Virginia Woolf's major works published between 1927 and 1929 share a common concern with the subject positions available to women as artists, and the impact of social conditions upon women's ability to become artists. Woolf's Diary shows her lifelong commitment to the exploration of subjectivity and her ability to achieve moments of wholeness while accepting the multiplicity characteristic of the intrinsically divided (Lacanian) subject. The fictional women artists presented in Jo the Lighthouse, Orlando, and A Room of One's Own demonstrate the balanced subject position between the (Kristevan) semiotic and the (Lacanian) symbolic which Woolf offers as a solution to the difficulties of the woman who must resist her subjugation in the symbolic, but who needs her symbolic position to allow her access to symbolic functions such as language. Woolf's affinity with French psychoanalyst-philosophers Julia Kristeva and Luce Irigaray is evident in her concern with reconstructing the subject positions available to women, a feminist project which necessarily entails challenging the existing symbolic order as constructed in Lacanian theory.
Michele Laura Hilton (Mon,) studied this question.