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1、SeeingStars:CommodityStardominMichaelCunningham'sTheHoursandVirginiaWoolf'sMrs.DallowayErikaSpohrerArizonaQuarterly:AJournalofAmericanLiterature,Culture,andTheory,Volume61,Number2,Summer2005,pp.114-132(Article)PublishedbyUniversityofArizonaDOI:10.1353/arq.200
2、5.0023Foradditionalinformationaboutthisarticlehttp://muse.jhu.edu/journals/arq/summary/v061/61.2.spohrer.htmlAccessProvidedbyUniversityofScience__ACCESS_STATEMENT__TechnologyBeijingat05/10/129:47AMGMTERIKASPOHRERSeeingStars:CommodityStardominMichaelCunningham
3、'sTheHoursandVirginiaWoolf'sMrs.DallowayEVENTHEMOSTDEDICATEDCRITICSwouldhaveahardtimeclaimingthatVirginiaWoolf'sMrs.Dallowayisanovelpri-marilyaboutthemovies—andtheywouldhaveanevenhardertimeclaimingthatitisaboutmoviestars.Woolfdoesrefertothethen-nascentmediumo
4、ffilmoccasionallythroughoutthenovel,butshedoessoalmostincidentally,asawayofsubtlydescribingcharacters,modernity,andtheconversationatClarissaDalloway'sparty.1InherintroductiontothePenguineditionofthenovel,ElaineShowalternotesthesethematicreferencestothecinema,
5、claimingthat"thecinemaisoneofthepostwardevelopmentsthathasalteredtherelationbetweentheclasses,andactedasaleveller.Everyonegoestothecinema,whereasthetraditionalentertainmentsofthemusichallandtheoperadrewverydifferentgroups"(xxi).Showalter'sintroduc-tionalsocom
6、mentsonthenovel'sformalconnectiontothecinema,asdoesLiaHotchkiss'smoreextendedanalysis.AndrecentlycriticshavebeguntoexploretheissueoffilmadaptationinrelationtoMrs.OaIh'way,notingeitheridentityconstructionineachorthechangesWoolf'stextundergoesasdirectorMarkenGo
7、rrisbringsittothescreen.2Theiranalyses,whiletheyindeedconnectMrs.Dallowaytothecinema(asdothoseofHotchkissandShowalter)havelittletodowiththecinemaArizonaQuarterlyVolume61,Number2,Summer2005Copyright©2005byArizonaBoardofRegentsISSN0004-1610114ErikaSpohrerasathe
8、mewithinthenovel.Andperhapsrightlyso,forthesparsemen-tionofthecinemainthetextthatWoolfwritesdoesnotdeclarefilmitsprimarytheme.Moviestarsgetevenlesstextualandcriticalattention;Woolfmention
