本論文以列維納斯(Emmanuel Levinas)早期的著作《整體與無限》(Totality and Infinity)為啟蒙探討其倫理思想所提倡的他者哲學，進而分析阿爾比《誰怕吳爾芙？》劇中的倫理關係(ethical relationship)。列氏試圖顛覆古典哲學以降的本體論霸權，並提倡他者哲學為第一哲學。論文第二章以列氏思想對於西方哲學傳統的批判為主調，揭開整體性(totality)或本體論(ontology)之暴力性。列氏反思與抨擊西方哲學淪於以自我為中心的自我學(egology)並泛稱其為本體論。本體論中對於他者的認知往往是藉由一個中立的詞來化約他者為同者。同者把他者當成一個主題或客體的展現以便理解或掌握他者；他者在此認知過程中被納入同者的整體當中，因此他者在黑格爾辯證法中被否定為「非我」；他者甚至被同化為「另一個我」；海德格式本體論獨尊存有(Being)的同時，與他者的關係被矮化為廣泛的存有關係。藉由否定、同化等手法，他者被化約為「非我」、「另一個我」以及存有的一部份，並納入同者的整體範疇當中。在《誰怕吳爾芙？》劇中同者對於他者的整體性暴力(totalizing violence)化約過程透過數個例子可一窺其究竟。第一例為同者對他者的「化約」：瑪莎所講述的拳擊故事中，瑪莎父親要求喬治與其對打，呈現出瑪莎父親欲強迫喬治接受其所定義的男子氣概形象。第二例為同者對他者的「同化」：尼克所影射的遺傳學工程願景中，人人被創造為同一模樣，透露出同者欲同化他者的野心。第三例為同者對他者的「否定」：瑪莎刻意與尼克發生性關係來激怒喬治，並否定喬治的男人尊嚴。第三章著重於尼克與蜜糖的來訪所帶來的影響，如同他者的出現般，要求喬治與瑪莎做出回應。在列氏倫理中，他者與同者的關係乃是一種「離開」(separation)的狀態。唯有在此「離開」的狀態中，他者的激進他異性(the alterity of the Other)方成可能。他者的激進他異性使他者不會落入同者的整體性暴力之中，讓他者成為絕對他者並延伸出他者的無限性。他者的臉龐(face)，或可稱為他者在這世上所留下的痕跡(trace)，向我呼喚並索求倫理責任。在此劇中，尼克與蜜糖的出現猶如他者的出現般震撼了喬治與瑪莎的幻想世界。喬治與瑪莎虛構自己生了一個兒子來滿足他們現實生活中的失望與空虛，就像列氏倫理所描述他者未出現前，同者在其所處的外在世界中找到有別於自我的物質，並賴以生存所產生的喜悅般，這虛構的孩子對喬治和瑪莎而言，是他們私密幻想世界中最大的幸福喜悅與慰藉寄託。但因瑪莎過於沉溺在自我幻想世界之中，不小心在蜜糖面前將兩人虛構的孩子說溜嘴而惹喬治生氣。虛構的孩子永遠不會變成真人，也無法擁有列氏所提出的他者的激進他異性；尼克與蜜糖的來訪猶如他者的降臨般，使得喬治與瑪莎私密幻想世界中虛構出來的孩子，一旦公開後卻成為現實生活中互相爭執的核心。在瑪莎宣稱她結婚的意義是不斷地鞭打折磨喬治時，喬治才終於領悟到瑪莎真的生病了而且病得不輕。更重要的是，瑪莎的不貞與其背後所表現出帶有毀滅性的整體性暴力迫使喬治做出回應。瑪莎的不道德行為喚醒了喬治自身對於瑪莎的責任與使命感。基於對瑪莎深刻的愛與關懷，喬治做出殺掉心愛虛構孩子之沉痛決定。喬治的動機絕對不是為了報復瑪莎，而是以拯救瑪莎為出發點，避免她繼續墮入這極端的整體性暴力。第四章為本論文的終章；透過數個例子(尤其是瑪莎的通姦)，解析列氏所批判的本體論式整體性暴力之多重面貌，本篇論文指出喬治對瑪莎的深切關懷，恰恰實現列氏倫理思想中的他者哲學，正是一種為他人著想的哲學。 / This thesis examines the totalizing violence overrunning in Albee's Who's Afraid of Virginia Woolf? and a call for responsibility to and for the Other in Emmanuel Levinas's propositions of ethical relationship. In this play, the illusion of life can also be counted as an inconvenient truth, yet the playwright urges people to acknowledge the difference between illusion and reality. George and Martha build their marriage on a life game, their imagined son. When Nick and Honey arrive, an interrelation between private and public and illusion and reality disturbs all four characters. Martha's totalizing indulgence goes into extremes when she is lost in her fantasy world gradually and commits adultery deliberately. Sensing the seriousness of Martha's situation, George finally wakes up from his own illusion and decides to kill the imagined son for Martha's sake. It is an act of profound love and care that George dispels the illusion in his and Martha's marriage life. Chapter Two examines different forms of ontology, which is embodied by the three major philosophical systems: I and not-I in the Hegelian dialectic, ego and alter ego, and the Heideggerian primacy of Being and then demonstrates various examples of the totalizing violence through the reduction of Martha's father, the symbolic assimilation of Nick, and, particularly, the destructive negation of Martha. Committing adultery is an extreme manner to claim one’s power. George's reaction to Martha's ethical transgression is crucial. Chapter Three explores one's responsibility to and for the Other in the ethical relationship between self and other and argues that George’s decision of killing the imagined son reflects Levinas's ethical concern. Recognizing his own alienation from society and deciding to take the responsibility to help Martha eliminate her internalized ontological violence, George fully represents Levinas's concept of responsibility to and for the Other. A dialogue of Albee's dramatic text and Levinas's propositions highlight the importance of ethical relationship between self and other on a genuine basis. Through their works about violence and compassion, both Albee and Levinas have high concern for the Other.

本篇論文主要探討1880至1930年代英國女性作家所再現的性別化空間。女性逐漸在十九世紀末倫敦的公共空間嶄露頭角，扮演各種不同的重要角色，舉凡上班族、消費者、俱樂部會員、電影迷、行善者及觀光客等都是當時女性公共形象的最佳例證。然而這些跨越公/私領域界限的女性漫遊者迄今都未獲得學界足夠的重視。女性漫遊者在世紀末文學研究中長期遭受忽視主要肇因於早期學者對於十九世紀男主外、女主內的公/私領域劃分大致認同，未能加以批判。透過檢視艾蜜‧列薇 (Amy Levy)、桃樂斯‧理察森 (Dorothy Richardson) 以及維吉尼亞‧吳爾夫 (Virginia Woolf) 等三位女作家的跨文類書寫，本篇論文指出世紀末的中產階級女性已逐漸掙脫傳統私領域以及家庭意識形態的束縛，開始在城市空間行走與觀看。在十九世紀末許多新興的大城市例如倫敦，如此的女性公共行走則又更加顯著並且和日益蓬勃發展的商品文化、大眾消費/享樂以及公共空間皆有極密切的關聯。流動 (mobility) 與觀察 (spectatorship) 因此成為中產階級女性在城市空間行走與觀看時的重要經驗，前者來自於女性在日益開放的公共領域遂行的空間探索，後者則是來自女性觀察者對於城市景觀例如商品展示、來往的人潮以及繁忙的街景所做的視覺凝視。經由書寫世紀末的女性城市漫遊，上述三位女作家明確地指出這些表面看似被動的中產階級女性其實早已跨越傳統空間限制，不斷挪用與創造新的城市公共空間。 / This study has examined the numerous roles played by women entering the public spaces of London in the half century from the 1880s to the 1930s as workers, shoppers, diners, clubbers, cinema-goers, philanthropists, and tourists, a wide spectrum of active female social actors that until recently have not attracted enough attention from scholars of late-Victorian and Edwardian literature. The neglect of these newly pubic women in the fin de siècle period, who are distinct from their home-bound Victorian predecessors, is largely ascribed to an uncritical acceptance of or surrender to the long-held, dominant assumption of separate spheres in the nineteenth century. Through examining the writings of Amy Levy, Dorothy Richardson, and Virginia Woolf, who portray the multifarious pictures of women rambling the streets of modern London, this study has demonstrated that female public visibility and mobility have at least since the fin de siècle period been commonly practiced by a conglomerate of middle-class women. Mobility and spectatorship are thus two significant tropes applicable to women’s spatial and visual explorations of the fin de siècle city, the former underscoring their meandering footsteps threading through the increasingly egalitarian public space while the latter their roving eyes casting glances at those enticing urban spectacles which are already a phantasmagoria of commodity display, jostling crowd, and bustling streetscapes. Through writing about fin de siècle female streetwalking, the three women writers have demonstrated that those seemingly passive women of the middle-class may indeed be capable, through their public presence and their incessant footsteps, of pushing at the established boundaries.

Ce mémoire de maîtrise porte sur une poétique de l’excès dans Orlando de Virginia Woolf et Nightwood de Djuna Barnes comme une stratégie combattant la tendance qu’a le modernisme à dévaloriser l’écriture des femmes comme étant trop ornementale. J’expose comment Ezra Pound, T.S. Eliot, et Wyndham Lewis tentent de récupérer la notion du détail afin d’affirmer une poétique masculin. Je fais appel également aux oeuvres de l’architecte autrichien Adolf Loos qui souligne sa dénonciation de l’ornement comme régressif. Dans Orlando et Nightwood, je considère l’excès associé au corps. Je soutiens que, dans ces textes, les corps dépassent les limites de la représentation moderniste. Je considère aussi comment Orlando et Nightwood font apparaître la narration comme ornement et écrivent excessivement l’histoire et le temps. Pour conclure, je propose une façon de lire l’excès afin de reconceptualiser le potentiel de production de la signification dans des textes modernistes. / My thesis explores a poetics of excess in Virginia Woolf’s Orlando and Djuna Barnes’s Nightwood as a strategy through which the authors combat modernism’s devaluation of women’s writing for being overly ornamental, detailed, and/or artificial. I examine how the critical writings of Ezra Pound, T.S. Eliot, and Wyndham Lewis attempt to reclaim the notion of detail for a masculine-oriented poetic project, and I look at how Austrian architect Adolf Loos’s work condemns ornament as backward and regressive. In treating Orlando and Nightwood directly, I consider the novels’ excessive and ornamental construction of bodies and how these bodies exceed the limits of existing modernist paradigms for representation. I also discuss narration as ornamentation in Orlando and Nightwood and how these novels excessively inscribe history and time. My conclusion proposes a practice of reading excess that rethinks this concept and its potential for producing meaning in modernist texts.

Made available in DSpace on 2016-04-28T19:59:09Z (GMT). No. of bitstreams: 1 Douglas Paulino Barreiros.pdf: 1731666 bytes, checksum: e21f2a4b82988d677aa114d862dbc590 (MD5) Previous issue date: 2008-04-16 / Secretaria da Educação do Estado de São Paulo / When the Comparative Literature was born like a subject, the researchers restricted their works to analyze literary works which were from different countries. They tough about one author with own characteristics that did some influences on other authors. This way, the main object was to find out and to explain the sources and the influences. Nowadays, the comparative work extended its field of search and it surpassed the linguistic boundaries in the comparison among literary works. It goes to work on many different areas of knowledge. Because of it, some modifications were necessary, like the use of theories from other subjects and some methodological alterations. This way, the field of search was enlarged in conformity with the nature of the comparative literature. Because of this transformation, the comparative literature altered its initial objective and today it work in the comparison among ways of expression, or better this, among different languages. This paper shows some relations among the works of Clarice Lispector and Virginia Woolf with the painting. They are observed, basically, from the image like similar element between canvas and texts. The poetic images are analyzed from the literary texts for to be drawing up some similarities with the painting. For all appear in the research canvas of famous painters like Monet, Degas, Pablo Picasso, Salvador Dalí among others / No surgimento da literatura comparada como disciplina, os estudiosos restringiam os trabalhos à análise de obras literárias pertencentes a fronteiras nacionais distintas. Tinha-se em mente um emissor que seria um autor com características próprias e originais que exercia influências sobre um receptor, entendido como um escritor pertencente à nacionalidade distinta daquele do qual recebia influências. O objetivo central era, portanto, descobrir e explicar fontes e influências. Hoje o comparatismo ampliou seu campo de atuação ultrapassando os limites lingüísticos e nacionais na comparação entre obras literárias, passando a se movimentar em meio a várias áreas do conhecimento. Com essa alteração, fizeramse necessárias algumas modificações metodológicas, bem como o emprego de fundamentação teórica advinda de disciplinas distintas daquelas dedicadas ao estudo lingüístico ou literário. Amplia-se, portanto, o traço de mobilidade próprio da literatura comparada. Por conta dessas alterações, a exclusividade em se comparar obras literárias produzidas em sistemas lingüísticos diferentes, objetivo primordial do comparatismo em seus primórdios, converteu-se na comparação entre formas de expressão, ou melhor, entre linguagens diversas. Esta dissertação apresenta algumas relações entre as obras de Clarice Lispector e Virginia Woolf com a pintura. Elas são observadas, basicamente, a partir da imagem como elemento homólogo entre tela e texto. As imagens poéticas são analisadas a partir dos textos literários para enfim serem traçadas algumas analogias com a pintura. Para tanto figuram no trabalho telas de pintores de referência como Monet, Degas, Pablo Picasso, Salvador Dali, dentre outros

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This PhD thesis analyses the influence of drama, contemporary to Virginia Woolf, on Woolf’s fiction and life writing. Plays by a range of dramatists from Ibsen to Eliot affected Woolf as both an individual and writer, yet little research has been done to link the late nineteenth/ early twentieth-century theatre with her fictional works or her concept of everyday life as expressed in the diaries, letters and memoir papers. An enthusiastic reader, playwright, theatregoer, and friend of playwrights, critics, actors, set designers and theatre owners, Woolf was naturally stimulated by exposure to this creative force and this research analyses its significance. The thesis begins by examining the non-fiction as a dramatization of her lived reality (see Chapter 1) which reached its apotheosis in the private plays (including Woolf’s Freshwater) that were performed in Bloomsbury (see Chapter 4). The discussion, focused in Chapters 2 and 3, addresses Woolf’s fictional output and explores the effect of the most influential plays and playwrights on Woolf’s novels and the concept of theatre as a metaphor within the texts’ imagery, style and structure.

1 Abstract This doctoral thesis focuses on the analogies between Virginia Woolf's "personal philosophy" and Alfred North Whitehead's process philosophy, or in his own words "philosophy of organism." The thesis does not claim that Whitehead's thought directly influenced Woolf's fiction, rather, it makes use of a zeitgeist model. The two contemporaries shared the rejection of long-established dualisms, particularly the Cartesian mind-body dualism, the binaries of subject and object, animate and inanimate matter, the human and the nonhuman, and last but not least the individual and the community. Interested in the philosophical enquiry into the problem of reality and the visible world, Woolf redefines the notion of "things" in her fiction and adopts the processist view that objects may be defined as clusters of events, which are not separate from the perceiving subject but interrelated with it. Moreover, Woolf illustrates her interest in the natural world in most of her works and often suggests that what we normally think to be inert and lifeless matter, may, in fact, also have some proto-conscious, or proto- experiential, qualities like Whitehead's "actual occasions." The second part of the thesis focuses on Woolf's attempt to overcome one's individual identity in favour of adopting a more inclusive and...

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