跳到主要內容

臺灣博碩士論文加值系統

(54.92.164.9) 您好!臺灣時間:2022/01/23 05:39
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果 :::

詳目顯示

我願授權國圖
: 
twitterline
研究生:吳惠君
研究生(外文):Hui-chun Wu
論文名稱:維吉妮亞、吳爾芙《達洛威夫人》中的女性慾流與陰性書寫
論文名稱(外文):The Female Libidinal Economy and Écriture Féminine in Virginia Woolf's Mrs Dalloway
指導教授:蔣筱珍蔣筱珍引用關係
指導教授(外文):Hsiao-chen Chiang
學位類別:碩士
校院名稱:國立彰化師範大學
系所名稱:英語學系
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:2002
畢業學年度:90
語文別:英文
論文頁數:150
中文關鍵詞:精神分析陰性書寫意識流達洛威夫人
外文關鍵詞:psychoanalysisÉcriture Fémininestream of consciousnessMrs Dalloway
相關次數:
  • 被引用被引用:0
  • 點閱點閱:907
  • 評分評分:
  • 下載下載:0
  • 收藏至我的研究室書目清單書目收藏:4
法國女性主義理論詭譎豐麗,活躍於法國文壇的理論家如克莉絲蒂娃、依莉佳萊、西蘇等人,以其精神分析及語言學的深厚學養,發展出詮釋女性主體經驗的「差異」理論,與英美實證學派大異其趣。法國女性主義論述企圖顛覆西方陽物理體中心主義(phallogocentrism),重新詮釋女性力比多經濟對主體經驗及文本實踐的影響。我的論文將援引此論述中對前依底帕斯符號界的關照(屬精神分析範疇),及對陰性書寫的探索(屬語言領域),來重讀吳爾芙的《達洛威夫人》。許多《達洛威夫人》的批判式閱讀已引用克氏等人的概念,我將在論文中加以整理、延伸,探索這部現代英國小說多樣繁複的他種面貌。
在第二章中,我將探討傳統精神分析理論及法國理論家的批判挪用。傳統精神分析依循陽物中心原則,其依底帕斯情結、閹割情結等概念皆根植於單一(男性)器官的存有或缺乏上,為西方出場形上學(metaphysics of presence)的共謀體系,將男女定位為二元對立的兩極─男性為象徵秩序的執法者,而無法與父之律法完全認同的女性,則淪為被閹割的他者, 被動、自戀、道德感低落、自我意識薄弱,終生羨慕男人、與女人敵對。法國女性主義者顯然對此套理論不以為然,而將其觸角往前延伸至精神分析中較曖昧的灰色地帶─前依底帕斯符號界,尋找女性在象徵界中被壓抑的源生慾望、對母體的依戀及與他者的共生關係。女性力比多驅力的流動喚起女人最原始的依戀,她貼近母親子宮的律動,恍若日月潮汐生生不息、源源不絕的韻律,她所服膺的不是陽性單一、線性、僵化的邏輯,而是如伊莉佳萊式兩片陰唇的親吻纏綿,與他者交融而又維持差異性。女性的心性特徵使其呈現多樣流動的主體面貌,此與陽性邏輯的差異性應該被重新詮釋,因其蘊含女性解放之契機,其重要性並不亞於兩性平權革命。
我將於第三章討論法國女性主義中已蔚為風潮的陰性書寫(écriture féminine, or feminine writing in translation),而此章的論述與前章密切相關,因陰性書寫的手法及主題根源於女性力比多經濟,雖然西蘇等人堅稱文本風格與作者的實證性別無必然關係,但其亦指出女性的心性發展更貼近後現代書寫實踐,『她用母親的白色乳汁書寫』。在形式上,feminine writing 打破寫實主義的時間框架與直線邏輯,觀點的變換、時空的跳接、主客體的轉換交融都是常用手法,以呈現流麗繁複的陰性主體。在文本的意識與時間之流中,表現詩般的節奏感,並打破僵固的文法規則,使意義如湧泉般自然流洩。陰性書寫的形式體現作者的身體韻律,而其內容則包含其身體經驗,呈現多元開放的特色。批評家認為陰性書寫的主題在於重新詮釋自我與他者的關係,以及尋覓根源於潛意識中對母體的依戀。西蘇宣稱來自前依底帕斯母體的呼喚迴盪於文本的脈絡中,在書寫實踐裡,作家重溫一種跨越邊界、與母親/他者水乳交融的狂喜,徹底崩解二元對立結構的形上學箝制。藉由書寫慾望,潛意識將蔓流於陰性文本廣 的原野,顛覆統合穩定之主體性迷思,重新形塑主體對自我、他者及世界的認知。法國女性主義者並進一步強調,因陰性書寫開放給無限可能,它將帶給讀者全新的閱讀經驗;在反覆詮釋、意義生發的過程中,讀者將參與文本的構成活動,體驗無以名狀的驚喜。
在下一章中,我將援引法國女性主義中關於精神分析及陰性書寫理論,探討吳爾芙《達洛威夫人》之小說形式及內容。我認為這部現代小說在形式、技巧上體現西蘇陰性書寫的精神,其音樂性、節奏感及意識流手法均與傳統寫實主義作品大相逕庭。它不再白描現實世界的枝微末節,並打散時空結構,使意識流淌於不同角色、時空之間,呈現跳接的詩意節奏。在形式上,《達洛威夫人》具有陰性書寫流動、開放及擴張的特色;整部小說宛如一條幽靜長河,其漲落反映人物的心境,吳爾芙並以流麗的筆法,呈現自我及他者的意識水乳交融,這種書寫策略使作品幾無敘述縫隙或停頓,體現源初記憶中的純粹豐盈(pure plenitude)。此外,我將進一步指出,達洛威夫人在內容上亦符合陰性書寫的特質,以女性歡愉的異質性和豐富性來挑戰象徵秩序,如語言中的陽性邏輯等。主人翁克萊麗莎的心性發展是複雜而流動的,無法以父權的單一線性邏輯來解釋,她傾聽來自前依底帕斯慾望的召喚,形塑其超越理論(transcendental theory),堅信與他者的交融將豐富、延展其生命。我認為吳爾芙在描寫人物心境時常用的霧、海洋、樂音的意象,表現出角色身體經驗的節奏及開放性,更將各種異質性的情緒、意識匯入一流,如海般的深邃廣博。此手法展現伊莉佳萊陰性力比多之流的特色,對父權律法中的二元對立機制提出最具顛覆性的批判。關於跨越自我/他者疆界部分,我將援引依莉佳萊vulva lips的暗喻,分析克萊麗莎與小說中女性角色的複雜關係,及其與塞提莫斯的隱約牽繫。事實上,女主角的超越理論與伊氏的雙唇暗喻有異曲同工之妙;我認為兩者均體現了後現代流動的主體性,主體在擁抱他者的瞬間重溫個人史前史中對母體的依戀,如克萊麗莎所云,那些她所摯愛的、緣慳一面的人使她生命豐富完整,她活在他者的呼吸心跳中,這是永恆的愛,亦是對統合的主體性迷思之持續解構。小說的完美高潮在這倫敦女主人的宴會上,我將以法國女性主義的批評視角閱讀《達洛威夫人》的最末段,賦予此社交場合另一種象徵意義。這場宴會是克萊麗莎對生命的獻禮,也是她對其超越理論的終極實踐。面對戰後殘破、片段的生活經驗,她極欲重溫生命的豐盈完整,在對他者(塞提莫斯)寄予無限的同情之時,她經歷了主體結構性的轉變,如西蘇的美杜莎,讀者見證了她的美麗與微笑。
In my MA thesis, I will provide an overall introduction of the French feminist theories on woman’s libido and her language in the first chapter. The psychoanalytic and linguistic viewpoints will be developed into separate chapters. After the examination of the theoretical framework, I’ll conduct an application of the French concepts to Virginia Woolf’s Mrs Dalloway. In this chapter of textual analysis, I’ll elaborate that the style, theme and spirit of this modern novel correspond a great deal to the ideal of a feminine poetics, namely the écriture féminine proposed by Hélène Cixous. Lastly, in the concluding part of this thesis, I’ll provide an overall evaluation and critique of the French feminist theories, and most important of all, their applicability to a literary text like Mrs Dalloway. In short, I devote this thesis to the elaboration of an alternative way of reading, and above all, a different possibility of relating to love, to the other, and to the world. In the process of reading/writing a feminine text, we are fashioning a postmodern subjectivity, which is capable of heterogeneity, fluidity and openness. By so doing, we might break away from the patriarchal death-dealing games, and embrace life more fully in its pure plenitude.

Chapter One Introduction..................................1
Chapter Two French Feminist Appropriation of
Psychoanalysis................................29
Chapter Three Theories of ÉcritureFéminine.................61
Chapter Four The Female Libido and the Feminine Writing in
Mrs Dalloway..................................87
Chapter Five Conclusion...................................131
Works Cited..................................151

I. English
Abel, Elizabeth. “Narrative Structure(s) and Female
Development: the Case of Mrs Dalloway.” Virginia Woolf. 77-
100.
Belsey, Catherine. “Constructing the subject: deconstructing
the text.” Feminist Criticism and Social Change: Sex, Class
and Race in Literature and Culture. Ed. Judith Newton and
Deborah Rosenfelt. New York: Methuen, 45-64.
Barrett, Michèle. “Ideology and the cultural production of
gender.” 65-85.
Bakhtin, Mikhail. Rabelais and His World. Trans. Helen
Iswolsky. Cambridge,Mass.: MIT Press, 1968.
Bressler, Charles E. “Marxism.” Literary Criticism: An
Introduction to Theory and Practice. New Jersey: Prentice-
Hall, 1994. 114-26.
Cixous, Hélène. “Sorties.” The Feminist Reader: Essays in
Gender and the Politics of Literary Criticism. Ed. Catherine
Belsey and Jane Moore. London: Macmillan, 1989. 100-16.
---. “The Laugh of the Medusa.” New French Feminisms.
Trans. Yvonne Ochette-Ozzello. New York : Schocken Books,
1981.
---. La Venue à l’écriture. Paris: UGE, 1977. 10-18.
---. “La─The (Feminine).” Hélène Cixous Reader. Ed.Susan
Sellers. London: Routledge, 1994. 59-67.
Chu, Wen-chuan. The Interaction of the Author, the Reader, and
the Text in Virginia Woolf’s : A Hegelian
approach to the Tripartite Dialectic. MA thesis. National
Kaohsiung Normal University. 1992.
Defromont Françoise. “Metaphorical Thinking and Poetic
Writing in Virginia Woolf and Hélène Cixous.” The Body and
the Text. Ed. Helen Wilcox. New York : Harvester
Wheatsheaf, 1990. 114-25.
Dallery, Arleen B. “The Politics of Writing (the) Body:
Écriture Féminine.” 52-66.
Eagleton, Terry. “Psychoanalysis.” Literary Theory: An
Introduction. Cambridge: Blackwell, 1996. 131-68.
Flax, Jane. “Mother-Daughter Relationships: Psychodynamics,
Politics, and Philosophy.” Sexual Politics of Gender. 20-39.
Dowling, David. “Style.” Mrs. Dalloway : mapping streams
of consciousness. Boston : Twayne Publishers, 1991. 39-50.
Donovan, Josephine. “The silence is broken.” Feminist
Critique of Language. Ed. Deborah Cameron. London:
Routledge, 1992. 41-56.
Eco, Umberto. The Name of the Rose. London:Vintage, 1998.
Freud, Sigmund. “Female Sexuality.” 1931.
Gardiner, Judith Kegan. “Mind Mother: psychoanalysis and
feminism.” Making a difference : feminist literary
criticism. Ed. Gayle Greene and Coppelia Kahn. London:
Routledge, 1988. 99-126.
Gallop, Jane and Carolyn Burke. “Psychoanalysis and Feminism
in France.” Thinking fragments: psychoanalysis, feminism,
and postmodernism in the contemporary West. Ed. Jane Flax.
Berkeley:University of California Press,1990. 106-21.
Grosz, Elizabeth. “The ego and the imaginary.” Jacques Lacan: A Feminist Introduction. London: Routledge, 1990a. 24-
49.
---. “Lacan and feminism.” 1990b. 147-87.
---. “Luce Irigaray and sexual difference.” Sexual Subversions: three French feminists. Boston: Allen & Unwin,
1989. 100-39.
Hartmann, Heidi. “The Unhappy Marriage of Marxism and
feminism.” Women’s Studies: A Reader. Ed. Stevi Jackson.
New York: Wheatsheaf, 1993. 13-16.
Ho, Fui Feng. Virginia Woolf’s To the Lighthouse: A Feminist
Literary Criticism and Jungian Analytical Psychology Study.
MA thesis. Nan Hua University, 2001.
Humphrey, Robert. Stream of Consciousness in the Modern
Novel. Berkeley : University of California Press, 1968.
Irigaray, Luce. “This Sex Which Is Not One.” This Sex
Which Is Not One. Trans. Catherine Porter and Carolyn Burke.
Ithaca: Cornell UP, 1985a. 23-33.
---. “The Power of Discourse and the Subordination of the
Feminine.” 1985b. 68-85.
---. “When Our Lips Speak Together.” 1985c. 205-18.
---. “The Bodily Encounter with the Mother.” The Irigaray
Reader. Ed. Margaret Whitford. Cambridge, Mass.: Blackwell,
1991. 34-46.
Jones, Ann Rosalind. “Writing the Body: Toward
an Understanding of l’Écriture feminine.” Essays on Women,
Literature and Theory. Ed. Elaine Showalter. New York:
Pantheon,1985. 361-77.
---. “Inscribing femininity: French theories of the
feminine.”Making a Difference: Feminist Literary Criticism.
Ed. Gayle Greene and Coppelia Kahn. London: Routledge, 1988.
80-112.
James, William. “The Stream of Consciousness” (1982).
http://www.ship.edu/~cgboeree/jamesselection.html
Leclerc, Annie. “Women’s Word.” Feminist Critique of Language: A Reader. Ed. Deborah Cameron. London: Routledge,
1990. 74-79.
Lyndall, Gordon. Virginia Woolf, a writer's life. Oxford :
Oxford UP, 1984.
Moi, Toril. “Hélène Cixous: an imaginary utopia.”
Sexual /Textual Politics: Feminist Literary Theory. London:
Routledge, 1999a. 102-26.
---. “Patriarchal reflections: Luce Irigaray’s Looking
Glass.” 1999b. 127-49.
Minsky, Rosalind. “Lacan: The meaning of the phallus.”
Psychoanalysis and Gender: An introductory reader . London,
Routledge, 1996a. 137-77.
---. “Feminist Interpretations.” 1996b. 178-205.
Montrelay, Michèle. “Inquiry into Femininity.” The Woman
in Question: M/F. Ed. Parveen Adams and Elizabeth Cowie.
Cambridge, Mass.: MIT Press. Naremore, James. “Mrs.
Dalloway.” The World Without a Self. New Haven: Yale
UP, 1973a. 77-111.
---. “Virginia Woolf and the Stream of Consciousness.”
1973b. 60-75.
Oliver, Kelly. “Importing “The French Feminists” And Their
Desires.” Reading Kristeva : unraveling the double-bind.
Bloomington: Indiana UP, 1993. 163-80.
Rigney, Barbara Hill. “The Sane and the Insane: Psychosis and
Mysticism in Mrs. Dalloway.” Madness and Sexual Politics.
Madison: University of Wisconsin Press, 1978. 41-
63.
Sellers, Susan. “Introduction.” Hélène Cixous: authorship,
autobiography, and love. Cambridge: Blackwell, 1996. 1-23.
---. “Women and language.” Language and Sexual Difference:
Feminist Writing in France. New York: St. Martin’s Press,
1991a. 19-38.
---. “The (feminine) unconscious.” 1991b. 39-69.
---. “Theories of sexual difference.” 1991c. 71-93.
---. “A woman’s language?” 1991d. 95-129.
---. “Towards an écriture feminine.” 1991e. 131-
61.
Sun, Hung-yu. Musical Refrain as a Will to Liberation: A Study
of Virginia Woolf’s
Mrs. Dalloway. MA thesis. Tamkang University. 1994.
Stanton, Domna C. “Difference on Trial: A Critique of The
Maternal Metaphor in Cixous, Irigaray, and Kristeva.” 156-
73.
---. “Language and Revolution: The Franco-American Dis-
connection.” Feminist
Thought in France. 73-87.
Tong, Rosemarie. “Postmodern Feminism.” Feminist Thought :
a comprehensive introduction. London : Routledge, 1992. 217- 33.
Woolf, Virginia. Mrs Dalloway. Cumberland House: Wordsworth,
1996.
---. “A Room of One’s Own.” The Norton Anthology of
English Literature. Ed.
M. H. Abrams. New York: Norton, 1993. 1926-86.
---. “Women and Fiction.” The Feminist Critique of Language: A Reader. Ed.
Deborah Cameron. London: Routledge, 1990. 33-40.
---. The Waves. Harmondsworth: Penguin, 1972.
Wu, Lih-yi. Virginia Woolf's Mrs. Dalloway and To the
Lighthouse. MA thesis. National Taiwan Normal University,
1993.
Whitford, Margaret. “Maternal Genealogy and the symbolic.”
Luce Irigaray. Philosophy in the Feminine. London:
Routledge, 1991. 75-97.
Wang, Bang. “I on the Run: Crisis of Identity in Mrs.
Dalloway.” 177-91.
Waugh, Patricia. “Feminist Fictions: revisiting the postmodern.” Women’s Studies: A Reader. Ed. Stevi Jackson.
New York: Harvester Wheatsheaf, 1993. 464-69.
Xu, Qiu-Qiang. Isolation, rejuvenation and transcendental
theory in Mrs. Dalloway. MA thesis. National Taiwan
University. 1988.
II. Chinese
朱崇儀。<依希迦黑與她的新文體:另一種(理論)書寫/實踐>。《中外
文學》第二十四卷,第十一期。頁40-53。
莊子秀。<後現代女性主義:多元、差異的突顯與尊重>。《女性主義理論
與流派》 。台北:女書,頁299-338。
Jo Anna Isaak. <女性笑聲的革命性力量>。《女性笑聲的革命性力量:
女性主義與當代藝術》。陳淑珍譯。台北:遠流,頁13-60。
蔡振興。<法國女性主義:伊莉佳萊論他者>。《中外文學》第二十一卷,
第九期。頁47-61。
黃逸民。<法國女性主義的貢獻與盲點>。《中外文學》第二十一卷,第九
期。頁4-17。
曹莉。〈獨樹一幟的女權主義批評家〉。《史畢娃克》。台北:生智,頁
81-123。
蔡秀枝。<克莉絲特娃對母子關係中「陰性」空間的看法>。《中外文學》
第二十一卷,第九期。頁35-45。
蕭嫣嫣。<我書故我在─論西蘇的陰性書寫>。《中外文學》第二十四卷,
第十一期。頁56-67。
QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top