淡江大學覺生紀念圖書館 (TKU Library)
進階搜尋


下載電子全文限經由淡江IP使用) 
系統識別號 U0002-0307200520120100
中文論文名稱 女人.城市.精神分析:維吉妮亞.吳爾芙的視覺轉述
英文論文名稱 Woman, City, and Psychoanalysis: Voicing Virginia Woolf's Visual Turn
校院名稱 淡江大學
系所名稱(中) 英文學系博士班
系所名稱(英) Department of English
學年度 93
學期 2
出版年 94
研究生中文姓名 談玉儀
研究生英文姓名 Yuh-Yi Tan
學號 889010012
學位類別 博士
語文別 英文
口試日期 2005-06-24
論文頁數 349頁
口試委員 指導教授-海柏
指導教授-楊銘塗
委員-宋美璍
委員-王儀君
委員-吳新發
委員-蔡振興
中文關鍵字 克萊恩  克麗斯蒂娃  巴特勒  佛洛依德  波特  高貴絲  戴爾卓  死亡驅力  女性戀物  系譜  性別扮相  同性戀  憂鬱  現代主義  幻想  凝視政治  母性精神  陰陽同體  客體關係  宮籟  賤斥  《達洛威夫人》  《奧蘭朵》  《時時刻刻》 
英文關鍵字 abjection  androgyny  Daldry  death drive  female fetishism  Freud  genealogy  gender performativity  Gorris  homosexuality  Klein  maternality  melancholy  Modernism  Mrs. Dalloway  object-relations  Orlando  phantasy  politics of gaze  Potter  semiotic chora  The Hours  visuality 
學科別分類
中文摘要 二十世紀英國現代小說家維吉妮亞.吳爾芙擅於運用意識流的書寫技巧,細膩且微妙地刻劃筆下人物心理癥候,突破以往以情節為主要敘事結構的寫實小說風格,開創現代主義小說的書寫特色。在其知名著作《達洛威夫人》及《奧蘭朵》中,以「陰性書寫」方式深刻描述置身於陽剛社會中女性的內心世界及母性精神,堪稱現代女性主義先驅。九十年代,電影蛻變為另類藝術傳媒,此時適值「後女性主義」時期,在緬懷女性主義巨擘之際亦興起以影像重現吳爾芙的原著小說 ,藉影像與聲音呈現文字敘述的另一面向,將讀者轉換成觀眾,賦予吳爾芙原著嶄新的視覺魅力,一反嚴肅的男女平權論述,展現嬉戲嘲諷的後現代性別論述。這「視覺轉述」不僅開拓文字表述的層次,也促進了吳爾芙式文學與藝術之間良性互動的辨證美學。
本論文以吳爾芙的小說《達洛威夫人》、《奧蘭朵》和對照原著改編的電影,及戴爾卓的電影《時時刻刻》為探討文本,進行跨藝術互文的研究及解讀。在方法論上則結合佛洛依德及拉康的精神分析、克萊恩及其門徒克麗斯蒂娃的女性精神論點、巴特勒的性別展演研究、及後現代女性視覺解構主義等,希冀建立吳爾芙式「母性」文學與視覺對話的美學。克萊恩客體關係理論闡明個人與母親的關係係人類生命本質的原動力及人際關係的起始點,這一新耳目的論點帶動了一場精神分析的革命。雖然她「母性精神分析」的論點,與佛洛伊德以「父系」取向的精神分析有所區別,但此差異並非一種對立或否定的決裂,而是補充和擴展佛洛伊德「父系」精神分析所未觸及的女性觀點。她同時認為藝術的起源並非源於人類本能的昇華,而是來自於個人與母親關係修復的力量。克萊恩提出的母性精神領域除拓展藝術與文學批評的空間外,並重新審視吳爾芙小說及影像互文的「母性空間」。
這母性觀點的發現之旅由英國導演莎莉.波特改編吳爾芙的小說《奧蘭朵》展開序曲。劇中自十六世紀末伊麗莎白王朝起跨越到二十世紀的現代時空,描寫奧蘭朵性別轉換的生命歷程,探討兩性面臨的生命危/轉機。波特在其影像世界中以反諷的寓言手法突顯《奧蘭朵》的性別議題,顛覆寫實主義的表述,並藉由忽男忽女的奧蘭朵,顛覆性別的既有模式;另在跨越性別界線之際也展現陰陽同體的特質。波特透過影像剖析女性主體的觀看位置及窺視機制,逆轉以男性觀者為主體位置的傳統論述。此外,藉由影像中性別界線與觀看位置的交錯游移,波特呼應吳爾芙文本中陰陽同體的書寫特質,並以後現代巴特勒式的「性別扮相」導引出女性「凝視」的主控權。
荷蘭女導演高貴絲的《達洛威夫人》則以當代的同性戀觀點呈現出吳爾芙書中似有若無的女性戀物情結。並置現在與過去的倒敘手法及畫龍點睛的旁白,貼切地將吳爾芙意識流的文字書寫特質,巧妙地由視覺影像轉述。達洛威夫人的戀物情結源起於不可名狀「如子宮般」的玄牝空間,克麗斯蒂娃稱之為「宮籟」,乃是一種充斥著曖昧、混沌、無以言說、神漾與狂喜的「陰性空間」,這是母親與胎兒共享的空間。筆者借用「宮籟」的概念,來探索達洛威夫人的戀物癖,凸顯陰性「他/她者」的潛意識層面,鬆動陽性象徵界所標榜的理性、穩定、與邏輯的世界。
戴爾卓執導的《時時刻刻》以嘲擬的後現代手法與吳爾芙《達洛威夫人》對談,刻劃處於不同時空的三個女人的內心世界。三個女人、三段故事藉《達洛威夫人》相連結;作者吳爾芙夫人、讀者布朗夫人及小說中的達洛威夫人生命中的某一時刻終能跨越時空緊密相連,編織出女性系譜的脈絡。媲美佛洛依德的伊底帕斯情結,克萊恩提出游移於「偏執分裂心智狀態」與「憂鬱心智狀態」的母性幻想,使自我脫離與母親的共生關係,重塑主體的自主性。《時時刻刻》中的女人在克萊恩式的母性幻想空間中形成自我的分裂機制,分裂的自我產生好/惡的客體,衍生兩極化的反應:一端是理想化的母親,另一端則是醜詆的母親形象。只有當主體逐漸瞭解自己內心中他/她者的存在,才能從兩極化的母親陰影中破繭而出,修補內在客體/母親的情感。因此縱然分處不同城市與年代的三位女性仍能跨越時空藩籬,共同分享《達洛威夫人》所傳達的母性精神。
英文摘要 Virginia Woolf, a foremother of Modernist literature, has meticulously described the female desire and profound ambivalence about the body’s potential for maternality in her writings. Among them, Mrs. Dalloway offers a visionary alternative to construe a possible Kleinian matricentric world to replace Freudian paternal genealogies. Orlando fleshes out a renewed definition of femininity whose gendered performative gaze in this way reveals the melancholy otherness of the intrusive narrator with a repressed inner self attempting to go beyond gender restrictions. Conceptualizing Woolf’s maternal aura also exposes her aesthetics of visual modernism. The study, thus, presents a comprehensive reading through the prisms of Kleinian and Freudian psychoanalytic debates about the primacy of maternality and paternality in the course of constructing subjectivity by reading the intertextual dialogism of Woolf’s literary texts Mrs. Dalloway and Orlando and their adapted cinematic versions directed by Marleen Gorris and Sally Potter along with Stephen Daldry’s The Hours, a postmodernist re-interpretation of Woolf’s Mrs. Dalloway. The interdisciplinary study of the verbal and visual representation has contributed to an alternative reading to perceive Woolf’s sense of imaginary motherhood well established in her self-representational writing and the adapted films. Furthermore, centering on Woolf’s rhetoric of m/other fundamentally expands the understanding of maternality and contingent construction of femininity with psychoanalytic feminist approaches, namely Melanie Klein’s object-relations, Julia Kristeva’s semiotic chora, and Judith Butler’s gender performativity. In Woolf’s visual world, the genealogical project of psychological mothering provided by Klein, Kristeva, and Butler differentiates their pre-oedipal focused theories on motherhood from other dominant oedipal focused notions.
Examining Woolf’s film-fiction affinities in terms with the leading female protagonists’s psychological probing, the dissertation is divided into sections that all detail the collusion of maternality and visuality and their fluid nature which disturbs the boundaries of framing of the maternal body. The introduction first traces a Woolf study over the past three decades, then, focuses on a research of Woolf’s visual turn, and concludes with an analysis of her psychiatric history and its relationship with her writings. Chapter I explores the female fetishism in Woolf’s Mrs. Dalloway and Gorris’s same name film version by challenging Freudian penis-envy and tracing the reconstruction of a mother-child dyad in the pre-oedipal phase. Both the novel and the film encourage the formation of female subjectivity and facilitate a new kind of development to make reparation with the lost mother. The exploration of Clarissa’s fetishistic symbols such as flowers, hats, gloves, dresses, cars, parties, and London streets is crucial to retain the mental illustration of female subjectivity interweaving a liminal maternal space on the borders that resonates with cognitive mapping of a fragmented self torn by the war and the patriarchal society in the 1920s London. Chapter II proffers a postmodernist elucidation of Woolf’s Mrs. Dalloway with Daldry’s film The Hours based on Michael Cunningham’s novel of the same name. Applying Klein’s object-relations and phantasies puts forward a constructive analysis of the subject of female genealogy intertwined among Mrs. Woolf, a writer of Mrs. Dalloway in the 1923 Richmond, Mrs. Brown, a reader in the 1951 L. A., and Mrs. Dalloway, a fictional character in the 2001 New York. Daldry’s The Hours consents to an alternative postmodernist question about three aspects of a writer, reader, and fictional character whose underpinning parody comes from Woolf’s Mrs. Dalloway. Chapter III renders the connection between Woolf’s Orlando and Potter’s film in terms of the “gaze” within the context of psychoanalytic parameters of Lacan, Freud, Klein, and Butler along with the feminist film theory to discern the issue of female spectatorship. Most importantly, Butler’s gender performativity constituting a playful maternal space of gazing proves worthwhile to shape Orlando’s composite selves and their relationship with the cultural and social circumstances that lay waste to the possibility of female voyeurism. Last but not least, the conclusion presents a discussion on how the maternal body is comparatively and contrastively presented in Woolf’s literary and cinematic texts; an intertextual continuity between these two media is achievable with a productive accomplishment. Realizing Woolf’s admiration for visuality encoded within psychological imagery and its connotations has shed new light on a cognitive mapping of psychic transformation manifested through lost memories that demonstrate the gendered consciousness of Modernist women.
論文目次 ACKNOWLEDGEMENTS II
ENGLISH ABSTRACT III
CHINESE ABSTRACT V
INTRODUCTION: MISE-EN-SCENE FOR MATERNAL AURA 1
Woolf Study in the Last Three Decades 2
Feminism, Modernism, and Psychoanalysis 6
Bloomsbury Aesthetics 8
Visuality and Technology 13
Woolf’s Visual Turn 18
Madness, Motherhood, Words 25
In the Mood for Maternal Love 40
CHAPTER I: FETISHISTIC LIMINALITY IN MRS. DALLOWAY 51
The Way to Dally Away 52
Mrs. Dalloway’s Female Fetishism 59
Box of Flowers and Car’s Explosion as Epiphany 65
Into a Space-time Wardrobe 74
Womb-like Party Treating Life/Death as Looking-Glass Counterparts 93
A Traumatic City London and the Wave-like Pain 100
Abjection, Maternality, and Melancholy 113
Coda: Emergence of a Modern Woman 124
CHAPTER II: KLEINIAN PHANTASIES AND FEMALE GENEALOGY IN THE HOURS 126
Women, Death, and Genealogy 131
The Return to Kleinian Object-Relations 140
Virginia Woolf, a Writer in the 1920s and 1940s London 147
Laura Brown, a Reader in the Post-WWII L.A. 158
Clarissa Vaughan, a Fictional Character in New York 170
Phantasies on Mrs. Dalloway 178
Yellow Roses as a Sign of Creativity 180
Cannibalistic/Narcissistic/Reparable Kiss 186
A City of One’s Own 189
Postscript 195
CHAPTER III: LET ME START OVER AGAIN: PERFORMATIVE GAZE IN ORLANDO 199
Orlando through the Lens of Female Spectatorship 200
Playfully Addressing 20 Scenes of Gaze 217
1592 Prologue/1600 Death: Getting the Name and the Property 217
1610: Uncanny Love and Melancholy Death 229
1650 Poetry: Shadows of an Incestuous Ghost 237
1700 Politics: Appearance as Illusion in the Oriental Masquerade 246
1750 Society: Lost in a Labyrinth 256
1850 Sex: Beyond the Silhouette of Gender 265
1992 Birth: Dedicated Maternal Phantasy in “The Oak Tree” 275
Epilogue: Becoming-in-between 281
CONCLUSION: VISUAL MODERNISM AND MATERNAL WRITING 285
Bloomsbury Visual Modernism 286
Woolf as an Icon of Maternality 292
RELATED APPENDIXES 303
Chapter I: Fetishistic Liminality in Mrs. Dalloway 303
Table 1: Time, Place and Metaphor in the Novel Mrs. Dalloway 303
Chapter II: Kleinian Phantasies and Female Genealogy in The Hours 309
Chart 1: The Plot Chart in Daldry’s The Hours and Woolf’s Mrs. Dalloway 309
Chapter III: Let Me Start Over Again: Performative Gaze in Orlando 311
Chart 2: Orlando’s 400-year Life-span in Potter’s 1992 Film 311
Table 4: The 20 Gazing Scenes in Orlando 312
Table 5: Paradigm of Metaphors and Symbolism in Orlando 317
Table 6: British Timeline and Potter’s England 324
Table 7: Orlando in Potter’s Film and Woolf’s Novel 324
Conclusion: Visual Modernism and Maternal Writing 327
Table 8: Contrastive and Comparative Modes in Woolf’s Visual World 327
WORKS CITED 328
Primary Sources 328
Secondary Sources 330
INDEX 345

參考文獻 Primary Sources
Atkins, Eileen. “Mrs. Dalloway: Screenplay.” Scenario (Paranoid Thriller Issue) 5.1 (1999): 1-96.
Cunningham, Michael. The Hours. New York: Picador, 2002.
Hare, David. The Hours: A Screenplay. New York: Faber and Faber; 2003.
Mrs. Dalloway. Dir. Marleen Gorris. Perf. Vanessa Redgrave, Natascha McElhone, and Rupert Graves. Fox Lorber, 1997.
Orlando. Dir. Sally Potter. Perf. Tilda Swinton, Charlotte Valandrey, and Billy Zane. Line, 1992.
Potter, Sally and Virginia Woolf. Orlando. New York: Faber and Faber, 1994.
--- “Introduction: Notes on the Adaptation of the Book Orlando.” Orlando. London: Faber and Faber, 1994. ix-xv.
The Hours. Dir. Stephen Daldry. Perf. Meryl Streep, Julianne Moore, Nicole Kidman, and Ed Harris. Miramax and Paramount, 2003.
Woolf, Virginia, et al. “An Introduction to Mrs. Dalloway.” Mrs. Dalloway’s Reader. Ed. Francine Prose. New York: Harcourt, 2003.
---, et al. “The Prime Minister.” Mrs. Dalloway’s Reader. Ed. Francine Prose. New York: Harcourt, 2003. 65-76.
---. “Freudian Fiction.” Contemporary Writers. London: The Hogarth P, 1965. 152-54.
---. Granite and Rainbow: Essays. London: Hogarth P, 1958.
---. “Modern Fiction.” Theory of the Novel: A Historical Approach. Ed. Michael McKeon. Baltimore and London: The Johns Hopkins UP, 2000. 739-44.
---. “Mr. Bennett and Mrs. Brown.” Theory of the Novel: A Historical Approach. Ed. Michael McKeon. Baltimore and London: The Johns Hopkins UP, 2000. 745-58.
---. “Phases of Fiction.” 1929. Collected Essays. Essay 4. 4 vols. New York: Harcout, Brace, and World, 1967. 56-102.
---. “The Cinema.” Vol. 4 of The Essays of Virginia Woolf. 1925-28. Ed. A. McNeillie. 4 vols. London: Hogarth P, 1994.
---. “The Movies and Reality.” New Republic XLVII 609 (1926): 308-10.
---. “Walter Sickert.” Collected Essays. Vol. 1. 2 vols. Trans. E. Coleman Baltimore: Vintage, 1959.
---. A Room of One’s Own. 1929. New York: Harcourt, 1991.
---. A Writer’s Diary. New York: Harcourt, 2003.
---. Between the Acts. 1941. London: Harvest Book, 1963.
---. Jacob’s Room. 1922. New York: Penguin, 1998.
---. Moments of Being. Ed. Jeanne Schulkind. New York: Harcourt, 1985.
---. Mrs. Dalloway. 1925. London: Harcourt, 1925.
---. Mrs. Dalloway’s Party: A Short Story Sequence. 1937. Ed. and Intro. Stella McNichol. New York: Harcourt, 2001.
---. Night and Day. 1919. New York: Penguin, 1996.
---. Orlando. 1928. New York: Penguin, 1946.
---. Roger Fry: A Biography. London: Harcourt, 1968.
---. The Common Reader. 1925. 2 vols. Ed. and Intro. Andrew McNeillie. New York: Vintage, 2003.
---. The Death of the Moth and Other Essays. New York: Harcourt, 1942.
---. The Diary of Virginia Woolf. Ed. Anne Olivier Bell and intro. Quentin Bell. 5 vols. New York: Harcourt, 1977-84.
---. The Letters of Virginia Woolf. 6 vols. Ed. Nigel Nicolson and Joanne Trautmann. New York: Harcourt, 1975-1980.
---. The Voyage Out. 1915. Intro. Michael Cunningham. New York: Modern Library, 2001.
---. The Waves. 1931. London: Harvest Books, 1950.
---. The Years. 1937. New York: Harvest Books, 1969.
---. Three Guineas. 1938. London: Harvest Books, 1963.
---. To the Lighthouse. 1927. London: Harvest Books, 1955.
---. Walter Sickert: A Conversation. London: Vantage, 1934.
Secondary Sources
Abel, Elizabeth. Virginia Woolf and the Fictions of Psychoanalysis. Chicago: Chicago UP, 1989.
Adorno, Theodor W. “Culture Industry Reconsidered.” Trans. Anson G. Rabinbach New German Critique 6 (Fall 1975): 12-19.
---. “Transparencies on Film.” New German Critique (Fall-Winter 1981-2): 24-25.
All about Eve. 1950. Dir. Joseph L. Mankiewicz. Perf. Bette Davis and Anne Baxter. Fox Home Entertainment, 2004.
Allan, Tuzyline Jita. Womanist and Feminist Aesthetics: A Comparative Review. Athens: Ohio UP, 1995.
Ariosto, Ludovico. Orlando Furioso. Trans. Guido Waldman. New York: Oxford UP, 1998.
Arnett, M. Alison. “A Metaphor of the Unspoken: Kristeva’s Semiotic Chora.” Cultural Semiosis: Tracing the Signifier. Ed. Hugh J. Silverman. New York: Routledge, 1998. 154-66.
Banfield, Ann. The Phantom Table: Woolf, Fry, Russell, and the Epistemology of Modernism. Cambridge: Cambridge UP, 2000.
Barrett, Eileen and Patricia Cramer, eds. Virginia Woolf: Lesbian Readings. New York and London: New York UP, 1997.
Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 1981.
Baudelaire, Charles. The Flowers of Evil. Eds. Marthiel and Jackson Mathews. New York: New Directions, 1989.
Bazin, Andre. What Is Cinema? Trans. Hugh Gray. Berkeley: U of California P, 1967.
Beckson, Karl and Arthur Ganz. Literary Terms: A Dictionary. Taipei: Bookman, 1996.
Bell, Clive. Art. New York: G. P. Putnam’s Sons, 1958.
Bell, Quentin. On Human Finery. London: Hogarth P, 1976.
---. Virginia Woolf: A Biography. New York: Harvest Books, 1974.
Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” Theory of the Novel: A Historical Approach. Ed. Michael McKeon. Baltimore and London: The Johns Hopkins UP, 2000. 673-95.
---. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Trans. Harry Zohn. New York: Verso, 1997.
Bhabha, Homi K. The Location of Culture. New York: Routledge, 1994.
Bloom, Harold, ed. Virginia Woolf. New York: Chelsea, 1988.
Brabazon, Tara and Vanessa Evangelista. “Something Queer Is Going on Here.” Outskirts 1 May 1996. Outskirts Online Journal. Ed. Victoria Burrows. 28 February 2005<http://www.chloe.uwa.edu.au/outskirts/archive/VOL1/Feature
1.html>.
Brooker, Peter. A Concise Glossary of Cultural Theory. London: Arnold, 1999.
Butler, Judith, “The Body Politics of Julia Kristeva.” Ethics, Politics, and Difference in Julia Kristeva’s Writing. Ed. Kelly Oliver. New York and London: Routledge, 1993. 164-78.
---. “Melancholy Gender/Refused Identification.” Constructing Masculinity. Eds. Maurice Berger, et al. New York: Routledge, 1995. 21-36.
---. Bodies that Matter: On the Discursive Limits of “Sex.” New York: Routledge, 1993.
---. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990.
---. The Psychic Life of Power: Theories in Subjection. Stanford: Stanford UP, 1997.
Canning, Richard. Hear Me Out: Further Conversation with Gay Novelists. New York: Columbia UP, 2003.
Castiglione, Baldassare. The Book of the Courtier. 1528. London: Everyman, 1994.
Certeau, Michel de. The Practice of Everyday Life. Trans. Steven Rendall. London and Los Angeles: U of California P, 1988.
Coward, Rosalind. Female Desires: How They Are Sought, Bought and Packaged. New York: Grove P, 1985.
Caughie, Pamela L. Discontented Discourses: Feminism/Textual Intervention/Psycho-
analysis. Ed. Marleen S. Barr and Richard Feldstein. Urbana: U of Illinois P, 1989.
---, ed. Virginia Woolf in the Age of Mechanical Reproduction. New York: Garland, 2000.
Caws, Mary Ann and Sarah Bird Wright. Bloomsbury and France: Art and Friends. Oxford: Oxford UP, 2000.
Chandler, Jan. “Mrs. Dalloway.” Independent Media Foundation. 1999. 18 December 2003 <home.vicnet.net.au/~artsaliv/film_reviw/mrsdalloway.htm>.
Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca and London: Cornell UP, 1978.
Cirlot, J. E. A Dictionary of Symbol. New York: Philosophical Library, 1962.
Cumming, Robert and Tom Porter. The Color Eye. London: BBC Books, 1990.
D’Aquila, Ulysses L. Bloomsbury and Modernism. New York: Peter Lang, 1989.
Deleuze, Gilles and Leopold von Sacher-Mason. Masochism: Coldness and Cruelty. Trans. Jean McNeil. New York: Zone Books, 1991.
Desperately Seeking Susan. 1985. Dir. Susan Seidelman. Perf. Rosanna Arquette and Madonna. Mgm/Ua Studio, 2002.
Doane, Mary Ann. “Film and the Masquerade: Theorizing the Female Spectator.” Sexual Subject: A Screen Reader in Sexuality. New York: Routledge, 1992. 227-43.
Dobson, Patricia. “Orlando,” Screen International 17 (April 1992): 20-33.
Dover, Kenneth J. Greek Homosexuality. Cambridge: Harvard UP, 1978.
Dowling, David. Bloomsbury Aesthetics and the Novels of Forster and Woolf. London: MacMillan, 1985.
Eisenstein, Sergei. Film Form: Essays in Film Theory. New York: Harcourt, 1949.
Eliot, T. S. The Waste Land. New York: Norton, 2000.
Enciso, Nuria. “Turning the Gaze Around and Orlando.” 30 July 2004<http://collection.nlc-bnc.ca/100/202/300/mediatribe/mtribe95/movie#movie>.
Eng, L. David. Racial Castration: Managing Masculinity in Asian America. London: Duke UP, 2001.
Erickson, E. H. Childhood and Society. New York: Norton, 1950.
Ernest, Jones. The Life and Work of Sigmund Freud. 3 vols. New York: Basic Books, 1975.
Fitzgerald, F. Scott. “My Generation.” Esquire 70 (1968): 119.
Fleishman, Avrom. Virginia Woolf: A Critical Reading. Baltimore: Vintage, 1975.
Florence, Penny. “A Conversation with Sally Potter.” Screen 34.3 (Autumn 1993): 275-84.
Flügel, John Car. The Psychology of Clothes. London: Hogarth, 1930.
Forster, E. M. Aspects of the Novel. New York: Harvest Books, 1956.
Freud, Sigmund. “Beyond the Pleasure Principle.” The Freud Reader. Ed. Peter Gay. New York: Norton, 1989. 594-625.
---. Female Sexuality. Ed. and trans. James Strachey. London: Hogarth P, 1970. Vol. 21 of The Standard Edition of the Complete Psychological Works of Sigmund Freud. 24 vols. 1959-74.
---. “Femininity.” Strachey 22: 113-18.
---. “Fetishism.” 1927. Sexuality and the Psychology of Love. Ed. Philip Rieff. New York: A Touchstone Book, 1997. 204-09.
---. “Medusa’s Head.” 1921. Eieef 202-03.
---. “Mourning and Melancholia.” Gay 584-88.
---. “Outline of Psycho-Analysis.” Strachey 23: 234-68.
---. “The Taboo of Virginity.” 1918. Strachey 11:191-208.
---. “The Theme of the Three Caskets.” Gay 514-21.
---. “The Uncanny.” Strachey 17: 219-252.
---. “Three Essays on the Theory of Sexuality.” 1905. Gay 239-92.
---. Civilization and Its Discontents. Trans. James Strachey. New York: Norton, 1961.
---. The Ego and the Id. Trans. James Strachey. New York: Norton, 1962.
---. Interpretation of Dream. 1900. Ed. and trans. James Strachey. London: Hogarth P, 1959. Vol. 5 of The Standard Edition of the Complete Psychological Works of Sigmund Freud. 24 vols. 1959-74.
---. Totem and Taboo. Trans. A. A. Brill. London: Ark Paperbacks, 1983.
---. Writings on Art and Literature. Trans. James Strachey. Eds. Werner Hamacher and David E. Wellbery. Stanford: Stanford UP, 1997.
Fry, Roger. Vision and Design. Harmondsworth: Pelican, 1937.
Gamman, Lorraine and Merja Makinen. Female Fetishism: A New Look. New York: New York UP, 1995.
---. The Female Gaze: Women as Viewers of Popular Culture. Seattle: The Real Comet P, 1989.
Gerzina, Gretchen. Carrington: A Life. New York: Norton, 1989.
Gillespie, Diane, The Sisters’s Arts: The Writing and Painting of Virginia Woolf and Vanessa Bell. London: Syracuse U P, 1988.
Giltz, Michael. “The Golden Hours.” Liberation Publications. 7 January 2004 <www.findarticles.com/cf_dls/m1589/2003_March_18/99850228/print.jhtml>.
Goethe, Johann Wolfgang von. Goethe’s Color Theory. Ed. Rupprecht Matthaei. New York: Van Nostrand Reinhold Company, 1971.
Goldman, Jane. The Feminist Aesthetics of Virginia Woolf. New York: Cambridge, 2001.
Gordon, R. A. Anorexia and Bulimia. London: Blackwells, 1990.
Greenblatt, Stephen. Renaissance Self-Fashioning: From Moore to Shakespeare. Chicago: U of Chicago P, 1983.
Greene, Robert. “Pandosto.” Elizabethan Authors Home Page. Ed. Robert Brazil and Barboura Flues. 2003. 2 March 2005 <www. elizabethanauthors.com/pandosto
1.htm>.
Hall, Radclyffe. The Well of Loneliness. 1928. New York: Anchor, 1990.
Haskell, Molly. From Reverence to Rape: The Treatment of Women in Movie. New York: Holt, Rinehart and Winston, 1973.
Henry, Holly. Virginia Woolf and the Discourse of Science: The Aesthetics of Astronomy. Cambridge: Cambridge UP, 2003.
Hermione, Lee. Virginia Woolf. New York: Knopf, 1997.
Hollander, Anne. Seeing through Clothes. New York: Avon Books, 1975.
Hollinger, Karen. “Orlando’s Sister, or Sally Potter Does Virginia Woolf in a Voice of Her Own.” 24hourscholar. Summer 2001. 3 March 2005. 4 April 2005<http://www.24hourscholar.com/p/articles/mi_m2342/is2352005>.
Horney, Karen. The Collected Works of Karen Horney. New York: Norton, 1942.
Humm, Maggie. Modernist Women and Visual Cultures: Virginia Woolf, Vanessa Bell, Photography and Cinema. New Jersey: Rutgers UP, 2002.
In the Cut. Dir. Jane Campion. Perf. Meg Ryan and Mark Ruffalo. Screen Gem, 2003.
Ingram, Malcolm. “Virginia Woolf’s Psychiatric History.” Malcolm Ingram’s Homepage. 3 February 2004. March 2005 <http://ourworld.compuserve.com/
homepages/malcolmi/vwframe.htm>.
Intolerance. Dir. D. W. Griffith. Perf. Mae Marsh and Robert Harron. Kino International, 2002.
Jackson, Rosemary. Fantasy: The Literature of Subversion. London: Routledge, 1981.
Jacobus, Mary. “‘Tea Daddy’: Poor Mrs. Klein and the Pencil Shavings.’’ Reading Melanie Klein. Eds. Lyndsey Stonebrige and John Philips. London and New York: Routledge, 1998.
Jameson, Fredric. Postmodernism: The Cultural Logic of Late Capitalism. Durham: Duke UP, 1992.
Jefferson, Thomas. Notes on the State of Virginia. New York: Harper, 1964.
Jensen, Emily. “Clarissa Dalloway’s Respectable Suicide.” Virginia Woolf: A Feminist Slant. Ed. Jane Marcus. Lincoln: U of Nebraska P, 1983. 162-79.
Jouve, Nicole and Ward Jouve. “Virginia Woolf and Psychoanalysis.” The Cambridge Companion to Virginia Woolf. Eds. Sue Roe and Susan Sellers. Cambridge: Cambridge UP, 2000. 245-72.
Kandinsky, Wassily. Concerning the Spiritual in Art. Trans. M. T. H. Sadler. New York: Dover, 1977.
Klein, Melanie. “The Psychoanalytic Play Technique: Its History and Significance.” 1955. Object Relations Theory and Practice. Ed. D. E. Scharff. Northvale: Jason Aronson, 1994. 120-30.
---. “A Contribution to the Psychogenesis of Manic-Depressive States.” Essential Papers on Object Relations. Ed. Peter Buckley. New York: New York UP, 1986. 40-70.
---. “Early Stages of the Oedipus Conflict.” Love, Guilt and Reparation and Other Works 1921-1945. Intro. Hanna Segal. London: Virago P, 1997. 186-98. Vol. 1 of The Writings of Melanie Klein. 4 vols. 1975-97.
---. “Mourning and Its Relation to Manic-Depressive States.” 1940. Love, Guilt and Reparation and Other Works 1921-1945. Segal 344-69.
---. “Notes on Some Schizoid Mechanisms.” 1946. Envy and Gratitude and Other Works 1946-1963. New York: Dell Publishing, 1975. 1-24. Vol. 3 of The Writings of Melanie Klein. 4 vols. 1975-97.
---. “The Early Development of Conscience in the Child.” 1933. Love, Guilt and Reparation and Other Works 1921-1945. Segal 248-57.
---. Envy and Gratitude and Other Works 1946-1963. London: Dell Publishing, 1975.
---. The Psycho-Analysis of Children. 1932. Trans. Alix Strachey. New York: Vintage, 1997. Vol. 2 of The Writings of Melanie Klein. 4 vols. 1975-97.
---. The Writings of Melanie Klein. Vols 4. Vol. I Love, Guilt and Reparation, and Other Works. Vol. II The Psycho-Analysis of Children. Vol. III Envy and Gratitude, and Other Works. Vol. IV Narrative of a Child Analysis. London: Hogarth, 1975.
Kristeva, Julia and Sergio Benvenuto. Journal of European Psychoanalysis 3-4 (Winter 1996-Spring 1997). Trans. Claudia Vaughn. 6 May 2005<http://www.
.psychomedia.it/jep/index.html>.
---. “Stabat Mater.” Tales of Love. Trans. Leon S. Roudiez. New York: Columbia UP, 1987. 234-62.
---. Black Sun: Depression and Melancholia. Trans. Leon S. Roudiez. New York: Columbia UP, 1989.
---. Intimate Revolt. 1997. Trans. Jeanine Herman. New York, Columbia UP, 2002.
---. Melanie Klein. Trans. Ross Guberman. New York: Columbia UP, 2001.
---. New Maladies of the Soul. Trans. Ross Guberman. New York: Columbia UP, 1995.
---. Powers of Horror: An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia UP, 1982.
---. Revolution in Poetic Language. New York: Columbia UP, 1984.
Lacan, Jacques. Four Fundamental Concepts of Psycho-Analysis. Trans. Alan Sheridan. Ed. Jacques-Alain Miller. London: Hogarth, 1977.
Lawrence, Karen. “Orlando’s Voyage Out.” Modern Fiction Studies 38.1 (Spring 1992): 253-77.
Laude, Jean. The Art of Black Africa. Trans. Jean Decock. Berkeley: U of California P, 1971.
Lauretis, Teresa de. “The Technology of Gender.” Technologies of Gender: Essays on Theory, Film, and Fiction. Bloomington and Indianapolis: Indiana UP, 1987.
---. Alice Doesn’t: Feminism, Semiotics, Cinema. Bloomington: Indiana UP, 1984.
Lazere, Authur. “Possible Spoilers.” Culture Vulture Net. 7 July 2003 <http://www.
culturevulture.net/Movies6/Hours.htm>.
Lee, Hermione. Virginia Woolf. New York: Knopf, 1997.
Lessing, Doris. To The Doris Lessing Reader. New York: Knoph, 1988.
Little, Judy. “The Politics of Holiday.” Orlando. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 223-230
MacDonald, Scott. “Interview with Sally Potter.” Camera Obscura 35 (May 1995): 187-220.
Marcus, Jane, ed. New Feminist Essays on Virginia Woolf. Lincoln: U of Nebraska P, 1981.
---, ed. Virginia Woolf and Bloomsbury: A Centenary Celebration. Bloomington: Indiana UP, 1987.
Marder, Herbert. The Measure of Life: Virginia Woolf’s Last Years. Ithaca: Cornell U P, 2000.
Mattson, Frances O. Virginia Woolf and Her Circle: Leonard Woolf, Clive Bell, Vita Sackville-West, Vanessa Bell, Lytton Strachey, E.M. Forster, Rupert Brooke. New York: New York Public Library, 1993.
Mellencamp, Patricia. A Fine Romance: Five Ages of Film Feminism. Philadelphia: Temple U, 1995.
Microsoft Encarta Online Encyclopedia 2005. Microsoft Corporation. 24 April 2005<http://encarta.msn.com/dictionary_1861590315/bibliography.html>.
Miller, J. Hillis. “Mrs. Dalloway: Repetition as the Raising of the Death.” Virginia Woolf. Ed. Harold Bloom. New York: Chelsea, 1986.169-90.
Minow-Pinkney, Makiko. Virginia Woolf and the Problem of the Subject: Feminine Writing in the Major Novels. Sussex: Harvester Wheatsheaf, 1987.
Mitchell, Juliet, ed. The Selected Melanie Klein. Harmondsworth: Penguin, 1986.
Mitchell, W. J. T. Picture Theory: Essays on Verbal and Visual Representation. London: U of Chicago P, 1994.
Moore, G. E. Principia Ethica. New York: Prometheus Books, 1988.
Moore, Susanna. In the Cut. 1995. New York: Plume, 1999.
Moore, Suzanne. “Here’s Looking at You, Kid!” The Female Gaze: Women as Viewers of Popular Culture. Ed. Lorraine Gamman and Margaret Marshment. Seattle: Real Comet P, 1989.
Moretti, Franco. “Homo Palpitans: Balzac’s Novels and Urban Personality.” Signs Taken for Wonders. London: Verso, 1983.
Morrow, A. F. “A Review of Mrs. Dalloway.” Books I Loved Com. 2003. 10 January 2004 <http://booksiloved.com/24/Mrs_Mrs. Dalloway.html>.
Mulvey, Laura. “Afterthoughts on ‘Visual Pleasure and Narrative Cinema’ Inspired by Duel in the Sun.” Psychoanalysis and Cinema. Ed. E. Ann Kaplan. New York: Routledge, 1990. 24-35
---. “Visual Pleasure and Narrative Cinema.” 1975. Literary Criticism: Literary and Cultural Studies. Eds. Robert con Davis and Ronald Schleifer. New York: Longman, 1998. 447-56.
---. Visual and Other Pleasures. New York: Macmillan, 1989.
Ng, David. “The Hours.” Images: A Journal of Film and Popular Culture. Eds. David Ng, et al. 5 May 2004 <http://www.imagesjournal. com/2002/reviews/ hours/
text.htm>.
Nicolson, Nigel. Portrait of a Marriage. New York: Atheneum, 1973.
Nietzsche, Friedrich. Zarathustra. New York: Penguin, 1961.
O’Rourke, Meghan. “To the Madhouse.” Slate Msn Com. 6 January 2003. 5 May 2004 <slate.msn.com/toolbar.aspx?action=print&id=2076387>.
Orr, Christopher. “The Discourse on Adaptation.” Wide Angle 6/2 (1984): 110-23.
Osborne, Peter, ed. “Gender as Performance: An Interview with Judith Butler.” A Critical Sense: Interviews with Intellectuals. London: Routledge, 1996.
Phelan, Joseph and Colin Pearce. “Which Virginia Woolf?” The Claremont Institute. 14 February 2003. 5 May2004 <www.claremont.org/writings/030214phel anpearce.html?FORMAT=print>.
Phillips, Kathy J. Virginia Woolf against Empire. Knoxville: The U of Tennessee P, 1994.
Pietz, William. “The Problem of the Fetish, I.” Representation 9 (1985): 5-17.
Plato. Plato’s Symposium. Trans. Seth Benardete. Chicago: U of Chicago P, 2001.
---. Timaeus. New York: Penguin, 1953.
Prose, Francine, ed. “An Introduction to Mrs. Dalloway.” Mrs. Dalloway’s Reader. New York: Harcourt, 2003. 10-12.
Richardson, Samuel. Clarissa. New York: Penguin, 1986.
Rimbaud, Arthur. A Season in Hell and Other Poems. Trans. Norman Cameron. New York: Anvil, 1994.
Rose L. “Freud and Fetishism.” Psychoanalytic Quarterly 57.2 (2000): 147-67.
Rosenbaum, S. P. Aspects of Bloomsbury: Studies in Modern English Literary and Intellectual History. London: MacMillan, 1998.
---. Edwardian Bloomsbury: The Early Literary History of the Bloomsbury Group. London: Macmillan, 1994.
---. Georgian Bloomsbury: The Early Literary History of the Bloomsbury Group. London: Palgrave Macmillan, 2004.
---. Victorian Bloomsbury: The Early Literary History of the Bloomsbury Group. New York: St. Martin’s P, 1987.
Sackville-West, Vita. Knole and the Sackvilles. 1922. London: Ernest Benn Limited, 1958.
Sanday, Peggy Reeves. Divine Hunger: Cannibalism as a Cultural System. Cambridge: Cambridge UP, 1986.
Sappho. The Love Song of Sappho. Trans. Paul Roche. New York: Prometheus Books, 1999.
Shakespeare, William. Cymbeline. Ed. Robert B. Heilman. New York: Penguin Books, 1979.
---. Othello. New York: Norton, 2003.
---. Shakespeare’s Sonnets. Taipei: The World Book Company, 1997.
---. The Winter’s Tale. New York: Washington Square P, 1998.
Shelia, Johnston. “A Day in the Life.” Sight and Sound. 30 July 2004 <http://www.
bfi.org.uk/sightandsound/2003_02/feature01_hours.html>.
Shone, Richard. The Art of Bloomsbury: Roger Fry, Vanessa Bell, and Duncan Grant. Princeton: Princeton UP, 1999.
Showalter, Elaine. A Literature of Their Own: British Women Novelists from Bronte to Lessing. Princeton: Princeton UP, 1977.
Silver, Brenda. Virginia Woolf Icon. Chicago: U of Chicago P, 1999.
Spalding, Frances. Vanessa Bell. New Haven: Ticknor and Fields, 1983.
Squier, Susan M. “Virginia Woolf’s London and the Feminist Revision of Modernism.” City Images: Perspectives from Literature, Philosophy, and Film. New York: Gordon and Breach, 1991. 99-119.
Stacey, Jackie. “Desperately Seeking Difference” Sexual Subject: A Screen Reader in Sexuality. New York: Routledge, 1992. 245-57.
---. Star Gazing: Hollywood Cinema and Female Spectatorship. London: Routledge, 1994.
Stansky, Peter. On or about December 1910: Early Bloomsbury and Its Intimate World. Cambridge: Harvard UP, 1996.
Stoller, Robert J. Observing the Erotic Imagination. New Haven: Yale UP, 1985.
Stone, Alan A. “Gorris’s Dalloway.” Northern California Society for Psychoanalytic Psychology. 1998. 13 February 2004<www.fortda.org/fall_98/film2.html>.
Swift, Jonathan. Gulliver’s Travels and Other Writings. 1726. Ed. and Intro. Miriam Kosh Starkman. New York: Bantam Books, 1986.
Tang, Shih-ming. “Virginia Woolf in Textuality: An Intertextual Study of Michael Cunningham’s The Hours.” MA thesis. Providence U, 2003.
The New Shorter Oxford English Dictionary. New York: Oxford UP, 1993.
Thompson, Jacky. “Roger Fry and Virginia Woolf: Pictures and Books.” A Cézanne in the Hedge and Other Memories of Charleston and Bloomsbury. Ed. Hugh Lee. London: C and B, 1992. 78-81.
Timothy, Corrigan, ed. Film and Literature: An Introduction and Reader. New Jersey: Prentice Hall, 1999.
To the Lighthouse. Dir. Colin Gregg. Perf. Kenneth Branagh and Rosemary Harris. BBC, 1986.
Trautmann, Joanne. “Orlando and Vita Sackville-West.” Virginia Woolf. Ed. Thomas S.W. Lewis. New York: McGraw-Hill, 1973. 83-93.
Turner, Victor W. The Ritual Process: Structure and Anti-Structure. Chicago: Aldine Publishing Co, 1969.
Twitchell, Beverly H. Cézanne and Formalism in Bloomsbury. Ann Arbor: UMI Research P, 1987.
Watkins, Susan. “Sex Change and Media Change: From Woolf’s to Potter’s Orlando.” Mosaic 31.3 (1998): 41-59.
Welldon, Estella V. Mother, Madonna, Whore. London: Free Association Books, 1988.
Who’s Afraid of Virginia Woolf? 1966. Dir. Mike Nichols. Perf. Richard Burton and Elizabeth Taylor. Warner Studios, 1998.
Wilson, Elizabeth. “The Invisible Flaneur.” New Left Review 191(1992): 90-110.
---. The Sphinx and the City: Urban Life, the Control of Disorder and Women. New York: Virago, 1991.
Wilson, J.J. “Why Is Orlando Difficult?” New Feminist Essays on Virginia Woolf. Ed. Jane Marcus. Lincoln: U of Nebraska P, 1981. 170-84.
Wilson, Jean Moorcroft. Virginia Woolf’s London: A Guide to Bloomsbury and Beyond. New York: Tauris Parke Paperbacks, 2000.
Young, Tory. Michael Cunningham’s The Hours: A Reader’s Guide. New York: International Publishing Group, 2003.
Žižek, Slavoj. Looking Awry. Cambridge: MIT, 1993.
論文使用權限
  • 同意紙本無償授權給館內讀者為學術之目的重製使用,於2005-07-14公開。
  • 同意授權瀏覽/列印電子全文服務,於2005-07-14起公開。


  • 若您有任何疑問,請與我們聯絡!
    圖書館: 請來電 (02)2621-5656 轉 2281 或 來信