本文研究了弗吉尼亞.伍爾夫關於非個人化小說創作的現代主義美學思想，以及該思想在其小說中的體現。筆者認為伍爾夫的辯證式非個人化美學思想同時包含非個人化和作家個性特質，這集中體現在其鮮明的性別意識中。在伍爾夫看來，只有當作家在創作過程中保持著非個人化和超然的狀態，才可能創造出具有代表性和普遍意義的人物，且將作家自身的個性和性別特質完全地融入到文中。 / 本文第一章重點討論了伍爾夫的“雌雄同體“這一概念。此概念意在解決男女作家在其作品中表現出的干擾到作品藝術價值的個人憤恨情緒以及過度的性別意識。第二章分析了伍爾夫非個人化思想中的主體普遍性原則，指出作家應當將個人的，獨特的和特定的指代以及經歷提煉並轉化為具有更大包含性的共同經歷以及非個人化藝術。第三章研究了伍爾夫對於意識流小說的原創性貢獻，並提出其在自由間接引語這種敘述手法方面的創新有助於非個人化思想更全面的表述。續前三章分析了伍爾夫非個人化美學思想中緊密相連的三個組成部分之後，第四章探究了伍爾夫非個人化美學觀中非個人化和作家個性特質緊密相連的關係，指出伍爾夫所提出的“女性語句“強調了男女作家在創作過程中對其性別差異以及個性特色有所體現的重要性，並堅持只有當作家達到非個人化狀態後他們的作品才能全面地體現其個性特色。第五章嘗試使用伍爾夫的非個人化小說創作思想分析了她的三部小說，提出伍爾夫的非個人化思想與其作品間的呼應性。結論部分討論了伍爾夫和湯瑪斯.斯特恩斯.艾略特在非個人化美學觀點上的分歧和相似處並重申了本文的中心論點，即伍爾夫的辯證式非個人化小說創作美學思想同時包含了作家非個人化和個性特色。 / This dissertation is a study of Virginia Woolf’s modernist notion of impersonality in fiction writing and its exemplification in her novels. It argues that featured by a strong gender-consciousness, Woolf’s aesthetics of dialectical impersonality embraces both impersonality and personality. In Woolf’s view, only when the writer is impersonal and detached can he/she create characters of universal significance, with the writer’s unique personality and gender traits fully dissolved into the text. / Chapter One is centered around Woolf’s term "androgyny", which deals with the problem of bitter emotions and excessive sex-consciousness in both women’s and men’s writing. Chapter Two analyzes the thematic principle of universality in Woolf’s idea of impersonality, arguing that personal and particular references and experiences should be purified and transmuted into more encompassing experiences and impersonal art. Chapter Three examines the stylistic feature of impersonality, and argues that Woolf’s original contribution to stream of consciousness novels with its narrative technique of free indirect discourse contributes to a full expression of impersonality. After unraveling the three key components of impersonality which are tightly interconnected, Chapter Four explores the dialectical relationship between impersonality and personality, arguing that Woolf’s proposal of "a woman’s sentence" stresses the writer’s gender differences and personality in writing. As an illustration of Woolf’s impersonality theory, Chapter Five attempts to analyze three of Woolf’s fictions in the light of her idea of impersonality. Conclusion reveals Woolf’s divergence from T. S. Eliot’s pervasive doctrine of impersonality, and reinforces my central argument that Woolf’s aesthetics of dialectical impersonality in fiction writing involves both impersonality and personality. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Huang, Zhongfeng. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves [292]-304). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese. / Abbreviations --- p.v / Introduction --- p.1 / An Anatomy of Virginia Woolf’s Aesthetics of Impersonality --- p.6 / The Dialectical Relationship between Impersonality and Personality --- p.28 / The Critical Heritage of Virginia Woolf’s Aesthetics of Impersonality --- p.30 / Chapter Chapter One --- Androgyny --- p.45 / An Anatomy of Androgyny --- p.51 / The Background of Virginia Woolf’s Proposal of Androgyny --- p.53 / Virginia Woolf and Androgyny --- p.62 / Shakespeare’s Incandescence --- p.69 / Coleridge and Virginia Woolf on Androgynous Minds --- p.74 / Androgynous Models in Virginia Woolf’s Works --- p.91 / Chapter Chapter Two --- Universality --- p.97 / Authorial Absence --- p.102 / Opposition to Politicization of Art --- p.135 / Poetic Spirit --- p.147 / Universality of Greek Literature --- p.156 / Chapter Chapter Three --- Stream of Consciousness --- p.161 / Stream of Consciousness Novels --- p.162 / Virginia Woolf and Stream of Consciousness Novels --- p.168 / Virginia Woolf and Free Indirect Discourse --- p.182 / Chapter Chapter Four --- A Woman’s Sentence --- p.193 / A Man’s Sentence --- p.195 / A Woman’s Sentence --- p.199 / Write the Body and French Feminisms --- p.216 / Criticism of “A Woman’s Sentence --- p.221 / Chapter Chapter Five --- Virginia Woolf’s Fictions and Impersonality --- p.232 / Orlando: A Biography and Androgyny --- p.232 / To the Lighthouse and Universality --- p.249 / Mrs. Dalloway and Stream of Consciousness --- p.264 / Conclusion --- p.282 / Works Cited --- p.292

This dissertation is a study of the relationship between the modern Künstlerromane of Arnold Bennett, James Joyce, and Virginia Woolf and issues of embodiment. Born of the field of aesthetics, the literary genre of Künstlerroman inherits its conflicts. The chief dilemma of the form is how an isolated artistic consciousness connects with the world through a creative act. Bennett, Joyce, and Woolf offer different and contradictory resolutions. By examining how each writer conceives the body, I discover in Woolf the idea of an ethical aesthetics that contravenes the assumed polarity between mind and body, between self and other, and between material and ideal. Written only a few years apart, Clayhanger (1910), A Portrait of the Artist as a Young Man (1916), and The Voyage Out (1915) tell a compelling story of the relationship between embodiment and a creative life.

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Traditional interpretations of James Joyce's Dubliners have often focused on the pervasive "paralysis" of the city, covered in the stories' range of "childhood, adolescence, maturity, and public life." However, these approaches have limited their focus on the women in the stories, often spotlighting the male characters--and the author--through a Freudian lens; consequently, the interpretations have overlooked important considerations in light of developing feminist criticism. Through a selection of the stories, this thesis attempts to show how the text of Dubliners offers a cultural critique of the ways in which women were oppressed and constrained by the Irish Catholic ideology which established their roles within society. By the close of the collection, however, Joyce's creation of an inchoate image of the multi-dimensional, sexualized women of his mature works, Ulysses and Finnegans Wake, is embodied in the character of Gretta Conroy in "The Dead." Using Judith Butler's theory of performative acts of gender construction and Julia Kristeva's cultural dynamic of "the maternal" in the Stabat Mater, this criticism of the text lifts the female characters from the backgrounds of Dubliners and reveals the diseased culture of Dublin from another perspective. The female characters in the text act out expected cultural roles, often modeled after the Irish Catholic ideal of the Blessed Virgin Mary. Through the speech, silence, and physical acts of the female characters in Dubliners, "the female" in Irish-Catholic-Victorian culture is constructed--and reinforced--for Joyce's audience. This reading then furthers our understanding of the institutions, values, and practices which defined "womanhood" in nineteenth-century Dublin. / Graduation date: 1999

University of Macau / Faculty of Social Sciences and Humanities / Department of English

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This study is a detailed textual examination of the word "parallax" in Ulysses. It distinguishes three levels of meaning for the word in the novel. In the first level, parallax functions as a character motif, a detail, first appearing in and conforming to the realistic surface of Bloom's inner monologue, whose meaning is what it tells of his crucial problems of identity. In the second, parallax functions as an integral part of the symbolic complex, lying outside of Bloom's perceptions, surrounding the emblem of crossed keys, symbol of, among other things, paternity and homerule, two major narrative themes. The third level involves parallax as a symbol informing the novel's overriding theme of the writing of Ulysses itself and of the relationship between the novel's representative life and artistic design.