Writing with a Painter's Mind: Virginia Woolf's Fiction and Aestyetics

以畫家的思維書寫：吳爾芙的小說與美學

10.30095/SYJH.200412.0006

劉于雁(Yu-Yen Liu)

形式 ； 真實 ； 意象 ； 美學 ； 吳爾芙 ； form ； reality ； vision ； aesthetics ； Woolf

中山人文學報

19期（2004 / 12 / 01）

91 - 109

英文

本文旨在探討受哲學思維浸染的形式美學概念，如何牽引維吉妮爾•吳爾芙的小說創作。本論文分三單元。第一單元，「布魯斯伯里與形式主義」，追溯源自康德美學的形式概念如何在羅傑。傅萊與柯萊夫•貝爾的理論中重新演繹。第二單元「形式美學•吳爾芙與女性主義」藉由探討傅萊的後／印象主義、塞尚的再現觀點與梅洛龐蒂和拉崗對視覺與意象的拆解，來勾勒本論文理論架構。此外，女性主義與形式主義的爭論，則視為有助吾人深入理解吳爾芙的美學。第三單元「吳爾芙的小說與美學」剖析吳爾芙的小說《約伯的房間》與《燈塔行》的美學體現。形式美學理論在此主要印證在《約伯的房間》中對情節鋪陳結構的拆解，與《燈塔行》中最後意象的浮現。結論重申，孕育於形式主義的美學理論豐富了吳爾芙以女性視角出發的現代文學開創。解讀吳爾芙與形式美學所牽涉的其他意涵，則仍有待更多探討。

This paper aims to call upon a sophisticated understanding of Virginia Woolf's work in terms of philosophically inflected aesthetics. The paper is divided into three sections. Section I, ”Bloomsbury and Formalism,” discusses the Bloomsbury's concept of ”form” as elaborated in the aesthetic theory of Clive Bell and Roger Fry by tracing back to Immanuel Kant's The critique of Judgement. Section Ⅱ, ”Formalist Aesthetics, Woolf and Feminism,” attempts to build up a theoretical framework through exploring Fry's postimpressionism, Merleau-Ponty and Lacan's discussion of Cezanne's painting and the dynamic meaning of the seeing. Section Ⅲ, ”Woolf's Fiction and Aesthetics,” analyzes Woolf's Jacob Room and To the Lighthouse in terms of aesthetic elements, ”form,” ”reality,” and ”vision.” The fragmentation of plot in Jacob Room and the unveiling of the ”vision” in To the Lighthouse are read alongside the aesthetic theory discussed above. The paper concludes that reading Woolf's fiction in light of formalist aesthetics opens her texts up to new territory; yet, the wider implication remains to be explored.

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