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单位代码10635学号112015310000749硕士学位论文伍尔夫小说《到灯塔去》的现代性及视觉建构论文作者：黎梓翎指导教师：刘立辉教授学科专业：英语语言文学研究方向：英美文学提交论文日期：2018年4月2日论文答辩日期：2018年5月19日学位授予单位：西南大学中国重庆2018年4月 独创性声明学位论文题目：伍尔夫小说《到灯塔去》的现代性及视觉建构本人提交的学位论文是在导师指导下进行的研究工作及取得的研究成果。论文中引用他人已经发表或出版过的研究成果，文中已加了特别标注。对本研究及学位论文撰写曾做出贡献的老师、朋友、同仁在文中作了明确说明并表示衷心感谢。学位论文作者：签字日期：2018年4月2日学位论文版权使用授权书本学位论文作者完全了解西南大学有关保留、使用学位论文的规定，有权保留并向国家有关部门或机构送交论文的复印件和磁盘，允许论文被查阅和借阅。本人授权西南大学研究生院（筹）可以将学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存、汇编学位论文。（保密的学位论文在解密后适用本授权书，本论文：□不保密，□保密期限至年月止）。学位论文作者签名：导师签名：签字日期：2018年4月2日签字日期：2018年4月2日 ModernityandVisualConstructioninWoolf’sTotheLighthouseLiZilingSupervisorProfessorLiuLihuiAThesisSubmittedinPartialFulfillmentoftheRequirementsfortheDegreeofM.A.inEnglishCOLLEGEOFINTERNATIONALSTUDIESSOUTHWESTUNIVERSITYApril,2018 AcknowledgementsFirstofall,Iwouldliketoacknowledgemyprofoundgratitudetomysupervisor,ProfessorLiuLihui,forhiscriticalinsightfulness,andforhispersistentinstruction.IamparticularlygratefulforProfessorLiuwhohasenlightenedmeoncriticalthinkingduringmypostgraduatestudies.Hisboundlessknowledgeandexcellentscholarshipinspiremetoconductmystudyfromtheperspectiveofmodernity.Duringwritingthisthesis,heprovideshisconstructivesuggestionsandadvisesmetoproofreadmythesiscarefully.Hisboundlessknowledgeandexcellentscholarshipplayanimportantroleinhelpingmetoproceedmypaperfurtherandstimulatemetoachievemygoal.Withouthisprofessionalguidanceandpatience,Icouldn’taccomplishthisthesis.IamgreatlyindebtedtosomeexcellentprofessorsinourForeignStudyDepartmentwhokeptinspiringmetoreadmorebeforeIundertookthisproject,suchasProfessorYankuiandProfessorLiuYu,ProfessorMengFanjun,theirlecturesandinvaluablecommentsonliteratureencouragedmetopreparemyresearch.Furthermore,IamextremelythankfultoProfessorLuoYimin,ProfessorLuoLangandProfessorLiuDan,fortheirilluminatingsuggestionswhenIpresentedmythesisproposal.Manyotherpeoplehavealsocontributedindifferentwaystothisthesis.IhavebenefitedfromdiscussionintheearlierstagewithourclassmatesJiangCairong,LvYingying,andLiJing,aswellasothercolleaguesandfriendsinSouthwestUniversity.IalsoowespecialthankstoTheExecutiveDepartmentinourSchoolofForeignStudiesforitsefficiencyandforseeingthisprojectthrough.IamverygratefultoteacherZhangYongmeiforhersupportandconcern.Finally,Iamthankfulformyfamilyfortheirlife-longsupport,aswellasmyfriendsfortheircomfortwhileIamwritingthisthesis,Iamdeeplygratefulfortheirever-lastloveandcompanionship. ContentsAbstract..................................................................................................................................I摘要................................................................................................................................IIIIntroduction...........................................................................................................................1ChapterOneModernityandConstructionofSelf-Identity...............................................6I.Modernity,ImageandDeconstructionofTradition...................................................6II.TheExperienceofModernArtistsinTotheLighthouse........................................11ChapterTwoModernityandInvisibleAnxietyofSocialClass......................................23I.ModernityandSociology.........................................................................................23II.TheInvisibleAnxietyofMiddleClassinTotheLighthouse.................................29ChapterThreeModernityandReconstructionofNationalIdentity................................38I.ModernityandDomesticLife..................................................................................38II.ModernityandVisualizedPoliticsinTotheLighthouse........................................48Conclusion..........................................................................................................................53WorksCited........................................................................................................................56i ModernityandVisualConstructioninWoolf’sTotheLighthouseAbstractTheearlydecadesofthe20thcenturywitnessedculturalchangesinBritain,andmodernityanditsimprintonsocietywerevisuallyorpictoriallypresentedinnovels.Modernityreflecteditselfalongwiththesocialandhistoricalbackgroundofhumanbeings.Andvisualpresentationconveyedculturalawarenesswhenapersonexperiencedthecontradictionandcrisisofself-identityinmodernlife.ThisthesisaimstoexploresomecharacteristicsofmodernityanditsvisualconstructioninWoolf’sTotheLighthousefromtheperspectiveofculturalstudies.Woolfvisuallyreflectsthreelevelsofculturalconsciousness.Thefirstlevelistheself-criticismcreatedbymodernartistswhoobservesthemodernagebyvisualart;andthesecondlevelisinvisibleanxietyofthemiddleclasswhodonottrustinanyorganizationbuttrustintheirvisualizedinformation.ThethirdlevelistheculturalhegemonyoftheBritishEmpireconcealedintheExhibition.Thisthesisiscomposedofthreeparts.ThefirstpartistodiscusstherelationshipbetweenimagesandmodernitybasedonAnthonyGiddens’stheoryandW.J.T.Mitchell’s.SinceChristianitynolongerconvincespeopletoworshipGod,theabsenceofGod'simagedeconstructsidolworship.Theprogressofscienceinturnacceleratestheprogressofrecognitionthatpeopleseetheworldwithreasonandlogic.However,thedevelopmentofvisualartenablespeopletoexperiencethefragmentalimagesconstantly.VirginiaWoolfexplicatesheraestheticvisionbyposingquestionsfromtheperspectiveofLilyBriscoe.Lilyiseagertoexploretheuncertaintyforthefuturebyrepresentingthesymbolicimages,eventhoughsheisconfrontedwithavaguenessofmodernity.ThebiographicalapproachwillbeadoptedtorevealhowWoolfvisuallyunfoldsthenatureofmodernity.Thesecondpartreflectstheinsecurityofthemiddleclasswhenthesocietyisvisualizeddiscontinuously.ThefirstsectionrevealstheinsecurityofthemiddleclassbasedonAnthonyGiddens’theory.ItdiscussestheproblemoftrustandriskprevailingI 西南大学硕士学位论文insocietyatthattime.Whenmodernityincreasesthespeedofexchanginginformation,whichhasgreatimpactonthesubjectivityofanindividualandtriggeredtheanxietybecauseanindividualhastodecidewhethertotrustthesocietyorhimself.Forthesubjectivelyunpleasantfeelingsofdreadoveranticipatedeventsabatetheforceofconnectionbetweenanindividualandasociety.Thesecondsectionisconcernedwithinfectioustuberculosisandmilksafetybasedoneugenicstheory.Therampantdiseaseandthesocialpoliciesunquestionablyreinforcethediscontinuousfeatureofmodernity,becausethemodernworldisnolongervisualizedasstable,systematicandregular.Woolfindicatesthatdiscontinuityandrupturehaveremarkablyincreasedthemiddleclass’sanxieties.Thethirdpartmainlyexploreshownationalidentityisreconstructedbyvisualizedmodernization.Thearchitectureissignifiedasasymbolofpower.Domesticdecoration,insomeway,isidentifiedasadisguisedpowerinmodernage.However,LilyBriscoeintendstofindabalancebetweendomesticspaceandthepublicspace.Sheresiststheintrusionofthepatriarchalpowerinthedomesticspace.Atthesametime,shedoesnotwanttobelabeledasatraditionalwomanwhoengagesinchores.However,WWIburstsoutandhouseturnedoutanimageofemptiness,whichmakesasenseoffragmentationaspartofmodernity.AfterWWI,BritishWorldExhibitionprovidedanopportunityforWoolftorealizethattheBritishEmpireendeavoredtoconstructanationalconfidencesoitvisualizeditspowertothepublic.TheimageoftheBritishEmpireistransmittedunconsciously.Therefore,whetherinthedomesticspaceorpublicspace,imagesareintertwinedwithmodernityintheprocessofvisualization.Basedontheanalysisoftherelationshipbetweenimagesandmodernity,thisthesisinvestigatesthatWoolfexpressesherunderstandingonmodernitythroughavisualconstruction.TheabsenceofGodresultsinthefactthatmodernpeoplestopbeingsubvertedtotheauthorityofareligion.Inmodernworld,theyprefertotrustthemselvesandreexaminethealienated,fragmental,discontinuousmodernity.Keywords:VirginiaWoolf;TotheLighthouse;Modernity;VisualConstructionII 伍尔夫小说《到灯塔去》的现代性与视觉构建摘要20世纪的英国社会急剧变化，文学现代性与人类社会历史发展变的密切相关,人们通过文学作品构建的视觉世界窥见现代性在现代生活反映的文化意识与文化认同，以及人们经历现代生活中的自我认同矛盾和危机。本文力图从文化研究的角度，探究弗吉尼亚·伍尔夫的小说《到灯塔去》所反映的现代性特征与视觉文化批评的关系。伍尔夫在该小说通过视觉建构反映了三种文化意识，一是现代艺术家在创作过程中通过观察现代性产的自我批评意识，二是中产阶级隐形的焦虑意识，三是二十世纪英国的国民集体意识。本论文由三部分组成。第一部分以安东尼·吉登斯现代性概念和W.J.T.米歇尔的图像理论为基础，主要阐述现代性与艺术形象创作的关系。由于传统基督教不再能满足人们图腾崇拜的需求，哲学和科学发展强调的理性与逻辑逐渐改变人们对世界的认知，现代人开始通过视觉艺术建构现代视觉图景。本节展示了伍尔夫如何通过莉莉·布里斯克的视觉角度传达了她对现代性的困惑。小说人物莉莉渴望探索未来的不确定性，在艺术探索过程中把现代性的特征转化成象征意义的意象。本节将结合伍尔夫传记式的研究反映了作者用视觉构建的方式展现了现代性的本质。第二部分反映在现代社会里中产阶级安全感缺失的问题，分为两节讨论。第一节从社会学范畴以安东尼·吉登斯的社会学理论为基础，探讨现代人普遍存在的信任危机。在信息高速传播的过程中，个人预测未来事件的主观性受到了现代化的冲击，所见所感带来的心理冲击会引发个人焦虑，而这种焦虑在阶级冲突问题面前削弱了群体与个人的联系。第二节通过描述中产阶级对当时传染病肺结核的恐惧，结合优生学理论探讨牛奶的安全问题背后隐藏的集体共同体的焦虑。当，猖獗的流行性疾病和不稳定的社会政策无疑进一步加剧了现代性的不连续性，社会被认为是一个充满变化、断裂式前进的社会，这种断裂式发展和不连续性进而增加了人们对未来的焦虑，导致中产阶级共同体的身份意识也变得模糊。第三部分主要探讨现代性与民族认同意识重建的关系。房屋被认为是权力和安全的象征，而家庭装饰艺术在某种程度上被认定为女性在家庭内部空间的权力的III 西南大学硕士学位论文延伸。然而，莉莉·布里斯克试图克服原生家庭带给她的焦虑，她拒绝了繁琐的家庭事务并且逃离了房子内部空间，这意味着她成功抵制了父权意识的入侵和拒绝她作为女性而被社会标签化。第一次世界大战后，伍尔夫参观英国世博会的经历使她清楚地看到了大英帝国如何从视觉层面合理化殖民地扩张，建立国民信心和加强共同体对本国文化的认同感。英国世界博览会向英国公众传递的视觉印象，目的在于表明英国仍然有足够的实力屹立在世界民族之林。因此，无论是在家庭空间还是社会公共空间，视觉化过程中的现代性经验和各种文化意识形态交织在一起，构成了一幅现代视觉图景。本文在现代性关系的基础上，通过视觉建构探讨伍尔夫对现代性的文化认知和身份认同。伍尔夫通过意象的象征意义审视和构建人物的内心世界，在视觉艺术中反映个人自我认知，但现代性的疏离感导致了集体共同体意识的缺失，这也正是大英帝国需要世博会来建立国民自信心的原因之一。上帝形象的缺席导致了现代人不再寄托于宗教，而是重新审视自己和社会的关系。在充满疏离感、不连续的现代生活中，人们把信任选择权从宗教的手中夺回，并重新认识自己所处的时代。关键词：弗吉尼亚·伍尔夫；《到灯塔去》；现代性；视觉建构IV IntroductionVirginiaWoolfisoneofthesignificantwritersofthemodernage.Sheunderwentuninterruptedmentaldiseasesandsufferedfromthelostofherfamilymembers,butWoolfleftusnineclassicalnovelsandsomenon-fictionworks,suchasletters,diariesandessayswhichhaveimpressedscholarsandcriticswithherartisticvision.VirginiaWoolfwasbornin1882andpassedawayin1941,whohadwitnessedthegreatchangeinBritainfromtheVictorianagetoanewage.Herexperienceinthecolorful,transientandfragmentalworldistransformedintodifferentsourcesofobservationstoseetheworld.CriticismofVirginiaWoolfhasbeenthroughmanyphases.ScholarsstartedtoapproachWoolfintheirownways.Atthebeginning,somestudiesfocusedonthecharactersinthefiction.Forinstance,LilyBriscoe,andMr.RamsayandMrs.Ramsay.SinceVirginiaWoolfcommentedinherdiarythatshewouldcreateanovelinwhichthepeoplewereparalleledtothecharacteristicsinherfamily,especiallythecharacter—Mr.Ramsay.“Iammakingup'TotheLighthouse'-theseaistobeheardallthroughit.IhaveanideathatIwillinventanewnameformybookstosupplant'novel'.Anew–byVirginiaWoolf.Butwhat?Elegy?”(D334)criticsfoundevidencefromVirginiaWoolf’sdiary,amongwhomAnneE.FernaldshowsnumerousexcerptsfromWoolf’sdiariesandletterstoimplythelikenessinheressay“TotheLighthouseintheContextofVirginiaWoolf’sDiariesandLife”.OtherscholarslikeErichAuerbachlaidouthisjudgmentsonTotheLighthouseinhislastchapterofMimesis:TheRepresentationofRealityinWesternCulture(1946).Butsomescholarsholddifferentopinionsonthenarrativetechniques,forexample.MichaelLevensonsuggeststhatthenovelis“abundantinrepresentationalresources”,andclaimsthattheperspectiveitself“createsatextureofplentitude,ratherthandiminishment”asAuerbachcommented.Somestudiesadoptthephilosophicalapproach,psychologicalapproachandmythapproach.Forexample,MarkHusseyreadsVirginiaWoolfinthecontextofEuropeanphilosophy.However,AnnBanfield(2000)recentlyrelatestheCambridgecircleofphilosophyinWoolf’shometothereflectionontheexistenceofsubstanceinthenovel.1 西南大学硕士学位论文In“Hume,StephenandElegyinTotheLighthouse”,GillianBeerarticulatestheinfluenceofLeslieStephenonWoolftounderstandandabsorbthetheoriesofHume,Locke,andBerkeley.SomescholarslikeShivKumarmainlyfocusesonBergsonandthestreamofconsciousness.In1990s,Woolfstudieshadbeendevelopedintoagoldenage,feminism,modernism,newhistoricism,andculturalmaterialism.Forexample,JaneGoldmanandherlandmarkTheFeministAestheticsofVirginiaWoolf:Modernism,Post-ImpressionismandthePoliticsoftheVisual(1998)waspartofthepioneeringstudies.Fromthenon,VirginiaWoolf’scriticalworkentitledARoomofOne’sOwn(1929)andThreeGuineas(1938)causedmuchattentionintheacademicarea.SomescholarslikeRachelBowlby,inFeministDestinationsandFurtherEssaysonVirginiaWoolf,illustratesthatLilyBriscoestandsoutsidetherelationshipofmarriageandtopaintitinisolatedattitude.SomescholarslikeNancyT.Bazin,triestoconcerntheandrogynyvisionwhenHerbertMarder,inhisFeminismandArt(1968),referstothethoughtsofandrogyny.Anumberofbookswereexpectedtobereleasedduringthistimetoexaminethecontextofmodernity,scienceandtechnology,artandgender.MaggieHummwroteabook—ModernistWomenandVisualCulture:VirginiaWoolf,VanessaBellandCinema—toconnectvisualmodernismfromtheperspectiveoffeminism,andunderpinnedsolidfoundationsbetweenvisualcultureandmodernism.ChristineFroulademonstratedthatVirginiaWoolfwascentraltomodernthoughtsandpoliticsinVirginiaWoolfandtheBloomsburyAvant-Garde:War,CivilizationandModernity(2005).InChina,VirginiaWoolfwasfirstlyintroducedbyZhaoJingshenasoneofthelegendarywesternnovelistsin1929.Afterthat,scholarsbegantoknowVirginiaWoolfandmademoreresearchbuiltondifferenttheories.ProfessorQuShijingisthefirstpersonwhomadethescholarlyresearchandintroducedWoolfinawiderangeoftranslations.ProfessorQuinvestigatedtheoriesofnovelofVirginiaWoolffrom1983,andhehadtranslatedvariousmaterialsassociatedwiththecriticismofWoolf’sliterarywork.Forexample,hecompiled21articlesandpublishedtheminabooknamedOnNovelsandNovelistsin1986.Afterwards,Scholarsproceededfurtherinvariousangels.ProfessorZhangZhongzaideliveredapaperin2007andpointedoutthattheartandthe2 Introductionrelationshipbetweenvisualartandthespacepolitics.Inaddition,ProfessorYanglixinpublishedabookabouttheaestheticandvisualartinasystematicanalysisin2015.However,therearefewstudiesfocusingonimagesandhowimageinfluencespeopleinmodernBritain,especiallytheaestheticvision.ClaudiaOlkdiscussedthemefirstinVirginiaWoolfandtheAestheticsofVision(2014).Differentfromanalyzingvisionbyusingaesthetictheory,heprobedintosymbolicimplicationsandfocusedonaestheticvision.ButtheweaknessofhisbookwasthatheneglectedtheinfluencefromWoolf’sparentandthesocialandpoliticalbackgroundduring1920-1930.TheepistemologyofsubjectandobjectwasembeddeddeeplyinherfatherLeslieStephenwhowasthefoundingeditoroftheDictionaryofNationalBiography,heliterallyintroducedVirginiaWoolftothepathofliterature.Woolfdidnotgotouniversity,butshereadbooksthatbelongedtoherfather,nevertheless,shewaslackofaformaltrainingeventhoughshewasaccessibletoherfather’slibrary.ButBloomsburymadeupforthelackofeducationoftheuniversityas“asocietyoforphanssettinguphousefreeofparentalauthority”(AnnBanfiled15),soWoolfextendedherlearningfurthertoconnectsocialaffairswithaesthetics.Woolfwasdeeplyaffectedbythedomesticspaceofherfamily,notonlyintheatmosphereofthetabletalks,butalsothecultureofmodernitywhichevolvedherintopoliticsandhistory.AlexZwerdlinghadinvestigatedtherelationshipsinWoolf’snovel,suchas“theinteriorlife”,“thesignificanthistoricaleventsormovementsthataffectlives.”(Zwerdling3-4)AndLindenPeachaddressedonthetheoryofFoucaulttosupporthisstatementthatWoolfwasinfluencedbythehistoricaleventsasanindividualbutsherefusedtosetdownthehistoryasfactsinhernovels.Itwasinformedthatthoughtsareorganizedunderthetextureofsocietyandpolitics,ratherthanbeingeliminatedcompletelyfromthecontext.Althoughhowplayfullythisnovel,TotheLighthouse,theexperienceofanavant-gardeartistwascoinedasaholidaymemoryofWoolfandherfamily,whichcouldbeseenasanisolationfromtherealBritishsocietyaslivingonanIrishisland.Fromthesocialandpoliticalcontext,thespaceservedasamediumtoconstructtheidentityoftheindividualasHenriLefebvrestressedthat“acontainerwaitingtobefilledbyacontent-i.e.matter,bodies”,throughsocialinteraction,humanbeingsproduces“acollectionofthingsoranaggregateofdata,norbyavoidpackedlikea3 西南大学硕士学位论文parcelwithvariouscontents,anditisirreducibletoa‘form’imposeduponphenomena,uponthings,uponphysicalmateriality”(26-27).DavidBradshawaccentuated,“InthesamewaythatWoolffeltthe‘materialist’novelistsweremissingtheessenceoflifewiththeiremphasisonexternalrealityandthatfictionneededtoreorientitselfifitwastostandanychanceofkeepingabreastofmodernity,sothethrustoftheselateressaysisonthecommercialhustleandbustleofOxfordStreet,theunceasingactivityoftheLondondocks,andotheraspectsofwhatWoolfcalledelsewhere‘thecrowdeddanceofmodernlife’”(30).AnnaSnaithlocatedVirginiaWoolfinpoliticalspaceandplace,herbookLocatingWoolf:ThePoliticsofSpaceandPlacediscussedandcollectedseveralessaysfromdifferentsectionstoofferinvaluablecommentsonVirginiaWoolf.Shehadstatedthat“Woolf'sfictionalandnon-fictionalwritingisconsistentlyconcernedwiththepoliticsofspaces:nationalspaces,civicspaces,privatespaces,orthetextualspacesofthewriter/printer”(AnnaSnaith1).ThisthesiswillprobeintothedomesticspacesandtheexhibitionofWoolfin1924asanempirevisionforBritishpeople.ForVirginiaWoolf,itwasarealisticviewforeveryindividualtoseetheotherpartoftheworldwithasenseofcentralityofEnglishnessthoughself-identitywaslostinthemiddleofthetrendofthoughts.ForClaudiaOlk,thevisionisoneoftheelementsinWoolf’snovel,“Vision,…,isaproductiveprincipleofnarrative.ThevisualisnotonlypertinenttoWoolf’sprocessofcomposition,buthernovelscreateakindofvisionthatispropertothetextitself–avisionthatreflectsontheexperienceofseeingandrenegotiatestherelationbetweenthereaderandthetext”(1).Therefore,thevisualizedarticulationandthedialecticdiscourseshouldbeinvestigatedfromtherelationbetweenthevisionandthemodernism.Visualcultureandmodernityarefragmental,diversified,andtransientincommon.VirginiaWoolfrecordsthediversified,transientmodernityintheformoftheavant-gardeart,shetriedtodehumanizethecharacterasafragmentalimageinthemaelstromofthemodernagebutaftershefinishedthewholebook,allthecharactersflushedinreaders’eyes,andtherelationshipbetweenindividualidentityandnationalidentityperformsinthevisualculturewhichembodiesthefeaturesofmodernity.Thisthesiswillbeconsistedofthreeparts,thefirstpartismainlyembodiedhowthedeathofGodandhowmodernpeople4 Introductionstruggletothevisualizationofmodernitywhentheymovefromcountrytocity.Modernityaffecttheepistemologyofartistinknowingthenewera.Thefirstchapterwillalsofocusontherelationofobjectandsubjectbecausethedistanceofthemwillinfluencethewaypeoplereceivetheworld.OnceGodwasdead,whatimagewouldreplacethepositionofGodasareferenceofamantoseethenewworld?AfterRenaissance,whatwouldbecentralinliterature?Philosophy?Art?Moreexplorationshouldbeprobedtomodernityasalabeltounderstandvisualconstruction.Thesecondchapterwillbeconcernedabouttherelationshipbetweenindividualandcommunitywhentheclassconflictseemedtobecomeadangeroussignalforgovernment.Whythemiddleclasswasfearofthetuberculosisdisease?WhydidMrs.Ramsayworryaboutthehealthproblemofherchildrenwhenshethinkingaboutsecurityofmilkdeliveryincity?ChapterthreewasconcernedaboutthepowerofimagewhenitcametotheinteriorandtheexteriorinBritain.Therearetwoaspects:thedomesticspaceforwomen,especiallythetraumaoflosingMrs.Ramsayforafamily,aturningpointforindividualtoseeanewerafromtraumaticperspective.ThesecondpartwilldiscusstheimpliedideologyofBritishEmpireasitheldanexhibitionwithimagesintheformoftechnology,andthevisualexperiencefortheBritishpeopleconstructedtheimageofapowerfulnation.Howvisualexperiencereflectstheworldbyreflectingitselfinthemirrorofvisualculture?Meanwhile,howamanconstructedhisownidentityintheinteractionofrealitybyseeinghisnationintheearlytwentiethcentury?5 ChapterOneModernityandConstructionofSelf-IdentityI.Modernity,ImageandDeconstructionofTraditionThemodernlifehaswitnessedmarvelouschangesinthetwentiethcentury:thephysicalsciencesischangingourwaysofseeingtheimagesoftheuniverseandourplaceinit;thepowerofindustrializationtransformsscientificknowledgeintotechnology,andcreatesnewhumanenvironmentswiththeprocessofdestroyingoldones,generatingnewformsofpower.Theterm“Modern”,inOxfordEnglishDictionary,ownsdifferentcategories,whenitisusedbeforenoun,itsmeaningis“ofthepresenttimeorrecenttime”;“(ofstyleinart,music,fashion,etc.)newandintendedtobedifferentfromtraditionalstyles.”Insociology,AnthonyGiddensdefinesitasashorthandtermformodernsociety,orindustrialcivilization.Portrayedinmoredetail,itisassociatedwith(1)acertainsetofattitudestowardstheworld,theideaoftheworldasopentotransformation,byhumanintervention;(2)acomplexofeconomicinstitutions,especiallyindustrialproductionandamarketeconomy;(3)acertainrangeofpoliticalinstitutions,includingthenation-stateandmassdemocracy.Largelyasaresultofthesecharacteristics,modernityisvastlymoredynamicthananyprevioustypeofsocialorder.Itisasociety,acomplexofinstitutions—which,unlikeanyprecedingculture,livesinthefuture,ratherthanthepast”(AnthonyGiddens,Conversations94).WhatGiddensdefinedisaprocessofcivilization,amodeofsocialorderwhichpromptspeopletoliveinthepresentratherthaninthepast.Itisdynamicandcomplex.However,modernitywouldbe“utterlymeaningless”without“thetemporal-sequentialconceptofhistory”and“amythicalandrecurrentmodel”(MateiCalinescu12).Mateiputmodernityintotheframeoftimeandspace.Ifwedatebacktothedevelopmentofmodernity,accordingtoMateiCalinescu,itwasbornduringChristianMiddleAges,itsoriginwaslinguisticallyconfirmedand“timewasconceivedalongessentiallytheologicallines,astangibleproofofthetransientcharacterofhumanlifeandasapermanentreminderofdeathandwhatlaybeyond”(19).ButMarshallBermanholds6 ChapterOneModernityandConstructionofSelf-Identitydifferentdefinitionthatmodernityprovidespeople“amodeofvitalexperience--experienceofspaceandtime,oftheselfandothers,oflife’spossibilitiesandperil”(15).Therefore,“Tobemodernistofindourselvesinanenvironmentthatpromisesusadventure,power,joy,growth,transformationofourselvesandtheworld-and,atthesametime,thatthreatenstodestroyeverythingwehave,everythingweknow,everythingweare”(MarshallBerman15).Moderntimereliesinasystemofinstitutionsinwhichallthesocialprinciples,orculturesintertwinedandcorrespondedbeyondtimeandspace.Somodernityislikeanimageofculturalstatethatpeopleobservetheworldandexplainitwithmultipleangles.Peoplebegintoredefinetherelationshipbetweentheselfandothers.Apparently,modernityhasturnedhumanlifefromreligioniconstovisualsecularization.However,withouttheengagementofGod,thiskindofrelationshipresultsinthefactthatthemankindisgoingtobeconfrontedwithmorecomplexchallenges,asBermandesignated:Modernenvironmentsandexperiencescutacrossallboundariesofgeographyandethnicity,ofclassandnationality,ofreligionandideology:inthissense,modernitycanbesaidtouniteallmankind.Butitisaparadoxicalunity,aunityofdisunity,itpoursusallintoamaelstromofperpetualdisintegrationandrenewal,ofstruggleandcontradiction,ofambiguityandanguish.TobemodernIStobepartofauniverseinwhich,asMarxsaid,‘allthatissolidmeltsintoair.’(MarshallBerman15)Inthissense,thereisaparadox.Boundariesarealleliminatedbymodernitysohumanbeingsareunitedtogethertotakeresponsibilityonthemselves,butmodernexperiencesisfeaturedindisintegration,struggleandambiguitythatmankindhastofindsomethingasaremindertoseetherelationshipbetweentheselfandtheotherinasociety.Communicationbecamedynamicintheirdevelopment,developingandlinkingeveryonetogetherindifferentgroupsofsocieties;increasinglynationsbegintoconstantlyexpandtheirpowers;masssocialmovementsofpeople,andpeoples,struggletoearntheequalityoftheirlivingandrights;finally,theworldevolveintoaprocessnamed“modernization”.MarshallBermandividedthishistoryintothreephases,thefirstphase“goesroughlyfromthestartofthesixteenthcenturytotheendoftheeighteenth”inwhichpeoplestartedtoexperiencethemodernlife.Inthisphase,peopledidnotknowhowtoadaptthemselvestothepublicsphere.Thesecondphase“begins7 西南大学硕士学位论文withthegreatrevolutionarywaveofthe1790s”,withtheinfluenceofFrenchRevolution,peoplebegantosensethedramaticchangeandupheavalsin“everydimensionofpersonal,socialandpoliticallife”,sotheprocessofmodernizationalsobegantodrawapictureinthemaelstromoflife.The20thcenturycomesasafinalphase,atthistime,“theprocessofmodernizationexpandstotakeinvirtuallythewholeworld,andthedevelopingworldcultureofmodernismachievesspectaculartriumphsinartandthought.”(MarshallBerman16-17),Bermansuggestedthatasthemodernpublicexpands,itshattersintoamultitudeoffragments,speakingincommensurableprivatelanguages;theideaofmodernity,conceivedinnumerousfragmentaryways,losesmuchof.itsvividness,resonanceanddepth,andlosesitscapacitytoorganizeandgivemeaningtopeople’slives.(15)Asaresult,inthemidstofamodernage,modernitywasanotionwhichfeaturedinitsmultipledimensionsofpublicsphereasthevisualconstructionoftheologicalconceptsbegantoshatterintopieces.Thisprocessofmodernizationbringsaboutmiseriesaswell.Sincemanbegantoconfrontthepressurefromeconomics,theyhadtoworkasamachineandwasdeprivedofrightstokeeptouchingwithnatureasawaytoexpandhisfeelingsandanxiety.Anindividualeagerlydesirestocatchupsomethinginthemodernenvironmentwithafearofbeingforgottenbyothers.Theprocessofmodernizationisrepresentedmeticulouslybymodernist,especiallymodernartistswhoaddressedtheirquestionstomakeprogressintheirwork.Calinescugenuinelymentionedthat“modernartisthatinwhichmodernartistreflectsawarenessofanunprecedentedmodernsituation....Thewritingofthemodernsistheartofobserversconsciousoftheactionoftheconditionobservedupontheirsensibility.Theircriticalawarenessincludesironicself-criticism”(89).Modernconditionengagedthemodernartistsinasenseofculturalawarenessthatwaspresentedinvisualconstruction.Andthevisualconstructioncommencedwiththeprocessofimageryinliteraturewhichrequiredanobserver.W.J.T.Mitchelldefinedthenotionofimagery,helinkedtheideaofan“idea”withimagery.Etymologically,“idea”comesfromtheGreekverb“tosee”.Whenhetalkedabout“visibleimage”,herefersakindofspecialperception.QuotedfromWittgenstein’stheory,Mitchellcameupwiththreerelationships:8 ChapterOneModernityandConstructionofSelf-Identity(1)betweenarealobjectandareflected,projected,ordepictedimageofthatobject;(2)betweenarealobjectandamentalimageinamind;(3)betweenamaterialimageandamentalone.(W.J.T.Mitchell15-16)Heaimedtousethecandletorepresenttherelationbetweenthevisualandpictorialparadigm,whichwasconcernedwiththesubject-object,ormind-matterdivisions.Thisparadigmisrelatedtothreesubjects:theobject(thephysicalworld,orthematerial),theimagery(theprocessofproducingidea),andthemind(ourconsciousness).Itisnodoubtthatifthereisnoimageintheworld,therewillbenoconnectionbetweenthemindandtheworld.Asthenotionof“idea”comesfromtheGreekverb“tosee”,whenweseetheworld,wecreateideas,makingpicturesinourmind.Theactionofseeingsomethingtriggersustomakeconnectionsbetweenourselvesandothers.Werecognize,perceiveanddeciphertheimagesonourpersonalexperiences.Oncetheimagescomeintooureyes,metaphorsystemisworking.Therefore,Mitchellstressedthatthis“ocularmetaphor”governedalltherepresentationaltheoriesofmind.Thepatternprovedthefactthatthevisualexperiencesisconsideredasasourceofknowingtheworld.For“themindislikeamirror,ordrawingsurface,weinevitablypostulateanothermindtodrawordecipherthepicturesinit.”(W.J.T.Mitchell17)Inaddition,Mitchellintroducedabriefhistoryofverbalimagery.Whatisverbalimagery?“Verbal”,inOxforddictionary,means“spoken,notwritten;relatingtowords”;“imagery”,standsfor“languagethatproducespicturesinthemindsofpeoplereadingorlistening.”(OED)So,verbalimagerymeansthatthespokenlanguageproducesimages,pictureswhenpeoplebegintocommunicate.ForMitchell,hedesignatedthefactthat“verbalimageryseemimmunetothechargeofbeingunknowablemetaphysicalentitieslockedawayinaprivate,subjectivespace.”(W.J.T.Mitchell20)Thusverbalimageryopenstoeverycommonlisteners,readerswithvariousmetaphysicalexplanationsforeverylistenerhashispersonalexperiences.Theliterarytextisakindofverballanguage.9 西南大学硕士学位论文Itisawrittentextthatstimulatesreaderstomakehisownimageswhenverballanguageisproducingimages.Asverbalimagerywastakenasthemetaphorical,disguised,anddecoratedlanguagefromthe18thcentury,however,Mitchelldiscoveredthatwhen“imagereachesitslogicalculmination,whentheentirepoemortextisregardedasanimage”,thisimagewasnolongerdefinedasalikenessorimpressionoftheliterarytext,itwasrepresentedas“asynchronicstructure”whichrepresentitselfwithemotionaswellaslogic(25).Inotherwords,animagenotonlycarriesonmetaphorstoprovidereaderswithvividimaginativedepictions,italsoguidesthemtologicatthesametime.Theverbalimageisnotbelongedtotheparadigmofthevisualrhetoric,itturnsouttobeadynamicandcomplexpatternforreaders.Whenthetimecomestothemodernage,theimageryprocessisemphasizedbylogic.Mitchelldescribed:Ifwereadthecircleandarrowaspicturesofabodyandphallus,thenthesymbolissynecdochic(synecdoche,myemphasis),presentingpartforwhole;ifwereaditasashieldandspear,thenitismetonymic,substitutingassociatedobjectsforthethingitself.Thissortofsubstitutioncan,ofcourse,alsoproceedbyverbal-visualpunning,sothatthenameofthethingpicturedisassociatedwithanotherthingwithasimilarsoundingname,....(27)Thisprocessutterlyrevealshowillustrationwentontoexplainthefigurativemeaningofaverbalimage,clearlywhenreadersdenotedthetexttheyread,thefigureofspeechstartedtotransformintothevisiblepicturesasareplacementofwords.Bothwritinganddrawingaretobetranslatedfromthepapertotheideas.AmodethatwordswerenotonlyusedindescribingthenatureorGod,theywerealsoappliedtoexpressthefeelings,emotions,orabstractconceptsinsocialscience.Inotherwords,wordsventuredtotransformitselfintheformofideainordertoexpressthemeaningpictoriallyorvisuallyinfictions,novelsandotherliterarymaterials.Thetransformationreflectedtheconsciousnessofpeopleinmodernistmethods.Mitchellindicatedthattheeyesdecidedhowpeoplereceivedandsensedamaterial.Hecommentedthatanimageisalikeness,aspirituallikenessandamaterialimagewereexpressedatthesametime.Forexample,theobjects,suchastrees,aredifferentfromeachother,buttheybelongedtoonecategory;whenwereadtheBible,weread“tree”,webuiltupourownimagesinspiritualway.ButMitchellpointedoutthattheimageisnotapicture.Thereasonisthat10 ChapterOneModernityandConstructionofSelf-Identitywecreatedifferentimagesbasedonthemodelsonthemind,sothespiritualvariationsbecomeadynamicpatterntolinkdifferences.Theword"image"waslinkedtothissortoflikenesswhenwetrytoconstructthemodelsoftheimages.Thatisthewayweperceivethelikenessbetweenonetreeandanother,butwecouldtellonedifferentimagefromanotherandknowthisimagebelongstothistreeratherthantheothertree.Therefore,Bible,wasregardedasaman-madeimage;“God”asanimageofpower,wasnolongerrespectfulfromRenaissance.Butthatmodecutawaynaturefromtheromanticismandsensationwhichresultedintheoverreactionofrealism.Inthenineteenthcentury,thewritersbegantodescribethedetailsofpeopleeventhoughwithoutthinkingaboutthefreshness,andlikenessofthecharacter.ThedeathofGodresultedinanabsenceofapowerfulimagewhichgovernedthesensationandimaginationofartandaesthetics.Peopleneedtofigureouthowtodealwithproblemsindailylifeiftheylackedphilosophicalknowledge.Thenotionofimagealsodevelopedasatendencytounderstandnatureanditslikenessinlife.Nature,insomeway,servedasaGodtoprovidepeoplewithnaturalsignsasaguidanceforlife.Ifreligionusesidolsasaproductiveimage,thensciencedeconstructsthespaceofitandtransformstherelationbetweenfigureofspeechandwords.TheabsenceofGod,andtheriseofworshipingnatureasasymbolofmother,whenmodernpeopleencounteredvisualizedmovementsofmodernage,theirexperiencesareinpartthestoryofmodernstruggleforthechangingsociety.II.TheExperienceofModernArtistsinTotheLighthouse“Ibelievethatthemainthinginbeginninganovelistofeel,notthatyoucanwriteit,butthatitexistsonthefarsideofagulf,whichwordscan’tcross:thatit’stobepulledthroughonlyinabreathlessanguish.NowwhenIsitdowntoanarticle,Ihaveanetofwordswhichwillcomedownontheideacertainlyinanhourorso.Butanovel,asIsaw,tobegoodshouldseem,beforeonewritesit,somethingunwriteable:butonlyvisible”(LettersIII529).Asagreatmodernistofthe20thcentury,VirginiaWoolfshowshergenuinetodelineatecharactersfromdifferentaspectstomakereadersthinkaboutmodernityandhowmodernityhasitsvisualimpactonthecharacters.AsRaymondWilliamscommentsontheoriginalityandgeniusofUlyssesthatthewayofseeingis“fragmentary,11 西南大学硕士学位论文miscellaneous,isolated”(RaymondWilliams,TheCountryandtheCity245).IfJoycedescribedthelossofacity,thenWilliamssuggeststhelossofarelationshipthat“inVirginiaWoolf,thisdiscontinuity,theatomism,ofthecitywasaestheticallyexperienced,asaproblemofperceptionwhichraisedtheproblemofidentity”(RaymondWilliams,TheCountryandtheCity241).1Asaresult,the“characteristicformsofmodernimagery”becameawritingstyleofVirginiaWoolfforshedepictsthecharactersandtheirbehaviorinadynamicway,likeafilm,apicturetoexpressthedifferentfeelingswithanobserver.Asaresult,themodernartistswhoweregettingusedtoeverythingintheirdailylifefromthenineteenthcentury,theexperiencesoflivingintherapiddevelopmentoftransport,technology,art,socialsciencewasshiftedfromtheuniversetothesensationsofthesurroundingsofthelife,especiallyinthewakeofthemodernization.Theworldisunitedintoasaunity,butsomethinghaschangedinmodernrelationship.VirginiaWoolfhasobservedthechangeofrelationshipandcommentedinheressay,“inaboutDecember1910humancharacterchanged.Allhumanrelationshaveshifted--thosebetweenmastersandservants,husbandsandwives,parentsandchildren.”2Whennewsocialandphilosophicalconditionswitnessedthechangeofthoughts,theintellectualsinthe19th-century,fromKarlMarxtoSigmundFreud,attemptedtoofferscientificorpoliticalideologiestostudythewakeofsecularization.InFiveFacesofModernity,MateiCalinescuhadpointedoutthattherewere“twomodernites”,onemodernitywastakenasastageofhistoryinWesterncivilization,whiletheotheronewasdefinedas“anaestheticconcept”.3However,1RaymondWilliamsobservedthat“thisfragmentaryexperience—nowacceleratedby‘motoringfast’—hasremainedaperceptualcondition.Itisdeeplyrelatedtoseveralcharacteristicformsofmodernimagery,mostevidentinpaintingandespeciallyinfilmwhichasmediumcontainsmuchofitsintrinsicmovement.”(242)Hesuggestedthatthewayoftraditionalliteraturewaschangedbyfragmentaryimagery.Eventhoughthesemovementswererecordedasaformofmotion,oraformofaesthetics,itwasstillrelatedtosociety.Itisclearthattheisolationofeveryindividualisanotherprojectionfromacommunitythatdevelopedinanewform,whichreflectstheircommunityideologiesonhistoryandsociety.SeeRaymondWilliams,TheCountryAndtheCityintheModernNovel.TheRandomHouse,1973,pp.241-282.2SeeLeonardWoolf.VirginiaWoolf:TheCollectedEssay,4vols.London:HogarthPress,1942.Herewasthefirstvolumeoftheseries,pp.320-321.3MateiCalinescucommentedthat,“Itisimpossibletosaypreciselywhenonecanbegintospeakoftheexistenceoftwodistinctandbitterlyconflictingmodernities.WhatiscertainisthatatsomepointduringthefirsthalfofthenineteenthcenturyanirreversiblesplitoccurredbetweenmodernityasastageinthehistoryofWesterncivilization—aproductofscientificandtechnologicalprogress,oftheindustrialrevolution,ofthesweepingeconomicandsocialchangesbroughtaboutbycapitalism-andmodernityasanaestheticconcept.”Therefore,Iquotedthiscommenttodiscusshowmodernistartistpaintedinbetweentheproductofcapitalism-themodernityasahistoryimage,andthemodernityasanconceptofaestheticsinthesecondpartofchapterone.SeeMateiCalinescu,FiveFacesofModernity:Modernism,Avant-garde,Decadence,Kitsch,Postmodernism.Durham:DukeUniversityPress.1987.p.41.12 ChapterOneModernityandConstructionofSelf-IdentityBaudelairedefinedthat“modernityisthetransient,thefleeting,thecontingent;itisonehalfofart,theotherbeingtheeternalandtheimmovable”(19).So,ifweconsideredmodernityfromaestheticanalysis,thenpainterwasthemostperfectpersontocapturethemodernexperienceandrepresenttheeternalbeautyofart.BaudelairequotedfromM.Delacroixtomakeametaphorthat“Natureisbutadictionary,”andheremarkedthatapaintercouldsearchthisdictionarytousesomewordsforhiscompositions,thenarrangedhisartistconceptionswithnewtechniques,finallytheworkwasgivenanewdress(Baudelaire52).However,MateiCalinescuconcludedthemostfeatureofmodernityinBaudelaire’sessaywasthatmodernityfeaturedin“itstendencytowardsomesortofimmediacy,itsattempttoidentifywithasensuouspresentgraspedinitstansitoriness”(48).Baudelaire’saesthetics,inthissense,hadrevealedtheessenceofliterature,forthemodernartistsdesiredtoescapefromthepastandrecordedthepresentwiththeindefiniteexternalizationofnatureandhumanbeings.Asaresult,thewaytoseeandcatchtheimageofthefleetingmomentwasarevoltagainsttheoldtradition.Theaestheticmodernityis“underthedisguiseof‘romanticism’”,butastheresearchwentfurther,themodernitygradually“eliminated”theeternalandtheimmutable,whichresultedintheexplorationtothefutureandtherealmofunknown.Caliescuanalyzedthecoreofthemodernitywhenhelinkedittotheformofart,heindicatedthatthemodernity“turnedagainstitself”,and“regarditselfasdecadence”withthenotionsofavant-garde(5).Hegavethedefinitionofmodernityinthebroadestsense.Modernityinthebroadestsense,…isreflectedintheirreconcilableoppositionbetweenthesetsofvaluescorrespondingto(1)theobjectified,sociallymeasurabletimeofcapitalistcivilization;(2)thepersonal,subjective,imaginativeduree,theprivatetimecreatedbytheunfoldingofthe‘self’.Thelatteridentityoftimeandselfconstitutesthefoundationofmodernistculture.Seenfromthisvantagepoint,aestheticmodernityuncoverssomereasonsforitsprofoundsenseofcrisisandforitsalienationfromtheothermodernity,whichforallitsobjectivityandrationality,haslacked,afterthedemistofreligion,anycompellingmoralormetaphysicaljustification.But,beingproducedbytheisolatedself,partlyasareactionagainstthedesacralized—andthereforedehumanized—timeofsocialactivity,thetimeconsciousnessseemstobethesameunboundedrelativism.(MateiCalinescu5)13 西南大学硕士学位论文Therefore,aestheticmodernityisdehumanizedasaitisreflected.Itseemstobecomealienatedfromothercultureforitsobjectivityandrationalityarelackingmoralormetaphysicaljustification.Butthealienationresultsinthecrisisthatifwritersabandontheirimaginative,subjectivemethod,theyalsoceasetojudgetheircharacters.Rationalityrequiresthemtodescribeeverythinginreasonablelogic,butthesubjectiveimaginationalsodesirestobereleasedpassionately.Thecontradictionforcesmodernisttocombinethemandthatiswhyvisualartbooms.VirginiaWoolfexpressedheraestheticandculturalobjectivityandrationalitybydepictingtheimagesandscenesinavant-gardemodernity.Shewasthereliablestory-tellerofthehistoryandsocialculturewhensheexperiencedthecrisisandchallengeofmodernityandvisualart.Firstofall,VirginiaWoolfwasbornandwell-educatedinanambienceofart.Atthattime,Britainwitnessedtremendousexplorationsinphilosophy,literature,science.Everycitizenwasshockedindifferentphysicalandmentalchanges.VirginiaWoolfexpressedhersensationsthatisabsorbedfromherexperiencesasamodernartist.WhenWoolfwaslivingwithherfamilybeforewar,theexperiencewascomposedintothe“TheWindow”.Whensheunderwentthetraumaduringthewar,shewasmoresensitivetothepainthanotherpeople,andsheavoidedtoexpandthisexperiencewithlongpassage,so“TimePasses”isshortenthanotherparts.Aftershereconciledwithheragony,shewasabletowritedownthenovelinvisualmethod.Thebeautifulimagesfloatintheair,theyaretoobeautifultobeseenasreal.Insomeway,TotheLighthouseamemoirofherexperience.Itissimilartomodernity,halfofthebeautyofart,andhalfoftherealitywhichliedinthefleetingmodernity,vanishinginstantly.WoolfhadevermentionedintheletterswithVanessathatshewasafraidthatthecharacterMrs.RamsayisoutofhumanitybecausethemotherimagewasvaguesinceshepassedawaywhenVirginiawasthirteen.Inotherwords,thenovelistoexpresshernostalgicmelancholiaforthepast,especiallythememoryoffamilylifeinVictoriantime.VirginiaWoolfwas“writingouthermind”whenshe“feel”shecan“floateverythingoffnow”,andthisbookwas“dictatedbyaslightmelancholia”,and“makes”herfeelshewas“old”,“ugly”(VirginiaWoolf,AWriter’sdiary84).Shealsothoughtofchildhood,thecottage14 ChapterOneModernityandConstructionofSelf-Identityandthedog.4Thediarywasfulfilledwiththesenseofmourningthepurenature,forWoolfcommencedtoloaththedecayofLondon,asiftheliteraturewasdecayingtacitly.Therefore,shewaseagerlysearchingsomethingthatenablehertodiscernthefeelingoffreshnessandcalm.Allofherexpectationwerethesameaseverymodernmanwhentheyexperiencedthesenseofdecayingandbeingstale.EventhoughthebackgroundofthisnovelwasimplantedtotheHebrides,butthelandscapewasestablishedonLondon.VirginiaWoolfkeptquestioningabouttheidentityofoneselfwhoseconsciousnessfloatedintheairofcityinaestheticvision.Herquestionsbrokethroughtheaestheticvisionsandfinallyfindoutthemeaningoflifeinmodernage.Theaestheticvisionisinnovative,fresh,poeticasawhole;butinsidethevision,everycharacterhashisownperspectivetoexplaintheworld.ThroughthelettersanddiariesitisapparentthatVirginiaWoolfenjoyedthefreshlifeincountrysideandwentouttherewhenshewasexhaustedaftercompletingabook.ShecomplainedabouttheawfulthingsinLondoninherletterstoherfriends.Infact,sheprojectedthisdullimpressioninherfiction.AccordingtoRaymond,inthedevelopmentofcity,literature,inthecontext,wasfulfilledwithastrongsubjectivity,anddevelopeditselfintoamode.Itisnot“streamofconsciousness”,neithernorthe“internalmonologue”,butitwasconnectedtosymbolism“inwhichtheisolationandprojectionofsignificantobjectsisaconsequenceoftheseparatedsubjectivityoftheobserver”.(TheCountryandtheCity246)So,theisolationofthebackgroundinasmallislandindicatedthatWoolfdesiredtocomebacktothepreviousUtopia.Itisanillusionafterall,butshestruggledtoescapefromthemodernizationandstilllivedinthepast.Becauseshelongedforanintimaterelationshipwhicheverythingisslowtobeseenandpurifiedasthepurenature.AsRaymondWilliamsillustrated,“thehistoryisnotinthiscity,butinthelossofacity,thelossofrelationships.Theonlyknowablecommunityisintheneed,thedesire,oftheracingandseparatedformsofconsciousness”(RaymondWilliams,TheCountryandtheCity245).Itrevealsthattherelationshipinthecityresultsinthedesireofastablesocialorder.Woolfiseagertorecaptureherromanticmemoriesbuttherealityremindsherthatis4VirginiaWoolfwroteinherdiary,“I’vehadtwoveryhappytimesinmylife-childhood-notwhenIgrewup,butlater,withmyboys’club,mycottageandmychow-andnow.NowIhaveallIwant.Mygarden-mydog.Saturday,March30th”.SeeVirginiaWoolf.AWriter'sDiary:BeingExtractsfromtheDiaryofVirginiaWoolf.Ed.LeonardWoolf.NewYorkandLondon:Harcourt,1954.15 西南大学硕士学位论文justabubbleofillusion.AndrewMcneilliestatedthatfirstly,itwas“thecommonstockofpost-Romanticmodernism”inwhichafarmoreextensiverootsystemenabledWoolfto“expandontherapturousexperience”andsupposedthat‘theshock-receiving’iswhatmakesherawriter.Shehastoexplaintheexperienceinwriting.Theshockorblowis‘atokenofsomerealthingbehindappearances’(AndrewMcneillie,“Bloomsbury”17-18),atanyrateitisaconstantideaofmine;thatbehindthecottonwoolishiddenapattern;thatwe–Imeanallhumanbeings–areconnectedwiththis;thatthewholeworldisaworkofart;thatwearepartsoftheworkofart.HamletoraBeethovenquartetisthetruthaboutthisvastmassthatwecalltheworld.ButthereisnoShakespeare,thereisnoBeethoven;certainlyandemphaticallythereisnoGod;wearethewords;wearethemusic;wearethethingitself.AndIseethiswhenIhaveashock.5AndrewMcneilliecommentedthat,ifWoolfrecognized1910asthebeginningofanew‘Post-Impressionistage’,itwouldtakealongperiodofgestation,beforeshecouldfullyrealizeaesthetictheoriesasanovelist.TotheLighthouseisthepost-impressionistnovel(AndrewMcneillie18),thoughWoolfaccentuated,“ImeannothingbyThelighthouse.Onehastohaveacentrallinedownthemiddleofthebooktoholdthedesigntogether.”6Inthisnovel,sheconstructeddoublelines,ononehand,shearticulatedthemodernitybyprojectingtheinnerworldonthedrawing,ontheotherhand,shetriedtoisolateherselfasanobjectivepainterwhoowned“surveillance”overthecommunityofthemodernpeopleasalinetomakethemabstract.ForAnnBanfield,sheencapsulatedtherelationofsubjectsandobjectinVirginiaWoolf’snovels.Sheexceedinglyremarked:TheuniverseofVirginiaWoolf′’snovelisamonadologywhosepluralityofpossibleworldsincludesprivatepointofspaceandtimeunobserved,unoccupiedbyanysubject.Objectsarereducedto‘sensedata’separablefromsensationsandobservingsubjectsto‘perspectives’….Aperspectivizedstylerecordsthevisionmutely,impartingitsstrangenesstothevision.Thefirstconclusionofthislogicistheideaofdeathastheseparationofsubjectandobject.Thesecond…,derivingfromitandelegiacformthatis5AndrewMcneilliequotedfromVirginiaWoolf’s‘ASketchofthePast’,MomentsofBeing,ed.JeanneShulkindLondon:UniversityofSussexPress,1976;2ndrev.edn.SanDiego:HarcourtBrace,1985,p.72.6SeeTheLettersofVirginiaWoolfVolumeIII:1923-1928,ed.NigelNicolsonandJoanneTrautmann,HarvestBooks,1980.p.385.16 ChapterOneModernityandConstructionofSelf-Identityanadequateresponsetotheworldrevealedbyscience.(AnnBanfield1)AnnBanfieldpointedoutthatthestyleofWoolf’snovelsleadtoakindofartthatwasbasedon“aphilosophicalsystem”,and“atomismmultipliestheseperspectives”.Eachindividualhadhisownphilosophicalsystemandhisperspectivetoseetheworld.Eachpersonlikesanatom,iscloselyconnectedtotheexternalworld,heobservestheworldasaspectator.WhatWoolftriestoconstructinherworks,isthataninnerexperiencecorrelatedwiththeexternalmodernworld,thewritersengageintheworldasaproofexistence,atthesametime,theyexpandtheirvisualspectrumtohavetheirexplorationsfortheoutside.Thevisualizationisaprogressofexpressingandexchangingtheimpliedmeaningbetweentwopersons.Anddifferentexplanationsarebasedondifferentphilosophicalsystems,whichmakestheworldbecomemorefragmental.BertrandArthurWilliamRussellwithG.E.MoorepreciselyenhancedtheirimpactontheVirginia’sbackgroundandtheBloomsburycirclefortheirtheoriesisconcernedwithmathematicalandlogicalprinciples.InTheProblemOfPhilosophy,Russellintroducedtheterms“private”and“public”totaketheplaceofsubjectandobject.Andheexpandedthemintosubjectivityandobjectivity.InMysticismandLogic,BertrandRussellprovidedapictureasananalogytoillustratetheconceptionofpersonalsense-data:.Supposethereareanumberofpeopleinaroom,allseeing,astheysay,thesametablesandchairs,wallsandpictures,notwoofthesepeoplehaveexactlythesamesense-data,yetthereissufficientsimilarityamongtheirdatatoenablethemtogrouptogethercertainofthesedataasappearanceofone“thing”totheseveralspectator,andothersasappearancesofanother“thing”.Besidestheappearanceswhichagiventhingintheroompresentstotheactualspectators,thereare,wemaysuppose,otherappearancewhichitwouldpresenttootherpossiblespectators.Ifamanweretositdownbetweenthetwoothers,theappearancewhichtheroomwouldrepresenttohimwouldbeintermediatebetweentheappearances,whichitrepresentstothetwoothers:andalthoughthisappearancewouldnotexistasitiswithoutthesense-organs,nervesandbrain,ofthenewarrivedspectators,stillitisnotunnaturaltosupposethat,fromthepositionwhichhenowoccupies,someappearanceoftheroomexistedbeforehisarrival.(149)Everyspectatorisrepresentedtotheroom,afterhearrivedintheroom,hissense-dataenablestolinkhimwiththeroomtoactasaspectator,herethesesense-data17 西南大学硕士学位论文isprivateanduniquetoeachperson,whichisimportantbecauseheobservesthe“things”bygatheringuphissense-datatoseeitfromadistance.So,Russellwassupportivetotheideathat“theprivacyofintrospectivedata”issetuponthephysicalworld.ErichAuerbachcommentedthat“thewriterasnarratorofobjectivefactshasalmostcompletelyvanished”and“exterioreventshaveactuallylosttheirhegemony.”Therefore,accordingtoAuerbach,theoutsideworldservesonlyasan“occasion…whichreleasesthemuchmoresignificantinnerprocess”(ErichAuerbach474).Therefore,theprivateworldiscateredtoamodernartistwhostresseshisprivateworldandreflectsmultifariousaspectsofconsciousnessbyexpandinghis“introspectivedata”invisualconstruction.Asaresult,theobjectsarecaptivatedanddiversifiedexceedinglyintotheparamountimpressionwhentheobservationcommences.Sinceanindividualwasvisualizedasanindependentatomthatoccupiedapositiontoobservetheworld,atthesametime,hewaspartoftheworld.Woolfexploredtheinnerworldinvisualexperiencesentangledwithsociety.Diaries,letters,reviewsandbooksareverifiedthatthisnovelisparalleledasanon-fictionalworldforcriticstodigmoreinformationfromVirginiaWoolf,becausesheembodiedherpoetic,ambiguousimageryasLilyBriscoewasexposedtoapanoramaofmodernculture.Throughbiographicalapproaches,VirginiaWoolfislackofsystematictrainingofacademiclecturesofphilosophy,shewasnotallowedtogotouniversitybutshewasaccessibletoreadsomebasictheoryofphilosophy.TheBloomsburyeliminatedtheblindnessofWoolftophilosophy,WoolfandhersisterVanessaBellgetclosertoaestheticswheretheymetRogerFry.What’smore,theconnectionwithRogerFryimposeWoolfonart,orvisualart:“thosesenseswhicharestimulatedsobrisklybythemoderns;thesensesofsight,ofsound,oftouch”(CEII,158).RogerFrysavedherfromthedilemmaofstickinginthegulf,ponderingonthemodernityandaesthetics.ChristopherReedproclaimedthat“theterm‘literary’appliedtoartsignifiedanunhealthyemphasisonillusionattheexpenseofsuchformalvaluesidentifiedbyFryasrhythmofline,mass,proportion,lightandshade,color,andperspective”(ChristopherReed,TwentiethCenturyLiterature22)Woolfendeavoredtoexpoundwherehumanbeingsstayed,whythemodernworldwasbewildering,andthenthevisionofpainting,inotherword,themethodoficonologypaysthewayforhertounderstandtheformand18 ChapterOneModernityandConstructionofSelf-Identitythecontentofartandliterature.LilyBriscoewasanarchetypeofmodernartists.shepicturestheworldwhileVirginiaWoolfvisualizedtheprocessofpaintingandtriedtodecreasetheinfluenceofnarrativetechniquestorevealtheoriginalshape,color,orformofobjects.Shestartstocombinetheskillsofnarrationwiththestyleofpainting.In1925,sheassertedthatpaintingwasusefulanddominatedinmodernlife.Weareunderthedominionofpainting.Wereallmodernpaintingstobedestroyed,acriticofthetwenty-fifthcenturywouldbeabletodeducefromtheworksofProustalonetheexistenceofMatisse,Cezanne,Derain,andPicasso;hewouldbeabletosaywiththosebooksbeforehimthatpaintersofthehighestoriginalityandpowermustbecoveringcanvasaftercanvas,squeezingtubeaftertube,intheroomnextdoor.(MomentofBeing140)VirginiaWoolfhighlyappreciatesmodernpaintings,forCezanne,sheremarksthatnopainterismoreprovocativelikehimtotheliterarysense,becausehispicturesareembodiedaudaciouslyandprovocativelythattheverypigmentseemstochallengeus,topressonsomenerve,tostimulate,toexcite”(MomentofBeing142).Woolfwasinterestedincomparingpaintingwithwriting,shelearnedthetechniquesofpaintersandappliedtheminexperimentsofhernovel—TotheLighthouse,fromthevoiceofthecharacterLilyBriscoewhostrugglestoaccomplishthepaintingduringalongtime.Thoughsheunderwentthoroughlyabstruseidentificationofself-identity,Lilyconquersthestruggletoinfusethevisualexperiencesandhowsheinteractswiththevisualmodernization.Purecreativityisnottheonlyfactorthatacceleratesthisartisttoworkonthevision,thelifethatWoolflivedbeforethewarandafterthewarconstructsakindofcontinuitythathelpedhertocatchaconstantsignalwithinthepalpableworld.WhenLilyBriscoeeventuallysaid,“Ihadmyvision”,itisthesametimethatVirginiaWoolfconstructsherunderstandingofmodernityfromtheexperienceofwhichshelivedwithherfamilyandgoesthroughthetraumaofcatastrophicwar.Inthenoveltheimageof“mirror”and“canvas”wererepresentedastwooppositionstodenotewhichpartwasLilyBriscoe’svision,andwhichpartwasthememoirofWoolfonherparents.Theimage“mirror”reflectedtherelationbetweenmanandnature,whichwaswithoutanyadornmenttotheillustrationofconsciousness.Whiletheblank“canvas”representsa19 西南大学硕士学位论文mentalstatusthatLilyBriscoepaintsandhowsheencapsulateshervisualexperiencesinillustratingmodernlife.Thefeatureofmodernityliesintheconceptsofimageandtheprocessofimagery,foranavant-gardeartist,hesoundlyexposeshisculturalawarenessinasituationandtransformsthedespair,loneliness,disintegrationandfragmentationintovisualizedsensationssothatheisabletoadapthimselfentirelyintothedynamicchange.WhileLilydealswiththeproblemwithpictures,forexample,thepurpletriangle,itwouldbethesametimethatWoolfexpressedherunderstandingofmakingcharacterofanovel.Woolfwrotein“CharacterinFiction”,sheinsistedthatnovelistsshouldexpresscharacters,nottopreachdoctrines,singsongs,orcelebratethegloriesoftheBritishEmpire,thattheformofthenovel,soclumsy,verbose,andundramatic,sorich,elastic,andalive,hasbeenevolved(DavidBradshaw,SelectedEssays,123).HeresheappliedametaphoronMrWells,MrGalsworthy,MrBennettandMrsBrown,who“aretravellingtoWaterloo”intherailwaycarriage,onthistripandsheseizesuponallthesesymptomsoftheconditionofprojectingtheirvisionsontheworld.WoolfcriticizedironicallyonMr.WellsandMr.Galsworthy,indicatingthattheyonlyfocusedonsomethingelseratherthandescribingthecharacters.Firstofall,shecriticizedonMr.Wells,MrWellswouldinstantlyprojectuponthewindow-paneavisionofabetter,breezier,jollier,happier,moreadventurousandgallantworld,wherethesemustyrailwaycarriagesandfustyoldwomendonotexist;wheremiraculousbargesbringtropicalfruittoCamberwellbyeighto’clockinthemorning;wheretherearepublicnurseries,fountains,andlibraries,dining-rooms,drawing-rooms,andmarriages;whereeverycitizenisgenerousandcandid,manlyandmagnificent,andratherlikeMrWellshimself.ButnobodyisintheleastlikeMrsBrown.TherearenoMrsBrownsinUtopia.IndeedIdonotthinkthatMrWells,inhispassiontomakeherwhatsheoughttobe,wouldwasteathoughtuponherassheis.(DavidBradshaw,SelectedEssays-OxfordWorldClassics127-8)Afterthat,WoolfcontinuedtocriticizeMr.Galsworthy,AndwhatwouldMrGalsworthysee?CanwedoubtthatthewallsofDoulton’sfactorywouldtakehisfancy?Therearewomeninthatfactorywhomaketwenty-fivedozenearthenwarepotseveryday.TherearemothersintheMileEndRoad*whodependuponthefarthingswhichthosewomenearn.ButthereareemployersinSurreywhoare20 ChapterOneModernityandConstructionofSelf-Identityevennowsmokingrichcigarswhilethenightingalesings.Burningwithindignation,stuffedwithinformation,arraigningcivilisation,MrGalsworthywouldonlyseeinMrsBrownapotbrokenonthewheelandthrownintothecorner.MrBennett,aloneoftheEdwardians,wouldkeephiseyesinthecarriage.He,indeed,wouldobserveeverydetailwithimmensecare.Hewouldnoticetheadvertisements;thepicturesofSwanageandPortsmouth;thewayinwhichthecushionbulgedbetweenthebuttons;howMrs.Brownworeabroochwhichhadcostthree-and-ten-threeatWhitworth’sbazaar;andhadmendedbothgloves—indeedthethumboftheleft-handglovehadbeenreplaced.Andhewouldobserve,atlength,howthiswasthenon-stoptrainfromWindsorwhichcallsatRichmondfortheconvenienceofmiddle-classresidents,whocanaffordtogotothetheatrebuthavenotreachedthesocialrankwhichcanaffordmotorcars,thoughitistrue,thereareoccasions(hewouldtelluswhat),whentheyhirethemfromacompany(hewouldtelluswhich).AndsohewouldgraduallysidlesedatelytowardsMrsBrown,andwouldremarkhowshehadbeenleftalittlecopyhold,notfreehold,propertyatDatchet,which,however,wasmortgagedtoMrBungaythesolicitor.(DavidBradshaw,SelectedEssays128)VirginiaWoolfstatedthereasonwhyshecomparedthewrongconventionofGeorgiansforsheproclaimedthatthewritermustgetintotouchwithhisreadersdescribingdetailswithdehumanizedattitudetoagreatextantthathereconcileshisimaginationwithobjectivedepictiontomakelotsofimagesinreadingprocess.TheinnovationofEdwardianswasthattheydescribedaccuratelyandminutelyabouttheenvironmentofcharactersandwhattheyperceivedfromthewindowofthathouse.ItwasalsotheprinciplesofWoolftotellthestoryofacharacterasmuchasshecould.Sheexamineddespairinglytodescribeindetails,toreportaccuratelyeverysensation,everyvisionthatbumpedintohermind,andthemostimportantpointforherwastoproceedtotumblethem(allsortsofscenes)out,andtodescribethisvivid,thisovermasteringimpressionbylikeningittoadraughtorasmellofburning(135).However,whenthedescriptionwasoverwhelming,theEdwardiansstressedonthedetailsofacharactertothegreatextant,whichinsomeway,ignorethefreshnessofrealityandfocusedmuchonthetextureoflife.ShemadeametaphorthattheEdwardianshavelaidanenormousstressuponthefabricofthings,whichgavereadersahousewithahopethatthehousewasworthofliving,atthesametime,infactthishouseisonthesecondlevelofconsiderationbecausepeoplelivinginthathousewasthefirstprioritytobeweighedon.Therefore,thepositionofawriteristocommunicatewiththepublic.However,VirginiaWoolfcriticizedtherecognitionofpubliconthecommonthingsthatsheobservedthat21 西南大学硕士学位论文peoplewereconvictedtoacceptextraordinaryideasandthoughtrevolutionarywhiletheywereconfrontedwithnormal,scientificinformation,theychosetosteerawayfromthat.WhenLilyisstuckintheself/otherrelationship,theproblemisnotonlyabouttheconflictanddominationinpublicsphere,butaboutmutualcooperationwhenshecommunicateswithdifferentcharacters.Variouschangesforcedhertothinkmoreandmoreintermsofrisk.Oneistheconsiderationonthepaintinginprevioustradition.Whathasbeendoneinthepast,themoresheengagesinmemories,themoreshecouldnotgetoutofthefabricofthetradition.Infact,whenshedepictstherelationofMrs.RamsayandJames,Lilydesirestoadddarknesstothebrightimage,shereducedtheimageofmotherandchildtoashadow(TL42).Shestaysintheoldpositionandsubduedtheimpressionstogeneralizetheobjects,usingthepowerofsurveillancetocatchthevisionofwhatsheseeandgropesforherpicture(TL42).Shewantstorevealtheintimacyofrelationshipbutitresultsinthefactthattheintimacyofhumanbeingsistooabstracttorepresentanyfreshnessofreality.Shewantstoarticulatetheshape,thecolor,ortheformbygivingthemmeaning,butshehastoprojectthembyinternalizingthevisionswithoutaddingtoomuchsubjectiveemotions.Shestrugglestobreakawayfromtradition,butshegropesfortruth,beauty,andmeaningthroughthevaguenessofmodernity.Inhereye,themeaningwouldsuddenlydescendonpeopleandmadethemrepresentative,thesymbolsofmorality,suchasmarriage,family,love,arebecomingmeaningfulwhentheseimagesaredrawndown.However,itisnotenoughforanavant-gardeartist.LilyBriscoeprojectsherhopeonuncertainfuture,sotheimageofthelighthouseisasymboloffutureandhopeforherandherfamily.ButmodernlifethrustsLilytodecidewhethertogotothelighthouse,whichmeanssheislikelytofacetwopossibleresults,toseetheugly,hopelessreallighthouse,ortobuildupabeautifuldreamforeverinherimagination.22 ChapterTwoModernityandInvisibleAnxietyofSocialClassI.ModernityandSociologyModernity,throughtheinterviewbetweenChristopherPiersonandGiddens,Christopherwasconcernedaboutanxietyinlivingunderlatemodernity,AnthonyGiddensanswered:“Therearejustdifferentsourcesofanxiety.IntheMiddleAges,therewasplentytobedoneworriedabout,aswementionedearlier.It'sjustthatnowthesourcesofanxietyareboundupwithwhatwehavedonetotheworldratherthanwhatGodmightdotoitortous”(AnthonyGiddens,Conversations114).ThemodernagewitnessedthechangeofrelationbetweenhumanbeingsandGod,orthenatureandthecivilizedcity,whatmadepeoplefeelanxiouswasthattheunknownworldfortheworldthatwasgoingtobeglobalizedandinclinedtohavefulfilledwithmoremenacingevents.ButGiddensrespondedthathedidnotworryaboutthat,sincehumanbeingsrealizedthathumanbeingscreatedtheproblemratherthanGodmade.Insecurityandanxietyaretheproductofmodernity.Giddenscommentedexplicitlyaboutreflexivity,thatallhumanbeingsarereflectiveinpracticalconsciousness.Socialreflexivityreferstoaworldincreasinglyconstitutedbyinformationratherthanpre-givenmodesofconduct.Thesocietyisconveyingitsinformationbytechnologythatismainlyconsistsoftelevision,newspaper,orothermedium.Thewaywereceiveinformationresultsinthewayweimaginetheworld,andhowwerespondtotheinformation.Wehavetotakesomanyforward-orienteddecisions.Inthatsense,weliveinamuchmorereflexivewaythanpreviousgenerationshavedone(Giddens,Conversations115).Oneofthefeaturesofmodernityis“discontinuities”,Giddensidentifiedthistermwiththreefeaturesthatwereinvolvedintothesocialorder.Oneis“thesheerpaceofchange”,“thescopeofchange”,and“theintrinsicnatureofmoderninstitutions”(Giddens,TheConsequencesofModernity6,emphasisoriginal).Thesefeaturesindicatedthatthespaceandthescopeofcontemporarycivilizations23 西南大学硕士学位论文undoubtedlycalledforalternation,whichresultedintheimmensechangeintherelationbetweensocialinstitutionsandeconomiclabor.Therefore,whenthesocialrelationshipchanged,peopleneedtobecarefulaboutthedecisionsandtheriskstheymade.Thehavetorelyontheinformationtheyacquirevisuallytochoosetotrustsomebodyorsomeorganizations.AccordingtoGiddens,hedefinedtheword“trust”byOxfordEnglishDictionarythattrustisa“confidenceinorrelianceonsomequalityorattributeofapersonorthing,orthetruthofastatement”(Giddens,TheConsequencesofModernity30),sotrustisamirrortoreflectrelationshipinsociety.Trustpresupposesinourmindwithavisionofriskwhenpeoplehavetotakedecisions.Trustbuildsupareliableconfidencetoforeseethebadresults,sopeoplerefertotrustwhattheysee,orhear,andthinklogicallytomakedecisions.Giddenshadpointedoutthat“riskandtrustintertwine.”and“riskisnotjustamatterofindividualaction”,forthe“environmentsofrisk”wouldcollectivelyaffectlargemassesofindividualsGiddens,TheConsequencesofModernity35).Therefore,whenmodernpeopleareconfrontedwithtonsofchoicesinlife,theyarenotjustmakingadecisionbytheirtrust.Theobligationsfromacommunityhaveinfluencedthemodernpeople.Thoughexcessiverightsformakingdecisionsindailylifehaveconfusedthemwithcomplicatedinformation,thereisnodoubtthosepeoplewouldfacetheproblemoftakingariskateverydecision.Anindividualestablisheshisself-identitybymakingdecisionsamongacommunityasawaytoseeothersandhimself.Theimagesforself/otherremindhimtobecarefulabouttakingrisksbecausetherelationshipwillbeinfluenced.Thereisasenseofanxietyforanindividual.Hehastotrusttheinformation,anddistinguishestherightfromthewrong.Thereisnolongerastandardforhimtoverifythem.Iftheindividualsaregiventoomuchfreedomwhentherearenoobligationsalongwithfreedom,whichwillbringabouttheinvisibleanxietybetweenclasses,races,orgender.AnxietytochoosebetweensimilaroptionsisincreasinglybeingrecognizedasaproblemforindividualsandfororganizationsAsVirginiaWoolfhastheresponsivesensationsontheageoftimeas“ademocratichigh-brow”(MelbaCuddy-Keane13).When“democratic”and“highbrow”arerelevanttoWoolf,shedefinedmoretermstoavoidtheculturalcontroversiesandideologicaldebates—“popular,”and“mass”,which“meanhostilitytopopularliterature24 ChapterTwoModernityandInvisibleAnxietyofSocialClassandordinaryreaders”.Amodernistwriterstrugglesbetweendifferentclasses,especiallythe“democratichigh-brow”cultureandothercultures.Sinceclassicaltraditionprovidedabundantimagesforawritertomoveon,whichisalsolikelyaburdenforhimtoovercomethedifficultyofstayinginaappropriatepositiontokeepconnectionwiththeaudience.AsWhitworthcommented,Towriteinadistinctively‘literary’manner,foranaudienceofotherspecialists,istoriskretreatingfromtheproblemsoftherealworld,andsotoweakenliterature’sclaimstobeofanyimportanceinthatworld.Ontheotherhand,towriteaccessiblyforamassaudienceistoriskcompromisingthedistinctivenessofliterature,andsotodestroytheseparationfromtheworldwhichgivesliteraturethepowertocommentonit.Inthislightonecanseetheformalexperimentsofliterarymodernismasattemptstoproducealiteraturewhichcouldengagewiththeworldwhilemaintainingacriticaldistancebothfromitandfrommereliteraryentertainments;asattempts,inotherwords,toproducealiteraturethatreallymattered.(75)Towriteistoattempttoproducevisions.Asmodernityisopennessfordifferentspecialiststoseetheworldintheirownperspectives.ThereisnodoubtthatBloomsburysharedasenseofintimacyforVirginiaWoolflikeparentalprotectioninanintimatedrelationship.Whensheheldapartywiththem,themembersfromdifferentaspectsexpressedtheiropinionsonmodernsociety,andaspiredtochangeit.VirginiaWoolfdescribedthewisdomwhentheintellectualsgatheredandshepursuedthetruthofPlato,Socrates,theGreekphilosophy,andetc.Shewrote,“ItisPlato,ofcourse,whorevealsthelifeindoors,anddescribeshow,whenapartyoffriendsmetandhadeatennotatallluxuriouslyanddrunkalittlewine,somehandsomeboyventuredaquestion,orquotedanopinion,andSocratestookitup,fingeredit,turneditround,lookedatitthiswayandthat,swiftlystrippeditofitsinconsistenciesandfalsitiesandbroughtthewholecompany...togazewithhimatthetruth.Itisanexhaustingprocess...Arepleasureandgoodthesame?Canvirtuebetaught?Isvirtueknowledge?Thetiredorfeeblemindmayeasilylapseastheremorselessquestioningproceeds;butnoone,howeverweak,canfail,evenifhedoesnotlearnmorefromPlato,toloveknowledgebetter.Forastheargumentmountsfromsteptostep,Protagorasyielding,Socratespushingon,whatmattersisnotsomuchtheendwereachasourmannerofreachingit.Thatallcanfeel–theindomitablehonesty,thecourage,theloveoftruthwhichdrawSocratesandusinhiswaketothesummitwhere,ifwetoomaystandfora25 西南大学硕士学位论文moment,itistoenjoythegreatestfelicityofwhichwearecapable.”(E44–6)7Therefore,theconversationwassimilartotherealityofBloomsburywhenaroundthedinnertale,Mr.Ramsayandyoungmenare“talkingaboutwagesandunemployment”(75),and“allofthembendingthemselvestolistenthought”(76).Thesceneshowstwovisions,oneisthelanguageofwhatcharactersspokeandtheotherwasthevisualizedthoughtsintheirmind.Thediscontinuityofmodernityleftthecitizensinamoderncitylikeanislandisolated.Therelationofselfandothersbegantodisappear,tovanish.Inotherwords,thediscontinuity,insomesense,addsmoreunstablefactorstomakedecisions,whentheintellectualsareconcerningaboutsafety,risk,andtrust.GiddenshaddiscussedtherelationshipofthemduringhisconversationwithPierson,Riskhastobeseparatedfromhazardordanger.Riskisabouttheactiveassessmentoffuturehazards,andbecomesamorepervasivenotionthemoreasocietyseekstoliveinthefutureandshapeitactively.Theconceptofriskbecomesgeneralizedwiththeriseofmodernity,asdoestheideaofinsurance.Insuranceandsafetyaretheothersideofrisk.Trustisalsoaboutthebindingoftimeandspace,becausetrustmeansgivingcommitmenttoaperson,grouporsystemacrossfuturetime.Thenotionoftrustalsotendstobeamodernnotion.Obviouslythereareformsofwhatwewouldnowcalltrustintraditionalcultures.Mostsuchcultures,however,don'thaveanotionoftrustorrisk.Riskandtrustarecloselyboundupwithoneanother.Trustinaperson,orinasystem,suchasabankingsystemcanbeameansofcopingwithrisk,whileacceptanceofriskcanbeameansofgeneratingtrust.(100-101)TherelationissimilartowhatHenryLefebvrehadconcludethatsecurityisthekeyelementof‘well-being’,whichcanbeseenasalifestyle,furthermore,securityisthefirstconditionanditscrucialquality,muchmoresothanmaterialcomfortandmassconsumption.Inawiderangeofdifferentareas-health,work,education--itisclearlyaprimeaspiration(HenryLefebvre,IntroductiontoModernity190).DavidBradshawhaddiscoveredthatcivilizationhad“alonggestation”andCliveBell,VirginiaWoolf’sbrother-in-law,arguedthatthecivilizationinthelastchapterofCivilization,hestatedthattheprocessofcivilizationshouldn’tcivilizingthefewattheexpenseofthemany.7SeeVirginiaWoolf.TheEssaysofVirginiaWoolf,Vol.2.Ed.AndrewMcNeillie.London:Harcourt,1986.26 ChapterTwoModernityandInvisibleAnxietyofSocialClassHeemphasizedthesignificanceofaleisureclass(CliveBell,Civilization:AnEssay204).ButChristineFroulahelddifferentpointsandstatedthatWoolf’spublic-schoolprofessionalclassanditscultureendowedherwiththeStephenfamilyheritageofradicalskepticism.ThroughLeslieStephenandBloomsbury,sheinheritedtheKantianideaofEnlightenmentasanunendingstruggleforhumanrights,self-governance,andpeaceinthenameofa“sociability”conceivedashumanity’shighestend(ChristineFroula2-3).Undoubtedly,thiscommunityhadmadeforcefulinterventionstowardstheprogressofeconomic,politicalandsocialconditionsbyprovingthatindividualscouldbeabletostruggletopursuefreedomandhumanitybybeingcivilized.Thus,withthepublicinterventions,Bloomsburywasasserious,dedicatedandinventivethinkersandpioneerstoresisttotalitarianismandwar.Amongthesetalentedartists,CliveBellwasoneofthefigureswhohadgreatimpactonWoolfwhenhemarriedVanessa.HeexplainedaestheticsinhisbookArttomanifestthatthemanwhowouldelaborateaplausibletheoryofaestheticsmustpossesstwoqualities—artisticsensibilityandaturnforclearthinking.However,whentheartistsarelookingforwardtothe“thing”itself,itwasblurredbyuncertainconsciousness:Inourmodernism-andthisiswhatmakesitoriginal-oneinnovationseemsasnewasanother,andwhilewearepreconditionedtogivethemallthebenefitofafavorablereception,theyareallgovernedbyamarginofuncertaintyandchance.Oneofthemostarrogantfeaturesofthenewisthatonbothanemotiveandanintellectuallevelitmanagesinsomeobscurewaytogivetheimpressionofbeingsynonymouswithcreativity….activitieswhichtakeplace(orareassumedtotakeplace)atthespearheadof'creativity'moveforwardinakindofambiguousmist-notcompletelyopaque,butfarremovedfromthetransparencyofrationalthought.Inthismurkyatmosphere,thepeoplewhoareactiveandproductive,thepeoplewhocreate(moreorlesswell,moreorlessconsciously)dosobyprojectingtheimaginaryreflectionoftheirownactivityonthefogbanksahead,likealuridwillofthe-wispdancingroundthespearhead….Modernismisrepresentedbyunfocusedprojectionsandblurredimageswhichfailtoproduceaclearconceptofit.Ontheonehand,theyactasabarriertotheconcept,blockingitsformation,prohibitingreflectionaboutitandeventheawarenessthatitisnecessary.Ontheotherhand,theycontaintheelementswhichareessentialiftheconceptistobeformulated.Oncemorewewouldstressthedifferencebetweenimmediateconsciousnessandbetweenrepresentationandconcept.Thegapwhichseparatesthemisthespaceinwhichradical27 西南大学硕士学位论文critiqueoperates.(CliveBell,Art3)Therefore,ontheonehand,thesemodernismactivitiesleadartiststofindanewwayinthedarkness;ontheotherhand,theoldVictorianpatriarchalandimperialistworld-viewhadstillhauntedovertheculturalconsciousness.Writersrespondedambivalentlytomodernismandmodernity.Theiridentitieswereepitomizedandprojectedpervadingthetwentiethcentury.Thatiswhymodernityisnotclearlymarkedoffmodernismformodernitywasbornwithinthecreativityofmodernism,therequirementstosearchnewvisionsinnewage.Thusthisprocesscausedthecontradictionsofexperience:theindividualsaspiretoexplaintheloneliness,lackoffaith,andtheshatteringculturalanxietyandthefeelingofalienationareontheincrease.However,theatomizationofindividuallifeisnotvalidwiththeincreaseofmassculture,andtherelationoftheindividualsandthebigcitywasnotefficientforimagessignifiedthemselvesthroughdifferentcommunicativevehicles.Sameasthemasscultureandthedemocratichigh-browculture.MichaelH.WhitworthdiscussedthemassculturebyusingJohnCarey’sstudytosuggestthatthemasscultureisimaginedthinkingoftheintellectuals(MichaelH.Whitworth,“VirginiaWoolf,ModernismandModernity,”115).Buttheidentificationofanindividualfromtheperspectiveofacommunitysometimesignoresthefactthatagroupidentitywouldbeconstructedbythecollectivepower.Itisunwelcometoidentifythemassasthegroupofanimals,whicheliminatedthecollectivewisdomofhistoricreality.ChristineFroulaemphasizedthecoveringofawomanandmanastheexclaimforeveryone,forthejusticeandequality,whileCuddy-Keanepreferto“thepotentialsforaspecificallyliteraryinterventionintheformationofpublicculture”(121).ForWoolf,shestrugglestoexpressvoiceoftheintellectualsbyestablishingtheHogarthPress.However,inthefictionalworld,sheprovidesaroomofeveryreadertohaveaglimpseofthemasculinesphereandtheabsenceoffreespeech.Thedomesticspacewasfullofanxietyaboutthevaguenessofimageofdisease—TB,whichthreatensthecommunitytoimaginetheriskofgettinginfectious,thereaftertheinformationofTBsuccessfullyturnsintoaninvisibleriskforeveryonebecausetheimagesofthediseasecausefearanduncertainty.Thustheylockthemselvesonanislandastoprotectthemselvesandrefusetotrustthegovernment.Theirreflectionsabout28 ChapterTwoModernityandInvisibleAnxietyofSocialClassuncertaintywereexposedindirectlybythefearoftheimageofdiseasefortheirlackofcapabilitytotrustanyinstitutionorsystem.II.TheInvisibleAnxietyofMiddleClassinTotheLighthouseGiddensstatedthatGlobaleconomicsystemhadgreatimpactonsocialstructureandtheinnovationoftechnologyalsoexerteditspowerfuleffortontheinformationandproductivity.Heremarked,Theemergenceofmodernityisfirstofallthecreationofamodemeconomicorder,thatis,acapitalisticorder.Butmodemsocietyalsoinvolvestheformationofadistinctivekindofstateand,moregenerally,distinctivekindsoforganization.Thesedependessentiallyuponthestructuringofinformation.ThatiswhyIusetheideaof'surveillance'–borrowedfromFoucault-astheway,inwhichinformationsystemsareconstructedtoformadministrativepower.Themodemstateistheprimeexampleofthisprocess.(Giddens,TheConsequencesofModernity96)Theemergenceofmodernitybringsaboutthechangeofinstitutions,soastherelationbetweentheindividualsandsociety.InRaymondWilliams’sbook,KeyWords,hetracedbacktothehistoryoftheword,“individual”,hesaid,theoriginalmeaningofthiswordrefersto“indivisible”.TheoriginalmeaningiswrittenastheformofIndividus,whichwasusedasaGreekword—atomos,“notcuttable;notdivisible”.Theword,“individual”isarguedagainstthenotionoffamily,churches,theorganizationwiththewelfareofthecommunitywhichstandsforauthorityandpower.Theindividualseemseccentrictobealienatedfromthisnorm.ButasAdamSmithillustratedtheindividuallaborandhispositionintheeconomicofanation,andfurthermore,inthe19thcentury,biologistDarwincontributedhistheorytoaccepteveryindividualasanequalspecieasotherpeople.Therefore,theword,“anindividual”,isfundamentallysettleddownasasymbolofbeing.Itwasnolongerawordinreligiousarea,Raymondstatedthatitwasarelatedstress,inProtestantism,mandirectshisindividualrelationtoGod,asopposedtothisrelationMEDIATED(qtd.v.)bytheChurch(RaymondWilliams,KeyWords164).Thus,Raymondobservedthatthemodernsenseofindividualis“aresultofthedevelopmentofacertainphaseofscientificthoughtandofaphaseofpoliticalandeconomicthought”(164).Fromthe19thcentury,manyargumentsemergedfromdifferentaspectsthatthedefinitionofindividuality,individualismandindividualsis29 西南大学硕士学位论文morecomplicatedandconfusing.Socialthoughts,ethnics,politicalthoughts,andeconomictheoryprovidedmuchspaceforthisterm.Thus,self-identitywaslostinthemiddleofthetrendofthoughts,theindividualsearchesforanagent.He,amodernman,asksforfreedomanddemocracy,requirescreativityanduniquenessandrebukestounderthecontrolofgovernment,orotherinstitutionswhichsymbolizedpowerandhegemony.Theword—‘surveillance’—istheconcisenotiontodescribepower.GiddenshadmentionedthattheworkofDurkheiminclinedtosupportindividualism,sowhenDurkheimconcernedaboutthemodernmoralityGiddensholdtheviewthattraditionalmoralitycannolongerconnectthenewcommunityandthestructureoffamilywasdevelopedandseparatedbecauseofthedivisionoflabor(Giddens,TheConsequencesofModernity56).AsGiddenscommented,allhumanbeingscontinuouslymonitorthecircumstancesoftheiractivitiesasafeatureofdoingwhattheydo,andsuchmonitoringalwayshasdiscursivefeatures.Inotherwords,agentsarenormallyable,ifasked,toprovidediscursiveinterpretationsofthenatureof,andthereasonsfor,thebehaviourinwhichtheyengage(AnthonyGiddens,ModernityandSelf-Identity36).Ifhumanbeingscontinuouslymonitortheiractivities,theyaremonitoringtheinteractionbetweenthebehaviorandtheworld.Anindividualvisuallyreceiveshisactivitiesandkeepsmonitoringconstantly.Thisprocessisametaphorthatitreferstoakindofpower.ForLily,hermotherconstitutestoimposeherpowerwithinthestructureofafamily,soLilydesirestoconstructherself-identitybypainting.Besides,Lilyisoneofthemodernistpainterswhoresistedtobedominatedbythepowerofthelastgeneration.Apparently,LilyBriscoeattemptstoactasanindividualbeforeshelostherfamilymembers,sheisstuckinmoralitythatshecouldnotgetridoftheemotionsasadaughtertopainthermotherandJames,shetriessohardtomaketherelationshipabstractbutproblemsemerges.Shestaysasamonitoringmachinetocatchsomefeaturesandsteersawaythedirectionofherdrawing.Therefore,shetreatsthemasimages.Infact,Lily’semotionisamixture,sheloveshermother,butsheloathesthewayhermothersacrificesherenergyandtimetothefamily,especiallythepowerofherhusband.Thatiswhyshecouldnotactlikeamirrortoreflecttherelationshipaswhattheyreallystay.Invisualculture,Kristevaarguesthatwhatcausesabjectioniswhatdisturbsidentity,systemand30 ChapterTwoModernityandInvisibleAnxietyofSocialClassorder(JuliaKristeva4).TheabjectiontohermotherdisturbsLily’srecognitionforherself-identity.Inthenovel,Mrs.RamsaypromisesJamestotakehimtothelighthouse,butLilydonotwanttogothereinstead.WhileMrs.RamsayisdisturbedbytheinterventionofMr.Ramsay,LilyBriscoe,insomesense,recognizedthelimitofthepromiseandactsasanoutsidertoavoidtheargumentbetweenherparents.Mrs.Ramsayiskeepingeverythinginorderbyestablishingavisuallighthouse,animagewhichenabledhersontoprojecthisimaginationonthefuture.However,theattributionoftheindividualitypreventsthemfromlivingindesireandimaginationforfuture.Thelighthouse,beforethewar,isrecognizedasunityandtheimageofthereality.ButforLily,itisnotonlyanimage,italsoplaysasignificantroleforLilytoreconstructheridentitytorebukeagainstthepowerofoldtraditionwhensheunderstoodthesocietyandreactedambivalentlytothatmodernity.Ifthefirstchapterisconcernedabouttheindividualexperienceinamoderncityandhowanartisttransformsindividualvisionintothecreationofart,thissectioncontinuestobeconcernedaboutthecollectivevisioninthemoderncity.Themiddleclassstartedtosenseacrisisofidentityfromtheexpansionofpopularculture.Theybecamenostalgicandworriedaboutthefuture.DavidBradshawnoticedthattheanxietywasgerminatedbecausethecharacterslackedinformationaboutthesocialdisease--TB,asDavidBradshawcommented,ChronicinflammationofthebonesandjointswasacommonmanifestationofTB,andthesonofthelighthousekeeper,‘threatenedwithatuberculouship’(TL8),embodiesawidespreadsocialdiseasewhichwasparticularlyvirulentamongthepoor.(DavidBradshaw,“TheSocio-PoliticalVisionofthenovel”134)HearguedthatthespecterofTBinthenovel--Mrs.RamisthreatenbyTBfor“thatscrofula(fromtheglandsinthevictim’sneckgivethefaceaswollen,pig-likeexpression)wasacommonformofthedisease”.Andthe‘consumption’ischaracterizedasanerosionofthebody,andthatsymptomwaseasilyinducedtotheimpressionontheisland.Thediseaseemotionallycanaltertheaffectedperson’sperspectiveonlife.Theanalogybetweenbodyandnationiscommoninthenovel,WoolfdescribedacollectiveanxietyofEnglandcitizensfortheuncontrollablediseasesandhowTBmenaced“its31 西南大学硕士学位论文inhabitants,particularlyitschildrenandoldpeople”,whichboreuponreferencestotheshrinkingislandbythepowerofsea.Bradshawsuggestedthat“Skyemaybereadasasynecdocheforthesickness,bothfigurativeandepidemiological,ofthewholecountry”(DavidBradshaw,“TheSocio-PoliticalVisionofthenovel”135).AccordingtothehistoryofBritain,thetuberculosiskilled“oneinthreemendyingbetweentheagesoffourteenandforty-five.”(JohnDavisAHistoryofBritain102).Thediseasewasavisualizedimagetodeconstructindividualidentityinpublicdomain.Theindividualsafetycannotbeguaranteedbythesociety.Asamatteroffact,sinceliberalwelfarehadbeenreformed,theinternationaltradehadresultedingreatdebateontherightofeveryindividual.JohnDavispointedoutthattheLiberalthinker--JohnStuartMilladheredtowhathecalled‘individuality’thathademphasizedtheindividualrightto“realisehisorhersocialpotential,ratherthanthenarrowerdefenseofpropertyrightsimpliedin‘individualism’”(JohnDavis83).Inotherwords,thegovernmentwasreducedtoaminimalgovernmentbecausethemiddleclassdidnottrustthearistocraticstate.ThefreedomofeveryindividualwasadvocatedbyLiberalthinkersthatsocietyneedtosolvethesocialproblemsespeciallytheproblembetweengovernmentandcommunity.“ThedifferencebetweenthemoralemphasisoftheIdealistsandthematerialemphasisofHobsonorL.T.Hobhousehadpolicyimplications.TheIdealistssoughttousestatepowerprimarilytoelevatetheindividual,andinthedebatesoverPoorLawreforminthe1900sIdealistsmadeenemiesbytheirapparentdeterminationtomoralisethepoorbeforerelievingthem.HobsonandHobhousehadfewerqualmsaboutstatecharityandbecametheprincipalintellectualadvocatesoftheLiberalwelfarereforms.Inthe1890s,though,bothgroupscombinedtocreateanewfaithinthebenevolentcapacityofthestate.'NewLiberalthinkersremainedindividualists,buttheirprincipalconcernwaswiththewaysinwhichthestatecouldcorrectthoseeffectsofindividualcompetitionwhichthreatenedtodamagesociety”(JohnDavis84).Consequently,thepropositionofLiberalthinkerwasworriedaboutthepowerofindividualbecauseidealistswantedtousethepowerofstatetomakethepoorlivebetter.However,thePoorLawreformfailedtorescuethepoorfromtheirsituationssoitwascondemned.Inpointoffact,theinstitutionsdesignedtoimprovetheconditionofthelower-classbysettinguphouses,orbalancedthetax,toraisethetrustofthecommunity.Socialreformwasinanemergencyatthattime.Butthe1906witnessednoveritable32 ChapterTwoModernityandInvisibleAnxietyofSocialClasschangeasfreetradeprovedthatabillof1906failedtocomeupwithanacceptablepolicybetweenthecontrollingpowerinvoluntaryschools.Accordingtotherecord,LloydGeorgefacedadeficitof£15millionin1909-10(JohnDavis89),whichdirectlyinfluencedthenationallaborandthesystemofemploymentinsurance.TheChancellorattemptedtodealwiththedeficitbytargetingtherich.The“PeopleBudget”causedtheresistanceoftheLordinthecountrysidethattheconflictbetweentherichandthepoorwasunavoidable.TheconflictcausedmoreproblemsinIreland,andtheEnglishLiberalwantedtoresolvetheissuefortheycouldforeseetheconsequenceoftheupheavals.So,theelectionof1910hadenabledpeopletoseethepowerofthegovernmenttomakeapolicy.Thepolicywastogivepensionstothepoor.However,“thecostofpoorreliefinEnglandandWalesroseby21percentbetween1901and1906,whenotherlocalcosts,particularlyeducation,werealsorisingrapidly.Thequestionofwhethertoseeknewformsofdeterrenceortojettisondeterrencealtogetherbecameurgent”(JohnDavis98).Thatconveyedtheinformationthatitneededtoacceptthefailureofthatpolicy.Unfortunately,thehealthinsurancebecamemorecomplexthat“sevenmillionpeoplealreadyinsuredthemselvesagainstsicknessthroughfriendlysocietiesortradeunions,butbenefitswerevariableandcontributionswereexpensive:amanmightpayforyearsintoaninsuranceschemeonlytolosehiscoverwhenunemployment--whichmightinduceillness--cutshorthispayments.Thirtypercentofpauperism,LloydGeorgeclaimed,wereduetosickness”(JohnDavis101).Iftheworkingclasswouldbelikelytolosejobs,theywouldtotallylosethesecurityfromhealthinsurance,letalonethemiddleclass.Thatiswhythefearonthetuberculosisisoverwhelmingbecausethesecurityforthesickwaslimited,what’smore,thesanitaryconditionsfortuberculosiswerenotgoodenough,whichincreasedtheanxietyofthemiddleclass.ForthereasonthatthePoorLawprovidesmedicalservicesforthepoorandhospitalssothepublichospitalswereoccupiedallthetime.ThePoorLawprovidedashelterforthepoorbydealingwithtuberculosisandotherdiseases,thustheboundarybetweenthepoorandthemiddleclasswasblurred.Therefore,theanxietyofthemiddleclassliesinthelackofconfidencewhenthecommunityofthemiddleclasscouldnotfeelthehopefromthegovernment.Thehopebecomesanillusion,sotheanxietywasvisualizedinthenovel,too.Mrs.Ramsayeavesdropstheproblemofmilkdelivery.Mrs.Ramsaythoughtthat33 西南大学硕士学位论文‘MilkdeliveredatyourdoorinLondonpositivelybrownwithdirt.Itshouldbemadeillegal’(TL46),whichmeansthatMrs.Ramsayattemptstofindasolutiontothethreatofpollutedillegalmilk.Andshestartstoreleasetheinvisibleanxiety.DonaldJ.ChildsdiscussedthismodefromtheperspectiveofeugenicsforitisapervasivenessintheconversationinTotheLighthouse,forexample,Mrs.Ramsaywantstotakecontrolherchildrenandtoengageintabletalk.WhenChildsquotedfromMegumiKatothat“inlateVictorianBritain,theredistributionofthepopulationincitiescreatedademandformilkfarremovedfromitssource.Intheinterveningperiodfromfarmerstoconsumers,milkwassubjectedtocontaminationandinfection.Bacteriologicalfindingsinthe1880sthatthemilksupplywasasourceofinfectiousdiseasesgaveanimpetustomuchdiscussionthatmeasuresforthepreventionofmilk-bornediseaseswereneeded.”(50)ThecontaminationwhyMrs.Ramsayissoconcernedaboutthehealthofherchildren,whichembodiedanotherfeatureofmodernity---chaosandfragile.Allthehopelessemotionsarebornintherootoftrustsincetimeandspaceisnolongeracontrollableelementformodernpeopletomanagetheirfact.Theiranxietycomesfromthefragileresponsebecausetheycannottrustanythinginaworld.AsAnthonyGiddenshadgiventenpointsabouttrust,thefirstoneisthat“Trustisrelatedtoabsenceintimeandinspace.Therewouldbenorequirementtotrustanyonewhoseactivitieswerecontinuallyvisibleandwhosethoughtprocessesweretransparent,ortotrustanysystemwhoseworkingswerewhollyknownandunderstood”(AnthonyGiddens,TheConsequencesofModernity33).Therefore,forthecitizensofBritain,theyhadalwaysskepticalresponsetothesystemofLondon.Theinvisibleprocessofmilkdeliverywasnottransparentenoughtogainthetrustofpeople.Thecitizens,especiallythemiddle-class,stillneededmilktocontainthepowerofbody,whichmeansmilkisnotonlyasupplyofacity,asupplythatprovidedthenutritiononcitizenssothatthenextgenerationwouldbestrongenoughtocarryonthegoodqualitiesforthebody.Atthispointofsignificance,theimageofmilkatthattimewastoconstructtheconfidenceofanation,topaintanewpromising,mightynation.Therefore,Childssaid,“Katopointsoutthatby1904,thisissuehadbeenappropriatedbyeugenists:inhis‘DiscussionoftheControloftheMilkSupply,’GeorgeNewmanarguesthat‘[t]hecontrol34 ChapterTwoModernityandInvisibleAnxietyofSocialClassofthemilksupplyisnotonlyaconcernofpreventivemedicine,butoneofnationalimportance.’Anessayearlierthesameyear﹣‘MilkandNationalDegeneration’—assertsthat‘lackofmilkisanessentialandprimarycauseofdegeneration’:‘healthybabiesareimpossiblewithoutcleanandwholesomecow'smilk....Itisherethatthequestionofphysicaldeteriorationofthenationcomesin,forafewgenerationsofweaklybabiesnecessarilyspellanationwithanundueproportionofdefectivecitizens.''UncertainwhetherMrs.Ramsaywasawareofthepoliticalagendaofthisdiscourse,’Katosuggeststhat‘contextualizingthemilkproblemrevealstheracialcharacterofthisallusion''andallowsustosee``howpoliticizedhercharacteractuallyis’.”8Inaddition,Mrs.Ramsay’sanxietyisreflectedbyherallusiontotherichandthepoor,shetrulyincarnatesthevisionoftheBritishEmpire.The“internalmonologue”isdirectlyshownasanisolationofsubjectivity.HersubjectivitywasrelyingontheimageofBritishEmpire.Butthesubjectivitydidnotenablehertohavethesamevisionwithotherpeople.Soasamatteroffact,shefeltlonelyallthetime,whichiscommonformodernpeopleinamoderncity.Thereisnolongermythinmodernage.Sothecommunityhastofindaniconasasupportivespirittomoveon.Theyaretakingacollectiveriskastheyfacethedilemmathatthevisiontheybuildupinmindiswhetherthesameasreality.Socialriskfactorsforanxiety.Earlylifeexperiencessuchaslackingofwarmth,highhostility,harshdiscipline,anxiouschildrearing,discouragementofemotions,poorsocialization,poorattachmentarealloccurredindevelopedcountriessotherearehigherratesofanxietydisordersthandevelopingcountries.Infact,thecharacteristicsofmodernityarerecognizedbymodernpeoplewhentheyfeltlostinacommunity.Iftheyhuddledinacommunity,theirsubjectivitieswouldbehiddenandaimaginedcommunityhappened.Onlyinthatstructurecananxietybedecreasedandseemedephemeral.RaymondWilliamswrote,“Thusalossofsocialrecognitionandconsciousnessisinawaymadeintoavirtue:asaconditionofunderstandingandinsight.Adirectconnectionisthenforgedbetweenintensesubjectivityandatimelessreality:oneisameanstotheotherandalternativetermsarenomorethandistractions”(RaymondWilliams,TheCountryandtheCity246).8SeeDonaldJ.Childs,ModernismandEugenics:Woolf,Eliot,Yeats,andtheCultureofDegeneration,p.34.SeeGeorgeNewman,``DiscussionontheControloftheMilkSupply,''BritishMedicalJournal(27August1904),421-29;``MilkandNationalDegeneration,''unsignedarticle,BritishMedicalJournal(16April1904),908-09;Kato,``TheMilkProblem,''p.5.35 西南大学硕士学位论文Thecollectiveconsciousnessissupposedtoeliminatedifferencewithinacommunity,butthebinaryrelationbetweenindividualandsocietyisstrongersothatthereisaparadoxformodernpeople.Ononehand,anindividualdesirestoobservetheworldinanisolationasapursuitforbeautyandknowledge;ontheotherhand,hisvisualconstructionstillappealsforsafetywhenaimageofacommunityaccompanieswithhim.Theintimacywithinacommunityistransformedintospecificsingsofsounds,pictures,voicesinliterarytext.Therefore,itissafelytoconcludethattheanxietyinthemodernlifeisimaginedbythemiddle-classbecausetheyreceivedtheinformationofsocialpoliciesthroughimages.Ifdinnerpartyrepresentedacommunity,thatthemultipleimagesreflectedineverycharacter’sconsciousnessindicatethecharacteristicsofmodernityandvisualculture.Thepartyistoreinforceasenseofintimacythattheanpreventindividualfrombeingisolatedfromthesociety,andtodecreasetheanxietyofacommunityinsociallife.ForcitizensofBritain,theyarekeepingaskepticaldistancefromBritaintoavoidbeinginvolvedintotensionsanddistortions.However,thesocialpoliciesissointangiblethattheanxietyofacommunityincreasespervadesthoroughlyinthenovel.Woolfcreatesamultiplicityofvoicesinthisnovel,ifLilyisastrongsound,thenMrs.McNabisanintangiblenarratortorepresentamarginalizedoutsiderforafamily.In‘TimePasses’,MrsMcNabtemporarilyhasaccesstoroomsfromwhichtheywereexcluded,whichsignifiestheemergenceoftheworkingclass(AnnaSnaith77).Mrs.McNab’sinternalmonologuewasintegratedintothevisionaryoftheemptyhouse.HerambivalentpresentationindicatedthefactthatWoolfwasconcernedwiththesituationoflowerclasssothatshebestowedthemwithdiscoursetopresentthemultiplicityofmodernity.Modernityisnarratedsimultaneouslyfromdifferentaspects,nomatterinpublicsphere,orprivatesphere.Thealienatedcharacterisexposedtothevisiblespaceasasymbolofsubjectivity.Thevoiceofanindividualisseparatedandresonatedwithothervoices,thevoicestransposeinbothpublicandprivatespacetoaudiencesothevisualconstructionisembodiedbycharacterswhentheycommunicatewitheachother.Modernityovercomesthelimitofspaceandtime,breakingdownthebarrierbetweenpublicspaceandprivatespace.ItissuggestedthatmodernityisconceivedasapermanentrevolutionthatWoolfforgesadialogicarttobringreaderstoanewcivilizationasherwritingsinspiremodernpeopletoyearnforchange:notmerely36 ChapterTwoModernityandInvisibleAnxietyofSocialClasstobeopentochangesintheirpersonalandsociallivesbutpositivelytodemandthem,activelytoseekthemoutandcarrythemthrough.37 ChapterThreeModernityandReconstructionofNationalIdentityI.ModernityandDomesticLifeWhenthefirstWorldWarburstout,peoplehadtobeexpelledandlefttheirhouseduringthattime.TheimageofBritainwasnolongerseenasasafety,orprotectionandtheimageofGodwasnolongerthepowerofsovereign.Therefore,theconstructionofasenseofEnglishnesswasdestroyedbecausetherewasnolifeinahouse,peoplewasfrustratedatthedestroythewarbroughtabout.BeforetheWar,thedomesticlifecreatedanimagethatwaspresentedasasymbolofprotectionandsafety.Itisexternalizedbycharactersinthisnoveltoreflecttheinternaldisturbances.ThemodernartistsintendedtorebelagainstthedomesticityasaformoftheVictorianmodernism.However,thechangeofhistorywastacitlyimprintedonthedomesticspace.MichaelH.WhitworthoutlinedthehistorybackgroundofVirginiaWoolf,hestated,Internally,thereweregreatchangesinthecompositionoftheelectorateandtheidentitiesofpoliticalparties;inthecharacterofLondonanditspositionwithinthenation;intheroleofwomen;inhousingandintheideaofthefamily;intherelationsbetweensocialclasses;andineducation.Aboveall,thedominantideaofthestatealtered.Whereasthelatenineteenthcenturyhadbeendominatedbytheliberalidealofthemaximumofindividuallibertyandtheminimumofstateinterference,theearlytwentiethcenturysawincreasingacceptanceoftheideathatthestateshouldrestrictindividuallibertyforthebenefitofthewholenation.Moreover,thestatecouldadoptapositiveroleinencouragingormanagingcrucialelementsinthefabricofsociety.Theworldwideeconomicdepressionof1929–32createdconditionswhichforsomejustifiedmoreauthoritarianformsofgovernment.Externally,therelationofBritaintoothernationschanged.ThepositionoftheBritishEmpireastheworld’sdominanteconomicpowerwaschallengedbytheriseofGermanyandtheUnitedStates.TherelationofBritaintoitsimperialpossessionswaschallengedbytheirdevelopmentasindustrialeconomiesandconsequentdemandsforindependence.PoliticiansarguedwhetherBritainshouldcontinuewithapolicyoffreetrade,orimposeduties(‘tariffs’)onimportedgoods;moresubtly,theydebatedwhethertariffsshoulddifferentiatebetweenthecountriesoftheEmpireandthoseoutsideit.TheBoerWar(1899–1902)andtheFirstWorldWar(1914–18)werethemostprominentcrisesintheprocessofinternationaladjustment.ThoughtheFirstWorldWarwasfought38 ChapterThreeModernityandReconstructionofNationalIdentityoverEuropeanterritory,itwasfoughtagainstanimperialrival.Thepost-warperiodsawtheadventoffascistdictatorshipsinItaly(in1922),Germany(in1933),andSpain(aftertheCivilWarof1936–7).TheSpanishCivilWarbeganaperiodofinstabilityinEuropewhichwasfollowedbyGermany’sannexationoftheSudetenlandin1938anditsinvasionofPolandin1939,theeventwhichprecipitatedtheSecondWorldWar(1939–45).(MichaelH.Whitworth,Authorsincontext30-31)Therefore,asithasbeendiscussedinthelasttwochapters,Woolfattemptedtoexternalizecharacterswhoseemedtobeisolatedfromtheirmaterialcircumstancesinvisualizedarticulation.Shedecomposedpersonalexperienceintouniquedepictionofsensoryatoms.WhenLilyBriscoe,ashadowofhersisterandherself,isrepresentedasaneccentricartistatthattime,inheritstheuppermiddle-classcharacteristicanddespisesVictoriantradition.WhatLilyBriscoeperceivedinthenovelisdistortedspace,shewantsaprivatespaceasansafeenclosuretomediateandpaint,butthesocialspaceinherfamilyisnotallowedforhertoworkatherdrawing.Inotherwords,shewasventuringtobeanavant-gardeartistbyisolatingherselffromsecularintimacywithindomesticspace.Inthebeginningofthenovel,“Disappearingasstealthilyasstagsfromthedinner-tabledirectlythemealwasover,theeightsonsanddaughtersofMr.andMrs.Ramsaysoughttheirbedrooms,theirfastnessinahousewheretherewasnootherprivacytodebateanything,everything;Tansley’stie;thepassingoftheReformBill;seabirdsandbutterflies;people;whilethesunpouredintothoseattics,whichaplankaloneseparatedfromeachothersothateveryfootstepcouldbeplainlyheard”(TL6).Itseemsthateverychildhashisownroomwithaplankasasignifierforgueststoknowtheprivateplace.Foucaultcameupwiththenotionofspacethatinthe18thcentury,thespaceofahouseinBritainwasdefinedasanundifferentiatedspace;however,the“architecturebeginsattheendoftheeighteenthcenturytobecomeinvolvedinproblemsofpopulation,healthandtheurbanquestion”(MichelFoucaultPower/Knowledge148).Thepointisthat,“theartofbuildingcorrespondedtotheneedtomakepower,divinityandmightmanifest.Thepalaceandthechurchwerethegreatarchitecturalforms,alongwiththestronghold.Architecturemanifestedmighty,theSovereignGod”(MichelFoucaultPower/Knowledge148).ThefunctionofthehousewasmainlycenteredonthepowerofGod,butasthesocialdevelopmentproceeds,the39 西南大学硕士学位论文requirementschangedsothatinthelateeighteenthcentury,thespaceofthehousebecametobeinvolvedwiththepoliticalandtheeconomicproblems.Thetransformationoftheinteriorspacedesignatedthechangeofpower.IntheVictorianperiod,librarywastakenasthemasculinespace,VirginiaWoolfwasnotallowedtoentertheinteriorofherfather’slibrary,whichindicatedthatthepatriarchalpowerwasdominantindomesticspace.Howaboutthefeminizepower?Domesticdecorationisanaestheticartforawomanwhomanagedtotakeeverythingunderhercontrolasadisguiseofpowerinahouse.AsThadLoganhadsuggestedthattheconsumptionofdomesticdecorationisareflection,shestatedthat“consumptionisthemeansthroughwhichordinarypeoplecanparticipateinthemakingofcultureandcandosoinwaysthatresistsurveillanceandregulation”(ThadLoganTheVictorianParlour78).Therefore,Thaddidraiseadifferentangletolookatthecultureofconsumptionofwomenindomesticactivities.Althoughwomenwerenotindependentonfinance,theytriedtogetmoreconfidenceonthedomesticarrangementsofthehouse.Throughthedecorationonthedinnertableandarrangingotherobjects,theyplayedapartinparticipatinginthepoliticsandmakingtheculturebymakinganillusionthatshewasinvolvedintosocialaffairs.Mrs.Ramsaywastheladyofthedomesticity.InTotheLighthouse,Mrs.Ramsaykeptthinkingabouttheroomandtheobjectswhichbelongedtoherchildrenonceshewasnotoccupiedbydomesticlife.EmilyBlairconcludedthatWoolf’sdepictionof1920s’noveljuxtaposed“herideasaboutthehostesswiththespiritualandmaterialdimensionsofnineteenth-centurydescriptionsoffemininity”(EmilyBlair9).Thedescriptionsassemblewomeninthepracticeofthedomesticarts.Mrs.RamsayalwayssatsilentlyandVirginiaWoolfdescribedthethoughtsofMrs.Ramsay,whichatthesametimeturnedtheabstractsenseofeverydaylifeintoamodeofexpressionthatVictorianlegacy.Theaestheticcapabilitywashiddenbehindthedecorationineverydaylife.Forexample,whenshegavepromisetoJames,shefeltthepowerofwordsbyendowingherselpowertodecidethefateofthefuture--tothelighthouse.However,theinterventionofherhusbandcausedtheodiousimpression.However,forLilyBriscoe,thespaceofdrawingroomindicatedthattheindividual40 ChapterThreeModernityandReconstructionofNationalIdentityprivacy.WhenLilylooksatthepictureofwhichMrs.RamsaysitsinthewindowwithJames,hersenseofpainting“quickened”,“straining,tillallthecolorofsomeonecomingoutofthewallandthejasminebeyondburntintohereyes,shewasawareofsomeonecomingoutthehouse,comingtowardsher;butsomehowdivined;”(TL14).Onlywhensheescapesfromthepublicgazefromotherpeople,cansheconcentratesonart.EmilyBlairnoticedthatWoolfhadahumoroussenseonEllenTerry’sautobiographicalwriting,Blaircommentedthat“Woolfaptlycapturesthehouse’sdynamicpower:‘Butevenwhilesheanalysesherself,asoneartisttoanother,thesunslantsuponanoldkitchenchair’(MomentofBeing211).Furthermore,Woolfrevealedthat“thishumorouspassagesuggestshowinescapablethehouseisforthewomanartist:itdistortshervisionofherselfandherartisticcreation”(EmilyBlair11).BlairresonatedHaroldBloom’s“anxietyofinfluence”thatfemalewriterswhoexperienced“anevenmoreprimary‘anxietyofauthorship,’“afearnotonlythatshecannotfighthermaleprecursors,butalsothattheactofwritinggoesagainsttheeffectsofsocializationtobecomeself-annihilating”(13).Infact,“[T]hememoryoftheVictorianhousebecamethecentralimageforWoolf’slifelongstrugglewithherVictorianpast/heritage(HermioneLee199),Woolfstruggledtosetupaliberationfromthelonelinessofindividualanxietyforwomanwritersagainstbeinglabeledasasocializedwoman.ThisimplicitlyrevealshowWoolf’sobservationsonthetwopolesofpowerofmaleandfemaleinahousewhenshecreatedthatcharacterLilyBriscoe.Ononehand,shewantedtoexpresstheanti-domesticculturebyliberatingherselffromtheanxietyoflivinginalimitedspace.Forexample,WoolfoftenappliedthestreamofconsciousnesstoaccountfortheimagesasthemediumofdialoguebetweenLilyandMr.Bankes.Therefore,thedescriptionofnatureshowedatendencytoescapethecivilizedspaceanddomestichegemony.Forexample,whenLilystaysoutsideshechangesthemodeofherbehavior,especiallythemomentMr.Ramsaywasabsent,andhispowerwasabsentforLilysothatshewasoutofvisualsurveillanceandmonitoring.shejuststood.Hejuststoodthere.Hershoeswereexcellent,he(Mr.Bankes)observed.Theyallowedthetoestheirnaturalexpansion.Lodginginthesamehousewithher,hehadnoticedtoo,howorderlyshewas,upbeforebreakfastandofftopaint,he41 西南大学硕士学位论文believed,alone:poor,presumably,andwithoutthecomplexionortheallurementofMissDoylecertainly,butwithagoodsensewhichmadeherinhiseyessuperiortothatyounglady.(14)However,when“someonehadblundered”,itisMr.Ramsay.He“glaredatthemwithoutthinkingofthem.Thatmadethembothvaguelyuncomfortable”(14),apparentlytheglarefromMr.RamsayistheinvisiblepowerforLilytoagreatextantthatshefelels“uncomfortable”andimmediatelytakesastrollwithMr.Bankesevenifhereyesarenotoffthepainting.ThroughpaintingLilystrugglestodehumanizeherselfandattemptstoescapefromdomesticityforawhilesothatshewasabletocapturetheimagesofnature,AsMichelFoucaulttermsitas‘powerstruggles’,whichidentifiesaspectsofstrugglesasthose‘whichquestionthestatusoftheindividual...strugglesagainstthe“governmentofindividualization”...strugglesagainsttheprivilegesofknowledge...strugglesrevolvearoundthequestion:Whoarewe?’(Foucault,“TheSubjectinPower”212)PatrickFueryandKelliFueryhadnoticedtherelationbetweenpowerandtheimage:Powerrelationsareeffectedandmaintainedthroughtheirinvisiblepracticeanddeficientself-reflexiveapparatusinsocio-cultural'state'placeslikecinemas,artgalleriesandpersonallivingrooms.Powerrelationsoperateasexpressionsofpowerfultruthsthatarepartoftheconstructionofthediscourseoftheimage.Inthispowerstruggleofdominance,thesubjectresistsandopposesahomogeneoussocialpositioningthatseekstounifyallindividualsintoagovernedposition.Tomeetallresistancesandstrugglesofformsofpower,thespectatingsubject,asacriticalthinker,producesamirrororaconsideredformofinvestmentintheimage.Theyimaginetheimageontheirowntermsandopposeitsseduction”(4-5).Powerisconstructedinthediscourseofimage,iftheindividualresistsbeingconceivedasanimage,orasanobjectofthedominanceofpower,hestartstodehumanizehimselffromarelationshipandtriestoillustratetheimagehereceivesinhisownway.Onlybybeinginchargecanbethisindividual,controlthepowerwithinhisowndominance.So,theimageisacriticalapproachtosubjectivityandpoweristhemediumtoconnectmeaningswithformsforanindividual.Whenmodernitycomesacrossimagesandpainters,theyencapsulatedtheirideologyandpowerwhentheyweredrawingtheenlightenment.However,asLilyresiststhedominanceofimage,shehasto42 ChapterThreeModernityandReconstructionofNationalIdentitychallengetwokindsofpowerfromthedomesticspace,oneisfromthegazeofpowerasaGodinafamily—herfather;anotherisfromtheethicpower,hermotherwhoexpectsherdaughtertohaveaperfectmarriage.Lilyisinclinedtobreakoffsexuality.Foucaultthought,‘thesexuality,thoughthusbecominganobjectofanalysisandconcern,surveillanceandcontrol,engendersatthesametimeanintensificationofeachindividual'sdesire,for,inandoverhisbody.Thebodythusbecametheissueofaconflictbetweenparentsandchildren.Therevoltofthesexualbodyisthereverseeffectofthisencroachment(Foucault,Power/Knowledge56-7).Thebodyservedasaimageforanindividual,especiallyanartistwithdesiretocreation,thusLilyBriscoepaintstheimagesofherfamilybydrawingtherelationbetweenimages.Shetriestogetridofthesubstanceandengenderstogainthesurveillanceoverthebody.Thewarbetweenchildrenandparentswasrepresentedbytheimageofthebody,whichindicatedthataalternationbetweentwogenerations.ThegenerationofVirginiaWoolfisdistinctivefromherparentsforthereasonthattheyhadwitnessedmorechangesundertheinfluenceofsocialmovementsandhistoricalevents.LindenPeachhadevercommentedthatthedifferencebetweenthem,Itiswhenthe‘hugechanges’thatVictorians’reignwitnessed,sinceofwhichshewouldhaveexperiencedvicariouslythroughherparents’generationandsomeshewouldhavewitnessedforherself,aretakentogetherwiththenewtechnologies,socialstructuresandculturalformsofthetwentiethcenturythatwecanreallyappreciatethatWoolflivedthroughanunprecedentedperiodoftransition.(LindenPeach23)Butinthefirstpart,“TheWindow”,thereisnocentralityastheplotwasfinishedbythedialogueofMr.RamsayandMrs.Ramsay.Foucaultmentionedasituationthat“Asalwayswithrelationsofpower,oneisconfrontedwithcomplexphenomenawhichdon'tobeytheHegelianformofthedialectic.Masteryandawarenessofone’sownbodycanbeacquiredonlythroughtheeffectofaninvestmentofpowerinthebody”(Foucault,Power/Knowledge56).ForMr.Ramsay,thepowerrelatedtothebodyisrepresentedbyhisbodystayinginsilhouette;whileinMrs.Ramsay’smind,shewantstostopmakinganillusiononthefutureofherchildrenandthelifeofotherpeople.Shewantstobeherself.Themasterofherbody,herbodywasbuiltastheunityofspirit.43 西南大学硕士学位论文No,shethought,puttingtogethersomeofthepictureshehadcutout-arefrigerator,amowingmachine,agentlemanineveningdress-childrenneverforget.Forthisreason,itwassoimportantwhatonesaid,andwhatonedid,anditwasareliefwhentheywenttobed.Fornowsheneednotthinkaboutanybody.Shecouldbeherself,byherself.Andthatwaswhatnowsheoftenfelttheneedof-tothink;wellnoteventothink.Tobesilent;tobealone.Allthebeingandthedoing,expansive,glittering,vocal,evaporated;andoneshrunk,withasenseofsolemnity,tobeingoneself,awedge-shapedcoreofdarkness,somethinginvisibletoothers.Althoughshecontinuedtoknit,andsatupright,itwasthusthatshefeltherself;andthisselfhavingsheditsattachmentswasfreeforthestrangestadventures.(50)WhenMrs.Ramsaybeginstoseethepicturesinhermind,thinkingaboutthepicturesandpromises,sheisrestrictedwithintheroleofamotherinahouse.However,afterallthechildrenslept,shecouldbeanindependentbodyagain.Assheknits,herconsciousnessbecometoflowbeneaththepeaceofthesurface,whichrevealsaphenomenonthatthemodernlife,especiallyeverydaylife,oncesettleddown,itisachanceformodernpeople,toattenuatethecontrollingpowerofbody,toignoretheactivitieshappenedinbrightlights,astofindoneselfmentally,withouteconomic,ethical,political,orsocialattachments.Infact,Mrs.RamsayispotentiallystandingatthesamesideofLily,inspiteofherpersistentsilence.Lilyistheonethatliterallyachievedthegoalasachallengingartistbybeingundomesticated.TheprocessofLilyisalsotheprocessofVirginiaWoolfwhoaimedatmakingherworkslikeaprosewithavalueofaesthetic,asshediscoveredthedesirebetweentheostensiblelanguageandtherealmofinner“feeling”:Ihadafeelingoftransparencyinwordswhentheyceasetobewordsandbecomesointensifiedthatoneseemstoexperiencethem;toforetellthemasiftheydevelopedwhatoneisalreadyfeeling(GabrielleMcintire2008).However,theincessantdeathofherfamilymembers,insomeway,likeaghosthauntedoverherwriting.Thepowerofmemoryofdeathistransformedasatranscendentexperienceoflanguage,andthatiswhereherwritingseemstransparent,wherewordsarefeltandexperienced.Thus,whensherecalledthememories,“WhatajumbleofthingsIcanremember,ifIletmymindrun,aboutmymother;buttheyareallofherincompany:ofhersurrounded;ofhergeneralized;dispersed,omnipresent,ofherasthecreatorofthecrowdedmerryworldwhichspunsogailyinthecentreofmychildhood….thereitalwayswas,thecommonlifeofthefamily,verymerry,44 ChapterThreeModernityandReconstructionofNationalIdentityverystirring,crowdedwithpeople;andshewasthecentre;itwasherself.ThiswasprovedonMay5th1895.Forafterthatdaytherewasnothingleftofit….everythinghadcometoanend”9(SketchofthePast84).PatriciaMoranpointedoutthatitwas“thesuddenruptureandfragmentation”whicharecentraltothethoughtsofWoolf’straumaticaesthetics.Themodernexperienceandthememoryofthedeathofthemothermadeherlifeintopiecesoffragmental,transientmomentsthatpermeatedthecottonorthewoolofherworkofart.Indeed,hermother’sdeathwasrecordedas“unveiledandintensified;mademesuddenlydevelopperceptions,asifaburningglasshadbeenlaidoverwhatwasshadedanddormant”(SketchofthePast103).EvenHermioneLeeremarksthat“theshockofthedeathprecipitatedapeculiarlycreativestateofmind.Hermemoriesofthisperiodaredramaticallylitandshaded….Sheuses[this]imageoftheburningglassasametaphorforthesuddenmomentsofrevelation….Sheoftenusesimagesofincandescenceandtransparencyasawayofexplaininghowthemindworksatitsmomentsofgreatestconcentration”(HermioneLee132).Asaresult,thelossofhermothercausedasenseofemptiness,andWoolfsufferedtheagonyfromtheformofspaceandtime.Fromthatmoment,thewholeness,unityofthe“dinnertable”disappeared,asthefamilymemorysunkintothesurfaceofrealityasthepeacefulseainthenovel.Inpointoffact,therewasaseconddeath,herhalf-sisterStella,afterhermother,whichgavenochanceforWoolftoreconstructthetimeandnearlyaggravatedthepsychicillnessagain.Thatmakesherwritingmoresensitivethanothersbecauseatthattimeshewasfloatingintheairtoseemoreinvisibleviewswhenhermentalsituationswereunclearatall.InSketchofthePast,shewrote,“abutterflyormothfeelswhenitpushesoutofthechrysalisandemergesandsitsquiveringbesidethebrokencaseforamoment;itswingsstillcreased;itseyesdazzled,incapableofflight”(124),Woolfreflectsthathermother’sdeathandStella’sdeathunnaturallyinfluencedherselfandherthinkingaboutlifeanddeath.Sherecalled,[B]eneaththesurfaceofthisparticularmindandbodylaysunktheotherdeath….oncemoreunbelievably—incredibly—asifonehadbeenviolentlycheatedofsomepromise;9SeePatriciaMoran.VirginiaWoolf,JeanRhys,andtheAestheticsofTrauma,PalgraveMacmillan,2007.pp.151-152.45 西南大学硕士学位论文morethanthat,brutallytobetoldnottobesuchafoolastohopeforthings…heblow,thesecondblowofdeath,struckonme;tremulous,filmyeyedasIwas,withmywingsstillcreased,sittingthereontheedgeofmybrokenchrysalis.(SketchofthePast124).PatriciaMoranalsodiscoveredthatcoincidentally“Woolf’sdescriptionofhowwritingservesherasapsychicandemotionaltoolrecallsBollas’sconceptofhowtheaestheticmomentservesasthetransformationalobject”,shequotedfromChristopherBollas’writingthat“thesubjectisseekingthetransformationalobjectandaspiringtobematchedinsymbioticharmonywithinanaestheticframethatpromisestometamorphosetheself”.Undoubtedly,whenLilyBriscoepaints,sheisbestowedwithpowertocreatelifetoagreatextentwithimagesandlikenessamongimages.However,inthepartof“theWindow”,shestruggleswithstupendousefforttoovercomethedesiretomakethelikenessoutoflives,whichmeantthatshewastryingtofightagainsttheemotions,thecallofnature,andtheinfluenceoffamilylife.Apparentlyshefails.However,whenMrs.Ramsaypassesaway.Lilymediatedinalongtimeandseestheemptinessduringtenyears.Theshatteredandfragmentalimagesemergeandthepowervanishes,whichenableshertodestroytheoldmemory.Thepastservedasamirrortolinkthepresent,whichreflectedthevisualofanemptyhouseasanimageofillusion.Therefore,thedomesticlifeismorelikeanimageofemptinessduringandafterthedestructionoftheWar.Inthesecondpart,Woolffocusedonthehouse,inwhichsheusedavisionofspacetodescribetherelationamongobjectsinthehouseandhowtimeandspacewerechanged,remodeledandexpanded.W.J.T.Mitchellhadeverclaimedthat“literatureisanartoftime,paintinganartofspace”(W.J.T.Mitchell95).Therefore,whenW.J.T.Mitchellclaimedthat“Spatialform”,suggeststhat“space”morethantime,forthereasonthatJosephFrank“Spatialform,initssimplestsensedesignatesthetechniquesbywhichnovelistssubvertthechronologicalsequenceinherentinnarrative”(Mitchell96).ThusVirginiaWoolfchosetosubverttheorderoftimeinthe“TimePasses”andreducedthedialoguestodesignatetheemptyhouse,whichbroughttheimpressiononreadersthatthenature,theobjectsintherooms,thenight,thelights,andtheseasonswereallaclipofpictureswhichdisappearedatonce.Shewrote,Sowiththelampsallputout,themoonsunk,andathinraindrummingontheroofadownpouringofimmensedarknessbegan.Nothing,itseemed,couldsurvivetheflood,46 ChapterThreeModernityandReconstructionofNationalIdentitytheprofusionofdarknesswhich,creepinginatkeyholesandcrevices,stoleroundwindowblinds,cameintobedrooms,swalloweduphereajugandbasin,thereabowlofredandyellowdahlias,therethesharpedgesandfirmbulkofachestofdrawers.Notonlywasfurnitureconfounded;therewasscarcelyanythingleftofbodyormindbywhichonecouldsay''Thisishe"or"Thisisshe."Sometimesahandwasraisedasiftoclutchsomethingorwardoffsomething,orsomebody.(TL101)Inthispart,Woolfdepictednaturewithoutanytraceofhumanpresence.Sheobservednatureduringthewar,butthenatureseemedliketheWasteLandofT.S.Eliotbecausetherewasnothinglightbutdarknessinvision.Therewasnobody,nohumanbeingbutanemptyplaceinwhichfurnitureconfounded.Thewholepassagedepictedapictureofmodernlifeasanemptinessduringthewartoshowhowwardestroyedtheprotection—thedomesticspaceofpeoplebyestablishingamysticnaturewithoutanysenseoflife.Inthisspace,everyimagewereputtogetherbutthemeaningofthescenewasdeprivedsincethewordswerenolongerimitatingandinteractingwithobjects,orcharacters.Theformofspacewasnothingmorethanacontainerofobjects.Lefebvrehadcalledsocialspaceasasocialproduction,forit“incorporates”socialactions,sotheactionsofobjects,bothindividualandcollective,developthemselvesuntiltheyperish(34).AsMitchellquotedfromRobertWeimannthat“thelossofthetemporaldimensionmeansthedestructionofthespecificnarrativeeffect,namely,therepresentationoftemporalprocesses"andthus“theideologicalnegationofself-transformingreality,thenegationofthehistoricityofourworld”(34).Woolfexpressedhersensorymodernitybydestroyingthechronologyoftimesothataddedasenseofdesperationandmysterytotheicons.Meanwhile,shetriedtolettheimagestellthestoriesasitwasapainting.However,shehadtodealwiththeproblemofaboundarybetweenwordsandimages.Mitchellmadeananalogytoshowthattherelationbetweenwordsandimageswasliketheeyesandears,whichdrawsaboundarybetweentherealmsofvisualandauralexperience.Asaresult,inthisnovel,thelanguagewascreatedtobevisibleandshouldbereadassensiblelikeapoem.Woolfsucceeded.Ontheonehand,shereturnedtonatureanddepictednature;ontheotherhand,shemovedawayfromthetraditionalimpressionfromrealistsandmaterialistandendowedthereaderstoreflectandaskquestionsonmodernitythroughthepictorialarts.47 西南大学硕士学位论文Duringtheprocessofreading,shecombinedthemeaningwithimagestomakemetaphorswhileshedeconstructsthemeaningsbydeprivingthesensibilityfromethnics,race,familybondstoavoidbeingstuckinpreachingandteachingmorality.II.ModernityandVisualizedPoliticsinTotheLighthousePatrickFueryandKelliFueryhadevertalkedabouthowterrorisminfluencedpeoplebydeliberatedirectionsonspecifictargets.Ononehand,“theimagesoftheterroriststhemselves”and“variousWesternleadersandpublicfigureswithIslamicpeopleandculturalartifacts”aretwosetsofimageswhicharejuxtaposedtogetherthroughmedia.“Theforceofthe‘waronterror’layintheinternalizingofthefearthatactsofterrorismcouldcontinuetotakeplace....Terrorismisaparticularlygoodexampleofthevyingforinterpretativepowerintheimage,aswellasrevealingjusthowmuchtheimageconveysbeyondthewordsthatsurroundit”(PatrickFueryandKelliFuery68).Thepowerofanimagecouldbeconveyedbeyondthewords,nomatterinthe21stcenturyorinthe20thcentury.Thusinthehouse,peoplewereinfluencedbytheimagesfromthenation.Theislandwasconsistedofanimportantseriesofimagesforthemodernistswhotrytocriticizeinvisible,potentialdangerforthenationtriedtoestablishnationalconfidencethroughvisualizedevents.SharonMarcushadeverclaimedthat“tobeEnglishwastoliveinahouse,andtoliveinahousewasEnglish”(85).Withatitle‘AlmostAshamedofEnglandBeingsoEnglish:WoolfandIdeasofEnglishness’,JuliaBriggsindicatedthattheshametobesoEnglishforWoolf.Shewrote,ThefabricofEnglishsocietyhasalsoradicallychanged.Weaspiretobeamulti-racial,multi-culturalsociety,forwhomtheconceptof‘Englishness’isatbestanemptymyth,theinventionofanimaginarypast;atworstanoccasionforprejudiceandpoliticalreaction.Ithasbecomeapotentialembarrassment,almostadirtyword.(190)TheconceptofEnglishnessisborninthenineteenthcenturyfromchangingeconomicandsocialconditions,asBritishindustrylostitsadvantageintheworldmarketsinGermanyandtheUnitedStates,wealthbegantomigratefromnorthtosouth,idealsofthepastarose,factoriesandcitieswereestablishedinruralareas.Asaconcept,itreliedonassumptionsofasocialharmonywhichwascollapsedwiththeprocessofmodernity.48 ChapterThreeModernityandReconstructionofNationalIdentityJuliaBriggsthoughtthat“forWoolf,theEnglishlandscapewasinextricablyboundupwithEnglishliterature”(JuliaBriggs192).BeforetheGreatWar,WoolfandLeonardwerepacifistsduringthewarandkeenoninternationalism,fortheyconsideredthecreationofaLeagueofNationsasaninternationalcoalitionandabetterandsafersolution.However,shecaricaturedthenationalself-congratulationondisplayattheRoyalAcademy’sSummerExhibitioninanessaywrittenin1919,whichwaspublishedinanessayfromMiddletonMurry’sAthenaeum.Thesunisexquisitelyadaptedtotheneedsofthesundials.Theyewhedgesareirreproachable;themanorhouseamiracleoftimeworndignity....Itisindeedaverypowerfulatmosphere;sochargedwithmanlinessandwomanliness,pathosandpurity,sunsetsandUnionJacks,thattheshabbiestandmostsuburbancatchareflectionoftherosyglow.‘ThisisEngland!thesearetheEnglish!’onemightexplainifaforeignerwereathand.(EssayIII92)Here,thenotionofEnglandhadbecomeembarrassingbecausetheimageofEnglandresultedinasenseofdignityandshamereflectedintheclichés.Asaculturalcritic,Woolffeltbeingoffensivebutcomplacentfortheheroeswhoseemedtohavebeenshown,displayed,andlatervanishedfromthewall.Asanaestheticcritic,sheisinfluencedbyprovincialismandpaintingtechniques.RogerFryeandCliveBelltriedtofreethepainterfromsuchunrelatedemotionsasnarrativeclaimsmadebytheschool'sgenrepaintings.Instead,theyencouragedliberatingpaintingfromsentiment.TotheLighthouse(1927),insomeway,celebratedanostalgiaEnglishthatWoolfwastakingriskbecomingsentimentalforthecomplex.Inthecentralsectionofthenovel,‘TimePasses’,explorestheimpactoftheWar.Exceptthat,itwaswrittenduringtheconflictoftheGeneralStrike,whichWoolfstruggledtoreconcile.OnMay29,1924,shewenttotheBritishEmpireexhibition,whichshefetcheduparealisticpictureofanimperialland.TheBritishEmpireExhibitionwasconceivedasamirroroftheworldasawhole,whichenabledtheBritishpeopletoseeanentireempireinminiature.HeressayontheEmpireExhibitiontitled‘ThunderatWembley’wasconsideredbyKurtKoenigsbergerasacritiquetoExhibition’seconomy.KurtKoenigsbergercommentedthat“thiseconomypositstheworldasasocio-spatialtotalitythatcan49 西南大学硕士学位论文beobservedbyadisengagedspectatorwithoutentailingalossofmeaningorentanglingthesubjectwiththeworldasobject”(100).TherewasnodoubtthattheEnglishnationthatwasrepresentedintheBritishEmpireExhibitionatWembleyasserteditsnationalconfidencebytechnologicalmodernityandhopedtorespondtosuspicionstoproveitwasboominginsteadofdecaying.TheExhibitionexpressedanimageofanempireasanintegratedunity,bysignifyingtypicalfeaturesof“thefar-flungreachesofempirepresentedintheperspectivetheBritishorganizersthoughtmostappropriatetoofferingspectatorsarepresentativegeneralpictureoftheempire”((KurtKoenigsberger102).Infact,inherbookMappings:FeminismandtheCulturalGeographiesofEncounter,SusanStanfordFriedmanoffersageopoliticalreadingoftheBritishEmpire.First,ouroverrelianceonmodelsofcenter/peripheryandsubject/objectoftendeniesagencytomultipleothersinarushtocondemnthecenter.Second,suchbinaryoppositionstendtoenmeshusWoolfcriticsinanunanswerabledebateaboutwhethertocelebrateWoolfascriticofempireortocritiqueherasparticipantinandbeneficiaryofimperialism.(119)TheimageoftheBritishempirehadcontinuallyimposedtheirsignificanceontheBritishpeoplebyobjectswithinthehouse.Forexample,JamesRamsaycutoutpicturesfromtheillustratedcatalogueoftheArmyandNavystore;Mrs.RamsaystoodmotionlesslyforawhileagainstapictureofQueenVictoria.W.J.T.MitchellhaddiscussedtherelationamongtheMarxism,Ideologyandimages,heanalyzedMarx'sownmethods,methodsofmakingconcepts“concrete”byturningthemintoimages.Marxsuggestedthatany“mentalfact”or,“conceptualtotality,"isbynomeans“aproductoftheideawhichevolvesspontaneouslyandwhosethinkingproceedsoutsideandaboveperceptionandimagination,butistheresultoftheassimilationandtransformationofperceptionsandimagesintoconcepts.”(162)Therefore,theimageoftheEmpirewasomnipresentfromthedomesticspacetotheexteriorasamentalconceptfortheBritishpeopletomakethecolonialimperialismseemingly“correct”beforethewar.Therefore,MitchellmadeananalogytosuggestthatthewayMarxexplainedtheconceptsofideologyandcommodityweresimilartothewaypoetsandrhetoricianswhomademetaphorstomaketheirexpressionconcrete.“Theimagebehindthe50 ChapterThreeModernityandReconstructionofNationalIdentityconcept”,islikeacamerawhichprojectedtheimagefroma‘darkroom’orbox.“Theimagebehindtheconceptofcommodity,ontheotherhand,isthefetishoridol,anobjectofsuperstition,fantasy,andobsessivebehavior.”(W.J.T.Mitchell162).ThelifeofthefirstpartwastheoldsentimentalnostalgiaontheunityandtotalityofintellectualswhotriedtoignoretheconceptofGreatBritainasapowerfulnationandhopedtofindmorespaceforwisdomtosurvive.However,Mrs.Ramsay,shewasindulgedherselfintheobsessivefetishismondinnertableandthehappinessofmarriage;forLily,shewasawakingallthetimeandintheendshearrivedatthelighthousesothatshesawthereallighthouseandtherealimageoftheworld.Theconceptof“mirror”caststheshadowsofeverythingbeforethewar,duringthewarandafterthewar.Inthesecondpart,shewrote,Thatdream,ofsharing,completing,offindinginsolitudeonthebeachananswer,wasthenbutareflectioninamirror,andthemirroritselfwasbutthesurfaceglassinesswhichformsinquiescencewhenthenoblerpowerssleepbeneath?Impatient,despairingyetlothtogo(forbeautyoffersherlures,hasherconsolations),topacethebeachwasimpossible;contemplationwasunendurable;themirrorwasbroken.(TL108)In“TimePasses”,socialspaceperished,Woolfindicatedafactthathowthewardestroyedhumanwisdombybreakingalltherelationsbetweenpeopleandobjects.Atthattime,everyimageconsistedofasenseofemptiness,whichrepresentsthehouseasanillusion.Socialactionswithinthedomesticspacewereabsentandthetensionanddistortionsperished.Atthesametime,thetendencyoffetishism,worshipingidolsisperishingtoo.Therefore,inthefinalsection,afterthedarknessofwar,sheindicatedalightofhopeassheandotherfamilymembersreachedtheisland.Thecanvas,asawhiteboard,waitingtobepaintedbytheagitation,nervousness.Lilyplucksherattentionandforgotalltheirrelevance,all“worshipfulobjects”whichwerecontentwith“worship”;“men,women,God,allletonekneelprostrate”;andpaintedlike“anunbornsoul,asoulleftofbody”(182).Thoughshecouldnotconcentratebyherinnervoicesothatshekeepsthinkingaboutdeath,Mrs.Ramsay,etc,whensheseesthatlighthousewhichisa“silvery,misty-lookingtowerwithayelloweye,thatopenedsuddenly,andsoftlyintheevening”,sittingdownonthegrass,shesuddenlyunderstoodthatsheislikea“traveler”andthelawnsheislookingisawholeworld,aworkofart.51 西南大学硕士学位论文Nothingshecoulddobuttoseeit,appreciateit,andshareitwithothers.Sheunderstoodthatthebeautywouldperish,ordestroyedintheendbutshedidnotmindtheresultanymore.Thusshetakesupherbrushandthecanvasissuddenlyclear,thenshehashervisioneventually.Atthattime,sheabandonsthematerialism,rationalism,andturnstofocusoncolorsandlines.Sheappealstorestorethebeautybeforeshemissesitinnature,thoughsheknowsthepowerofnature.Itisanappealforaneworderafterthedepressionanddestructionthatthewarbroughtabout.Thedomesticspaceisnolongerpatriarchaldomain.Woolfdemonstratedthatshehadsucceededinchallengingthetradition,thepower,Victorianideology,racialhegemony.Hervisionisareflectionoffragmentationoftraumaticemotion,anditremainsasasignofaestheticmodernitytonarratethehistoryofnatureandthedevelopmentofcitymovement.Itisacultural,aestheticresonancewithpoeticbeautywhichtriumphedoverprejudiceofnations,races,economicelements,politicalstandpoints,religion,andsoon.Thevisionisalaboroflove.TotheLighthouseisalsoaworkofartwhichWoolfherselfimaginedonceagainheroldmemory,thehistory,andthepossibilityofherowninnovation.52 ConclusionDepictingcountlessimagesandpictures,VirginiaWoolfponderedthenatureoftheexistenceoflifeinheroneofthebestnovels—TotheLighthouseandhersenseofbeinganoutsiderenabledhertoreflecttherelationbetweentheintellectualsandphilosophicalmattersaboutsubjectandobject,theindividualspaceandthepublicspace,andhowtheimageiscarriedontheimperialmeaningnomatterindomesticspace,orattheBritishEmpireExhibition.Shecreatedmanynarrativevoicesfordifferentcharacterstoexpresstheirfeelingsandbuiltupplentyofdialogues,whichreflectedherconceptionsonlifethatlifewastremendouslytransformedintomulticulturalmirrorforeveryonetopursuemorevisionsintheirfuture,evenifintheturningof20thcenturymostpeoplewereconfrontedwithvariousinformationinthetermofimages.Theearlydecadesofthe20thcenturywitnessedsocial,economicandculturalchangesinBritain,forexampletheriseoftheworkingclass,popularculture,andtheImpressionismExhibitionduringthistime.Thisstudyexploredtherelationofthesocietyandhowimageinfluencedthewayofmodernityinthenovel.Besides,thethesisinvestigatedthebiographicalbackgroundofVirginiaWoolftoexplainhowsheinfusedtheindividualexperienceintoLilyBriscoe.Theexperienceofherchildhoodandthesocialmovementsinteractedtoagreatextentthatshewrotedownthemostsensitiveimpression,includingtheepistemologicalchangesonpower,image,nationandpolitics.TheinnovationofthispaperisthatitexaminedthecriticismsofVirginiaWoolfthatcriticscommentedasahighly-acclaimedmodernist,orasnobtoillustratetheworldshelivedin.Infact,VirginiaWoolfwasdeeplyconcernedaboutindividualismandsocialaffairsinspiteofhermentalbreakdownduringaccomplishingthisnovel.W.J.T.Mitchellrevealedhowimageworkedonlanguagethatproducespicturesinthemindsofpeople,anddesignatedhowtheimageandlikenessofworlddeliveredtheeffectofpower.Theprocessofimageryhappenedasphilosophybegantodiscusstheproblemofsubjectandobject,whichisalsoanimportantpointfortheconversationofthedinnertablein“TheWindow”.Atthattime,wordswerehelpfultotransformitselfintheformofideasinordertoexpressthemeaningbytabletalks.Asthetabletalkisnotonlythe53 西南大学硕士学位论文symbolofwisdom,italsoreflectssocialmovementwhichimpliedaminiatureofmodernsociety,orindustrialcivilization.Inaddition,VirginiaWoolfdescribedtheirinnerworldofsomecharacters,whichcouldberegardedasamodeofexperience—theexperienceofspaceandtime,oftheselfandothers.Sincemodernsocietyisachangingenvironment,thephysicalsciencesischallengingthewaysofseeingtheimagesoftheuniverseandourselves;thepowerofindustrializationprovidedmorepossibilitytotransformscientificknowledgeintotechnology,andcreatedmorejobswiththeprocessofdestroyingnature.Allofthesechangesgeneratenewconflictsofclassstruggle.VirginiaWoolfobservedfromtheeyeofpowerindomesticspacewhenLilyBriscoewasincarnatedasagod.Duringthisprocess,therelationamongnationsalsochanged.ThepositionoftheBritishEmpireanditsdominanteconomicpowerwasunderrisk.ThatiswhyVirginiaWoolffeltthecrisisasamemberofthemiddleclass.Knowledgeiseasytobeacquired,theriseoflaborpartydesignatedtheriseofmassculture.Asamodernistwriter,sheneededtomakeinnovationfortheageappealedforanewformtorecordhopeless,Godless,meaninglessnessandchaosinsteadofimitatingnature,ordrawinganimaginedreality.ThroughLeslieStephenandBloomsbury,sheinheritedtheKantianideaofEnlightenmentasunendingpursuitforhumanrights.Thus,theidentificationofanindividualmayignorethefactthatagroupidentitywouldbeconstructedbythecollectivepower.Toidentifythemassasthegroupofanimals,whicheliminatedthecollectivewisdomofhistoricreality.SincesheencounteredRogerFry,Woolfrecognizedthetime--1910,atthebeginningofanew‘Post-Impressionistage’.Therefore,inthisnovel,sheconstructedtwolines,onewasthatshearticulatedthemodernitybyprojectingtheinnerworld,inwhichwasherdeepthinkingonthetransientagebeforewar,atthemiddleofthewarandafterthewar.Ontheotherhand,shetriedtokeepaproperdistanceasamodernpainterwhoexertedhersurveillanceovertheactivitiesofmiddleclassandchallengedtheethicaltraditionofsociety.WhenLilyBriscoepainted,VirginiaWoolfrecordedtheprocessofpaintingandprojectedherfeelingsofimagesduringtheprocess.Undertheinfluenceofmodernityandwar,thewayLilypaintedreflectedhowWoolfunderwentthetraumaofcatastrophicwarandthelossofherintimatedmotherandsister.Although54 Conclusionsheovercamementalattackallthetime,shewasabletotransformhersadnessintoasourceofherwritingonart.Asaresult,shegotridoftheinfluenceofthelastgenerationandacclaimedherinimitablestyleasamodernist.Exceptthat,thearchitecture,wasanotherfocusinthefinalpart.Theartofbuildingdesignatedtheinvisiblepowerinanarchitecture,librarywasregardedasthemasculinespaceintheVictorianperiod,whiledrawingroomwastakenasfemininespace.However,domesticdecorationcouldbeconsideredasanaestheticartforawomanwhomanagedtotakeeveryobjectunderhercontrolasadisguiseofpowerinahouse.InTotheLighthouse,Mrs.Ramsaywasplacedundersuchadisguise.However,forLilyBriscoe,shedeniedthedomesticlifeofMrs.Ramsayandexpressedheranti-domestictendencybypaintingoutsidethehouse,whichshowedasubversiontoheranxiety.Mr.Ramsay,hisgazeactedasaninvisiblepowerforLily.AccordingtoFoucault,powerisconstructedinthediscourseofimagerywhenmodernityimpressedpainterswithimages,Lilyresistedbeingdominatedbythepowerofherfather.Thustheabsenceofanimageofthemotherresultedinthenostalgicmemory,andthedeathmadeherlifeintofragmentaryimagery.In“TimePasses”,Woolffocusedonspacenarration,whichsheusedavisionofanemptyhousetodescribetherelationamongobjectsinthehouseandhowtimeandspacewerechanged,remodeledandexpanded.Woolfdepictedanaturewithoutanysignofhumanpresence.Lastbutnotleast,sheredefinedherownconceptofEnglishness,theBritishEmpireandtheWar,intheendshehadherownvisionoflife.Thisthesishasitslimitations.ThestudiesofVirginiaWoolfneedfurtherresearchontheideologyofpowerandpolitics,especiallyforhernovelsin1920-1930.Nevertheless,thepresentresearchisbestowedonreadersmoreviewpointstothesociopoliticalvisionindepthbythisstudy.55 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