在晚近的現代城市論述裡，城市常被認為是一抽象、陽剛且具有排外性質的空間；二十世紀初開始成形的概念城市(concept city)即是其例。概念城市將空間轉為清晰可讀，以便於居民生活及加速其政經發展；但相對地來說，這樣的空間也極其霸道。概念城市以其單義、同質的空間性質削弱了、甚至替代了城市裡既存的多元差異；這包含了城市原有的建築、文化及居民生活。 以二十世紀初的英國倫敦為例，當維吉尼亞˙吳爾芙著手撰寫《戴洛維夫人》時，倫敦地鐵(London Underground)已縱行於地底下數十年；地鐵改變了倫敦白天的城市地貌，也影響著外來客的行動、改變了倫敦居民的生活習慣與文化。倫敦地標大鵬鐘(Big Ben)則是另一例的城市指標。鑄造於十九世紀中葉的大鵬鐘，根據格林威治(Greenwich)時間準點報時，迄今已有百餘年；它的報時已成為倫敦人重要的時間指示，它的存在也日復一日地提醒著有關大英帝國過去輝煌的殖民偉業及其驕傲。在《戴洛維夫人》裡，吳爾芙將大鵬鐘的鐘聲與小說人物生命橫向交織；大鵬鐘常在小說人物生命中重要的時刻出現，又或者說，它的每一次報時同時也在小說人物的生命中印下不一樣的記憶。在二十世紀初的倫敦，地鐵已四通八達，而吳爾芙《戴洛維夫人》小說中的人物仍選擇以步行方式體驗城市；這體驗既帶有享受雙腳自由行動的意味，其無可預測的移動性也是對城市既定空間與人為客觀時間規劃的無聲抵抗。十九世紀法國詩人波特萊爾(Charles Baudelaire)在其詩作中，勾勒出了女性行人與男性漫遊者擦身而過下的微妙關係；其中，我們也約略可見現代巴黎城市的初貌。在一次大戰後出版的《戴洛維夫人》裡，書中的主要漫遊者換成了女性；主角克萊麗莎(Clarissa Dalloway)漫步於倫敦市街頭時，她的思緒時而被大鵬鐘的鐘聲所擾，但實際上她又那麼地喜愛它，只因它是大英帝國的驕傲，而身為英國居民的她多年來也深受其惠。相較之下，小說中其他的人物對大鵬鐘的鐘聲也有不同的迴響，但大多數既服從其律、也有抵抗。 因此，本論文第一章將回顧大鵬鐘及其所代表的帝國操控及時間單意化意涵，佐以傅柯(Michel Foucault)空間與權力的論述來強調城市空間權威化與概念化的過程作為中調，最後以近代法國批評家德瑟多(Michel de Certeau)提出的城市使用者的戰術性(tactics)抵抗作為整篇論文概念的啟蒙，來分析吳爾芙《戴洛維夫人》小說人物選擇步行城市的意義。論文第二章以城市漫遊者為主調，再探德瑟多提出的城市步行者的日常生活實踐(practice of everyday life)；德瑟多認為處於弱勢的普羅大眾有能力主動創造屬於自己的空間，而此一能動性(mobility)剛好用以規避、抵抗或者顛覆原有空間中所含附的權力論述。在此架構中，處於弱勢的總是大眾整體，所以德瑟多的城市步行者理論男女兼備。但當回溯十九世紀初成形的現代都市漫遊者(flâneur)時，在性別議題上卻爭議不斷，因為當時只有少數女性可以自由在街上行動而不會被視作招攬性生意者(streetwalkers)。因此在探討波特萊爾及班雅明對其詩作及的理解之外，女性主義者對男性漫遊者的觀看(gaze)及其性別(gender)批判也為此章節必要之回顧。而一次戰後的女權運動，也間接影響著吳爾芙小說中的女性角色及其自主意識的塑造。第二章最後以吳爾芙所寫的二篇文章作為結尾；吳爾芙的二文中皆揭露了女性漫遊者與男性漫遊者的不同，在她的文字中，我們已可以嗅到《戴洛維夫人》克萊麗莎行走倫敦的樂趣及限制所在。第三章及第四章則分別為《戴洛維夫人》小說的文本分析；第三章著重於大鵬鐘對人物角色塑造與其故事中日常生活行動的影響，且依據小說中鐘聲敲響的時間先後來鋪序。第四章則與城市空間相關，先提出小說人物為何選擇行走而不搭地鐵為開頭，再分析城市空間如何直接或間接塑造小說人物特質或心理。第五章則為本論文的終章；總結中先提出德瑟多對城市生活的切入觀點，其實是欲挖掘出城市使用者如何在此一愈趨綿密的城市架構下生存，及如何用他們的能動性走出與這城市性格相異的空間故事。吳爾芙的《戴洛維夫人》也許已為現代城市的步行樂趣及抵抗游擊做出最好的註解。 / This thesis starts with an exploration of the ambivalent role of Big Ben in relation to Clarissa Dalloway and some other characters in Virginia Woolf’s Mrs. Dalloway. The assumption and focus of the thesis is that they, when walking through London, both succumb to and resist in some ways the imperial symbol and all the others in complicity with it. The urban space that is an abstract, masculine, and exclusionary one which represents a manipulative gaze of city planners is one such example. With that discussion of Big Ben and the urban space that impact a lot upon London residents as a valuable basis, the thesis then proceeds to use Michel de Certeau’s theory on the mobility of city users and their interactions with the urban space as an enlightenment idea. With that, this thesis would be able to present a more positive and encouraging portrayal of the early twentieth century Londoner, particularly female, who has started lately to experience pleasure in urban life that provides both convenience in public transportation as the London Underground and places to shop and stay in as department stores. The main proposition is that women would be the most complicated site of urban pleasure and resistance that deserves detailed analysis in the cityscape of London.

《出航》(The Voyage Out 1915) 是維吉尼亞．吳爾芙 (Virginia Woolf) 的第一本小說。就像女主角從倫敦出發航向南美一個虛構的異地一樣，吳爾芙似乎也從此開始了她做為作家的旅行。女主角瑞秋．凡瑞斯 (Rachel Vinrace) 從一個懵懂的中產階級女兒，一腳踏入了未知的大海航程。在乘載著她橫跨大西洋的商船上，瑞秋體驗了與原本平靜生活截然不同的衝擊。當她走向聖塔瑪莉納 (Santa Marina)，她眼中儘是對這個熱帶異鄉的熱情與渴望。在那裡，瑞秋依著自己的步伐／速度與其他的角色相遇、相識、相知，開啟了自己對這個世界的視野。她與泰倫斯．希威特 (Terrence Hewet) 相戀、決定互許終生。然而，一場熱病讓瑞秋在返鄉之前過世。她的靈魂，似乎就此沒入深不見底的大海之中(Woolf 398)。 　　本論文以德勒茲 (Gilles Deleuze) 與葛塔力 (Felix Guattari) 的著作《千高臺：資本主義與精神分裂》(A Thousand Plateaus: Capitalism and Schizophrenia) 中所探討的旅行路線：固著路線 (rigid line)、可彎路線 (supple line)、逃逸路線 (line of flight) 來討論《出航》中角色之間的人際互動。從不同角色交疊橫越的旅行路線中，自我與他者的關係也不斷地在不同的情境之中形塑與消融。《出航》不再只是瑞秋個人的生命成長旅行經驗，更是眾多角色相互影響、體驗、與改變的廣大場域。小說裡表現了柏格森 (Henri Bergson) 所主張的種類差異 (differences in kind)，以及從中所發展出的個體性 (singularity) 價值與溝通的可能性。瑞秋的遊牧旅行軌跡，使她與泰倫斯之間擁有了超越性別差異的結合。在這種動態、開放的情境之下，瑞秋死亡之前的幻想與精神錯亂似乎象徵著逃逸路線所帶出的蛻變：在精神高度凝縮之下，全然的開放、專注於當下、無限接近真我。 不同的路線象徵不同旅行者的選擇以及路線背後的意義。本論文分成五章來探討《出航》裡交織複雜的旅行路線：第一章介紹《出航》的相關評論與背景，並且說明本論文所使用的理論架構；第二章以固著路線和可彎路線的討論為主，帶出絕對差異 (absolute difference) 的意義與價值；第三章探討真正溝通的可能性以及瑞秋從可彎路線出發的旅行軌跡；第四章從瑞秋的旅行起點到旅行終點，以逃逸路線的角度，找出詮釋她的死亡的另一種面向；第五章以瑞秋與泰倫斯之間的「愛」作結，帶出小說最終以死亡來表現生命的苦難與持續性。 / The Voyage Out (1915) is Virginia Woolf’s first novel. Like the heroine’s voyage from London to a fictional town in South America, Woolf has begun her travel as a writer since then. Rachel Vinrace, a daughter of a middle class merchant, plunges into the sea voyage out to the unknown world. In the cargo boat that takes her across the Atlantic, contrary to her original quiet life in Richmond, the interactions with the other crew make a profound impact on Rachel. Stepping onto the soil of Santa Marina, she is full of passion and has a thirst for this tropical foreign land. Here, Rachel encounters, and becomes acquainted and intimate with the other characters. She and Terrence Hewet fall for each other and decide to spend the rest of their lives together. However, a serious fever carries her off on the verge of her return trip. Rachel’s soul seems to “curl up at the bottom of the sea” (Woolf 398). The thesis intends to explore the interactions among the characters in The Voyage Out with the travel lines (rigid line, supple line, and lines of flight) discussed in Gilles Deleuze and Felix Guattari’s A Thousand Plateaus. From the intertwining travel lines of the characters, the relation between the self and the other is constantly constructing and blurring. The Voyage Out is not only the bildungsroman of Rachel but also a vast field for the characters to interact, experience, and become. The novel reveals the concept of differences in kind explored by Henri Bergson and the value of singularity and possibility of communication developed by Bergsonian ontology. Rachel’s nomadic travelling trajectory allows her to form a kind of union with Terrence that is beyond the limitation of gender difference. Under this dynamic and open circumstance, the deliriums and dreams before her death seem to suggest her becoming generated from the lines of flight: in the intensity of her spirit, she is open to the other, focuses on the present, and approaches to the primordial pure state. The thesis is divided into five chapters to investigate the complicated travel lines in The Voyage Out: Chapter I introduces the background of The Voyage Out and its literature reviews, and the theoretical approaches used in the thesis will also be illustrated; Chapter II concentrates on the discussion of the effect of the rigid line and the supple line in The Voyage Out and develops the meaning of absolute difference; Chapter III looks for the possibility of true communication and the orbit of Rachel’s voyage launched from the supple line; Chapter IV begins with Rachel’s point of departure and her point of arrival in order to form another dimension of her death, contrasted with traditional interpretation with the discussion of the lines of flight; Chapter V concludes with the love between Rachel and Terrence and reveals the suffering and continuity of life that the novel tries to display through death.