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研究生:劉蕙蘭
研究生(外文):Liu, Hui-Lan
論文名稱:論吳爾芙<<奧蘭多>>的虛構與真理
論文名稱(外文):In Search of Authorial Truth in Virginia Woolf's Orlando
指導教授:史文生史文生引用關係
指導教授(外文):Margaret Boland
學位類別:碩士
校院名稱:淡江大學
系所名稱:西洋語文研究所
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:1997
畢業學年度:85
語文別:中文
論文頁數:92
中文關鍵詞:後設小說諧擬
外文關鍵詞:metafictionparody
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維吉妮亞.吳爾芙的作品<<奧蘭多>>,雖然以十九世紀傳統寫實小說
的形式呈現,實可視為具有後現代特色之實驗作品。透過後設小說的理論
來看這本書,作者藉由小說的敘述技巧呈現傳記人物的真實生活,不但質
疑了外在現實再現的可能性,更進一步凸顯書寫文字的虛構性。

本論文試圖從吳爾芙小說創作的技巧特色,來探討這部兼具小說以及傳記
兩種文纇特色的偽傳記,其敘述策略中所蘊含的後現代性。首章根據吳爾
芙本人的論文檢視她對於小說寫作與傳記藝術的看法。就小說而言,理想
的小說應具備能傳達人類生活真相的形式,貼近現實生活。而理想的傳記
,則是追求客觀史實和內心世界的融合。第二章則就敘述者所扮演的傳記
家角色進行分析。由於這位匿名的全知傳記家不斷的自行揭露創作障礙及
其過程,反而彰顯出小說裡的現實乃是人為建構的此一事實。第三章討論
諧擬的運用。利用諧擬的手法,小說傳達了對外在現實再現可能性的質疑
,同時也嘲諷了相信客觀真實的傳統寫實主義與作者自身的主觀真實技巧
。 由於吳爾芙極重視
人物內心的真實,著重刻劃人物的心靈與意識活動,反對事物外部結構的
細節真實,因而使她成為一位意識流小說家,所謂的現代主義者。為了能
深刻呈現此一內在的真實,吳爾芙主張小說家應該不斷地尋找合適的表現
形式、技巧與創作題材。在這方面,吳爾芙本人可說是位實驗主義者。正
是這份探索實驗,使<<奧蘭多>>具有有別於吳爾芙其他意識流小說的表現
技巧與創作題材。換句話說,本論文利用後設小說的觀點來分析這本小說
,不但提供另一種閱讀的可能性,同時也證明吳爾芙對小說創作的開放態
度。

This thesis demonstrates that Virginia Woolf's Orlando,
which paradoxically presents itself in what may seem
at first a more conventional (nineteenth-century) form, can be
read as a kind of postmodernist experiment. Here the author
questions the very possibility of a representation of reality
-specifically, the representation of "biographical" reality, of
a historical person's "real life"-by writing a parody of a
biographical "novel." In this thesis, I examine
how Woolf's narrative strategies, involving theintricate inter-
relation of biography and fiction in the text, are the
techniques used in metafiction, and thus characterize the novel
as a work of metafiction. Instead of depending on the
technique of stream of consciousness, which
characterizes Virginia Woolf as a modernist writer, Orlando
the text can be seen as the author's another formal experiment.
Chapter One of this thesis takes a look at Woolf's own ideas
about the novel and biographical writing. According to her
essays, "Modern Fiction" and "The Art of Biography" in
particular, both the novel and biographical writing serveto
express the "reality" or "truth" of human existence, which means
"true to life." The second chapter discusses the voice of the
narrator as biographer. Orlando the hero(ine)'s life history is
narrated in chronological order by an anonymous and omniscient
biographer, who often refers to the rules and process of
writing as well as the conventions and devices that used to make
traditional biographical narratrive possible. With frequent
narratorial intrusion, this biographer in practice brings
the text's own process of becoming to the fore. The third
chapter points out that in Orlando, in fact, the author is
parodying not only this objective (materialist,
historical-biographical) mode of "realism;" she also parodies
her own earlier "subjective realist" (stream of consciousness)
technique. Orlando as a parodied text, in a sense,
reveals the impossibility of mixing both fiction and biography
without losing "truth."

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