在弗吉尼亚伍尔夫女性主义视角下探析-《到灯塔去》中的莉莉布里斯科英语论文.doc

1、 毕 业 论 文论文题目：在弗吉尼亚伍尔夫女性主义视角下探析 到灯塔去中的莉莉布里斯科系 别： 外语系 班 级： 姓 名： 指 导 教 师： 2007年6月8 日 On Woolfs FeminismAn Analysis of Lily Briscorein To the LighthouseStudent: Supervisor: Foreign Languages DepartmentTangshan CollegeJune, 2007 word文档 可自由复制编辑毕业设计（论文）任务书1 外语 系 英语 专业 03英本1 班 姓名： 毕业设计（论文）时间： 2007 年 3 月 5 日

2、 至 2007 年 6 月 15 日毕业设计（论文）题目：On Woolfs FeminismAn Analysis of Lily Briscore in To the Lighthouse毕业设计（论文）任务一、论文各部分内容及时间分配：（共5周）第一部分：Introduction （1周）第二部分：An Exploration into Lilys Mental Journey （1周）第三部分：Woolfs Feminism Thoughts （1周）第四部分：An Interpretation of Lily Briscore on the Sphere of Feminism （1

3、周）第五部分：Conclusion （1周）二、论文要求：The thesis should contain at least 5000 words. The writing should be divided into 3 main parts: beginning, body and conclusion. The beginning is the introduction, the body is the development and discussion of the main points and the conclusion is the summary of the whole

4、 thesis. There must be clear points of view, logical and convincing discussion and natural conclusion. The thesis must be finished according to the requirements and within the set time.毕业设计（论文）进度计划安排阶段应完成的主要工作计划起止时间1确定论文方向15周到寒假前2广泛地查阅资料，做好卡片寒假期间3确定文章题目，再查阅资料1-3周4构思并撰写提纲 4-5周5完成初稿 6-9周6修改初稿，并完成二稿、三稿

5、10-13周7定稿、打印、装订14周8答辩15-16周主要参考文献Abel, Elizabeth. Virginia Woolf and Fictions of Psychoanalysis. Chicago: University of Chicago Press, 1989.Bloom, Harold. Virginia Woolfs To the Lighthouse. New York: Chelsea House Publishers, 1988.David Bowling. Novelists on Novelists. London: The Macmillan Press Lt

6、d., 1983.Elaine Showalter. A Literature of Their Own British Women Novelists From Bronte to Lessing. Princeton: Princeton University Press, 1977.Emily Dalgarno. Virginia Woolf and the Visible World. Cambridge. UK: Cambridge University Press, 2001.Jane Marcus. New Feminist Essays on Virginia Woolf. L

7、incoln. Nebraska US: University of Nebraska Press, 1981.John Burt. Modern Critical Essays: Irreconcilable Habits of Thought in A Room of Ones Own and To the Lighthouse. New York Philadelphia: Chelsea House Publishers, 1998.Morris Beja. Critical Essays on Virginia Woolf and The Invisible World. Bosto

8、n: GK.Hall&Co., 1985.Stella McNichol. Virginia Woolf and the Poetry of Fiction. London and NewYork: Routledge, 1990.Virginia Woolf. A Room of Ones Own. London: Hogarth Press, 1967.Virginia Woolf. To the Lighthouse. London: Hogarth Press, 1967.指导教师（签名）： 审批人（签名）：毕业设计（论文）指导教师评阅书指导教师（签名）： 年 月 日毕业设计（论文）评

9、审教师评阅书评阅教师（签名）： 年 月 日毕业设计（论文）答辩委员会成绩评定书答辩人姓名： 设计（论文）答辩日期： 年 月 日 设计（论文）题目： 答辩委员会的评语：毕业设计（论文）成绩： 答辩委员会主任（签名）： 摘 要英国作家弗吉尼亚伍尔夫是二十世纪最具影响力的的文学人物之一,她对于小说、文学批评和许多其他形式的写作做出了巨大的贡献. 伍尔夫著名的意识流和女性主义小说到灯塔去1927年的出版更使她跻身于世界伟大小说家之列.本论文致力于关注小说中莉莉布里斯科所经历的女性主义自我发展过程.首先,本文将对莉莉布里斯科的心路历程做深入的探析,这个过程同时也可以被理解为是对伍尔夫关于现代女性自我觉醒

10、的思考的一种解读.通过对莉莉布里斯科在小说中追求艺术成功的表现,作者揭露了女性艺术家在表现自我和在艺术中保持自我的过程中经历的困苦.拉姆齐夫人的爱庇护着莉莉,使她免受生活的琐碎和男权社会强加于女性艺术家的歧视的困扰,而同时莉莉的绘画又使拉姆齐夫人的爱得以永恒.第二部分,本文基于当时的社会意识形态阐述了伍尔夫特有的女性主义观点:她十分关注女性的经济独立和自主空间,主张结束女性受压抑的状态、结束社会上的家长式制度以达到一种平和的氛围.本文最后对莉莉这个人物从自我发展和艺术创作两方面做深入分析,以期解读交织于小说到灯塔去中的女性主义主题.关键词：女性主义 ; 自我发展 ; 艺术创作AbstractE

11、nglish writer Virginia Woolf, one of the most influential literary figures of the twentieth century, has made great contributions to the creation of novels, critical essays and other forms of writings. The publication of the famous stream-of-consciousness and feminist novel一To the Lighthouse in 1927

12、 established her as a major novelist. This paper focuses on the self-development process experienced by Lily Briscore on the sphere of feminism. Firstly, it will give a thorough exploration into the Lilys mental journey which could also be regarded as an interpretation of Woolfs feminism thoughts on

13、 modern womens self-realization. Through the presentation of Lily Briscoes struggles to achieve artistic success, the writer reveals the hardship experienced by a woman artist in her expressing herself and maintaining herself in art. It is Mrs Ramsays love that shelters Lily Briscoe from the fragmen

14、ts of life, and the discrimination imposed on the woman artist by the male-dominating society, and eventually completes her artistic creation thus the fulfillment of her self as a young woman artist. It is her painting that visualizes Mrs. Ramsays everlasting love, and it is also through her art of

15、letter that Woolf calls the revaluation of womens values. Secondly, my paper will illustrate Woolfs feminism viewpoints on the background of feminism ideology in her time. She attaches much importance to financial independence and autonomous space of the female, argues that securing peace depends on

16、 the end to womens oppression, and an end to hierarchical stratification of society. Thirdly, this paper will analyze the character of Lily on the aspects of self-development and artistic creation, expecting to interpret the elusive feminism meaning woven in To the Lighthouse. Key words: feminism; s

17、elf-development; artistic creation Contents. Introduction1. An Exploration into Lilys Mental Journey.3A. Pursuit.3B. Confusion.5 C. Surpassing.6. Woolfs Feminism Thoughts.8A. Women in Woolfs day.8B. Woolfs concept of feminism.8. An Interpretation of Lily Briscore on the Sphere of Feminism.11A. On Li

18、lys self-realization11B. On Lilys artistic creation.12. Conclusion14. Notes.15. Bibliography.16. Acknowledgements.18. IntroductionVirginia Woolf (1882-1941) is one of the most prominent literary figures of the twentieth century like her contemporary James Joyce, with whom she is often compared. Wool

19、f is remembered as one of the most innovative novelists of the stream of consciousness. Concerned primarily with depicting the life of the mind, she revolted against the traditional narrative techniques of Bennet, Wells, and Gaisworthy, and developed her own highly individualized style. Woolfs works

20、, noted for their poetic and symbolic quality and their delicacy and sensitivity of style, have had a lasting effect on the art of the novel.To the Lighthouse is generally regarded as the best work of Virginia Woolf. Edwin Muirs words, “Its aim is high and serious, its technique brilliant”. 1 Since

21、the novel treats Woolfs favorite themes of marriage, time, and death and in a further maturation of her subjective mode, plot is completely abandoned, with unity and coherence provided instead by imagery, symbolism, and poetic elements, it is difficult to exhaust the meaning of the story. Dorothy Br

22、ewster says: “Mrs Woolf exposes her reader to constellations of stimuli, which form patterns of many motifs, the shape and color of each depending largely upon its relationship to each part of the whole design.”2It seems that nothing happens, in this houseful of odd nice people, and yet all of life

23、happens. We have seen, through her, the world. To the Lighthouse, since its publication in 1930s, has been studied from varied theoretical perspectives. In Britain and America, the majority of critics prior to the 1970s approached it principally as a modernist aesthetic work, largely in terms of its

24、 narrative techniques and form, while in the last thirty years it has been the subject of psychoanalytic and deconstructionist criticisms. It can be clearly seen in most criticism that Woolfs life has been probed in recent years as rich ground for psychological inquiry and feminist pathbreaking. Yet

25、 little attention has been paid to Woolfs intense preoccupation with the relationship between feminism and artistic creation. As an artist, Woolf naturally considers life in a special way, which is mirrored by Lily Briscoe, who paints, in To the Lighthouse. Being a painter of impressionism, Lily is

26、always engaged in the problems originated from life and art. She burdens pressure of artistic creation and the identity of being a woman, and leads a difficult way which, fortunately, takes her to success in the end.This paper intends to give a thorough exploration into the self-development process

27、experienced by Lily Bricore in To the Lighthouse, on the sphere of feminism. Various approaches will be applied and I believe it will suffice us an opportunity to have a better understanding of the elusive masterpiece in the perspective of Lily Briscore, a seemingly subordinate, but critically cruci

28、al figure. An Exploration into Lilys Mental Journey Lilys voyage in the book is the process of her realization of painting a portrait of an artist of a woman with her own brush. As an artist, Lily is sensitive to the separation of life and the minute possibility of arts authentic reflection of life;

29、 and meanwhile the self-consciousness of being a woman further hinders her approach to artistic creation. She is beset with contradictory emotions resulting form the desire to paint in free inspiration and the inability to break out of her self-consciousness.Lily Briscoes self-development is based o

30、n her comprehension of Mrs. Ramsay from the moment when the elder woman poses for her painting to the recognition that “there she sat”3 ten years laterfrom the elder womens physical presence to her spiritual prevalence. Lily experiences a process resembling to a childs maturation: from the longing f

31、or sheltering under a mother, to the suffering caused by the loss of the mother, and to the final approach to an independent selfhood with a discovery of the essence of the mother. Her painting is a reflection of the mothers essence as well as a record of the accumulation of her moments of self-real

32、ization, which is mostly initiated through her relations with Mrs. Ramsay. Mrs. Ramsay does provide her with a possibility of wholeness against the fragmentation she perceives and the anguish she suffers in her painting. But meanwhile, Lily is also pulled into the elder womans emotional manipulation

33、, and is threatened by a possibility of loss of autonomy as well as artistic creativity. So, while desiring to identify herself with Mrs. Ramsay, she is simultaneously fighting against the urge to dissolve herself in the other woman who would annihilate her struggle for selfhood. If in Part I, Lilys

34、 fighting for her own identity is only indicated by her rejection to Mrs. Ramsays matchmaking, in Part III, her struggle is much more intensified since she is confronted with the emptiness haunting her life after Mrs. Ramsays death, and she is, on one hand, endeavoring to get free from her emotional

35、 dependency on the elder woman, and on the other hand, seeking to internalize and eternalize Mrs. Ramsays personality in herself. Only after her desire for Mrs. Ramsay from a physical presence to a spiritual internalization can her self-development be culminated and a new horizon be unveiled to her.

36、A. Pursuit Lily, a mature woman, no longer views painting as a possible refuge but rather a tool she intends to master so as to present the world in her own perception. However, she is deprived of the freedom to maintain her subjectivity due to her sex. The whisper that “women cant paint, women cant

37、 write”4 has been engraved in her consciousness rather than Charles Tansleys male-chauvinistic statement. As a result, she senses herself under observation and in painting, she has to subdue all her impressions as a woman to something much more general. Exhausted by the intensified emotion of aliena

38、tion between her true vision and the practical creation, she is in a profound desire of a unity with Mrs. Ramsay.In Part I of the novel, Lilys desire for a unity with Mrs. Ramsay is most intensified as she is painting to Mrs. Ramsays pose. Lily presents herself as a guest to the Ramsays but not a da

39、ughter. This position enables her to be a more objective observer of the family, but it also keeps her as an outsider of the mother-and-children bond. Mrs. Ramsay sitting with her son James and telling a story to him appears to Lily that she is in the strongest eagerness to be not as a lonely island

40、 of paradise, which only attached to and but also included in. To Lily, a woman artist, to gain her objectivity means to preserve her subjectivity of vision. Although through her painting, she is linked to Mrs. Ramsay in a visionary world, she is not safe mentally or physically. And the eagerness to

41、 join together with Mrs. Ramsay so as to be in a solid wholeness is so strong that she longs for, beyond the remote spiritual tie, a physical intimacy with her: “Could loving, as people called it, make her and Mrs. Ramsay one? For it was not knowledge but unity that she desired, but intimacy itself,

42、 which is knowledge .”5 The desire drowns her artistic inspiration, and to be sheltered from the observation of Mr. Ramsay and the whisper that “Women cant paint, women cant write”,6 she impulsively longs to fling herself at Mrs. Ramsays knee. Ironically, Mrs. Ramsay herself believes in the whisperi

43、ng voice that “women cant paint, women cant write” when she does protect Lily from the intrusion of Mr. Ramsay. So the young artists rejection to her spiritual mothers design for her life is inevitable unless she gives up her pursuit of her desire to paint in order to inherit the traditional role, w

44、hich means to her the loss of autonomy.Lilys rejection to marriage is in continuity with her pursuit of a unity with Mrs. Ramsay as well as an attempt to surpass the limitation of the elder woman. Through her observation of the Ramsays marriage, she sees Mrs. Ramsays over-dependence on others, her husband in particular, for an identity, a lack of aut