臺灣博碩士論文加值系統

此論文欲探討的，是維吉尼亞•吳爾芙在愛德華•阿爾比的《誰怕吳爾芙》與麥可•康寧漢的《時時刻刻》此二文本中再現出的兩種相反形象，並同時與其對吳爾芙的《戴洛維夫人》引用作對照比較。透過援引精神分析理論當中的戀物與懼物等觀念，以及迷文化的研究，筆者主張吳爾芙在前者，也就是阿爾比的文本中被視為懼物客體，然而她卻在後者，作為她的崇拜者的康寧漢的文本當中被提升而成為一個文化與文學的偶像。不過，如同戀物與恐懼間的疆界未曾能夠被清楚切割，且在某些案例中此二者甚至有顯著的相似性，因此阿爾比與康寧漢兩者的詮釋雖在表面上是相反的，我們仍不能僅以表面呈現來看待。
第一章將簡述種種關於拜物與恐懼的錯綜複雜的關係，以及迷文化活動的心理樣貌及其不同的模式等諸理論，以便進行接下來的文本分析。第二章則透過更深入的探索美國六零年代早期的社會與歷史背景，以及始終存在的吳爾芙與恐懼的連結，來討論阿爾比在文本中對吳爾芙看似詆毀式的閱讀。第三章在《時時刻刻》與它所致敬的文學前驅《戴洛維夫人》進行交叉文本分析，以討論迷文化理論中一些備受爭議的議題與現象，以及迷與偶像間複雜且密切的關係等主題。吳爾芙不僅能被當作文化或文學偶像，她的書甚至可以被書迷/讀者當作戀物物體。筆者結論傾向將吳爾芙視作某個所有不同的意義皆可在此匯聚且在此被激發的點，而非聚焦於哪種才是真切的吳爾芙的形象的爭辯。不論是崇拜式的抑或詆毀式的挪用吳爾芙，我們可以確定是：吳爾芙的形象將不斷地衍生並激化更多的挪用。

This thesis examines the polar representations of Virginia Woolf in Edward Albee’s Who’s Afraid of Virginia Woolf? and Michael Cunningham’s The Hours with textual allusion to Woolf’s Mrs. Dalloway. By drawing theoretical support from psychoanalytical notions on fetishism and phobia as well as the studies of fan cultures, I argue that Woolf is viewed as a phobic object by Albee in the former text whereas she is elevated to a cultural and literary idol by her idolater Cunningham in the latter. Nevertheless, just as the boundary between fetishism and phobia is never clear-cut and in some cases even with striking resemblance, the apparently opposite interpretations between Albee and Cunningham cannot be taken on face value. Chapter One summarizes theories regarding the intricate relation between fetishism and phobia and the psyche and diverse patterns of fan activities for further textual analysis. Chapter Two discusses the seemingly stigmatized reading of Woolf in Albee’s text by dapping deeper into the social milieu of the early 1960s American society and the constant linkage of Woolf with fear. Chapter Three is a close textual analysis between The Hours and its literary predecessor Mrs. Dalloway on the contested issues within fandom and the intricate star-fan relationship. Not only can Woolf be regarded as a cultural idol, her books may also be utilized as a fetish for fans/readers to cope with the struggles in life. I conclude that instead of focusing on the battle over whose representation of Woolf is more authentic, it is better to regard Woolf as a site where all variable meanings could converge and creativity be inspired. Be it a favoring or a denigrating appropriation of Woolf, one thing is for sure: Woolf’s image keeps proliferating.

Acknowledgments
Abstract in Chinese
Abstract in English


Introduction..............................................1

Chapter One
Fandom, Fetishism and Phobia..................5

Chapter Two
Who''s Afraid of Virginia Woolf? Phobic Object ...................................................27

Chapter Three
Who''s Fond of Virginia Woolf?: Fans and Fetish in The Hours.....................................................58

Conclusion..............................................88

Works Cited............................................93

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