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完整後設資料紀錄
DC 欄位 | 值 | 語言 |
---|---|---|
dc.contributor.advisor | 奇邁可(Michael Keevak) | |
dc.contributor.author | Yi-Zhen Lin | en |
dc.contributor.author | 林依臻 | zh_TW |
dc.date.accessioned | 2021-06-15T03:58:16Z | - |
dc.date.available | 2010-08-01 | |
dc.date.copyright | 2010-06-01 | |
dc.date.issued | 2010 | |
dc.date.submitted | 2010-05-22 | |
dc.identifier.citation | Bell, Carolyn Wilkerson. “Parallelism and Contrast in Virginia Woolf’s The Waves.” Philological Quarterly 58 (1979):348-59.
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Urbana: U of Illinois P, 1992. 134-62. McNichol, Stella. Virginia Woolf and the Poetry of Fiction. London: Routledge, 1990. Minow-Pinkney, Makiko. Virginia Woolf and Problem of the Subject. New Brunswick: Rutgers UP, 1987. Monson, Tamlyn. “A Trick of the Mind: Alterity, Ontology, and Representation in Virginia Woolf’s The Waves.” Modern Fiction Studies 50 (2004): 173-96. Nietzsche, Friedrich. The Birth of Tragedy and Other Writings. Ed. Raymon Guess and Ronald Speirs. Trans. Ronald Speirs. New York: Cambridge UP, 1999. Rantavaara, Irma Irene. Virginia Woolf and Bloomsbury. Delaware: Folcroft, 1953. Pearce, Richard. The Politics of Narration: James Joyce, William Faulkner, and Virginia. New Brunswick: Rutgers UP, 1991. Reed, Christopher. “Through Formalism: Feminism and Virginia Woolf’s Relation to Bloomsbury Aesthetics.” Twentieth Century Literature 38.1 (1992): 20-43. Rosenbaum, S. P. The Bloomsbury Group: A Collection of Memoirs, Commentary and Criticism. Toronto: U of Toronto P, 1975. ---. Aspects of Bloomsbury: Studies in Modern English Literary and Intellectual History. New York: St. Martin’s, 1998. ---.Edwardian Bloomsbury. Hampshire: Macmillan, 1994. ---. Georgian Bloomsbury: The Early Literary History of the Bloomsbury Group, 1910-1914. New York: Macmillan, 2003. ---. Victorian Bloomsbury: The Early Literary History of The Bloomsbury Group. New York: Macmillan, 1987. Scherr, Arthur. “Rriedrich Nietzsche, Virginia Woolf, and the Creative Artist: The Birth of Tragedy and A Room of One’s Own.” Midwest Quarterly 22.2 (2002): 257-73. Schopenhauer, Arthur. The World as Will and Representation. Trans. E. F. J. Payne. 2nd ed. New York: Dover, 1969. Smith, Sidonie. Subjectivity, Identity, and the Body: Women’s Autobiographical Practices in the Twentieth Century. Bloomington: Indiana UP, 1993. Stewart, Jack F. “Existence and Symbol in The Waves.” Modern Fiction Studies 18 (1972): 433-47. ---. “Spatial Form and Color in The Waves.” Twentieth Century Literature 28 (1982): 86-107. Spalding, Frances. Roger Fry: Art and Life. Berkeley: U of California P, 1980. Taylor, David G. “The Aesthetic Theories of Roger Fry Reconsidered.” Journal of Aesthetics & Art Criticism 36.1 (1977): 63-72. Transue, Pamela J. Virginia Woolf and the Politics of Style. Albany: State U of New York P, 1986. Twitchell, Beverly H. Cezanne and Formalism in Bloomsbury. Ann Arbor: UMI, 1983. Wallace, Miriam L. “Theorizing Relational Subjects: Metonymic Narrative in The Waves.” Narrative 8 (2000): 294-323. Woolf, Leonard. Beginning Again: An Autobiography of the Years 1911-1918. London: Hogarth, 1964. Woolf, Virginia. A Room of One’s Own and Three Guineas. Oxford: Oxford UP, 1998. ---. “Evening Over Sussex: Reflections in a Motor Car.” The Death of the Moth and Other Essays. 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dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/44917 | - |
dc.description.abstract | The thesis intends to explore the aesthetic importance of The Waves. It argues that the feature of a modern artist is his or her ability to dissolve the egoistic subjectivity in the creation process. The term subjectivity in the context of Woolf’s aesthetics refers to the state of mind, the writer’s self-ego. In The Waves, Bernard’s egoistic subjectivity dissolves; his consciousness is completely occupied by the flashing images showing up in his mind. By the end of the novel Bernard is able to transform into numerous selves. Using Schopenhauer’s term, Bernard has become a “pure subject of knowing.” In conclusion, the narration of The Waves conveys Woolf’s aesthetic ideas. Its protagonist, Bernard, can be regarded as a prototype of a modern artist.
There are three chapters in my thesis. The first chapter situates Virginia Woolf in the intellectual background of the Bloomsbury Group. The chapter is divided into three parts. The first part begins with an introduction of the fundamental spirit of the Bloomsbury Group. The second part addresses Roger Fry’s art theory. The third part discusses Clive Bell’s idea of Significant Form. Chapter 2 selects three major concepts and employs Woolf’s essays to elaborate their meanings. The first idea is life and reality. Woolf contends that reality is fluid. It appears in human psychology. She attacks the traditional realistic novels which overemphasize the outer appearances but seriously ignore human’s inner thoughts and feelings. The second idea discusses the mental state of a modern artist. Woolf highly values an author’s psychological activity. She claims that the introspection of an artist is the beginning of authentic inspiration. Through such inspiration, an artist can give birth to a great work of modern art. The third section explains the dissolution of subjectivity. When an artist’s emotion is elevated by the aesthetic pleasure, he or she concentrates on the object more and more deeply. At the same time, the artist’s egoistic subjectivity starts to dissolve. They temporally forget the flesh and blood body. At the same time, they materialize the aesthetic emotion into a work of art, such as a book or a painting. Chapter 3 provides a textual analysis of The Waves. It explores how Bernard transforms from a normal writer into a modern artist. Among the 6 characters, only Bernard displays the ability to observe and understand his friend’s thoughts and their feelings. After the third interlude, Bernard grows into a more mature writer. He takes the method of exercising his imagination in his creative process, a method different from that of traditional realistic authors. Like Virginia Woolf, Bernard constantly experiments with various stories. Both of the two share the same spirit of adventure and experimentation. The thesis concludes that Virginia Woolf conveys her aesthetics by describing the transformation of Bernard as a prototype of modern artist in The Waves. | en |
dc.description.provenance | Made available in DSpace on 2021-06-15T03:58:16Z (GMT). No. of bitstreams: 1 ntu-99-R95122009-1.pdf: 420870 bytes, checksum: a28bacd81f454e1c22268eb0fc1e569a (MD5) Previous issue date: 2010 | en |
dc.description.tableofcontents | Introduction ………………………………………………………………………..1
Chapter One: Virginia Woolf and the Bloomsbury Group ………………………..17 Chapter Two: Aesthetics in Virginia Woolf ……………………………………….41 Chapter Three: Becoming A Modern Artist in The Waves ………………………...62 Conclusion …………………………………………………………………………79 Works Cited ………………………………………………………………………..81 | |
dc.language.iso | en | |
dc.title | 維吉尼亞•吳爾芙《海浪》中的美學觀 | zh_TW |
dc.title | Aesthetics in Virginia Woolf's _The Waves_ | en |
dc.type | Thesis | |
dc.date.schoolyear | 98-2 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 高瑟濡,梁欣榮 | |
dc.subject.keyword | 維吉尼亞‧吳爾芙,美學,現代小說,布倫斯貝里文藝圈,叔本華, | zh_TW |
dc.subject.keyword | Virginia Woolf,aesthetics,modern novel,the Bloomsbury Group,Arthur Schopenhauer, | en |
dc.relation.page | 85 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2010-05-23 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 外國語文學研究所 | zh_TW |
顯示於系所單位: | 外國語文學系 |
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