virginia Woolf introduces Rhoda in her opening to The Waves. But almost immediately, this sound is transformed: " 'The birds sang in chorus first,' said Rhoda. 'Now the scullery door is unbarred. Off they fly. Off they fly like a fling of seed. But one sings by the bedroom window alone' " (10-11). While the birds were originally a unified, collective sound, "going up and down" as one, now they fly away as many, spreading like seeds that will eventually grow individually to create separate new lives. Rhoda implies that they sang as one only because they had no other choice - the door was barred, and they were jailed together. However, the single bird remaining by the window deep in song is a noteworthy figure. Like Rhoda, and human consciousness itself, it might be lonely or free, proudly individual or vulnerable in its solitude.</Abstract>
<Access xmlns="http://purl.org/coar/access_right"
>
</Access>
</Publication>