（英语语言文学专业论文）从《到灯塔去》析伍尔夫的性别思想和性别差异思想.pdf

上海交通大学上海交通大学 学位论文原创性声明学位论文原创性声明 本人郑重声明：所呈交的学位论文，是本人在导师的指导下，独立进 行研究工作所取得的成果。除文中已经注明引用的内容外，本论文不包含 任何其他个人或集体已经发表或撰写过的作品成果。对本文的研究做出重 要贡献的个人和集体，均已在文中以明确方式标明。本人完全意识到本声 明的法律结果由本人承担。 学位论文作者签名： 日期： 年 月 日 上海交通大学上海交通大学 学位论文版权使用授权书学位论文版权使用授权书 本学位论文作者完全了解学校有关保留、使用学位论文的规定，同意 学校保留并向国家有关部门或机构送交论文的复印件和电子版，允许论文 被查阅和借阅。本人授权上海交通大学可以将本学位论文的全部或部分内 容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存 和汇编本学位论文。 保密保密，在 年解密后适用本授权书。 本学位论文属于 不保密 不保密。 （请在以上方框内打“” ） 学位论文作者签名： 指导教师签名： 日期： 年 月 日 日期： 年 月 1 chapter one introduction 1.1 a brief introduction to virginia woolf and her literary career virginia woolf was born adeline virginia stephen on 25 january, 1882 in london. she was an english novelist and essayist, regarded as one of the foremost modernist literary figures of the twentieth century. during the interwar period, woolf was a significant figure in london literary society and a member of the bloomsbury group. her most famous works include the novels mrs. dalloway (1925), to the lighthouse (1927) and orlando (1928) and the book-length essay a room of ones own (1929), with its famous dictum, “a woman must have money and a room of her own if she is to write fiction” (woolf, 2005a: 565). both woolfs father and mother were well known: julia prinsep stephen, her mother, was a beauty and served as a model for pre-raphaelite painters such as edward burne-johns; and sir leslie stephen, her father, was a notable author, critic and mountaineer. the young virginia was educated by her parents in their literate and well-connected household at 22 hyde park gate, kensington. one thing worth mentioning, her parents had each been married previously and had been widowed, and, the household contained children from three marriages consequently. julia had three children from her first husband herbert duckworth: george, stella and gerald duckworth. leslie had one daughter from his first wife minny thackeray: laura makepeace stephen. leslie and julia had four children together: vanessa, thoby, virginia and adrian stephen. sir leslie stephens eminence as an editor, critic and biographer and his connection to william thackeray (as he was the widower of thackerays youngest daughter) meant that his children were raised in an environment filled with the influences of victorian literary society. julia stephen was equally well connected. descended from an attendant of marie antoinette, she came from a family of renowned beauties who left their mark on victorian society as models for pre-raphaelite artists and early photographers. supplementing these influences was the immense library at the stephens house, from which virginia and vanessa (unlike 2 their brothers, who were formally educated) were taught the classics and english literature. yet it seems that woolfs most vivid childhood memories were not of london but of st ives in cornwall, where the family spent every summer until 1895. talland house, the stephens summer home, looked out over porthminster bay. memories of these family holidays and impressions of the landscape, especially the godrevy lighthouse, informed the fiction woolf wrote in later years, most notably to the lighthouse. the sudden death of her mother in 1895 when virginia was 13 and that of her half-sister stella two years later led to the first of virginias several nervous breakdowns. the death of her father in 1904 provoked her most alarming collapse and she was briefly institutionalized. her breakdowns and subsequent recurring depressive periods, as modern scholars (including her nephew and biographer, quentin bell) have suggested, were also induced by the sexual abuse she and vanessa were subjected to by their half-brothers, george and gerald (which woolf recalled in her autobiographical essays a sketch of the past and 22 hyde park gate). after the death of their father and virginias second nervous breakdown, vanessa and adrian sold 22 hyde park gate and bought a house at 46 gordon square in bloomsbury. following studies at kings college, cambridge (desalvo, 1982: 103), woolf came to know lytton strachey, clive bell, rupert brooke, duncan grant and leonard woolf, who together formed the nucleus of the intellectual circle known as the bloomsbury group. virginia stephen married writer leonard woolf in 1912, referring to him during their engagement as a “penniless jew”. the couple shared a close bond. the two also collaborated professionally in 1917 founding the hogarth press, which subsequently published virginias novels along with works by t.s. eliot, laurens van der post and others. after completing the manuscript of her last (posthumously published) novel, between the acts, woolf fell victim to a depression similar to that which she had earlier experienced. the onset of world war ii, the destruction of her london home during the blitz and the cool reception given to her biography of her late friend roger fry all worsened her condition until 3 she was unable to work. on 28 march 1941, woolf committed suicide. she put on her overcoat, filled its pockets with stones, then walked into the river ouse near her home and drowned herself. woolfs body was not found until 18 april (panken, 1987: 260-2). her husband buried her cremated remains under a tree in the garden of their house in rodmell, sussex. throughout her life, woolf was plagued by drastic mood swings. though this instability greatly affected her social functioning, her literary abilities remained intact. modern diagnostic techniques have led to a posthumous diagnosis of bipolar disorder, an illness which coloured her work, relationships and life and eventually led to her suicide. woolf began writing professionally in 1905, initially for the times literary supplement with a journalistic piece about haworth, home of the bronte family. her first novel, the voyage out, was published in 1915 by her half-brothers imprint, gerald duckworth and company ltd. an earlier version of the voyage out has been reconstructed by woolf scholar louise desalvo and is now available to the public under the intended title (as the novel was originally entitled melymbrosia). desalvo argues that many of the changes woolf made in the text were in response to changes in her own life (haule, 1982: 100-4). woolf went on to publish novels and essays as a public intellectual to both critical and popular success. much of her work was self-published through the hogarth press. she has been hailed as one of the greatest novelists of the twentieth century and one of the foremost modernists. woolf is considered one of the greatest innovators in the english language. in her works she experimented with stream of consciousness and the underlying psychological as well as emotional motives of characters. woolfs reputation declined sharply after world war ii, but her eminence was re-established with the surge of feminist criticism in the 1970s (beja, 1985: 53). 4 1.2 a brief introduction to to the lighthouse woolfs to the lighthouse was published in 1927. as a landmark of high modernism, the text, centering on the ramsay family and their visit to the isle of skye in scotland between 1910 and 1920, skillfully manipulates temporality and psychological exploration. time magazine included the novel in its time 100 best english-language novels from 1923 to 2005 ( the novel follows and extends the tradition of modernist novelists like marcel proust and james joyce, where the plot is secondary to philosophical introspection and the prose can be winding and hard to follow. it includes little dialogue and almost no action; most of it is written as thoughts and observations. it recalls the power of childhood emotions and highlights the impermanence of adult relationships. the novel consists of three parts: part i the window, part ii time passes and part iii the lighthouse. in part i, the novel is set in the ramsays summer home in the hebrides, on the isle of skye. the section begins with mrs. ramsay assuring james that they should be able to visit the lighthouse on the next day. this prediction is denied by mr. ramsay, who voices his certainty that the weather will not be clear, an opinion that forces a certain tension between mr. and mrs. ramsay and also between mr. ramsay and james. this particular incident is referred to on various occasions throughout the chapter, especially in the context of mr. and mrs. ramsays relationship. the ramsays have been joined at the house by a number of friends and colleagues, one of them being lily briscoe, who begins the novel as a young, uncertain painter attempting a portrayal of mrs. ramsay and her son james. briscoe finds herself plagued by doubts throughout the novel, doubts largely fed by the statements of charles tansley, another guest, claiming that women can neither paint nor write. tansley himself is an admirer of mr. ramsay and his philosophical treatises. the second section is employed by the author to give a sense of time passing. woolf 5 explained the purpose of this section, writing that it was “an interesting experiment (that gave) the sense of ten years passing” (dick and woolf, 1983: 2). this sections role in linking two dominant parts of the story was also expressed in woolfs notes for the novel, where above a drawing of an “h” shape she wrote “two blocks joined by a corridor” (ibid.: 11). during this period britain began and finished fighting world war i. in addition, the reader is informed as to the fates of a number of characters introduced in the first part of the novel: mrs. ramsay passes away, prue dies from complications of childbirth, and andrew is killed in the war. mr. ramsay is left adrift without his wife to praise and comfort him during his bouts of fear and his anguish when he does his philosophical work. in the final section, “the lighthouse”, some of the remaining ramsays return to their summer home ten years after the events of part i, as mr. ramsay finally plans on taking the long-delayed trip to the lighthouse with his son james and daughter cam(illa). the trip does not happen, as the children had not been ready, but they eventually take off. while they set sail for the lighthouse, lily attempts to complete her long-unfinished painting. she reconsiders mrs. ramsays memory, grateful for her help in pushing lily to continue with her art, yet at the same time struggling to free herself from the tacit control mrs. ramsay had over other aspects of her life. upon finishing the painting and seeing that it satisfies her, she realizes that the execution of her vision is more important to her than the idea of leaving some sort of legacy in her work a lesson mr. ramsay has yet to learn. 1.3 the critical responses to to the lighthouse abroad and in china since its publication in 1927, to the lighthouse has maintained critical predominance. the novel is widely regarded as woolfs most successful work in using stream of consciousness narrative, nonlinear plot and interior monologue, distinctly modeling characters without the formal structure of chronological time and omniscient narration. in this novel, woolf also most perfectly realizes fictional reflection on mortality, subjectivity, and the passage of time. e.m. forster wrote that the book was “awfully sad, very beautiful both in 6 color and shape, it stirs me much more to questions of whether and why than anything else you have written” (qtd. in hussey, 1995: 311). roger fry wrote to woolf that he thought to the lighthouse was “the best thing youve done, actually better than mrs. dalloway” (bell, 1972: 128). woolf wrote, in 1926, in a diary entry written during her final version of the novel, “my present opinion is that it is easily the best of my books” (ibid.: 231). 1.3.1 the critical responses to to the lighthouse abroad in the history of woolfs critical acceptance in general, a significant moment came in 1953 when willard r. trasks translation of erich auerbachs mimesis: the representation of reality in western literature was published. in “the brown stocking”, auerbachs last chapter, a text in critical writing on the literature of modernism became classic. the total fifth section of “the window” was quoted by auerbach and explained by him that woolfs method is not only a question of technique but “of the authors attitude towards the reality of the world” (qtd. in hussey, 1995: 322). after comparing woolf to marcel proust, auerbach commented that to the lighthouse was “one of the few books of this type which are filled with good and genuine love, but also, in its feminine way, with irony, amorphous sadness and doubts of life” (ibid.). much of the early criticism of to the lighthouse focuses more on the ramsays than on lily briscoe. maria dibattista, for example, describes how “the cooperation of male and female wills underlies the novels veiled myth of marriage as eden” (freedman, 1975: 175). joseph l. blotner employs sigmund freuds interpretation of the oedipus myth to explain the relationship between the ramsay couple and their son james who cherishes intense adoration for his mother and has an equally strong hatred for his father (beja, 1985: 169). according to virginia r. hyman, mrs. ramsay embodies some values of julia stephen: sympathy, social awareness, organizing activities and selflessness. hyman concludes that in the very process of analysis and synthesis, virginia woolf is repeating the pattern of her father for the purpose of escaping from her own dilemma (mcnees, 1994: 596). 7 many critics view the novel in terms of a struggle between masculine and feminine principles embodied in mr. and mrs. ramsay. herbert marders study of woolf, feminism and art (1968) sketches woolfs theory of patriarchy and androgyny. as marder suggests, woolf takes androgyny to represent a convergence of her feminism and her mysticism. he thinks to the lighthouse follows the research on unity in the development of integrated personalities (mepham, 1992: 78). like marder, bazin finds the lighthouse and lilys tree in the center of her painting androgynous symbols and carolyn heilbrun views it as woolfs “best novel” of androgyny, with the “female impulse” in part i and the “male impulse” in part iii united in “the androgynous vision which ends the book” (heilbrun, 1973: 162). in a variation on freudian readings focused on the son, several critics attention has been drawn to the role of lily briscoe as a woman artist who must struggle against the ideology represented by the ramsays. in her woman of letters (1978), phyllis rose deals with to the lighthouse, and depicts varieties of womanhood and demonstrates how one can be a woman without being like mrs. ramsay, who is taken to be a dusky, out-of-date, and self-sacrificing character to whom the artistic spinster lily briscoe offers an alternative and preferable model (mepham, 1992: 80). 1.3.2 the critical responses to to the lighthouse in china although chinese academic circle began the research on virginia woolf as early as in 1932 when ye gongchao translated “a mark on the wall”, a short story of stream of consciousness that was written by woolf in 1917, it was not until in the 1980s that the research on woolf reached an upsurge in china. however, at the beginning, scholars mainly translated her works and introduced foreign studies. woolfs feminist work, a room of ones own, was translated by wang huan in 1989. qu shijing, in 1988 to 1989, translated some of woolfs critical essays and edited them into two books a study on virginia woolf and virginia woolfs critical essays. qu published his monograph: virginia woolf: the novelist of stream of consciousness in 1989. li naikun selected some of woolfs critical essays, short 8 stories and parts of novels and edited them into the book virginia woolfs selective works in 1990. liu bingshan translated some of woolfs essays and edited them into a book book and portraits in 1994. huang mei and zhang yaodong published another small book, woolfs essays in 2001. in 2002, yi xiaomings elegance and insanity: virginia woolfs biography was published, in which both her life and works are involved. the earliest research on virginia woolf was in 1937 when jin donglei made a brief comment on her in history of british literature. however, in china, it was not until the late 1980s that the real and comprehensive research on woolf began. qu shijing is the first to have a comparatively comprehensive study and research on woolf. he places extra emphasis on the research of woolfs stream of consciousness and makes a systematic summary of theories of woolfs novels. qu sums up her theories and views from seven aspects (qu shijing, 1986: 233-56). qu makes an in-depth study and research on the differences of all kinds of woolfs adoption of stream of consciousness and his research is most important in the 1980s in china. the translations and publications of woolfs works have provided chinese readers, writers and scholars with firsthand materials for them to understand, study and research woolf. since the 1980s, there are about 300 papers, 3 bibliographies and many other doctoral dissertations. in his paper, wu qinghong makes a discussion about woolfs feminist thoughts under the background of the development of western feminism. as wu considers, woolf has realized that feminism of the late 19th century and the early 20th century, which put overemphasis on equal rights for men and women in law is deficient and woolf suggested that feminists establish a female perspective of their own, that is to say, a kind of different and independent feminism (wu qinghong, 2005: 204). wu houkais works also explore woolfs li