從《到燈塔去》析伍爾夫的性別思想和性別差異思想

《從《到燈塔去》析伍爾夫的性別思想和性別差異思想》由會(huì)員分享，可在線閱讀，更多相關(guān)《從《到燈塔去》析伍爾夫的性別思想和性別差異思想（72頁珍藏版）》請(qǐng)?jiān)谘b配圖網(wǎng)上搜索。

1、 上海灸邊太# 碩士學(xué)位論文 從《到燈塔去》析伍爾夫的性別思想和性別差異思想 An Analysis of Virginia Woolf's Thoughts of Gender and Gender Differences in To the Lighthouse 專業(yè)名稱：英語語言文學(xué) 作者姓名：陸慧 指導(dǎo)老師：胡全生 二零零九年十二月 M.A. THESIS An Analysis of Virginia Woolf's Thoughts of Gender and Gender Differences in To the Lighthouse By Lu

2、Hui Under the Supervision of Professor Hu Quansheng A Thesis Submitted to the School of Foreign Languages of Shanghai Jiaotong University In Partial Fulfillment of the Requirements for The Degree of Master of Arts December, 2009 上海交通大學(xué) 學(xué)位論文原創(chuàng)性聲明 本人鄭重聲明：所呈交的學(xué)位論文，是本人在導(dǎo)師的指導(dǎo)下，獨(dú)立進(jìn) 行研究工作所取得的成果。除

3、文中已經(jīng)注明引用的內(nèi)容外，本論文不包含 任何其他個(gè)人或集體已經(jīng)發(fā)表或撰寫過的作品成果。對(duì)本文的研究做出重 要貢獻(xiàn)的個(gè)人和集體，均已在文中以明確方式標(biāo)明。本人完全意識(shí)到本聲 明的法律結(jié)果由本人承擔(dān)。 學(xué)位論文作者簽名: 上海交通大學(xué) 學(xué)位論文版權(quán)使用授權(quán)書 本學(xué)位論文作者完全了解學(xué)校有關(guān)保留、使用學(xué)位論文的規(guī)定，同意 學(xué)校保留并向國家有關(guān)部門或機(jī)構(gòu)送交論文的復(fù)印件和電子版，允許論文 被查閱和借閱。本人授權(quán)上海交通大學(xué)可以將本學(xué)位論文的全部或部分內(nèi) 容編入有關(guān)數(shù)據(jù)庫進(jìn)行檢索，可以采用影印、縮印或掃描等復(fù)制手段保存 和匯編本學(xué)位論文。 保密□，在_年解密后適用本授權(quán)書。 本學(xué)位論文屬于

4、 不保密口。 (請(qǐng)?jiān)谝陨戏娇騼?nèi)打“ V ”） 學(xué)位論文作者簽名： 指導(dǎo)教師簽名: ACKNOWLEDGEMENTS At the completion of this thesis, I would like to express my special thanks to Professor Hu Quansheng, my supervisor, for his inspiring guidance and encouragement during my graduate study, and for the extremely valuable instructions, prec

5、ious advice and critical judgments he made for the improvement of this paper. Fm afraid my words are so limited that I just fail to express how deep my appreciation is. I would also like to extend my sincere appreciation to all those who have directed me in the field of English language and literat

6、ure, especially Professor He Weiwen, Professor Hu Kaibao, Professor Zuo Xiaolan, Professor Suo Yuhuan, Professor Wu Yong, Professor Wei Xiaofei, and Professor Shen Yan, for their interesting and enlightening courses. Their recommendations and enlightenment are also of great help to the accomplishmen

7、t of this thesis. Finally, Fm also grateful to my dear parents and friends, without whose selfless care and consistent support the completion of this paper would not have been possible. 弗吉尼亞.伍爾夫（1882-1940不僅是一位世界著名的英國小說及隨筆作家，更因 其文學(xué)批評(píng)享譽(yù)世界。她是公認(rèn)的最杰出的重要現(xiàn)代主義作家之一。早在20世紀(jì)20年 代，她就對(duì)父權(quán)制社會(huì)政治、經(jīng)濟(jì)和文化體系進(jìn)行了批

8、判，并提倡用女性的視角重新審 視人類的歷史，從而創(chuàng)造-種全新的性別觀。她的小說《到燈塔去》正是可以體現(xiàn)她女 性主義思想的作品之一。然而，在現(xiàn)有對(duì)《到燈塔去》眾多的文學(xué)研究中，有一個(gè)視角 是長(zhǎng)期以來一直被忽視的，即伍爾夫的性別差異思想，她的性別差異思想和女性主義思 想間的關(guān)系，以及這些批評(píng)思想，是如何體現(xiàn)在她的寫作中的。本篇論文因此將著手探 索該種關(guān)系并將從性別差異思想的角度作出對(duì)《到燈塔去》的全新解析。 本文分析的重點(diǎn)是伍爾夫經(jīng)常在其寫作中探討，尤其在《到燈塔去》中最為顯著的 二個(gè)主題：女性主義，對(duì)性別的理解和性別差異思想。本論文試圖確認(rèn)并分析這些主題 是如何在《到燈塔去》中體現(xiàn)出來的，并由

9、此打開《到燈塔去》研究的一個(gè)新篇章。 本論文由四章組成。第一章主要介紹伍爾夫的生平及作品，國內(nèi)外對(duì)《到燈塔去》 的研究成果，以及本論文的組成結(jié)構(gòu)。第二章簡(jiǎn)單總結(jié)了伍爾夫的女性主義思想以及她 對(duì)此的態(tài)度。另外，她的雌雄同體思想、她對(duì)性別的理解以及她的性別差異思想也在第 二章中作了概述。分析的部分主要在第i章。這一章里面對(duì)伍爾夫的性別差異思想進(jìn)行 了更為深入的分析，并且在此基礎(chǔ)之上研究并評(píng)論了她的其它一些文學(xué)批評(píng)思想。本文 以第四章結(jié)語，總結(jié)綜述了在本論文中提到的主要觀點(diǎn)。 關(guān)鍵詞：伍爾夫，《到燈塔去》，女性主義，性別，性別差異 ABSTRACT Virginia Woolf (1882-

10、1941) is not only a renowned English writer best known for her novels and essays but also well acclaimed for her work on literary criticism. Commonly acknowledged is her importance as one of the most outstanding modernist authors. She criticize the social political, economic and cultural system in t

11、he patriarchal society as early as the 1920s. She upholds that human history should be interpreted from female perspective in order to create a new civilization. And her novel To the Lighthouse can be regarded as one of her works that embody such feminist thoughts. However, among the existing resear

12、ches on To the Lighthouse, one perspective is seriously neglected: Woolfs thoughts of gender differences and the relationship between her feminist thoughts and her thoughts of gender differences, and how these ideas are reflected in her writing. This thesis, therefore, intends to embark upon the exp

13、loration of this relationship and offers a fresh analysis of the book from the perspective of gender differences. The emphasis in this analysis is on three issues which Woolf very often approached in her works, particularly in To the Lighthouse: feminism, the understanding of gender and the thought

14、s of gender differences. It is their manifestations in To the Lighthouse that the thesis attempts to identify and examine and by doing so to open up a new dimension in the discussion of To the Lighthouse. The thesis is divided into four chapters. The First Chapter serves as an introduction, which i

15、ncludes the life and work of Virginia Woolf. It also looks into critical responses to To the Lighthouse abroad and in China and into the organization of this thesis. The Second Chapter draws a brief sketch on Woolf critical ideas on feminism and her ambivalent response to it. Besides, her androgyno

16、us vision and thoughts of gender and gender differences are also discussed. The analytical part of this thesis can be found in Chapter Three. This chapter studies Woolf thoughts of gender differences in a more in-depth way and some of her critical ideas are further researched and commented. This th

17、esis closes with the 1 狀t chapter onclusion?，summarizing and reviewing the major points discussed in this thes: Key Words: Woolf, To the Lighthouse, feminism, gender, gender differences Contents Acknowledgements i Abstract in Chinese ii Abstract in English iii Chapter One Introduction 1 1

18、.1 A Brief Introduction to Virginia Woolf and Her Literary Career 1 1.2 A Brief Introduction to To the Lighthouse 4 1.3 The Critical Responses to To the Lighthouse Abroad and in China 5 2.1 The Critical Responses to To the Lighthouse Abroad 6 2.2 The Critical Responses to To the Lighthouse i

19、n China 7 1.4 The Aim of the Present Project 9 1.5 The Organization of the Thesis 11 Chapter Two A Brief Sketch of Virginia Woolf 9s Thoughts of Gender 12 3.1 Woolf and Feminism 12 3.2.1 Feminism and Its Development 12 3.2.2 Woolfs Thoughts of Feminism 14 3.2.2 Woolf and

20、Androgyny 18 3.2.2 Woolf Androgynous Vision 18 3.2.2 Significance of Woolfs Androgynous Vision 22 3.2.2 Gender Differences and Woolfs Thoughts of Gender Differences 23 3.2.2 Gender Differences 23 3.2.2 Definition of Gender Differences 23 3.2.2 Differences of Sex, Gender and Androgyn

21、y 24 3.2.2 Woolfs Thoughts of Gender Differences 25 3.2.2 Representation of Gender Differences 25 3.2.2 The Origin of Woolfs Thoughts of Gender Differences and Her Understanding of Gender Differences 27 The Influence of Woolf 9s Thoughts of Gender Differences Chapter Three Manifestations of

22、 Virginia Woolf9s Thoughts of Gender and Gender Differences in To the Lighthouse 34 3.2.2.1 Manifestations of Woolf 9s Thoughts of Female in To the Lighthouse 34 2.1 The Role of an Ideal Woman - Mrs. Ramsay 34 2.2 The Woman Image of the New Generation - Lily Briscoe 39 3.2.2.2 Manifestat

23、ions of Woolf Thoughts of Gender Differences in To the Lighthouse 44 2.3 Significant Differences between Different Genders 46 2.3.1.1 Rational Mr. Ramsay and Emotional Mrs. Ramsay 46 2.3.1.2 Realistic Mr. Ramsay and Idealistic Mrs. Ramsay 48 2.3.1.3 Mr. and Mrs. Ramsay9s Different Aesthetic

24、Appreciation 50 2.4 Virginia Woolf9s Thoughts of Gender Differences through Lily Briscoe...51 23.2.2 Lily Briscoe Female Consciousness 51 23.2.3 Lily Briscoe Way to Brightness and Hope 55 Chapter Four Conclusion 59 Bibliography 63 Chapter One Introduction A Brief Introduction to

25、 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

26、figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs. Dallowciy (1925), To the Lighthouse (1927) and Orlando (1928) and the book-length essay A Room of One's Own (1929), with its famous dictum, UA woman must have money and a room of her

27、 own if she is to write fiction?（Woolf，2005a: 565). Both Woolf 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 mounta

28、ineer. 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 consequentl

29、y. 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 Steph

30、en eminence as an editor, critic and biographer and his connection to William Thackeray (as he was the widower of Thackeray 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. D

31、escended 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 Stephen house，from which Virginia and Vane

32、ssa (u l 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 Stephen summer home, look

33、ed 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-sist

34、er Stella two years later led to the first of Virginia 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 biog

35、rapher, 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 Virginia sec

36、ond nervous breakdown, Vanessa and Adrian sold 22 Hyde Park Gate and bought a house at 46 Gordon Square in Bloomsbury. Following studies at King5s College, Cambridge (DeSalvo, 1982: 103), Woolf came to know Lytton Strachey, Clive Bell, Rupert Brooke, Duncan Grant and Leonard Woolf, who together form

37、ed 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 enniless Jew? The couple shared a close bond The two also collaborated professionally in 1917 founding the Hogarth Press, wh

38、ich subsequently published Virginia 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 o

39、f 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 she was unable to work. On 28 March 1941, Woolf committed suicide. She put on her overcoat, filled its pockets with stones，then

40、 walked into the River Ouse near her home and drowned herself. Woolf 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 t

41、his 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 pro

42、fessionally 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-brother imprint, Gerald Duckworth and Company Ltd. An earlier version of The Voyage Out has been r

43、econstructed 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

44、 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 th

45、e 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. Woolf reputation declined sharply after World War II, but her eminence was re-established with the surge of Feminist

46、 criticism in the 1970s (Beja, 1985: 53). 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

47、. Time Magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005 ( list.html). 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 w

48、inding 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 Pass

49、es and Part III The Lighthouse. In Part I，the novel is set in the Ramsay 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 ce

50、rtainty 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. Ramsay relationship.

51、 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 f

52、ed 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. V explained the purpose of this sectio

53、n, writing that it was uan interesting experiment (that gave) the sense of ten years passing?（Dick and Woolf, 1983: 2). This section role in linking two dominant parts of the story was also expressed in Woolf?s notes for the novel, where above a drawing of an ，?shape she wrote wo blocks joined by

54、 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 kil

55、led 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 docs his philosophical work. In the final section，he Lighthouse?，some of the remaining Ramsays return to their summer home ten years after the events of Part I, as

56、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 pain

57、ting. She reconsiders Mrs. Ramsay?s 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 aad seeing that it satisfies her, she realize

58、s 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. 3.2.2.2 The Critical Responses to To the Lighthouse Abroad and in China Since its publication in 1927, To the Lighthouse has maintained criti

59、cal 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

60、 perfectly realizes fictional reflection on mortality, subjectivity, anc passage of time. E.M. Forster wrote that the book was "awfully sad, very beautiful bo 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). Roge

61、r Fry wrote to Woolf that he thought 汾 the Lighthouse was uthe best thing you^e 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, y present opinion is that it is easily the best of my books?（ibid.: 231)

62、. 3.2.2.2 The Critical Responses to To the Lighthouse Abroad In the history of Woolf critical acceptance in general, a significant moment came in 1953 when Willard R. Trask?s translation of Erich Auerbach^ Mimesis: The Representation of was published. In he Brown Stocking?，Auerbach last chapte

63、r, a text in critical writing on the literature of Modernism became classic. The total fifth section of he Window，，was quoted by Auerbach and explained by him that Woolf，s method is not only a question of technique but f the author attitude towards the reality of the world?（qtd. in Hussey，1995: 3

64、22). After comparing Woolf to Marcel Proust，Auerbach commented that To the Lighthouse was uone 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 Li

65、ghthouse focuses more on the Ramsays than on Lily Briscoe. Maria DiBattista，for example, describes how he cooperation of male and female wills underlies the novel veiled myth of marriage as Eden?（Freedman, 1975: 175). Joseph L. Blotner employs Sigmund Freud?s interpretation of the Oedipus myth to

66、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 purpo escaping from her own dilemm