Here are the main sources I have been looking at for my final paper on Woolf’s “Mrs. Dalloway” although I am not sure if I will use them all. The first source is a book that I requested chapters from through ILLAD so I am not super sure about that particular source.
Dark Humor and Social Satire in the Modern British Novel, by L. Colletta, Palgrave Macmillan Ltd, 2003.
Wright, Nathalia. “Mrs. Dalloway: A Study in Composition.” College English, vol. 5, no. 7, 1944, pp. 351–358. JSTOR, www.jstor.org/stable/371046.
Edmondson, Annalee. “Narrativizing Characters in Mrs. Dalloway.” Journal of Modern Literature, vol. 36, no. 1, 2012, pp. 17–36. JSTOR, www.jstor.org/stable/10.2979/ jmodelite.36.1.17. Accessed 22 Apr. 2021.
Wolfe, Jesse. “THE SANE WOMAN IN THE ATTIC: SEXUALITY AND SELF- AUTHORSHIP IN ‘MRS. DALLOWAY.’” Modern Fiction Studies, vol. 51, no. 1, 2005, pp. 34–59. JSTOR, www.jstor.org/stable/26286352. Accessed 22 Apr. 2021.
Park, Sowon S. “Suffrage and Virginia Woolf: ‘The Mass behind the Single Voice’.” The Review of English Studies, vol. 56, no. 223, 2005, pp. 119–134. JSTOR, www.jstor.org/stable/ 3661192. Accessed 22 Apr. 2021.
Good start. Your challenge will be to attend to the sources and figure out how to *narrow*: what’s distinctive about Woolf’s softpedaling of plot, since this is a tendency shared with many (most) modernist writers? What features fill the vacuum left by plot? What other models for narrative arrangement can you find in her critical work (the “vital moment” riff in “Modern Fiction” or perhaps the culminating party as a model of composition in DALLOWAY). YOu might also check out Woolf’s long essay “Mr. Bennett and Mrs. Brown,” which also differentiates between the highly emplotted Edwardian approach and her own more impressionistic and character-driving approach. https://www.dropbox.com/s/pcpo3x6vqzh8an9/MrBennettAndMrsBrown.pdf?dl=0