绘画、诗歌、戏剧：伍尔夫现代主义小说的综合艺术
摘要
弗吉尼亚·伍尔夫是一位在文学圈内以审美品位高雅著称的艺术家。她把自己的小说视作艺术品，精雕细琢、力求尽善尽美。她有着画家的眼睛、诗人的情怀、剧作家的抱负和哲学家的深度，但她选择用小说这种文类形式呈现她的艺术和哲学思想。当她意识到传统小说的写法已不能适应时代的需要，也无法表达现代人的内心和生活时，她跳出小说的局限，借鉴其他艺术门类：如绘画、诗歌、戏剧，汲取小说创新的源泉。与画家姐姐在各自艺术媒介上的相互竞争使得伍尔夫更加注重小说的美学形式问题以及“姊妹艺术”（绘画艺术和语言艺术）的融合。小说、诗歌、戏剧或是诗剧有着各自无可比拟的优势，传承这些优势在伍尔夫看来是可以解决现代小说所面临的困境。她在“诗歌、小说与未来”一文中不仅描述了“未来小说”的形态，而且提出了小说诗化和戏剧化的理念。虽然具体方法仍语焉不详，但其向诗歌和戏剧借鉴的意图已十分明显。当然伍尔夫的这些理念只是大致指明了小说革新的方向，其具体实践中呈现出的精彩远远超出她那些笼统概括的理念。应当特别指出的是，除了作为文学样式的戏剧提供了可资借鉴的原则与理念，作为舞台空间表演艺术的戏剧更是激发了伍尔夫的灵感，她的一些“空间转向”技巧与之不无联系。从借鉴到实践，伍尔夫煞费苦心地设计和筹划如何将有别于小说的诗、画、剧艺术运用到小说中从而达到对小说的革新，同时又呈现出相应的诗、画、剧美学效果。
本文旨在深入探寻伍尔夫现代主义小说中诗、画、剧综合艺术的运用并最终阐释伍尔夫现代主义小说中的艺术规律和美学范式。诗、画、剧综合艺术出现在伍尔夫的每一部现代主义小说中，并呈现出一定的共性和个性。综合艺术的运用造就了她小说艺术的革新，艺术匠心中又有着作家的哲学思考。这种诗、画、剧艺术的有机结合也对理解其他现代主义作家在小说创作和革新中呈现的趋同性具有一定的启示意义。本文以《到灯塔去》、《海浪》和《幕间》三部小说为典型个案，以伍尔夫的现代小说理念和实践构思为依托，一部作品集中探讨一种艺术的运用。本文包括引言、中间三章和结论。
引言部分提出本文主要观点：伍尔夫通过借鉴诗、画、剧艺术，汲取小说创新的灵感；她通过运用诗、画、剧综合艺术实现对小说的革新，并造就了她现代主义小说的艺术风貌。引言综述了国内外在伍尔夫现代主义小说艺术研究方面的文献成果，阐释了伍尔夫小说综合艺术形式理念的产生和发展，指明了本文选题的意义和研究文本选择的标准，介绍了论文的框架和每章的主要论点。
第一章深入探讨《到灯塔去》中的绘画艺术。这部小说中充斥着文字风景画、静物画、肖像画和风俗画。借助视觉想象，读者可以透过伍尔夫的文字描述“看到”种种“写实绘画”、“印象派绘画”、“后印象派绘画”和“立体派绘画”。本章指出，伍尔夫不仅深谙从“印象派”之前到“印象派”之后的传统和现代绘画艺术，而且具备画家专业的眼光；她将自己对现代绘画艺术精华的了解运用到一幅幅具体的文字绘画创作、小说结构建构以及人物刻画中。本章认为，伍尔夫不仅继承了语言再现视觉的“细绘”写实传统，还在这部小说中呈现出精妙的“元绘画”艺术——关于绘画的“绘画”。本章提出伍尔夫创造了不同层面意义上的“元绘画”，并阐释小说开篇的写实场景画面如何呈现为和委拉斯凯兹的《宫女》这幅著名“元绘画”几近相同的绘画情境、绘画原理、绘画关系和绘画功能的“元绘画”以及小说中其他的“元绘画”是如何演变而成的。本章阐明伍尔夫常以“印象派画家”的方式捕捉光、色和主观真实，从而造就了她小说中景物的“印象派绘画”以及“印象主义文学”。前者呈现了瞬间的光色变化效果和时间流逝中景物光色的变化特质，描绘对象被覆盖着明亮的光晕和色彩的晕轮；而后者则捕捉了人物的瞬间感觉印象、情感变化和意识状态。本章从构图、变形和简化（后印象派绘画的共同特征）三个方面逐一审视和说明小说中画家莉莉的两幅后印象派绘画与作家伍尔夫对小说的“后印象派”处理方式，并对一些细节处理提出假设。本章指出伍尔夫借鉴运用了“立体派绘画”中的立体（多重视角并置）透视法，物象分解碎片化和综合重构化的精髓。她的小说人物“肖像画”和人物性格刻画使用了“立体派”的多重视角；小说中的生活被肢解为“存在的瞬间”，人物的意识被切分为纷繁的片段；而综合则能将多个视角、生活和意识的碎片重新构筑在一起，以此呈现人的本质属性以及现代体验的无序性、复杂性。
第二章着重研究《海浪》中的诗歌和诗意艺术。伍尔夫的小说致力于将诗歌嫁接到散文之中。在她的“诗化小说”理念中，“poetry”含有“诗歌”和“诗意”双重意义，且更加强调“诗意”——诗（人）的视角、诗的态度、诗的节奏感和诗的意境，这意味着要以更宏观的视角观察生活，思考人生的重要问题，捕捉想象，抛却细节和事实的牵绊，将人物和场景、氛围和谐地融为一体。在她看来，小说应有诗歌的属性：应从生活后退一步、站得更远一点；只提供生活的轮廓而非细节；着重表达人物的情感，人物在沉默时的内心独白，个人心灵和普通观念之间的关系，人与自然以及人与命运之间的关系等等。尽管伍尔夫强调她理念中的“诗歌”并非由诗的语言和韵律所决定，但是她小说实践中呈现出的抒情、诗化的语言却是无可辩驳的事实。本章借用梅尔文·弗里德曼有关意识流的理论和观点来证明：意识流本身具有诗歌效果。本章指出，象征手法和节奏既是诗歌的常用方法也是伍尔夫营造诗意的重要方式。象征和意象被她大规模地运用到极致。节奏不仅是《海浪》的形式建构力量，而且还是语言修辞追求的最终美学效果。娴熟地直接引用和间接提及他人的诗歌是伍尔夫的一大写作特色，也成为她用来塑造小说中“诗人”形象的一种重要手段。结合伍尔夫的诗化理念，本章认为她所倡导的诗（人）的视角和哲学思考的方向是一致的，而哲学深度和关注又是她的小说中不可或缺的内容，因此她笔下的“诗人”还要肩负“哲学家”的责任：思考存在的本质、叩问生命的意义、表达哲学的关注；既然“诗意”和“哲学”在伍尔夫看来都是必需的，那么在她的小说中一定会出现“哲学家”附体的“诗人”形象或类似的人物形象，他们承担了小说中大部分哲学思考任务。笔者认为，《海浪》中的罗达、奈维尔和伯纳德就是具备这种“诗人”形象的小说人物。
第三章全面考察了《幕间》中的戏剧艺术。戏剧文本和戏剧空间表演艺术的呈现是此部小说格外引人注目之处。从伍尔夫对希腊戏剧和伊丽莎白时代戏剧的评论中可以看出她对戏剧尤其是诗剧的崇敬之情，显然她从这种艺术形式中获益良多。她的“诗剧”情结，小说戏剧化理念，抑或说是“戏剧—小说”理念，也与此有莫大关联。她有着剧作家的抱负，她渴望打造一种新型戏剧：用散文写就却富有诗意，既是小说又是戏剧；它要远离细节，让形式成为盛载作者思想的弹性封套，让作者自由表述对生活的态度；它将在读者意识中上演，而不必在舞台上演出；它要具备戏剧的浓缩性，时间、空间和场景要集中而浓缩，要将丰富的内容压缩到对话中，要使每个瞬间成为感觉荟萃的中心；它要获得戏剧那种爆发性的情绪效应，要将在生活中起重大作用的某些影响戏剧化，并且使人物具有戏剧性的力量。同时，伍尔夫认为小说家要退出小说，让书中人物及其意识活动直接呈现在读者眼前，就像写好剧本后就躲在幕后的戏剧家让剧中角色直接面对观众表演那样。本章认为，舞台说明这种戏剧中的传统形式在伍尔夫的小说中不仅被发扬光大，而且以改头换面的方式出现。一天的时间浓缩框架似乎体现着古老戏剧中基于观众感受和演员表演的考虑而对时间提出的限制原则。当传统线性叙事无法满足现代作家再现复杂生活和现实的需求时，现代主义小说家展露了打破单一时间顺序、追求小说空间化效果的“空间转向”趋势，伍尔夫也不例外。她力图用文本营造知觉上的同时性，使文中一切像舞台上的戏剧一样动态地、一览无余地展现在读者面前。并置与共时既是切断小说时间流营造空间感的关键，也是再现戏剧舞台空间艺术并置和共时特点的关键。表演、舞蹈、歌唱、音乐同时发生和“发声”，也应当被观众同时看到和听到。伍尔夫在《幕间》中使用了“平行结构”和“复调”（借自“复调音乐”概念）技巧，将同时发生的事件、声音和意识并置在读者面前以制造同时效果。《幕间》中的露天历史剧既让小说家伍尔夫过了一把戏剧家的瘾，也助她以独特的戏剧方式向戏剧致敬。本章认为露天历史剧既是这部小说中的戏剧家拉特鲁布女士对英国历史和戏剧进行回顾、批判、改写和改革的工具；又是伍尔夫用隐喻的方式表达演员与观众、戏剧与现实、艺术与生活、作者与读者之间的关系以及她的现代小说理念的工具。她意味深长地让台上台下、戏里戏外都变成戏剧的天地。
本文在结论部分提出了解读伍尔夫现代主义小说的4P（poetry+play+painting+philosophy）模式，即诗、画、剧加哲学的美学范式。这种范式中的每个部分具体到伍尔夫的每部现代主义小说时，既呈现出这本小说才有的独特艺术特色又包含了所有小说都有的共同特征。结论部分将用4P美学范式整体观照伍尔夫的现代主义小说（《雅各布的房间》，《达洛维夫人》也将纳入观照范围），并揭示其中呈现的艺术规律。通过向其他艺术门类的借鉴，伍尔夫的现代主义小说艺术融合并呈现了诗、画、剧艺术，其本人也成为了一位杂糅艺术家——走向诗歌、绘画、戏剧和哲学的小说家伍尔夫。
Virginia Woolf is an artist famous for her highbrow taste in literary circle. She treatsher novels as pieces of art and gives priority to artistry in literary writing, being proud ofher perfectionism. As a writer with a painter’s eye, a poet’s concern, a playwright’sambition, and a philosopher’s intellectual depth, she chooses fiction as her main artmedium to show her thoughts of art and philosophy. Realizing that the art of traditionalfiction cannot meet the requirements of modern pattern of minds and life, Woolf breaks therestraint of fiction, uses other art medium as reference, and gets inspiration for herinnovative techniques used in fiction. Because of potential competitive relations with hersister in their different art medium, Woolf pays more attention to the aesthetic formaldimensions of her fiction and the fusion of the “sister arts”(visual art and verbal art). Shethinks that to inherit the unparalleled merits of fiction, poetry, plays or poetic plays canpossibly solve the dilemma of modern fiction. Therefore, in her essay “Poetry, Fiction andthe Future,” she outlines the form of “future fiction” and puts forward her concept ofpoetry and “novel-play,” where her intention to learn from poetry and plays is obvious butthe concrete means are just vaguely mentioned. Woolf’s actual writing practice is moreexquisite than her general concept of fiction, which just sheds light on the direction offiction innovation. It is noteworthy that, apart from the play as literature, the play as theperforming art and “spatial art” on the stage is also the referential source from whichWoolf gets inspiration and with which her skills of “spatial turn” have close connection.From reference to practice, Woolf painstakingly designs how to apply the art of painting,poetry and play to bring newness to fiction and present the corresponding aesthetic effectsof the hybrid art at the same time.
The dissertation aims at examining the hybrid art of painting, poetry, and play inWoolf’s modernist novels, revealing the hidden regular patterns and proposing theaesthetic paradigm finally. In each of Woolf’s modernist novel, the hybrid art is applied,with each kind of art showing its unique and universal characteristics. The hybrid art leadsto Woolf’s innovation, her philosophic thoughts permeating her craftsmanship. The hybridity of painting, poetry, and play can also enlighten the uniformity presented in othermodernist novelists’ creation and innovation. Referring to Woolf’s own concepts ofmodern fiction, the dissertation explores one specific kind of art in one representativenovel. Introduction, three chapters and conclusion compose the dissertation.
Introduction puts forward the main argument of the dissertation: with painting, poetryand play as reference, Woolf gets inspiration for her innovative concept; by theemployment of the hybrid art of painting, poetry and play, Woolf accomplishes herinnovation in fiction, which produces the artistic forms of her modernist novels.Introduction also reviews the studies on the artistic forms of Woolf’s fiction and explainsthe origin and development of Woolf’s view of artistic forms in fiction; it mentions thesignificance of the topic and the criteria applied in selecting the specific novel fordiscussion; it finally introduces the organization and arguments of each part.
Chapter One deals with the art of painting in To the Lighthouse, where verballandscapes, still lifes, portraits, and genre paintings fill. With the aid of visual imagination,readers can “see” with their mind’s eye sorts of “realist paintings,”“Impressionistpaintings,”“Post-Impressionist paintings,” and “Cubist paintings.” Demonstrating hergood awareness of paintings preceding, including, and succeeding those of theImpressionists, this chapter argues that Woolf looks at scenes with a painter’s eye andemploys her knowledge of modern painting either in the creation of concrete paintings orin the organization of structure and characterization. This chapter points out that Woolfinherits the ekphrastic tradition and shows ingenious art of “metapicture”–picture aboutpicturing. This chapter proposes that Woolf provides us with “metapictures” on severalplanes and interprets how the significant opening scene presented by Woolf forms a“metapicture” similar to Velázquez’s Las Meninas, a famous metapicture, and how theother “metapictures” come into being. This chapter illustrates Woolf’s “Impressionist”ways to capture light and color of scenes and the subjective reality, by which the formerproduces her “Impressionist paintings” of landscapes and still life that precisely capture thechanging qualities of light and color and cover objects by a luminous halo or aureole ofcolor; while the latter her literary impressionism that captures the transitory impressions, sensations and emotions in one’s consciousness. Lily Briscoe’s two Post-Impressionistpictures and Woolf’s “Post-Impressionist” ways to handle the novel are dealt with fromaspects of design, distortion and simplification–the three features shared byPost-Impressionists. Towards some details dealt by Woolf, hypotheses are put forward.This chapter notes that Woolf borrows “Cubist” ways to handle the novel: to finish her“portraits” and characterization by “Cubist” perspectives (simultaneous multi-perspectives);to chop life into “moments of being” and consciousness into fragments; and to reconstructperspectives, fragmented consciousness and life by synthesis in order to represent thechaos of modern experience and essence of human beings.
Chapter Two investigates the art of poetry in The Waves. Woolf devotes herself tografting poetry onto prose artistically. In her concept of poetry, poetry means more than agenre written in meter, rhyme and poetic diction but most importantly the “poetic sense” or“poetic spirit” linked with the attitude, rhythm, situation and perspectives of poetry. Poetry,in her mind, signifies observing life through a broader perspective, reflecting importantquestions of life, catching imagination, unloading loads of details and facts, andharmonizing characters, scenes and atmosphere. Her ideal novel should have the attributesof poetry: to stand aloof from life; to give the outline rather than the detail; to conveyemotions, feelings, soliloquies in solitude; to express relations of the mind to general ideas,of man to nature and fate, etc. Woolf emphasizes that her so-called “poetry” does notnecessarily depend on the lyrical, poetic words or meter or rhyme, however, her lyrical,poetic language is without any doubt one instinctive style in her writings. This chapteragrees that stream of consciousness possesses the poetic effects, with recourse to MelvinFriedman’s relevant theory and arguments to justify this point. Symbolism and rhythm arenot only the vital essence of poetry but also Woolf’s ways towards poetry. Symbols andsymbolic images are used in great scale in The Waves. Rhythm is not only the structuringforce to hold the novel into a unity but also the final aesthetic effect achieved by her lyricallanguage and rhetoric. Woolf’s masterful quotations from poetry and allusions to poetry arenot only the poetic characteristics of her writing but also her important means to createpoet-figure in her works. In light of Woolf’s concept of poetry, this chapter argues that poets’ perspective or the perspective of poetry accords with the direction of the philosophicthinking. Philosophical depth and concerns are also indispensible to the content of Woolf’sfiction; therefore, a “poet” in her writing should also shoulder the responsibility of a“philosopher”: reflecting on wider questions about existence and life and conveyingphilosophical concerns. Since both “poetry” and “philosophy” are indispensible, there mustbe characters in Woolf’s fiction similar or equivalent to a “poet as a philosopher,” whoarticulates most of the philosophical concerns. In my opinion, Rhoda, Neville and Bernardin The Waves are such “poets.”
Chapter Three explores the art of play in Between the Acts, where play as literature(play-script) and play as performing art and “spatial art” are conspicuous. Woolf’s deeprespect for plays is evident in her essays on Greek drama and Elizabethan drama (esp.Elizabethan poetic plays), from which she obviously learns a lot, and with which her“play-poem” complex and concept of “novel-play” are closely connected. With aplaywright’s ambition, she longs for inventing a new kind of play: it is prose yet poetry, anovel and a play; away from facts, it makes the form become the perfectly elastic envelopeof one’s thought and makes the author express his attitude to life freely and fully; it will beread, be acted in the mind, instead of being acted in reality; it should be as condensed asplays are, with time, space, and scenes concentrated; all the richness that the author wantsto give can be compressed into the dialogue; every moment is the center and meeting placeof perceptions; it should get the explosive emotional effect of drama, dramatize theinfluences which play so large a part in life, and create characters who have a dramaticpower. Moreover, Woolf thinks it necessary for a novelist to withdraw from narration andmake readers confront characters and consciousness, just like a playwright absent from aplay, who makes characters act their own parts on the stage and face the audience directly.This chapter argues that the stage direction, the traditional form in drama, is inherited, andreappears in variants; Woolf’s condensed time-frame of one day might refer to the fact thatthe time is restricted to a single day in ancient theatre for the sake of audiences and actors.When traditional linear narration does not satisfy modernist writers’ purpose ofrepresenting the complicated life and reality, they cut off the linear time sequence and seek for spatial forms to represent spatial effect, making their “spatial turn.” Woolf is noexception. She attempts to evoke simultaneity in readers’ perception and make her text“show” everything dynamically like a real play performed in front of readers. Juxtapositionand synchronization, the essence of “spatial turn,” are crucial to represent the spatiality andsimultaneity of stage performance and stagecraft. Since acting, dancing, singing, and musiccan happen simultaneously in the same space and produce sound simultaneously, shouldthey be seen and heard simultaneously by audiences. Thus Woolf uses “parallel structure”and “polyphony”(borrowed from polyphony music) to juxtapose simultaneous events,sounds and consciousness in front of readers in order to create simultaneous effect. Woolfpays homage to plays in the form of a pageant, which also gives her a chance to be aplaywright. This chapter argues that the pageant is not only an instrument for Miss LaTrobe to review, criticize, rewrite and reform the history and plays but also an instrumentfor Woolf to convey metaphorically the relations between actors and audiences, the playand the reality, art and life, writers and readers, and her concept of modern fiction. Shesignificantly shows “plays” on the stage and off the stage,“plays” between the intervals,and plays within a play, making the novel turns into another play.
The conclusion part proposes a4P aesthetic paradigm (i.e. poetry+play+painting+philosophy) to appreciate and observe Woolf’s modernist novels. Each part of theparadigm shows its unique characteristics owned by the specific novel and its universalfeature shared with her other modernist novels as well. The whole range of Woolf’smodernist novels will be examined in the light of the4P aesthetic paradigm, which meansthat in addition to the three novels discussed in the dissertation, Jacob’s Room and Mrs.Dalloway are also included for the consideration. This part surveys characteristics of poetry,play, painting and philosophy in those novels and reveals the hidden regular patterns. Thispart finally emphasizes that with reference to other art and medium, with her hybrid art ofmodernist novels which bridges the gaps among poetry, plays, painting and fiction, Woolfmakes herself become a hybrid artist, an outstanding novelist towards poetry, play, paintingand philosophy.
本文旨在深入探寻伍尔夫现代主义小说中诗、画、剧综合艺术的运用并最终阐释伍尔夫现代主义小说中的艺术规律和美学范式。诗、画、剧综合艺术出现在伍尔夫的每一部现代主义小说中，并呈现出一定的共性和个性。综合艺术的运用造就了她小说艺术的革新，艺术匠心中又有着作家的哲学思考。这种诗、画、剧艺术的有机结合也对理解其他现代主义作家在小说创作和革新中呈现的趋同性具有一定的启示意义。本文以《到灯塔去》、《海浪》和《幕间》三部小说为典型个案，以伍尔夫的现代小说理念和实践构思为依托，一部作品集中探讨一种艺术的运用。本文包括引言、中间三章和结论。
引言部分提出本文主要观点：伍尔夫通过借鉴诗、画、剧艺术，汲取小说创新的灵感；她通过运用诗、画、剧综合艺术实现对小说的革新，并造就了她现代主义小说的艺术风貌。引言综述了国内外在伍尔夫现代主义小说艺术研究方面的文献成果，阐释了伍尔夫小说综合艺术形式理念的产生和发展，指明了本文选题的意义和研究文本选择的标准，介绍了论文的框架和每章的主要论点。
第一章深入探讨《到灯塔去》中的绘画艺术。这部小说中充斥着文字风景画、静物画、肖像画和风俗画。借助视觉想象，读者可以透过伍尔夫的文字描述“看到”种种“写实绘画”、“印象派绘画”、“后印象派绘画”和“立体派绘画”。本章指出，伍尔夫不仅深谙从“印象派”之前到“印象派”之后的传统和现代绘画艺术，而且具备画家专业的眼光；她将自己对现代绘画艺术精华的了解运用到一幅幅具体的文字绘画创作、小说结构建构以及人物刻画中。本章认为，伍尔夫不仅继承了语言再现视觉的“细绘”写实传统，还在这部小说中呈现出精妙的“元绘画”艺术——关于绘画的“绘画”。本章提出伍尔夫创造了不同层面意义上的“元绘画”，并阐释小说开篇的写实场景画面如何呈现为和委拉斯凯兹的《宫女》这幅著名“元绘画”几近相同的绘画情境、绘画原理、绘画关系和绘画功能的“元绘画”以及小说中其他的“元绘画”是如何演变而成的。本章阐明伍尔夫常以“印象派画家”的方式捕捉光、色和主观真实，从而造就了她小说中景物的“印象派绘画”以及“印象主义文学”。前者呈现了瞬间的光色变化效果和时间流逝中景物光色的变化特质，描绘对象被覆盖着明亮的光晕和色彩的晕轮；而后者则捕捉了人物的瞬间感觉印象、情感变化和意识状态。本章从构图、变形和简化（后印象派绘画的共同特征）三个方面逐一审视和说明小说中画家莉莉的两幅后印象派绘画与作家伍尔夫对小说的“后印象派”处理方式，并对一些细节处理提出假设。本章指出伍尔夫借鉴运用了“立体派绘画”中的立体（多重视角并置）透视法，物象分解碎片化和综合重构化的精髓。她的小说人物“肖像画”和人物性格刻画使用了“立体派”的多重视角；小说中的生活被肢解为“存在的瞬间”，人物的意识被切分为纷繁的片段；而综合则能将多个视角、生活和意识的碎片重新构筑在一起，以此呈现人的本质属性以及现代体验的无序性、复杂性。
第二章着重研究《海浪》中的诗歌和诗意艺术。伍尔夫的小说致力于将诗歌嫁接到散文之中。在她的“诗化小说”理念中，“poetry”含有“诗歌”和“诗意”双重意义，且更加强调“诗意”——诗（人）的视角、诗的态度、诗的节奏感和诗的意境，这意味着要以更宏观的视角观察生活，思考人生的重要问题，捕捉想象，抛却细节和事实的牵绊，将人物和场景、氛围和谐地融为一体。在她看来，小说应有诗歌的属性：应从生活后退一步、站得更远一点；只提供生活的轮廓而非细节；着重表达人物的情感，人物在沉默时的内心独白，个人心灵和普通观念之间的关系，人与自然以及人与命运之间的关系等等。尽管伍尔夫强调她理念中的“诗歌”并非由诗的语言和韵律所决定，但是她小说实践中呈现出的抒情、诗化的语言却是无可辩驳的事实。本章借用梅尔文·弗里德曼有关意识流的理论和观点来证明：意识流本身具有诗歌效果。本章指出，象征手法和节奏既是诗歌的常用方法也是伍尔夫营造诗意的重要方式。象征和意象被她大规模地运用到极致。节奏不仅是《海浪》的形式建构力量，而且还是语言修辞追求的最终美学效果。娴熟地直接引用和间接提及他人的诗歌是伍尔夫的一大写作特色，也成为她用来塑造小说中“诗人”形象的一种重要手段。结合伍尔夫的诗化理念，本章认为她所倡导的诗（人）的视角和哲学思考的方向是一致的，而哲学深度和关注又是她的小说中不可或缺的内容，因此她笔下的“诗人”还要肩负“哲学家”的责任：思考存在的本质、叩问生命的意义、表达哲学的关注；既然“诗意”和“哲学”在伍尔夫看来都是必需的，那么在她的小说中一定会出现“哲学家”附体的“诗人”形象或类似的人物形象，他们承担了小说中大部分哲学思考任务。笔者认为，《海浪》中的罗达、奈维尔和伯纳德就是具备这种“诗人”形象的小说人物。
第三章全面考察了《幕间》中的戏剧艺术。戏剧文本和戏剧空间表演艺术的呈现是此部小说格外引人注目之处。从伍尔夫对希腊戏剧和伊丽莎白时代戏剧的评论中可以看出她对戏剧尤其是诗剧的崇敬之情，显然她从这种艺术形式中获益良多。她的“诗剧”情结，小说戏剧化理念，抑或说是“戏剧—小说”理念，也与此有莫大关联。她有着剧作家的抱负，她渴望打造一种新型戏剧：用散文写就却富有诗意，既是小说又是戏剧；它要远离细节，让形式成为盛载作者思想的弹性封套，让作者自由表述对生活的态度；它将在读者意识中上演，而不必在舞台上演出；它要具备戏剧的浓缩性，时间、空间和场景要集中而浓缩，要将丰富的内容压缩到对话中，要使每个瞬间成为感觉荟萃的中心；它要获得戏剧那种爆发性的情绪效应，要将在生活中起重大作用的某些影响戏剧化，并且使人物具有戏剧性的力量。同时，伍尔夫认为小说家要退出小说，让书中人物及其意识活动直接呈现在读者眼前，就像写好剧本后就躲在幕后的戏剧家让剧中角色直接面对观众表演那样。本章认为，舞台说明这种戏剧中的传统形式在伍尔夫的小说中不仅被发扬光大，而且以改头换面的方式出现。一天的时间浓缩框架似乎体现着古老戏剧中基于观众感受和演员表演的考虑而对时间提出的限制原则。当传统线性叙事无法满足现代作家再现复杂生活和现实的需求时，现代主义小说家展露了打破单一时间顺序、追求小说空间化效果的“空间转向”趋势，伍尔夫也不例外。她力图用文本营造知觉上的同时性，使文中一切像舞台上的戏剧一样动态地、一览无余地展现在读者面前。并置与共时既是切断小说时间流营造空间感的关键，也是再现戏剧舞台空间艺术并置和共时特点的关键。表演、舞蹈、歌唱、音乐同时发生和“发声”，也应当被观众同时看到和听到。伍尔夫在《幕间》中使用了“平行结构”和“复调”（借自“复调音乐”概念）技巧，将同时发生的事件、声音和意识并置在读者面前以制造同时效果。《幕间》中的露天历史剧既让小说家伍尔夫过了一把戏剧家的瘾，也助她以独特的戏剧方式向戏剧致敬。本章认为露天历史剧既是这部小说中的戏剧家拉特鲁布女士对英国历史和戏剧进行回顾、批判、改写和改革的工具；又是伍尔夫用隐喻的方式表达演员与观众、戏剧与现实、艺术与生活、作者与读者之间的关系以及她的现代小说理念的工具。她意味深长地让台上台下、戏里戏外都变成戏剧的天地。
本文在结论部分提出了解读伍尔夫现代主义小说的4P（poetry+play+painting+philosophy）模式，即诗、画、剧加哲学的美学范式。这种范式中的每个部分具体到伍尔夫的每部现代主义小说时，既呈现出这本小说才有的独特艺术特色又包含了所有小说都有的共同特征。结论部分将用4P美学范式整体观照伍尔夫的现代主义小说（《雅各布的房间》，《达洛维夫人》也将纳入观照范围），并揭示其中呈现的艺术规律。通过向其他艺术门类的借鉴，伍尔夫的现代主义小说艺术融合并呈现了诗、画、剧艺术，其本人也成为了一位杂糅艺术家——走向诗歌、绘画、戏剧和哲学的小说家伍尔夫。
Virginia Woolf is an artist famous for her highbrow taste in literary circle. She treatsher novels as pieces of art and gives priority to artistry in literary writing, being proud ofher perfectionism. As a writer with a painter’s eye, a poet’s concern, a playwright’sambition, and a philosopher’s intellectual depth, she chooses fiction as her main artmedium to show her thoughts of art and philosophy. Realizing that the art of traditionalfiction cannot meet the requirements of modern pattern of minds and life, Woolf breaks therestraint of fiction, uses other art medium as reference, and gets inspiration for herinnovative techniques used in fiction. Because of potential competitive relations with hersister in their different art medium, Woolf pays more attention to the aesthetic formaldimensions of her fiction and the fusion of the “sister arts”(visual art and verbal art). Shethinks that to inherit the unparalleled merits of fiction, poetry, plays or poetic plays canpossibly solve the dilemma of modern fiction. Therefore, in her essay “Poetry, Fiction andthe Future,” she outlines the form of “future fiction” and puts forward her concept ofpoetry and “novel-play,” where her intention to learn from poetry and plays is obvious butthe concrete means are just vaguely mentioned. Woolf’s actual writing practice is moreexquisite than her general concept of fiction, which just sheds light on the direction offiction innovation. It is noteworthy that, apart from the play as literature, the play as theperforming art and “spatial art” on the stage is also the referential source from whichWoolf gets inspiration and with which her skills of “spatial turn” have close connection.From reference to practice, Woolf painstakingly designs how to apply the art of painting,poetry and play to bring newness to fiction and present the corresponding aesthetic effectsof the hybrid art at the same time.
The dissertation aims at examining the hybrid art of painting, poetry, and play inWoolf’s modernist novels, revealing the hidden regular patterns and proposing theaesthetic paradigm finally. In each of Woolf’s modernist novel, the hybrid art is applied,with each kind of art showing its unique and universal characteristics. The hybrid art leadsto Woolf’s innovation, her philosophic thoughts permeating her craftsmanship. The hybridity of painting, poetry, and play can also enlighten the uniformity presented in othermodernist novelists’ creation and innovation. Referring to Woolf’s own concepts ofmodern fiction, the dissertation explores one specific kind of art in one representativenovel. Introduction, three chapters and conclusion compose the dissertation.
Introduction puts forward the main argument of the dissertation: with painting, poetryand play as reference, Woolf gets inspiration for her innovative concept; by theemployment of the hybrid art of painting, poetry and play, Woolf accomplishes herinnovation in fiction, which produces the artistic forms of her modernist novels.Introduction also reviews the studies on the artistic forms of Woolf’s fiction and explainsthe origin and development of Woolf’s view of artistic forms in fiction; it mentions thesignificance of the topic and the criteria applied in selecting the specific novel fordiscussion; it finally introduces the organization and arguments of each part.
Chapter One deals with the art of painting in To the Lighthouse, where verballandscapes, still lifes, portraits, and genre paintings fill. With the aid of visual imagination,readers can “see” with their mind’s eye sorts of “realist paintings,”“Impressionistpaintings,”“Post-Impressionist paintings,” and “Cubist paintings.” Demonstrating hergood awareness of paintings preceding, including, and succeeding those of theImpressionists, this chapter argues that Woolf looks at scenes with a painter’s eye andemploys her knowledge of modern painting either in the creation of concrete paintings orin the organization of structure and characterization. This chapter points out that Woolfinherits the ekphrastic tradition and shows ingenious art of “metapicture”–picture aboutpicturing. This chapter proposes that Woolf provides us with “metapictures” on severalplanes and interprets how the significant opening scene presented by Woolf forms a“metapicture” similar to Velázquez’s Las Meninas, a famous metapicture, and how theother “metapictures” come into being. This chapter illustrates Woolf’s “Impressionist”ways to capture light and color of scenes and the subjective reality, by which the formerproduces her “Impressionist paintings” of landscapes and still life that precisely capture thechanging qualities of light and color and cover objects by a luminous halo or aureole ofcolor; while the latter her literary impressionism that captures the transitory impressions, sensations and emotions in one’s consciousness. Lily Briscoe’s two Post-Impressionistpictures and Woolf’s “Post-Impressionist” ways to handle the novel are dealt with fromaspects of design, distortion and simplification–the three features shared byPost-Impressionists. Towards some details dealt by Woolf, hypotheses are put forward.This chapter notes that Woolf borrows “Cubist” ways to handle the novel: to finish her“portraits” and characterization by “Cubist” perspectives (simultaneous multi-perspectives);to chop life into “moments of being” and consciousness into fragments; and to reconstructperspectives, fragmented consciousness and life by synthesis in order to represent thechaos of modern experience and essence of human beings.
Chapter Two investigates the art of poetry in The Waves. Woolf devotes herself tografting poetry onto prose artistically. In her concept of poetry, poetry means more than agenre written in meter, rhyme and poetic diction but most importantly the “poetic sense” or“poetic spirit” linked with the attitude, rhythm, situation and perspectives of poetry. Poetry,in her mind, signifies observing life through a broader perspective, reflecting importantquestions of life, catching imagination, unloading loads of details and facts, andharmonizing characters, scenes and atmosphere. Her ideal novel should have the attributesof poetry: to stand aloof from life; to give the outline rather than the detail; to conveyemotions, feelings, soliloquies in solitude; to express relations of the mind to general ideas,of man to nature and fate, etc. Woolf emphasizes that her so-called “poetry” does notnecessarily depend on the lyrical, poetic words or meter or rhyme, however, her lyrical,poetic language is without any doubt one instinctive style in her writings. This chapteragrees that stream of consciousness possesses the poetic effects, with recourse to MelvinFriedman’s relevant theory and arguments to justify this point. Symbolism and rhythm arenot only the vital essence of poetry but also Woolf’s ways towards poetry. Symbols andsymbolic images are used in great scale in The Waves. Rhythm is not only the structuringforce to hold the novel into a unity but also the final aesthetic effect achieved by her lyricallanguage and rhetoric. Woolf’s masterful quotations from poetry and allusions to poetry arenot only the poetic characteristics of her writing but also her important means to createpoet-figure in her works. In light of Woolf’s concept of poetry, this chapter argues that poets’ perspective or the perspective of poetry accords with the direction of the philosophicthinking. Philosophical depth and concerns are also indispensible to the content of Woolf’sfiction; therefore, a “poet” in her writing should also shoulder the responsibility of a“philosopher”: reflecting on wider questions about existence and life and conveyingphilosophical concerns. Since both “poetry” and “philosophy” are indispensible, there mustbe characters in Woolf’s fiction similar or equivalent to a “poet as a philosopher,” whoarticulates most of the philosophical concerns. In my opinion, Rhoda, Neville and Bernardin The Waves are such “poets.”
Chapter Three explores the art of play in Between the Acts, where play as literature(play-script) and play as performing art and “spatial art” are conspicuous. Woolf’s deeprespect for plays is evident in her essays on Greek drama and Elizabethan drama (esp.Elizabethan poetic plays), from which she obviously learns a lot, and with which her“play-poem” complex and concept of “novel-play” are closely connected. With aplaywright’s ambition, she longs for inventing a new kind of play: it is prose yet poetry, anovel and a play; away from facts, it makes the form become the perfectly elastic envelopeof one’s thought and makes the author express his attitude to life freely and fully; it will beread, be acted in the mind, instead of being acted in reality; it should be as condensed asplays are, with time, space, and scenes concentrated; all the richness that the author wantsto give can be compressed into the dialogue; every moment is the center and meeting placeof perceptions; it should get the explosive emotional effect of drama, dramatize theinfluences which play so large a part in life, and create characters who have a dramaticpower. Moreover, Woolf thinks it necessary for a novelist to withdraw from narration andmake readers confront characters and consciousness, just like a playwright absent from aplay, who makes characters act their own parts on the stage and face the audience directly.This chapter argues that the stage direction, the traditional form in drama, is inherited, andreappears in variants; Woolf’s condensed time-frame of one day might refer to the fact thatthe time is restricted to a single day in ancient theatre for the sake of audiences and actors.When traditional linear narration does not satisfy modernist writers’ purpose ofrepresenting the complicated life and reality, they cut off the linear time sequence and seek for spatial forms to represent spatial effect, making their “spatial turn.” Woolf is noexception. She attempts to evoke simultaneity in readers’ perception and make her text“show” everything dynamically like a real play performed in front of readers. Juxtapositionand synchronization, the essence of “spatial turn,” are crucial to represent the spatiality andsimultaneity of stage performance and stagecraft. Since acting, dancing, singing, and musiccan happen simultaneously in the same space and produce sound simultaneously, shouldthey be seen and heard simultaneously by audiences. Thus Woolf uses “parallel structure”and “polyphony”(borrowed from polyphony music) to juxtapose simultaneous events,sounds and consciousness in front of readers in order to create simultaneous effect. Woolfpays homage to plays in the form of a pageant, which also gives her a chance to be aplaywright. This chapter argues that the pageant is not only an instrument for Miss LaTrobe to review, criticize, rewrite and reform the history and plays but also an instrumentfor Woolf to convey metaphorically the relations between actors and audiences, the playand the reality, art and life, writers and readers, and her concept of modern fiction. Shesignificantly shows “plays” on the stage and off the stage,“plays” between the intervals,and plays within a play, making the novel turns into another play.
The conclusion part proposes a4P aesthetic paradigm (i.e. poetry+play+painting+philosophy) to appreciate and observe Woolf’s modernist novels. Each part of theparadigm shows its unique characteristics owned by the specific novel and its universalfeature shared with her other modernist novels as well. The whole range of Woolf’smodernist novels will be examined in the light of the4P aesthetic paradigm, which meansthat in addition to the three novels discussed in the dissertation, Jacob’s Room and Mrs.Dalloway are also included for the consideration. This part surveys characteristics of poetry,play, painting and philosophy in those novels and reveals the hidden regular patterns. Thispart finally emphasizes that with reference to other art and medium, with her hybrid art ofmodernist novels which bridges the gaps among poetry, plays, painting and fiction, Woolfmakes herself become a hybrid artist, an outstanding novelist towards poetry, play, paintingand philosophy.
引文
1See Sue Roe,“The Impact of Post-Impressionism,” pp.167–68.
1Woolf wrote in her diary on the publication of Jacob’s Room,“There’s no doubt in my mind that Ihave found out how to begin (at40) to say something in my own voice”(D II186).
1In1998, To the Lighthouse was No.15on the Modern Library’s list of the100best English-languagenovels of the20th century. In2005, the novel was chosen by TIME magazine as one of the100bestEnglish-language novels from1923to present.
2Virginia Woolf, To the Lighthouse: The Original Holograph Draft (Toronto: University of TorontoPress,1982)48.
1Woolf defended writing as capable of doing what painting can (see L III, pp.135–36.) in her letter toJacques Raverat on Oct.3rd1924.
1Las Meninas is a canonical masterpiece of Western painting by the Spanish painter Diego Velázquez
(1599–1660) and exemplifies the metapicture in its most complex, articulate, and exalted status. Theformal structure of Las Meninas, in W. J. T. Mitchell’s words, is an encyclopedic labyrinth of pictorialself-reference.
2W. J. T. Mitchell, Picture Theory: Essays on Verbal and Visual Representation (Chicago: TheUniversity of Chicago Press,1994)48.
1F. M. Ford, Joseph Conrad: a Personal Remembrance (London: Duckworth,1924)180.
1Roger Fry, Vision and Design (London: Chatto&Windus,1920)33–34.
2Clive Bell, Art (New York: Perigee,1981)17–18.
3Woolf wrote to Fry in1927that “You have […] kept me on the right path, so far as writing goes, morethan anyone […]”(L III385).
1Vanessa Bell increasingly introduced design-based geometric and architectonic elements into herpaintings, frequently employed flat areas of color and heavy outlines around shapes, and producedshadow with positive colors rather than dark tones.
2Woolf’s once expressed her response to Clive Bell’s Art:“There are many things I don’t agree with,where I understand. But it’s great fun.”(L II46)
3Clive Bell reinforces the importance of design by claiming that “The value of the parts combined intoa whole is far greater than the value of the sum of parts”(Art229).
1Cézanne’s Post-Impressionist paintings demonstrate a mastery of design, color, tone, and composition.His repetitive, sensitive and exploratory brushstrokes, planes of color, and an abstraction from observednature, are highly characteristic and clearly recognizable.
1See Roger Fry’s comments in his introduction to The Catalogue of the Second Post-ImpressionistExhibition (London: Ballantyne,1912), p.26.
2Rembrandt (1606–1669) was a Dutch painter. He is one of the greatest painters in European arthistory. Giotto (c.1266/7–1337) was an Italian painter and architect. He is generally considered thefirst in a line of great artists who contributed to the Italian Renaissance. Titian (c.1488/1490–1576)was an Italian painter. He is the most important member of the16thcentury Venetian school.
1In “Walter Sickert: A Conversation,” Woolf defines two kinds of artists: some artists “bore deeper anddeeper into the stuff of their own art” and other artists “are always making raids into the lands of others”(CE II243).
1E. M. Forster, Virginia Woolf (New York: Harcourt Brace,1942)23.
1In his introduction to Fighting the Waves, W. B. Yeats writes that “Certain typical books–Ulysses,Virginia Woolf’s The Waves, Mr. Ezra Pound’s Draft of XXX Cantos–suggest a philosophy like that ofthe Samkara school of ancient India.” See Mark Hussey, Virginia Woolf A to Z, p.356.
2Robin Majumdar and Allen McLaurin (eds.), Virginia Woolf: The Critical Heritage (London:Routledge&Kegan Paul,1975)266.
3Ibid., p.275.
4Mark Hussey, Virginia Woolf A to Z (New York: Facts on File,1995)354.
5Ibid., p.355.
6Ibid., p.356.
7Ibid., p.357.
8Susan Gorsky,“‘The Central Shadow’: Characterization in The Waves,” Modern Fiction Studies18.3
(1972Autumn):450.
9Vicki Mahaffey,“Virginia Woolf,” The Columbia History of the British Novel, eds. John Richetti, et al
(Beijing: Foreign Language Teaching and Research Press,2005)809.
1Deborah Parsons,“Introduction,” The Waves (London: Wordsworth,2000) xv.
2Mark Hussey, Virginia Woolf A to Z (New York: Facts on File,1995)356.
3Leonard Woolf regards the novel as “a masterpiece” but thinks the first100pages extremely difficultand doubts how far any common reader will follow (D IV36).
1René Wellek and Austin Warren, Theory of Literature (Middlesex: Penguin Books,1963)215.
1“The Poets” is one part of Woolf’s essay “Phases of Fiction”(1929). See E V, pp.40–84.
1The Moths was Woolf’s original title for The Waves. Woolf abandoned the original title when sherealized that moths did not fly during the day.
1Melvin J. Friedman, Stream of Consciousness: A Study in Literary Method (New Haven: YaleUniversity Press,1955)6–7.
2Dujardin claims in his work Le Monologue Intérieur that “Everything which is presently of highquality was born in1885; from1885dates the liberation of poetry, the new meaning given to poetry,and the triumphal entrance of poetry in the novel, which is characteristic of contemporary literature.”See Melvin J. Friedman’s Stream of Consciousness, p.18.
1Friedman thinks that f and s are two favored alliterative sounds adopted by stream of consciousnessnovelists to give their passages a certain foundation in poetry. See Friedman’s Stream of Consciousness,p.214, p.224.
2Monday or Tuesday is a short story collection by Virginia Woolf, published by The Hogarth Press in1921. It contained eight stories:“A Haunted House,”“A Society,”“Monday or Tuesday,”“AnUnwritten Novel”(previously appeared in the London Mercury in1920),“The String Quartet,”“Blue&Green,”“Kew Gardens”(previously published separately in1919),“The Mark on the Wall”(previouslyappeared in Two Stories (1917)). Six of the stories were later published by Leonard Woolf in theposthumous collection A Haunted House and Other Short Stories (1944), and those excluded were “ASociety” and “Blue&Green.”
1T. S. Eliot mentions the compelling force of certain images in The Use of Poetry,“Why, for all of us,out of all that we have heard, seen, felt, in a lifetime, do certain images recur, charged with emotion,rather than others? The song of one bird, the leap of one fish, at a particular place and time,[…] suchmemories may have symbolic value, but of what we cannot tell, for they come to represent depths offeeling into which we cannot peer.” See Christopher Gillie’s Movements in English Literature1900–1940, p.102.
2It is Virginia Woolf’s third novel, a departure from Woolf's earlier two novels, The Voyage Out (1915)and Night and Day (1919), which are conventional in form and narration. Jacob’s Room is viewed as animportant modernist text; its experimental form is regarded as a progression of the innovative writingstyle Woolf presented in her earlier collection of short fiction titled Monday or Tuesday (1921).
1Percival is the knight in Sir Thomas Malory’s Le Morte d’Arthur who seeks the Holy Grail.
1Some critics think that the opening interlude of The Waves is a creation story, for Woolf’s descriptionof a sunrise bringing the world into view contains glances at the creation story from Genesis. Bothaccounts begin with formlessness and darkness being transformed by the arrival of light; both continuewith the sky (or heaven) being separated from the sea; and both describe the arrival of the sun, trees andbirds. Biblical images appear in the novel as the six characters live out their early childhood (theirinnocent stage) in a garden, until experience intrudes in the form of Jinny kissing Louis and a version ofthe Fall occurs in Neville’s vision of “death among the apple trees,” an idea reinforced by his perceptionthat we are “all doomed, all of us, by the apple trees”(W12). However, Woolf obviously revises theGenesis account, for the light is introduced by an unknown and mystical woman holding the lamp andthe world of the novel takes shape through female ways. The Apocalyptic allusions appear in the pictureof Bernard riding against death on horseback, for Revelation depicts a battle in which kings andwarriors and the “Beast” are destroyed by a shadowy, god-like figure on horseback.
1Jack F. Stewart,“Existence and Symbol in The Waves,” Modern Fiction Studies18.3(1972):437.
1Jack F. Stewart,“Spatial Form and Color in The Waves,” Twentieth Century Literature28(1982):89.
1“The Pastons and Chaucer”(see E IV, pp.20–35.) was written specifically for The Common Reader I.In the essay, Woolf comments,“For among writers there are two kinds: there are the priests who takeyou by the hand and lead you straight up to the mystery; there are the laymen who imbed their doctrinesin flesh and blood and make a complete model of the world without excluding the bad or laying stressupon the good. Wordsworth, Coleridge, and Shelley are among the priests; they give us text after text tobe hung upon the wall, saying after saying to be laid upon the heart like an amulet against disaster […]”
(E IV31).
1Shakespeare’s play Antony and Cleopatra describes Cleopatra’s barge:“The barge she sat in, like aburnished throne burned on the water.”
1Jane de Gay, Virginia Woolf’s Novels and the Literary Past (Edinburgh: Edinburgh University Press,2006)169–70.
1In her famous essay “A Room of One’s Own”(1929), Woolf quotes Samuel Taylor Coleridge’s saying,“a great mind is androgynous,” and extends the concept of androgyny to argue that “sex-consciousness”is fatal to the creative instinct in both men and women. Woolf presents William Shakespeare as thesupremely androgynous artist and says that John Keats, Laurence Sterne, William Cowper, CharlesLamb, and Coleridge are androgynous too. Of her contemporaries, only Marcel Proust “was whollyandrogynous, if not perhaps a little too much of a woman”(AROO102).
1Mitchell A. Leaska makes a detailed study on the earlier typescript and later typescript of Woolf’sBetweent the Acts and notes that in the earlier typescript there are headings for the sections (e.g. TheLamp, The Garden) but in the later one these headings are replaced by Arabic numerals up to number12.However, in the published version of the novel, scenes are indicated by space breaks but the publishershave not preserved all Woolf’s demarcations.
1Leonard Woolf prefaced Between the Acts with the following note:“The MS. of this book had beencompleted, but had not been finally revised for the printer, at the time of Virginia Woolf’s death. Shewould not, I believe, have made any large or material alterations in it, though she would probably havemade a good many small corrections or revisions before passing the final proofs.”
2Mark Hussey, Virginia Woolf A to Z (New York: Facts on File,1995)29.
3Ibid., p.30.
4See Introduction (by Jackie Kay) of Between the Acts, p.xii.
1In1940the Rodmell Women’s Institute asked Woolf to write and produce a play for the village (L VI
391). Although there is some disagreement as to whether she actually did, Woolf did attend therehearsals of the Institute’s plays, but she complained about the boredom and disillusionment inwatching them (D V288).
2René Wellek and Austin Warren, Theory of Literature (Middlesex: Penguin Books,1963)223.
1It is an essay written specifically for The Common Reader I. See E IV, pp.38–51.
1It was an essay written specifically for The Common Reader I. See E IV, pp.53–59.
2This essay was originally published in Times Literary Supplement,5March1925, and revised forinclusion in The Common Reader I. See E IV, pp.62–69.
1Also Poyntzet Hall or Pointz Hall. It was Woolf’s working title for Between the Acts from the time shebegan working on it in the spring of1938until the end of February1941. Another working title for thenovel was The Pageant.
2John Lehmann became Leonard Woolf’s partner in the Hogarth Press when Virginia Woolf sold outher share in1938–the casting vote.
3Before Lehmann could reply to her, Woolf wrote him another letter to express her decision of notpublishing the book because it was “too silly and trivial”(L VI486) and told him that she planned towork on it to have it ready for publication that fall. Within days of writing this letter, Woolf drownedherself. Leonard Woolf, on the contrary, thought the novel had more depth than her wife’s other novelsand made sure of its publication.
1After a careful study of Dostoevsky’s prose, Bakhtin has characterized Dostoevsky’s work aspolyphonic: unlike other novelists, Dostoevsky does not appear to aim for a “single vision,” goingbeyond simply describing situations from various angles. Dostoevsky engenders fully dramatic novelsof ideas where conflicting views and characters are left to develop unevenly into unbearable crescendo
(The Brothers Karamazov). Through his descriptions the narrator’s voice merges imperceptibly into thetone of the people he is describing. See http://en.wikipedia.org/wiki/Polyphony_(literature).
1Julia Briggs,“The Novels of the1930s and the Impact of History,” p.85.
1In Three Guineas, Woolf argued that patriarchal domination in English homes and institutions wasroot of the same seed as Hitler and Mussolini’s fascism, and she advocated the formation of a Society ofOutsiders whose mandate would be to prevent war by using their newly acquired influence asfinancially independent women to undermine patriarchal authority in all its public and domesticmanifestations.
1Budge speaks cockney, the dialect spoken in the East End of London, and cannot pronounce [h] well.
1Woolf says in her essay “The Art of Fiction”(1927),“Since story-telling began, stories have alwaysbeen made out of much the same elements”(E IV600).“The Art of Fiction” is a condensed version of“Is Fiction an Art,” which is a signed review of E. M. Forster’s Aspects of the Novel. See E IV, pp.599–
603.
1Diane F. Gillespie,“Introduction:‘The Loves of the Arts’,” The Multiple Muses of Virginia Woolf, ed.Diane F. Gillespie (Columbia: University of Missouri Press,1993)3.
2Clive Bell says in Art,“Every form in a work of art has to be made aesthetically significant, alsoevery form has to be made a part of a significant whole”(228).
Primary Works:
Woolf, Virginia. Between the Acts. Introductions. Jackie Kay and Lisa Jardine. London:Vintage,2000.
---. Collected Essays.4vols. New York: Harcourt,1967.
---. The Diary of Virginia Woolf.5vols. Ed. Anne Olivier Bell. San Diego: HarcourtBrace&Company,1977–85.
---. The Essays of Virginia Woolf. Vol. I-IV. Ed. Andrew McNeillie. San Diego: HarcourtBrace Jovanovich,1989–94. Vol. V. Ed. Stuart N. Clarke. London: The HogarthPress,2009.
---. Freshwater: A Comedy. London: The Hogarth Press,1976.
---. Jacob’s Room. New York: Dover Publications, Inc.,1998.
---. The Letters of Virginia Woolf.6vols. Eds. Nigel Nicolson and Joanne Trautmann.New York: Harcourt Brace Jovanovich,1977–82.
---. Moments of Being.2ndEdition. Ed. Jeanne Schulkind. Introduction and Notes. JeanneSchulkind. New York: Harcourt, Inc.,1985.
---. Monday or Tuesday. Whitefish, Montana: Kessinger Publishing,2010.
---. Mrs. Dalloway. Introduction and Notes. Merry M. Pawlowski. London: Wordsworth,2003.
---. Night and Day. Introduction and Notes. Julia Briggs. London: Penguin Books,1992.
---. Orlando: A Biography. Introduction and Notes. Merry M. Pawlowski. London:Wordsworth,2003.
---. Roger Fry: A Biography. San Diego: Harcourt Brace Jovanovich,1968.
---. A Room of One’s Own. Annotation and Introduction. Susan Gubar. Orlando: Harcourt,Inc.,2005.
---. Three Guineas. San Diego: Harcourt, Inc.,1966.
---. To the Lighthouse. Introduction and Notes. Nicola Bradbury. London: Wordsworth,2002.
---. To the Lighthouse: The Original Holograph Draft. Ed. Susan Dick. Toronto:University of Toronto Press,1982.
---. The Voyage Out. Introductions. Erica Wagner and Frances Spalding. London: Vintage,2000.
---. The Waves. Introduction and Notes. Deborah Parsons. London: Wordsworth,2000.
---. A Writer’s Diary. Ed. Leonard Woolf. San Diego: Harcourt, Inc.,1982.
---. The Years. Introductions. Susan Hill and Steven Connor. London: Vintage,2000.
Secondary Works:
Alexander, Jean. The Venture of Form in the Novels of Virginia Woolf. New York: KennikatPress,1974.
Balkin, Sarah.“Regenerating Drama in Stein’s Doctor Faustus Lights the Lights andWoolf’s Between the Acts.” Modern Drama51.4(Winter2008):433–57.
Banfield, Ann. The Phantom Table: Woolf, Fry, Russell and the Epistemology ofModernism. Cambridge: Cambridge University Press,2000.
Barnes, Djuna. Nightwood. London: Faber,1985.
Beja, Morris, ed. Critical Essays on Virginia Woolf. Boston: G. K. Hall,1985.
Bell, Clive. Art. New York: Perigee,1981.
Bell, Quentin. Virginia Woolf: A Biography.2vols. London: The Hogarth Press,1990.
Bennett, Joan. Virginia Woolf: Her Art as a Novelist.2nded. London: Cambridge UniversityPress,1964.
Bradbury, Malcolm. The Modern World: Ten Great Writers. London: Penguin,1989.
Briggs, Julia.“The Novels of the1930s and the Impact of History.” The CambridgeCompanion to Virginia Woolf. Ed. Sue Roe and Susan Sellers. Shanghai: ShanghaiForeign Language Education Press,2001.72–90.
Bront, Emily. Wuthering Heights. Oxford: Oxford University Press,1980.
Caughie, Pamela L. Virginia Woolf and Postmodernism: Literature in Quest and Questionof Itself. Urbana: University of Illinois Press,1991.
Daiches, David. Virginia Woolf. Bournemouth: Richmond Hill Printing Works Ltd.,1945.
Dalgarno, Emily. Virginia Woolf and the Visible World. London: Cambridge UniversityPress,2001.
de Gay, Jane. Virginia Woolf’s Novels and the Literary Past. Edinburgh: EdinburghUniversity Press,2006.
Fleishman, Avrom. Virginia Woolf: A Critical Reading. Baltimore: John HopkinsUniversity Press,1975.
Ford, F. M. Joseph Conrad: a Personal Remembrance. London: Duckworth,1924.
Forster, E. M.“Virginia Woolf.” Virginia Woolf: Critical Assessments (Vol.1). Ed. EleanorMcNees. Mountfield: Helm Information Ltd,1994.
---. Virginia Woolf. New York: Harcourt Brace,1942.
Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. New York:Vintage,1973.
Fox, Alice. Virginia Woolf and the Literature of the English Renaissance. Oxford:Clarendon Press,1990.
Friedman, Melvin J. Stream of Consciousness: A Study in Literary Method. New Haven:Yale University Press,1955.
Fry, Roger. Vision and Design. London: Chatto&Windus,1920.
Frye, Northrop. Anatomy of Criticism: four essays. Princeton: Princeton University Press,1973.
Gillespie, Diane F., ed. The Multiple Muses of Virginia Woolf. Columbia: University ofMissouri Press,1993.
---. The Sisters’ Arts: The Writing and Painting of Virginia Woolf and Vanessa Bell. NewYork: Syracuse University Press,1988.
Gillie, Christopher. Movements in English Literature1900–1940. London: CambridgeUniversity Press,1975.
Goldman, Jane. The Cambridge Introduction to Virginia Woolf. Shanghai: ShanghaiForeign Language Education Press,2008.
---. The Feminist Aesthetics of Virginia Woolf: Modernism, Post-Impressionism and thePolitics of the Visual. Cambridge: Cambridge University Press,1998.
Gorsky, Susan.“‘The Central Shadow’: Characterization in The Waves.” Modern FictionStudies18.3(1972Autumn):449–66.
Guiguet, Jean. Virginia Woolf and Her Works. Trans. Jean Stewart. New York: HarcourtBrace Jovanovich,1965.
Hafley, James. The Glass Roof: Virginia Woolf as Novelist. Berkeley: University ofCalifornia Press,1954.
Happer, Howard. Between Language and Silence: The Novels of Virginia Woolf. BatonRouge: Louisiana State University Press,1982.
Holtby, Winifred. Virginia Woolf: A Critical Memoir. London: Wishart,1932.
Humm, Maggie. Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell,Photography and Cinema. New Brunswick: Rutgers University Press,2003.
Humphrey, Robert. Stream of Consciousness in the Modern Novel: A Study of James Joyce,Virginia Woolf, Dorothy Richardson, William Faulkner, and Others. Berkeley:University of California Press,1954.
Hussey, Mark. Virginia Woolf A to Z: A Comprehensive Reference for Students, Teachers,and Common Readers to Her Life, Work, and Critical Reception. New York: Factson File,1995.
James, William. Principles of Psychology.2vols. New York: H. Holt and Company,1931.
Joyce, James. Chamber Music. CreateSpace,2011.
---. Ulysses. New York: Random House,1961.
Kaivola, Karen. All Contraries Confounded: The Lyrical Fiction of Virginia Woolf, DjunaBarnes, and Marguerite Duras. Iowa City: University of Iowa Press,1991.
Kelley, Alice V. B. The Novels of Virginia Woolf: Fact and Vision. Chicago: University ofChicago Press,1973.
Kiely, Robert. Beyond Egotism: the Fiction of James Joyce, Virginia Woolf, and D. H.Lawrence. Massachusetts: Harvard University Press,1980.
Leaska, Mitchell A. The Novels of Virginia Woolf: From Beginning to End. London:Weidenfeld and Nicolson,1977.
---. Virginia Woolf’s To the Lighthouse: A Study in Critical Method. London: The HogarthPress,1970.
Lee, Hermione. The Novels of Virginia Woolf. London: Methuen&Co Ltd,1977.
Lodge, David. Modes of Modern Writing: Metaphor, Metonymy, and the Typology ofModern Literature. London: Edward Arnold Ltd.,1977.
Mahaffey, Vicki.“Virginia Woolf.” The Columbia History of the British Novel. Ed. JohnRichetti, et al. Beijing: Foreign Language Teaching and Research Press,2005.789–817.
Majumdar, Robin, and Allen McLaurin, eds. Virginia Woolf: The Critical Heritage. London:Routledge&Kegan Paul,1975.
McLaurin, Allen. Virginia Woolf: The Echoes Enslaved. London: Cambridge UniversityPress,1973.
---.“A Note on Lily Brisco’s Painting in To the Lighthouse.” Notes and Queries August(1979):338–40.
McNichol, Stella. Virginia Woolf and the Poetry of Fiction. London and New York:Routledge,1990.
Mepham, John. Criticism in Focus: Virginia Woolf. New York: Palgrave Macmillan,1992.
Minow-Pinkney, Makiko. Virginia Woolf and the Problem of the Subject: Feminine Writingin the Major Novels. New Brunswick, N. J.: Rutgers University Press,1987.
Mitchell, W. J. T. Picture Theory: Essays on Verbal and Visual Representation. Chicago:The University of Chicago Press,1994.
Mittal, S. P. The Aesthetic Venture: Virginia Woolf’s Poetics of the Novel. New Delhi:Ajanta Publications,1985.
Naremore, James. The World Without a Self: Virginia Woolf and the Novel. New Haven:Yale University Press,1973.
Richter, Harvena. Virginia Woolf: The Inward Voyage. Princeton: Princeton UniversityPress,1970.
Roe, Sue, and Susan Sellers, eds. The Cambridge Companion to Virginia Woolf. Shanghai:Shanghai Foreign Language Education Press,2001.
Roe, Sue.“The Impact of Post-Impressionism.” The Cambridge Companion to VirginiaWoolf. Ed. Sue Roe and Susan Sellers. Shanghai: Shanghai Foreign LanguageEducation Press,2001.164–90.
Ronchetti, Ann. The Artist, Society&Sexuality in Virginia Woolf’s Novels. New York:Routledge,2004.
Ruotolo, Lucio P. The Interrupted Moment: A View of Virginia Woolf’s Novels. Stanford:Stanford University Press,1986.
Snaith, Anna, ed. Palgrave Advances in Virginia Woolf Studies. New York: PalgraveMacmillan,2007.
Stansky, Peter. On or About December1910: Early Bloomsbury and Its Intimate World.Cambridge: Harvard University Press,1996.
Sterne, Laurence. Tristram Shandy. London: Everyman’s Library,1975.
Stewart, Jack F.“Existence and Symbol in The Waves.” Modern Fiction Studies18.3(1972Autumn):433–47.
---.“Spatial Form and Color in The Waves.” Twentieth Century Literature28(1982):86–107.
Thickstun, W. R. Visionary Closure in the Modern Novel. London: Macmillan,1988.
Tolstoy, Leo. War and Peace. New York: NAL Books,1980.
Torgovnick, Marianna. The Visual Arts, Pictorialism and the Novel: James, Lawrence andWoolf. Princeton: Princeton University Press,1985.
Velicu, Adrian. Unifying Strategies in Virginia Woolf’s Experimental Fiction. Stockholm:Almqvist&Wiksell International,1985.
Wellek, René, and Austin Warren. Theory of Literature.3rd ed. Middlesex: Penguin Books,1963.
Wheare, Jane. Virginia Woolf: Dramatic Novelist. London: Macmillan,1989.
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李维屏：《英美意识流小说》，上海：上海外语教育出版社，1996年。
——：《英美现代主义文学概观》，上海：上海外语教育出版社，1998年。
——：《英国小说艺术史》，上海：上海外语教育出版社，2003年。
——：《英国小说人物史》，上海：上海外语教育出版社，2008年。
瞿世镜：《意识流小说家伍尔夫》，上海：上海文艺出版，1989年。
——：《音乐·美术·文学——意识流小说比较研究》，上海：学林出版社，1991年。
毛继红：《寻找有意味的形式——弗吉尼亚伍尔夫的小说创作与绘画艺术》，博士论文（2002年5月）。
1Woolf wrote in her diary on the publication of Jacob’s Room,“There’s no doubt in my mind that Ihave found out how to begin (at40) to say something in my own voice”(D II186).
1In1998, To the Lighthouse was No.15on the Modern Library’s list of the100best English-languagenovels of the20th century. In2005, the novel was chosen by TIME magazine as one of the100bestEnglish-language novels from1923to present.
2Virginia Woolf, To the Lighthouse: The Original Holograph Draft (Toronto: University of TorontoPress,1982)48.
1Woolf defended writing as capable of doing what painting can (see L III, pp.135–36.) in her letter toJacques Raverat on Oct.3rd1924.
1Las Meninas is a canonical masterpiece of Western painting by the Spanish painter Diego Velázquez
(1599–1660) and exemplifies the metapicture in its most complex, articulate, and exalted status. Theformal structure of Las Meninas, in W. J. T. Mitchell’s words, is an encyclopedic labyrinth of pictorialself-reference.
2W. J. T. Mitchell, Picture Theory: Essays on Verbal and Visual Representation (Chicago: TheUniversity of Chicago Press,1994)48.
1F. M. Ford, Joseph Conrad: a Personal Remembrance (London: Duckworth,1924)180.
1Roger Fry, Vision and Design (London: Chatto&Windus,1920)33–34.
2Clive Bell, Art (New York: Perigee,1981)17–18.
3Woolf wrote to Fry in1927that “You have […] kept me on the right path, so far as writing goes, morethan anyone […]”(L III385).
1Vanessa Bell increasingly introduced design-based geometric and architectonic elements into herpaintings, frequently employed flat areas of color and heavy outlines around shapes, and producedshadow with positive colors rather than dark tones.
2Woolf’s once expressed her response to Clive Bell’s Art:“There are many things I don’t agree with,where I understand. But it’s great fun.”(L II46)
3Clive Bell reinforces the importance of design by claiming that “The value of the parts combined intoa whole is far greater than the value of the sum of parts”(Art229).
1Cézanne’s Post-Impressionist paintings demonstrate a mastery of design, color, tone, and composition.His repetitive, sensitive and exploratory brushstrokes, planes of color, and an abstraction from observednature, are highly characteristic and clearly recognizable.
1See Roger Fry’s comments in his introduction to The Catalogue of the Second Post-ImpressionistExhibition (London: Ballantyne,1912), p.26.
2Rembrandt (1606–1669) was a Dutch painter. He is one of the greatest painters in European arthistory. Giotto (c.1266/7–1337) was an Italian painter and architect. He is generally considered thefirst in a line of great artists who contributed to the Italian Renaissance. Titian (c.1488/1490–1576)was an Italian painter. He is the most important member of the16thcentury Venetian school.
1In “Walter Sickert: A Conversation,” Woolf defines two kinds of artists: some artists “bore deeper anddeeper into the stuff of their own art” and other artists “are always making raids into the lands of others”(CE II243).
1E. M. Forster, Virginia Woolf (New York: Harcourt Brace,1942)23.
1In his introduction to Fighting the Waves, W. B. Yeats writes that “Certain typical books–Ulysses,Virginia Woolf’s The Waves, Mr. Ezra Pound’s Draft of XXX Cantos–suggest a philosophy like that ofthe Samkara school of ancient India.” See Mark Hussey, Virginia Woolf A to Z, p.356.
2Robin Majumdar and Allen McLaurin (eds.), Virginia Woolf: The Critical Heritage (London:Routledge&Kegan Paul,1975)266.
3Ibid., p.275.
4Mark Hussey, Virginia Woolf A to Z (New York: Facts on File,1995)354.
5Ibid., p.355.
6Ibid., p.356.
7Ibid., p.357.
8Susan Gorsky,“‘The Central Shadow’: Characterization in The Waves,” Modern Fiction Studies18.3
(1972Autumn):450.
9Vicki Mahaffey,“Virginia Woolf,” The Columbia History of the British Novel, eds. John Richetti, et al
(Beijing: Foreign Language Teaching and Research Press,2005)809.
1Deborah Parsons,“Introduction,” The Waves (London: Wordsworth,2000) xv.
2Mark Hussey, Virginia Woolf A to Z (New York: Facts on File,1995)356.
3Leonard Woolf regards the novel as “a masterpiece” but thinks the first100pages extremely difficultand doubts how far any common reader will follow (D IV36).
1René Wellek and Austin Warren, Theory of Literature (Middlesex: Penguin Books,1963)215.
1“The Poets” is one part of Woolf’s essay “Phases of Fiction”(1929). See E V, pp.40–84.
1The Moths was Woolf’s original title for The Waves. Woolf abandoned the original title when sherealized that moths did not fly during the day.
1Melvin J. Friedman, Stream of Consciousness: A Study in Literary Method (New Haven: YaleUniversity Press,1955)6–7.
2Dujardin claims in his work Le Monologue Intérieur that “Everything which is presently of highquality was born in1885; from1885dates the liberation of poetry, the new meaning given to poetry,and the triumphal entrance of poetry in the novel, which is characteristic of contemporary literature.”See Melvin J. Friedman’s Stream of Consciousness, p.18.
1Friedman thinks that f and s are two favored alliterative sounds adopted by stream of consciousnessnovelists to give their passages a certain foundation in poetry. See Friedman’s Stream of Consciousness,p.214, p.224.
2Monday or Tuesday is a short story collection by Virginia Woolf, published by The Hogarth Press in1921. It contained eight stories:“A Haunted House,”“A Society,”“Monday or Tuesday,”“AnUnwritten Novel”(previously appeared in the London Mercury in1920),“The String Quartet,”“Blue&Green,”“Kew Gardens”(previously published separately in1919),“The Mark on the Wall”(previouslyappeared in Two Stories (1917)). Six of the stories were later published by Leonard Woolf in theposthumous collection A Haunted House and Other Short Stories (1944), and those excluded were “ASociety” and “Blue&Green.”
1T. S. Eliot mentions the compelling force of certain images in The Use of Poetry,“Why, for all of us,out of all that we have heard, seen, felt, in a lifetime, do certain images recur, charged with emotion,rather than others? The song of one bird, the leap of one fish, at a particular place and time,[…] suchmemories may have symbolic value, but of what we cannot tell, for they come to represent depths offeeling into which we cannot peer.” See Christopher Gillie’s Movements in English Literature1900–1940, p.102.
2It is Virginia Woolf’s third novel, a departure from Woolf's earlier two novels, The Voyage Out (1915)and Night and Day (1919), which are conventional in form and narration. Jacob’s Room is viewed as animportant modernist text; its experimental form is regarded as a progression of the innovative writingstyle Woolf presented in her earlier collection of short fiction titled Monday or Tuesday (1921).
1Percival is the knight in Sir Thomas Malory’s Le Morte d’Arthur who seeks the Holy Grail.
1Some critics think that the opening interlude of The Waves is a creation story, for Woolf’s descriptionof a sunrise bringing the world into view contains glances at the creation story from Genesis. Bothaccounts begin with formlessness and darkness being transformed by the arrival of light; both continuewith the sky (or heaven) being separated from the sea; and both describe the arrival of the sun, trees andbirds. Biblical images appear in the novel as the six characters live out their early childhood (theirinnocent stage) in a garden, until experience intrudes in the form of Jinny kissing Louis and a version ofthe Fall occurs in Neville’s vision of “death among the apple trees,” an idea reinforced by his perceptionthat we are “all doomed, all of us, by the apple trees”(W12). However, Woolf obviously revises theGenesis account, for the light is introduced by an unknown and mystical woman holding the lamp andthe world of the novel takes shape through female ways. The Apocalyptic allusions appear in the pictureof Bernard riding against death on horseback, for Revelation depicts a battle in which kings andwarriors and the “Beast” are destroyed by a shadowy, god-like figure on horseback.
1Jack F. Stewart,“Existence and Symbol in The Waves,” Modern Fiction Studies18.3(1972):437.
1Jack F. Stewart,“Spatial Form and Color in The Waves,” Twentieth Century Literature28(1982):89.
1“The Pastons and Chaucer”(see E IV, pp.20–35.) was written specifically for The Common Reader I.In the essay, Woolf comments,“For among writers there are two kinds: there are the priests who takeyou by the hand and lead you straight up to the mystery; there are the laymen who imbed their doctrinesin flesh and blood and make a complete model of the world without excluding the bad or laying stressupon the good. Wordsworth, Coleridge, and Shelley are among the priests; they give us text after text tobe hung upon the wall, saying after saying to be laid upon the heart like an amulet against disaster […]”
(E IV31).
1Shakespeare’s play Antony and Cleopatra describes Cleopatra’s barge:“The barge she sat in, like aburnished throne burned on the water.”
1Jane de Gay, Virginia Woolf’s Novels and the Literary Past (Edinburgh: Edinburgh University Press,2006)169–70.
1In her famous essay “A Room of One’s Own”(1929), Woolf quotes Samuel Taylor Coleridge’s saying,“a great mind is androgynous,” and extends the concept of androgyny to argue that “sex-consciousness”is fatal to the creative instinct in both men and women. Woolf presents William Shakespeare as thesupremely androgynous artist and says that John Keats, Laurence Sterne, William Cowper, CharlesLamb, and Coleridge are androgynous too. Of her contemporaries, only Marcel Proust “was whollyandrogynous, if not perhaps a little too much of a woman”(AROO102).
1Mitchell A. Leaska makes a detailed study on the earlier typescript and later typescript of Woolf’sBetweent the Acts and notes that in the earlier typescript there are headings for the sections (e.g. TheLamp, The Garden) but in the later one these headings are replaced by Arabic numerals up to number12.However, in the published version of the novel, scenes are indicated by space breaks but the publishershave not preserved all Woolf’s demarcations.
1Leonard Woolf prefaced Between the Acts with the following note:“The MS. of this book had beencompleted, but had not been finally revised for the printer, at the time of Virginia Woolf’s death. Shewould not, I believe, have made any large or material alterations in it, though she would probably havemade a good many small corrections or revisions before passing the final proofs.”
2Mark Hussey, Virginia Woolf A to Z (New York: Facts on File,1995)29.
3Ibid., p.30.
4See Introduction (by Jackie Kay) of Between the Acts, p.xii.
1In1940the Rodmell Women’s Institute asked Woolf to write and produce a play for the village (L VI
391). Although there is some disagreement as to whether she actually did, Woolf did attend therehearsals of the Institute’s plays, but she complained about the boredom and disillusionment inwatching them (D V288).
2René Wellek and Austin Warren, Theory of Literature (Middlesex: Penguin Books,1963)223.
1It is an essay written specifically for The Common Reader I. See E IV, pp.38–51.
1It was an essay written specifically for The Common Reader I. See E IV, pp.53–59.
2This essay was originally published in Times Literary Supplement,5March1925, and revised forinclusion in The Common Reader I. See E IV, pp.62–69.
1Also Poyntzet Hall or Pointz Hall. It was Woolf’s working title for Between the Acts from the time shebegan working on it in the spring of1938until the end of February1941. Another working title for thenovel was The Pageant.
2John Lehmann became Leonard Woolf’s partner in the Hogarth Press when Virginia Woolf sold outher share in1938–the casting vote.
3Before Lehmann could reply to her, Woolf wrote him another letter to express her decision of notpublishing the book because it was “too silly and trivial”(L VI486) and told him that she planned towork on it to have it ready for publication that fall. Within days of writing this letter, Woolf drownedherself. Leonard Woolf, on the contrary, thought the novel had more depth than her wife’s other novelsand made sure of its publication.
1After a careful study of Dostoevsky’s prose, Bakhtin has characterized Dostoevsky’s work aspolyphonic: unlike other novelists, Dostoevsky does not appear to aim for a “single vision,” goingbeyond simply describing situations from various angles. Dostoevsky engenders fully dramatic novelsof ideas where conflicting views and characters are left to develop unevenly into unbearable crescendo
(The Brothers Karamazov). Through his descriptions the narrator’s voice merges imperceptibly into thetone of the people he is describing. See http://en.wikipedia.org/wiki/Polyphony_(literature).
1Julia Briggs,“The Novels of the1930s and the Impact of History,” p.85.
1In Three Guineas, Woolf argued that patriarchal domination in English homes and institutions wasroot of the same seed as Hitler and Mussolini’s fascism, and she advocated the formation of a Society ofOutsiders whose mandate would be to prevent war by using their newly acquired influence asfinancially independent women to undermine patriarchal authority in all its public and domesticmanifestations.
1Budge speaks cockney, the dialect spoken in the East End of London, and cannot pronounce [h] well.
1Woolf says in her essay “The Art of Fiction”(1927),“Since story-telling began, stories have alwaysbeen made out of much the same elements”(E IV600).“The Art of Fiction” is a condensed version of“Is Fiction an Art,” which is a signed review of E. M. Forster’s Aspects of the Novel. See E IV, pp.599–
603.
1Diane F. Gillespie,“Introduction:‘The Loves of the Arts’,” The Multiple Muses of Virginia Woolf, ed.Diane F. Gillespie (Columbia: University of Missouri Press,1993)3.
2Clive Bell says in Art,“Every form in a work of art has to be made aesthetically significant, alsoevery form has to be made a part of a significant whole”(228).
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李维屏：《英美意识流小说》，上海：上海外语教育出版社，1996年。
——：《英美现代主义文学概观》，上海：上海外语教育出版社，1998年。
——：《英国小说艺术史》，上海：上海外语教育出版社，2003年。
——：《英国小说人物史》，上海：上海外语教育出版社，2008年。
瞿世镜：《意识流小说家伍尔夫》，上海：上海文艺出版，1989年。
——：《音乐·美术·文学——意识流小说比较研究》，上海：学林出版社，1991年。
毛继红：《寻找有意味的形式——弗吉尼亚伍尔夫的小说创作与绘画艺术》，博士论文（2002年5月）。