ARoomofOne27sOwn英文介紹及賞析ARoomofOne27sOwn英文介紹及賞析ARoomofOne27sOwn英文介紹及賞析ARoomofOne27sOwn英文介紹及賞析編制僅供參考審核批準(zhǔn)生效日期地址：電話：傳真:郵編:ARoomofOne’sOwnContextVirginiaWoolfwasbornVirginiaStephenin1882intoaprominentandintellectuallywell-connectedfamily.Herformaleducationwaslimited,butshegrewupreadingvoraciouslyfromthevastlibraryofherfather,thecriticLeslieStephen.Heryouthwasatraumaticone,includingtheearlydeathsofhermotherandbrother,ahistoryofsexualabuse,andthebeginningsofadepressivementalillnessthatplaguedherintermittentlythroughoutherlifeandeventuallyledtohersuicidein1941.Afterherfather'sdeathin1904,Virginiaandhersister(thepainterVanessaBell)setupresidenceinaneighborhoodofLondoncalledBloomsbury,wheretheyfellintoassociationwithacircleofintellectualsthatincludedsuchfiguresasLyttonStrachey,CliveBell,RogerFry,andlater.Forster.In1912,VirginiamarriedLeonardWoolf,withwhomsheranasmallbutinfluentialprintingpress.Thehighlyexperimentalcharacterofhernovels,andtheirbrilliantformalinnovations,establishedWoolfasamajorfigureofBritishmodernism.Hernovels,whichincludeTotheLighthouse,Mrs.Dalloway,andTheWaves,areparticularlyconcernedwiththelivesandexperiencesofwomen.InOctober1928,VirginiaWoolfwasinvitedtodeliverlecturesatNewnhamCollegeandGirtonCollege,whichatthattimeweretheonlywomen'scollegesatCambridge.Thesetalks,onthetopicofWomenandFiction,wereexpandedandrevisedintoARoomofOne'sOwn,whichwasprintedin1929.Thetitlehasbecomeavirtualclichéinourculture,afactthattestifiestothebook'simportanceanditsenduringinfluence.Perhapsthesinglemostimportantworkoffeministliterarycriticism,ARoomofOne'sOwnexploresthehistoricalandcontextualcontingenciSummaryThedramaticsettingofARoomofOne'sOwnisthatWoolfhasbeeninvitedtolectureonthetopicofWomenandFiction.Sheadvancesthethesisthat"awomanmusthavemoneyandaroomofherownifsheistowritefiction."Heressayisconstructedasapartly-fictionalizednarrativeofthethinkingthatledhertoadoptthisthesis.Shedramatizesthatmentalprocessinthecharacterofanimaginarynarrator("callmeMaryBeton,MarySeton,MaryCarmichaelorbyanynameyouplease—itisnotamatterofanyimportance")whoisinhersameposition,wrestlingwiththesametopic.ThenarratorbeginsherinvestigationatOxbridgeCollege,whereshereflectsonthedifferenteducationalexperiencesavailabletomenandwomenaswellasonmorematerialdifferencesintheirlives.ShethenspendsadayintheBritishLibraryperusingthescholarshiponwomen,allofwhichhaswrittenbymenandallofwhichhasbeenwritteninanger.Turningtohistory,shefindssolittledataabouttheeverydaylivesofwomenthatshedecidestoreconstructtheirexistenceimaginatively.ThefigureofJudithShakespeareisgeneratedasanexampleofthetragicfateahighlyintelligentwomanwouldhavemetwithunderthosecircumstances.Inlightofthisbackground,sheconsiderstheachievementsofthemajorwomennovelistsofthenineteenthcenturyandreflectsontheimportanceoftraditiontoanaspiringwriter.Asurveyofthecurrentstateofliteraturefollows,conductedthrougharCharacterList"I"-Thefictionalizedauthor-surrogate("callmeMaryBeton,MarySeton,MaryCarmichaelorbyanynameyouplease—itisnotamatterofanyimportance")whoseprocessofreflectiononthetopic"womenandfiction"formsthesubstanceoftheessay.TheNarrator(In-DepthAnalysis)TheBeadle-AnOxbridgesecurityofficialwhoremindsthenarratorthatonly"FellowsandScholars"arepermittedonthegrass;womenmustremainonthegravelpath.MarySeton-StudentatFernhamCollegeMaryBeton-Thenarrator'saunt,whoselegacyoffivehundredpoundsayearsecuresherniece'sfinancialindependence.(MaryBetonisalsooneofthenamesWoolfassignstohernarrator,whoseidentity,shesays,isirrelevant.)JudithShakespeare-TheimaginedsisterofWilliamShakespeare,whosuffersgreatlyandeventuallycommitssuicidebecauseshecanfindnosociallyacceptableoutletsforhergenius.MaryCarmichael-Afictitiousnovelist,contemporarywiththenarratorofWoolf'sessay.Inherfirstnovel,shehas"brokenthesentence,brokenthesequence"andforeverchangedthecourseofwomen'swriting.Mr.A-Animaginedmaleauthor,whoseworkisovershadowedbyaloomingself-consciousnessandpetulantself-assertiveness.AnalysisofMajorCharacterTheNarratorTheunnamedfemalenarratoristheonlymajorcharacterinARoomofOne’sOwn.Shereferstoherselfonlyas“I”;inchapteroneofthetext,shetellsthereadertocallher“MaryBeton,MarySeton,MaryCarmichaeloranyothernameyouplease...”Thenarratorassumeseachofthesenamesatvariouspointsthroughoutthetext.Theconstantlyshiftingnatureofheridentitycomplicateshernarrativeevenmore,sincewemustconsidercarefullywhosheisatanygivenmoment.However,hershiftingidentityalsogivesheramoreuniversalvoice:bytakingondifferentnamesandidentities,thenarratoremphasizesthatherwordsapplytoallwomen,notjustherself.ThedramaticsettingforARoomofOne’sOwnisWoolf’sthoughtprocessinpreparationforgivingalectureonthetopic“womenandfiction.”ButthefictionalizednarratorisdistinctfromtheauthorWoolf.Thenarratorlendsastorylikequalitytothetext,andsheoftenblendsfactandfictiontoproveherpoints.Herlibertywithfactualitysuggeststhatnoirrefutabletruthexistsintheworld—alltruthisrelativeandsubjective.Thenarratorisaneruditeandengagingstoryteller,andsheusesthebooktoexplorethemultifacetedandrathercomplicatedhistoryofliteraryachievement.Herprovocativeinquiriesintothestatusquoofliteratureforcereaderstoquestionthewidelyheldassumptionthatwomenareinferiorwriters,comparedtomen,andthisiswhythereisadearthofmemorableliteraryworksbywomen.Thisliteraryjourneyishighlightedbynumerousactualjourneys,suchasthejourneyaroundOxbridgeCollegeandhertouroftheBritishlibrary.Sheinterweavesherjourneyswithherowntheoriesabouttheworld—includingtheprincipleof“incandescence.”Woolfdefinesincandescenceasthestateinwhicheverythingispersonalburnsawayandwhatisleftisthe“nuggetofpuretruth”intheart.ThisistheidealstateinwhicheverythingisconsumedintheintensityandtruthThemes,Motifs&SymbolsThemesTheImportanceofMoneyForthenarratorofARoomofOne’sOwn,moneyistheprimaryelementthatpreventswomenfromhavingaroomoftheirown,andthus,havingmoneyisoftheutmostimportance.Becausewomendonothavepower,theircreativityhasbeensystematicallystifledthroughouttheages.Thenarratorwrites,“Intellectualfreedomdependsuponmaterialthings.Poetrydependsuponintellectualfreedom.Andwomenhavealwaysbeenpoor,notfortwohundredyearsmerely,butfromthebeginningoftime...”Sheusesthisquotationtoexplainwhysofewwomenhavewrittensuccessfulpoetry.Shebelievesthatthewritingofnovelslendsitselfmoreeasilytofrequentstartsandstops,sowomenaremorelikelytowritenovelsthanpoetry:womenmustcontendwithfrequentinterruptionsbecausetheyaresooftendeprivedofaroomoftheirowninwhichtowrite.Withoutmoney,thenarratorimplies,womenwillremaininsecondplacetotheircreativemalecounterparts.ThefinancialdiscrepancybetweenmenandwomenatthetimeofWoolf’swritingperpetuatedthemyththatwomenwerelesssuccessfulwriters.TheSubjectivityofTruthInARoomofOne’sOwn,thenarratorarguesthatevenhistoryissubjective.Whatsheseeksisnothinglessthan“theessentialoiloftruth,”butthiseludesher,andsheeventuallyconcludesthatnosuchthingexists.Thenarratorlaterwrites,“Whenasubjectishighlycontroversial,onecannothopetotellthetruth.Onecanonlyshowhowonecametoholdwhateveropiniononedoeshold.”Todemonstratetheideathatopinionistheonlythingthatapersoncanactually“prove,”shefictionalizesherlecture,claiming,“Fictionislikelytocontainmoretruththanfact.”Realityisnotobjective:rather,itiscontingentuponthecircumstancesofone’sworld.Thisargumentcomplicateshernarrative:Woolfforcesherreadertoquestiontheveracityofeverythingshehaspresentedastruthsofar,andyetshealsotellsthemthatthefictionalpartsofanystorycontainmoreessentialtruththanthefactualparts.Withthisobservationsherecaststheacceptedtruthsandopinionsofcountlessliteraryworks.MotifsInterruptionsWhenthenarratorisinterruptedinARoomofOne’sOwn,shegenerallyfailstoregainheroriginalconcentration,suggestingthatwomenwithoutprivatespacesoftheirown,freeofinterruptions,aredoomedtodifficultyandevenfailureintheirwork.WhilethenarratorisdescribingOxbridgeUniversityinchapterone,herattentionisdrawntoacatwithoutatail.Thenarratorfindsthiscattobeoutofplace,andsheusesthesightofthiscattotakehertextinadifferentdirection.Theoddlyjarringandincongruoussightofacatwithoutatail—whichcausesthenarratortocompletelylosehertrainofthought—isanexerciseinallowingthereadertoexperiencewhatitmightfeelliketobeawomanwriter.Althoughthenarratorgoesontomakeaninterestingandvaluablepointabouttheatmosphereatherluncheon,shehaslostheroriginalpoint.Thisshiftunderscoresherclaimthatwomen,whosooftenlackaroomoftheirownandthetGenderInequalityThroughoutARoomofOne’sOwn,thenarratoremphasizesthefactthatwomenaretreatedunequallyinhersocietyandthatthisiswhytheyhaveproducedlessimpressiveworksofwritingthanmen.Toillustrateherpoint,thenarratorcreatesawomannamedJudithShakespeare,theimaginarytwinsisterofWilliamShakespeare.ThenarratorusesJudithtoshowhowsocietysystematicallydiscriminatesagainstwomen.JudithisjustastalentedasherbrotherWilliam,butwhilehistalentsarerecognizedandencouragedbytheirfamilyandtherestoftheirsociety,Judith’sareunderestimatedandexplicitlydeemphasized.Judithwrites,butsheissecretiveandashamedofit.Sheisengagedatafairlyyoungage;whenshebegsnottohavetomarry,herbelovedfatherbeatsher.Sheeventu