woolf簡介

Virginia Woolf (1882-1941)，英國著名女作家，是現代主義文學和女性主義文學的代表人物之一。她的作品涉及小說、短篇小說、散文、回憶錄等多個領域。代表作品包括《達洛維夫人》、《灰色衣服》、《懷舊的色彩》、《海上風景》等。

Woolf 以內心探索和流浪者意識為特點，追求人性的深度和細節。她筆下的人物多為中產階級的知識分子，以及他們內心的掙扎、痛苦和希望。她同時也是女性主義的堅定支持者，倡導女性獨立自主，呼籲社會重視女性的權利和地位。

Woolf 一生經歷了家庭悲劇、心理疾病等多個挫折，但她的作品仍被譽為英國文學史上的傑作之一。她的文學成就為後人提供了廣闊的探索領域。

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弗吉尼亞·伍爾芙的介紹

弗吉尼亞·伍爾芙（Virginia Woolf，1882年1月25日－1941年3月28日）。英國女作家、文學批評家和文學理論家，意識流文學代表人物，被譽為二十世紀現代主義與女性主義的先鋒。兩次世界大戰期間，她是倫敦文學界的核心人物，同時也是布盧姆茨伯裡派（Bloomsbury Group）的成員之一。最知名的小說包括《達洛維夫人》（Mrs. Dalloway）、《到燈塔去》（To the Lighthouse）等。

弗吉尼亞 伍爾芙簡介？

弗吉尼亞·伍爾芙

弗吉尼亞·伍爾芙（Virginia Woolf‎1882年1月25日—1941年3月28日）。英國女作家，被認為是二十世紀現代主義與女性主義的先鋒之一。在兩次世界大戰期間，吳爾芙是倫敦文學界的核心人物，她同時也是布盧姆茨伯裡派（Bloomsbury Group‎）的成員之一。其最知名的小說包括《戴洛維夫人》（Mrs. Dalloway‎）、《燈塔行》（To the Lighthouse‎）、《雅各的房間》（Jakob's Room‎）。

生平以及著作

出生於倫敦的伍爾芙是在家中接受教育的。結婚以前她的名字是艾德琳·弗吉尼亞·斯蒂芬（Adeline Virginia Stephen‎）。1895年母親去世之後，她第一次精神崩潰。後來她在自傳《存在的瞬間》（Moments of Being‎）中道出她和姐姐瓦內薩·貝爾（Vanessa Bell‎）曾遭受同母異父的哥哥喬治和傑瑞德·杜克沃斯（Gerald Duckworth‎）的性侵犯。1904年她父親萊斯利·斯蒂芬爵士（Sir Leslie Stephen‎，著名的編輯和文學批評家）去世之後，她和瓦內薩遷居到了布盧姆斯伯裡（Bloomsbury‎）。後來以她們和幾位朋友為中心創立了布盧姆茨伯裡派文人團體。她在1905年開始職業寫作生涯，剛開始是為《泰晤士報文學增刊》撰稿。

1912年和雷納德·伍爾夫（Leonard Woolf）結婚，丈夫是一位公務員、理論家。對於自己的婚姻，弗吉尼亞·伍爾夫曾大犯躊躇。她就像自己的小說《到燈塔去》裡的莉麗，儘管認為愛情宛如壯麗的火焰，但因為必須以焚棄個性的“珍寶”為代價，因此視婚姻為“喪失自我身份的災難”。一個女人抱持這樣悲觀的看法，又是在三十歲的“高齡”上才開始構築“二人空間”，其困難是可想而知的。然而事後證明，弗吉尼亞的憂慮純屬多餘，倒是她的心理癥結落下的性恐懼和性冷淡，使婚姻生活從一開始就走上了歧路。 倫納德畢業於劍橋大學，饒有文才，深具眼力，與其說他欣賞弗吉尼亞的嫻雅風度，毋寧說他傾慕弗吉尼亞的超凡智慧。在他眼裡，弗吉尼亞是隻可遠觀不可褻玩的“智慧的童貞女”，在她身上完全不粘附世俗的色彩。應該說，起初，倫納德心有不甘，他抱著幻想，認為自己能像王子喚醒睡美人那樣喚醒弗吉尼亞體內的性意識。幾經努力，徒勞無功之後，他創作小說《智慧的童貞女》，借用男主人公哈里·大衛的口吻譴責了冷血的女人，認為“那些長著白面板和金色頭髮的蒼白的女人……是冰冷的，同時也使人冰冷”，他的這些心懷不忿的說辭（近乎指桑罵槐）無疑對弗吉尼亞的自尊構成了深深的傷害。弗吉尼亞婚後的“精神雪崩”給倫納德適時地敲響了警鐘，他決定從此認命，轉而追求精神之愛這一更高遠的境界。他這樣做，僅需一條理由——“她是個天才”——就足夠了。弗吉尼亞的感激之情也溢於言表，她明確地宣佈倫納德是自己生命中隱藏的核心，是她創造力的源泉。1930年，弗吉尼亞告訴一位朋友，沒有倫納德，她可能早就開自殺了。弗吉尼亞能以多病之身取得非凡的文學成就，倫納德可謂居功至偉。

1915年，她的第一部小說《遠航》出版，其後的作品都深受評論界和讀者喜愛。大部分作品都是由自己成立的“賀加斯岀版”推岀。

伍爾芙被譽為20世紀最偉大的小說家之一，現代主義文流的先鋒；不過她本人並不喜歡某些現代主義作者，如喬伊斯。她對英語語言革新良多，在小說中嘗試意識流的寫作方法，試圖去描繪在人們心底的潛意識。愛德華·摩根·福斯特稱她將英語“朝著光明的方向推進了一小步”。她在文學上的成就和創新性至今仍然產生著影響。二戰後她的聲望有所下降，但隨著70年代女權主義的興起，她又成為文學界關注的物件。

伍爾芙患有嚴重的抑鬱症，她曾在1936年寫給朋友的信中提及:

"....never trust a letter of mine not to exaggerate that's written after a night lying awake looking at a bottle of chloral and saying, No, no no, you shall not take it. It's odd how sleeplessness, even of a modified kind, has the power to frighten me. It's connected I think with these awful times when I couldn't control myself."

寫作於一九四二年的《幕間》，是弗吉尼亞·伍爾夫辭世之前的最後一部作品。當這部小說進展到約前五分之一的部分時，作家在讓波因茨宅一個幹粗活的女僕到清涼的睡蓮池旁喘息片刻時順便交待，十年前曾經有一位貴婦人在該處投水溺亡。那是一片濃綠的水，其間有無數魚兒“遨遊在以自我為中心的世界裡，閃著亮光。”

這真是一個不詳之兆：僅在小說完成又過了一個月之後，也就是1941年3月28日，舉世無雙的伍爾夫在自己的口袋裡裝滿了石頭，投入了位於羅德麥爾（Rodmell）她家附近的歐塞河（River Ouse）自盡。她在給丈夫的遺書中寫道：

最親愛的：

我感到我一定又要發狂了。我覺得我們無法再一次經受那種可怕的時刻。而且這一次我也不會再痊癒。我開始聽見種種幻聲，我的心神無法集中。因此我就要採取那種看來算是最恰當的行動。你已給予我最大可能的幸福。你在每一個方面都做到了任何人所能做到的一切。我相信，在這種可怕的疾病來臨之前，沒有哪兩個人能像我們這樣幸福。我無力再奮鬥下去了。我知道我是在糟蹋你的生命；沒有我，你才能工作。我知道，事情就是如此。你看，我連這張字條也寫不好。我也不能看書。我要說的是：我生活中的全部幸福都歸功於你。你對我一直十分耐心，你是難以置信地善良。這一點，我要說----人人也都知道。假如還有任何人能挽救我，那也只有你了。現在，一切都離我而去，剩下的只有確信你的善良。我不能再繼續糟蹋你的生命。

我相信，再沒有哪兩個人像我們在一起時這樣幸福。維

（據昆丁·貝爾（Quentin Bell：伍爾夫的侄子）所寫的傳記中原文譯出）

現代研究

最近關於伍爾芙的研究大多關注於三個方向：女權主義、傾向及抑鬱症病史。這方面的一個例子是1997年Eileen Barrett和Patricia Cramer所著的一系列文學批評：《Virginia Woolf: Lesbian Readings》。

1966年伊麗莎白·泰勒曾主演的電影《靈慾春宵》（Who's afraid of Virginia Woolf？），但這部影片的名字，卻和Virginia Woolf沒有絲毫關係，而是套用了一曲英國童謠，名為“Who's afraid of the big，bad wolf？”

在2002年，出現了一部以伍爾芙在寫《達洛維夫人》期間故事為題材的電影《時時刻刻》（The Hours）。這部電影獲得了奧斯卡最佳影片獎的提名，但是沒有獲獎。但是影片的主角妮可·基德曼（Nicole Kidman）獲得了最佳女演員獎。這部電影取材於普利策獎得主麥克爾·坎寧安（Michael Cunningham）1998年的同名小說。其中“The Hours”是伍爾芙在創作期間為《達洛維夫人》所起的名字。不過從事伍爾芙研究的學者對影片所描繪的伍爾芙的形象非常不滿。

出航（The Voyage Out） (1915年)

夜與日（Night and Day） (1919年)

雅各的房間（Jacob's Room） (1920年)

達洛維夫人（Mrs. Dalloway） (1925年)

到燈塔去（To the Lighthouse） (1927年)

奧蘭多（Orlando: a Biography） (1928年)

海浪（The Waves） (1931年)

歲月（The Years） (1937年)

幕間（Between the Acts） (1941年)

鬼屋及其他（The Haunted House and Others）（短篇小說集）

隨筆

一間自己的房間（A Room of One's Own ）(1929年)

普通讀者I(The Common Reader)(1925年)

普通讀者II(The Second Common Reader)(1933年)

三個畿尼(Three Guineas)(1938年)

羅傑.弗萊傳記Roger Fry: A Biography (1940年)

飛蛾之死及其它The Death of the Moth and Other Essays (1942年)

瞬間及其它隨筆The Moment and Other Essays (1948年)

存在的瞬間Moments of Being

現代小說Modern Fiction (1919年)

1992年9月16日在加拿大多倫多電影節，一部以基於Virginia Woolf‎的小說《Orlando》的同名電影上映。

因為親密的女朋友離家出走而備感思念，為了表達思念之情，伍爾芙便以她為原型，創作了被稱為“世界上最長，最動人的情書”的傳奇小說《奧蘭多》。

有評論家把伍爾芙的小說分為戲劇小說和實驗小說兩類，認為戲劇小說是其社會評論的戲劇化移植，使她能通過作品中的人物曲折地表達自己對社會問題的種種看法。《奧蘭多》當在此列。小說突破年齡，性別的，追隨主人公三百年間的傳奇經歷，在輕鬆幽默的表面情節下，以滑稽模仿的方式重審英國文學史，提出了將在同期出版的評論《一間自己的屋子》裡將正式討論的男女性差，婦女與文學等嚴肅問題。因此，這部關於，換裝癖和雙性同體的小說對女性主義批評含義無窮。而後殖民主義則十分關注奧蘭多出使東方的經歷。小說出版的年代，、種族等問題正一起困擾英國，成為公眾熱點話題。由此看來小說又不乏諷世之社會意義。

在女性主義尚未興起之前，《奧蘭多》一度被忽略。伍爾芙自己也戲稱其為一個“玩笑”。近年來，隨著女性主義文學理論的深入發展和後現代主義重讀現代主義話題的提及，《奧蘭多》愈來愈受到評論關注，成為女性主義批評的典範作家的精華作品。

virginia woolf 的個人簡介（英文）

【生平】

Adeline Virginia Woolf (née Stephen; 25 January 1882 – 28 March 1941) was an English writer and one of the foremost modernists of the twentieth century.

During the interwar period, Woolf was a significant figure in London literary society and a central figure in the influential Bloomsbury Group of intellectuals. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "A woman must have money and a room of her own if she is to write fiction."

Woolf suffered from severe bouts of mental illness throughout her life, thought to have been the result of what is now termed bipolar disorder,and committed suicide by drowning in 1941 at the age of 59.

【作品及影響】

Woolf began writing professionally in 1900, initially for the Times Literary Supplement with a journalistic piece about Haworth, home of the Brontë family. Her first novel, The Voyage Out, was published in 1915 by her half-brother's imprint, Gerald Duckworth and Company Ltd. This novel was originally titled Melymbrosia, but Woolf repeatedly changed the draft. An earlier version of The Voyage Out has been reconstructed by Woolf scholar Louise DeSalvo and is now available to the public under the intended title. DeSalvo argues that many of the changes Woolf made in the text were in response to changes in her own life.

Lytton Strachey and Woolf at Garsington, 1923 Woolf went on to publish novels and essays as a public intellectual to both critical and popular success. Much of her work was self-published through the Hogarth Press. She is seen as a major twentieth-century novelist and one of the foremost modernists.

Woolf is considered a major innovator in the English language. In her works she experimented with stream of consciousness and the underlying psychological as well as emotional motives of characters. Woolf's reputation declined sharply after World War II, but her importance was re-established with the growth of feminist criticism in the 1970s.

Virginia Woolf's peculiarities as a fiction writer have tended to obscure her central strength: she is arguably the major lyrical novelist in the English language. Her novels are highly experimental: a narrative, frequently uneventful and commonplace, is refracted—and sometimes almost dissolved—in the characters' receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions.Woolf has often been credited with stream of consciousness writing alongside her modernist contemporaries like James Joyce and Joseph Conrad.

The intensity of Virginia Woolf's poetic vision elevates the ordinary, sometimes banal settings—often wartime environments—of most of her novels. For example, Mrs Dalloway (1925) centres on the efforts of Clarissa Dalloway, a middle-aged society woman, to organise a party, even as her life is paralleled with that of Septimus Warren Smith, a working-class veteran who has returned from the First World War bearing deep psychological scars.

To the Lighthouse (1927) is set on two days ten years apart. The plot centres on the Ramsay family's anticipation of and reflection upon a visit to a lighthouse and the connected familial tensions. One of the primary themes of the novel is the struggle in the creative process that beset painter Lily Briscoe while she struggles to paint in the midst of the family drama. The novel is also a meditation upon the lives of a nation's inhabitants in the midst of war, and of the people left behind. It also explores the passage of time, and how women are forced by society to allow men to take emotional strength from them.

Orlando (1928) is one of Virginia Woolf's lightest novels. A parodic biography of a young nobleman who lives for three centuries without ageing much past thirty (but who does abruptly turn into a woman), the book is in part a portrait of Woolf's lover Vita Sackville-West. It was meant to console Vita for the loss of her ancestral home, though it is also a satirical treatment of Vita and her work. In Orlando, the techniques of historical biographers are being ridiculed; the character of a pompous biographer is being assumed in order for it to be mocked.

The Waves (1931) presents a group of six friends whose reflections, which are closer to recitatives than to interior monologues proper, create a wave-like atmosphere that is more akin to a prose poem than to a plot-centred novel.

Flush: A Biography (1933) is a part-fiction, part-biography of the cocker spaniel owned by Victorian poet Elizabeth Barrett Browning. The book is written from the dog's point of view. Woolf was inspired to write this book from the success of the Rudolf Besier play The Barretts of Wimpole Street. In the play, Flush is on stage for much of the action. The play was proced for the first time in 1932 by the actress Katharine Cornell.

Her last work, Between the Acts (1941), sums up and magnifies Woolf's chief preoccupations: the transformation of life through art, sexual ambivalence, and meditation on the themes of flux of time and life, presented simultaneously as corrosion and rejuvenation—all set in a highly imaginative and symbolic narrative encompassing almost all of English history. This book is the most lyrical of all her works, not only in feeling but in style, being chiefly written in verse. While Woolf's work can be understood as consistently in dialogue with Bloomsbury, particularly its tendency (informed by G. E. Moore, among others) towards doctrinaire rationalism, it is not a simple recapitulation of the coterie's ideals.

Woolf's works have been translated into over 50 languages by writers such as Jorge Luis Borges and Marguerite Yourcenar.

急急急 ~！！求 virginia woolf 英語簡介

(Adeline) Virginia Woolf (née Stephen; 25 January 1882 – 28 March 1941) was an English novelist and essayist, regarded as one of the foremost modernist literary figures of the twentieth century.

During the interwar period, Woolf was a significant figure in London literary society and a member of the Bloomsbury Group. Her most famous works include the novels Mrs Dalloway (1925), To the Lighthouse (1927) and Orlando (1928), and the book-length essay A Room of One's Own (1929), with its famous dictum, "a woman must have money and a room of her own if she is to write fiction."

Woolf-- a major British novelist, essayist, and critic-- was one of the leaders in the literary movement of modernism. This elite group also included Gertrude Stein, James Joyce, Ezra Pound, and T. S. Eliot.

In her works, she used a technique called "stream of consciousness", revealing the lives of her characters by revealing their thoughts and associations.

Her most famous novel, "To the Lighthouse", which was written in 1927, examines the life of an upper middle class British family. It portrays the fragility of human relationships and the collapse of social values.

She was also a feminist, socialist, and pacifist who expressed her beliefs in essays such as "A Room of One's Own".

找了三段你選其中一段或者合併吧

哪裡能找到弗吉尼亞伍爾夫的生平介紹英文版

http://www.classicreader.com/author.php/aut.40/

Virginia Woolf was born in London, as the daughter of Julia Jackson Duckworth, a member of the Duckworth publishing family, and Leslie Stephen, a literary critic, a friend of Meredith, Henry James, Tennyson, Matthew Arnold, and George Eliot, and the founder of the Dictionary of National Biography. Leslie Stephen's first wife had been the daughter of the novelist William Makepeace Thackeray. His daughter Laura from the first marriage was institutionalized because of mental retardation. In a memoir dated 1907 she wrote of her parents, "Beautiful often, even to our eyes, were their gestures, their glances of pure and unutterable delight in each other."

Woolf was ecated at home by her father, and grew up at the family home at Hyde Park Gate. In mddle age she described this period in a letter to Vita Sackville-West: "Think how I was brought up! No school; mooning about alone among my father's books; never any chance to pick up all that goes on in schools throwing balls; ragging; slang; vulgarities; scenes; jealousies!" Woolf's youth was shadowed by series of emotional shocks - her half-brother Gerald Duckworth sexually abused her and her mother died when she was in her early teens. Stella Duckworth, her half sister, took her mother's place, but died a scant two years later. Leslie Stephen, her father, suffered a slow death from cancer. When her brother Toby died in 1906, she had a prolonged mental breakdown.

Following the death of her father in 1904, Woolf moved with her sister Vanessa and two brothers to the house in Bloomsbury, which would become central to activities of the Bloomsbury group. "And part of the charm of those Thursday evenings was that they were astonishingly abstract. It was not only that Moore's book [Principia Ethica, 1903] had set us all discussing philosophy, art, religion; it was that the atmosphere - if in spite of Hawtrey I may use that word - was abstract in the extreme. The young men I have named had no 'manners' in the Hyde Park Gate sense. They criticized our arguments as severely as their own. They never seemed to notice how we were dressed or if we were nice looking or not." (from Moments of Being, ed. by Jeanne Schulkind, 1976) Vanessa agreed to marry the critic of art and literature Clive Bell. Virginia's economic situation improved she she inherited ￡2,500 from an aunt.

From 1905 Woolf began to write for the Times Literary Supplement. In 1912 she married the political theorist Leonard Woolf, who had returned from serving as an administarator in Ceylon (now Sri Lanka). Woolf published her first book, The Voyage Out, in 1915. In 1919 appeared Night and Day, a realistic novel set in London, contrasting the lives of two friends, Katherine and Mary. Jacob's Room (1922) was based upon the life and death of her brother Toby.

With To the Lighthouse (1927) and The Waves (1931) Woolf established herself as one of the leading writers of modernism. On the publication of To the Lighthouse, Lytton Strachey wrote: "It is really most unfortunate that she rules out copulation - not the ghost of it visible - so that her presentation of things becomes little more... than an arabesque - an exquisite arabesque, of course." The Waves is perhaps Woolf's most difficult novel. It follows in soliloquies the lives of six persons from childhood to old age. Louis Kronenberger noted in The New York Times that Woolf was not really corncerned with people, but "the poetic symbols, of life--the changing seasons, day and night, bread and wine, fire and cold, time and space, birth and death and change."

In these works Woolf developed innovative literary techniques in order to reveal women's experience and find an alternative to the male-dominated views of reality. In her essay 'Mr. Bennett and Mrs. Brown' Woolf argued that John Galsworthy, H.G. Wells and other realistic English novelist dealt in surfaces but to get underneath these surfaces one must use less restricted presentation of life, and such devices as stream of consciousness and interior monologue and abandon linear narrative.

Mrs. Dalloway (1925) formed a giant web of thoughts of several groups of people ring the course of a single day. There is little action, but much movement in time from present to past and back again through the characters memories. The central figure, Clarissa Dalloway, is a wealthy London hostess. She spends her day in London preparing for her evening party. She recalls her life before World War I, berofe her marriage to Richard Dalloway, and her friendship with the unconventional Sally Seton, and her relationship with Peter Walsh. At her party she never meets the shell-shocked veteran Septimus Smith, one of the first Englishmen to enlist in the war. Sally returns as Lady Rossetter, Peter Walsh is still enamored with Mrs. Dalloway, the prime minister arrives, and Smith commits suicide. To the Lighthouse had a tripartite structure: part 1 presented the Victorian family life, the second part covers a ten-year period, and the third part is a long account of a morning in which ghosts are laid to rest. The central figure in the novel, Mrs. Ramsay, was based on Woolf's mother. Also other characters in the book were drawn from Woolf's family memories.

"So that is marriage, Lily thought, a man and a woman looking at a girl throwing a ball." (from To the Lighthouse)

During the inter-war period Woolf was at the center of literary society both in London and at her home in Rodmell, near Lewes, Sussex. She lived in Richmond from 1915 to 1924, in Bloomsbury from 1924 to 1939, and maintained the house in Rodmell from 1919-41. The Bloomsbury group was initially based at the Gordon Square residence of Virginia and her sister Vanessa (Bell). The consolidation of the group's beliefs in unifying aesthetic concerns occurred under the influence of the philosopher G.E. Moore (1873-1958). The group included among others E.M. Forster, Lytton Strachey, Clive Bell, Vanessa Bell, Duncan Grant, and Leonard Woolf. By the early 1930s, the group ceased to exist in its original form.

In the event of a Nazi invastion, Woolf and Leonard had made provisions to kill themselves. After the final attack of mental illness Woolf loaded her pockets with stones and drowned herself in the River Ouse near her Sussex home on March 28, 1941. On her note to her husband she wrote: "I have a feeling I shall go mad. I cannot go on longer in these terrible times. I hear voices and cannot concentrate on my work. I have fought against it but cannot fight any longer. I owe all my happiness to you but cannot go on and spoil your life." Her suicide has colored interpretations of her works, which have been read perhaps too straightly as explorations of her own traumas.

Virginia Woolf's concern with feminist thematics are dominant in A Room of One's Own (1929). In it she made her famous statement: "A woman must have money and a room of her own if she is to write fiction." The book originated from two expanded and revised lectures the author presented at Cambridge University's Newnham and Girton Colleges in October 1928. It deals with the obstacles and prejudices that have hindered women writers, and analyzes the differences between women as objects of representation and women as authors of representation. Woolf argued that a change in the forms of literature was necessary because most literature had been "made by men out of their own needs for their own uses." In the last chapter it explores the possibility of an androgynous mind. Woolf refers to Coleridge who said that a great mind is androgynous and states that when this fusion takes place the mind is fully fertilized and uses all its faculties. "Perhaps a mind that is purely masculine cannot create, any more than a mind that is purely feminine..." Three Guineas (1938) examined the necessity for women to make a claim for their own history and literature. Orlando (1928), a fantasy novel, traced the career of the androgynous protagonist from a masculine identity within the Elisabethan court to a feminine identity in 1928. The book was illustrated with pictures of Woolf's lover, Vita Sackville-West, dressed as Orlando. According to Nigel Nicolson, the initiative to start the affair came as much on Virginia's side as on the more experienced Vita's. Their relationship coincided with a period of great creative proctivity in Woolf's career as a writer. In 1994 Eileen Atkins dramatized their letters in her play Vita and Virginia, starring Atkins and Vanessa Redgrave.

As an essayist Woolf was prolific, publishing some 500 essays in periodicals and collections, beginning 1905. Characteristic for Woolf's essays are dialogic nature of style and continual questioning of opinion - her reader is often directly addressed, in a conversational tone, and her rejection of an authoritative voice links her essays to the tradition of Montaigne.

virginia woolf 的簡介

弗吉尼亞·伍爾夫（Virginia Woolf 1882－1941）原名弗吉尼亞·斯蒂芬，是英國現代著名的女小說家、評論家和散文作者。她的小說創作實踐推動了現代小說的發展，她的理論進一步鞏固了意識流小說的地位，她的影響在文學上經久不衰。但是，40年代到60年代，在英國對伍爾夫的評價一直偏低。從70年代起，英國文學研究領域卻突發了對她重新研究的興趣，甚至對她的“發瘋”、相貌、癖性、愛好、私生活等等都有人進行專題研究。弗吉尼亞·伍爾夫已成為英國文學界的一位傳奇人物。

《到燈塔去》簡介、作者是誰？

作者：伍爾芙

這是一部作者傾注心血的準自傳體意識流小說。小說以到燈塔去為貫穿全書的中心線索，寫了拉姆齊一家人和幾位客人在第一次世界大戰前後的片段生活經歷。拉姆齊先生的幼子詹姆斯想去燈塔，但卻由於天氣不好而未能如願。後大戰爆發，拉姆齊一家歷經滄桑。戰後，拉姆齊先生攜帶一雙兒女乘舟出海，終於到達燈塔。而坐在岸邊畫畫的莉麗·布里斯科也正好在拉姆齊一家到達燈塔的時候，在瞬間的感悟中，向畫幅落下一筆，終於畫出了多年縈迴心頭的幻象，從而超越自己，成為一名真正的藝術家。全書並無起伏跌宕的情節，內容分三個部分，依次為：窗；時光流逝；燈塔。最主要的人物拉姆齊夫人後來死去，其實際活動僅限於小說的前半部分。關於她的一系列描述，是以作者本人的母親為生活原型的，而拉姆齊先生則有作者父親的影子。此外，作者著墨最多的是莉麗·布里斯科。表面上看，莉麗語言寥寥，其主要行為主要是為拉姆齊夫人作畫，但該人物的思想活動相當活躍，作者以自己為原型塑造了這個人物，並“為小說結構安排了潛在的雙重線索和複合層次。……莉麗這個人物既在這部小說世界之中，又在它之外；拉姆齊一家的經歷是第一層次的故事，莉麗所體現的‘藝術—生命’主要是第二層次的故事，是包裹在小說外面的又一部小說。”

關於伍爾夫的作品－《笑的價值》的詳細介紹和該作品收錄的書籍名稱

弗吉尼亞·伍爾芙

弗吉尼亞·伍爾芙（Virginia Woolf‎1882年1月25日—1941年3月28日）。英國女作家，被認為是二十世紀現代主義與女性主義的先鋒之一。在兩次世界大戰期間，吳爾芙是倫敦文學界的核心人物，她同時也是布盧姆茨伯裡派（Bloomsbury Group‎）的成員之一。其最知名的小說包括《戴洛維夫人》（Mrs. Dalloway‎）、《燈塔行》（To the Lighthouse‎）、《雅各的房間》（Jakob's Room‎）。

生平以及著作

出生於倫敦的伍爾芙是在家中接受教育的。結婚以前她的名字是艾德琳·弗吉尼亞·斯蒂芬（Adeline Virginia Stephen‎）。1895年母親去世之後，她第一次精神崩潰。後來她在自傳《存在的瞬間》（Moments of Being‎）中道出她和姐姐瓦內薩·貝爾（Vanessa Bell‎）曾遭受同母異父的哥哥喬治和傑瑞德·杜克沃斯（Gerald Duckworth‎）的性侵犯。1904年她父親萊斯利·斯蒂芬爵士（Sir Leslie Stephen‎，著名的編輯和文學批評家）去世之後，她和瓦內薩遷居到了布盧姆斯伯裡（Bloomsbury‎）。後來以她們和幾位朋友為中心創立了布盧姆茨伯裡派文人團體。她在1905年開始職業寫作生涯，剛開始是為《泰晤士報文學增刊》撰稿。

1912年和雷納德·伍爾夫（Leonard Woolf）結婚，丈夫是一位公務員、理論家。對於自己的婚姻，弗吉尼亞·伍爾夫曾大犯躊躇。她就像自己的小說《到燈塔去》裡的莉麗，儘管認為愛情宛如壯麗的火焰，但因為必須以焚棄個性的“珍寶”為代價，因此視婚姻為“喪失自我身份的災難”。一個女人抱持這樣悲觀的看法，又是在三十歲的“高齡”上才開始構築“二人空間”，其困難是可想而知的。然而事後證明，弗吉尼亞的憂慮純屬多餘，倒是她的心理癥結落下的性恐懼和性冷淡，使婚姻生活從一開始就走上了歧路。 倫納德畢業於劍橋大學，饒有文才，深具眼力，與其說他欣賞弗吉尼亞的嫻雅風度，毋寧說他傾慕弗吉尼亞的超凡智慧。在他眼裡，弗吉尼亞是隻可遠觀不可褻玩的“智慧的童貞女”，在她身上完全不粘附世俗的色彩。應該說，起初，倫納德心有不甘，他抱著幻想，認為自己能像王子喚醒睡美人那樣喚醒弗吉尼亞體內的性意識。幾經努力，徒勞無功之後，他創作小說《智慧的童貞女》，借用男主人公哈里·大衛的口吻譴責了冷血的女人，認為“那些長著白面板和金色頭髮的蒼白的女人……是冰冷的，同時也使人冰冷”，他的這些心懷不忿的說辭（近乎指桑罵槐）無疑對弗吉尼亞的自尊構成了深深的傷害。弗吉尼亞婚後的“精神雪崩”給倫納德適時地敲響了警鐘，他決定從此認命，轉而追求精神之愛這一更高遠的境界。他這樣做，僅需一條理由——“她是個天才”——就足夠了。弗吉尼亞的感激之情也溢於言表，她明確地宣佈倫納德是自己生命中隱藏的核心，是她創造力的源泉。1930年，弗吉尼亞告訴一位朋友，沒有倫納德，她可能早就開自殺了。弗吉尼亞能以多病之身取得非凡的文學成就，倫納德可謂居功至偉。

1915年，她的第一部小說《遠航》出版，其後的作品都深受評論界和讀者喜愛。大部分作品都是由自己成立的“賀加斯岀版”推岀。

伍爾芙被譽為20世紀最偉大的小說家之一，現代主義文流的先鋒；不過她本人並不喜歡某些現代主義作者，如喬伊斯。她對英語語言革新良多，在小說中嘗試意識流的寫作方法，試圖去描繪在人們心底的潛意識。愛德華·摩根·福斯特稱她將英語“朝著光明的方向推進了一小步”。她在文學上的成就和創新性至今仍然產生著影響。二戰後她的聲望有所下降，但隨著70年代女權主義的興起，她又成為文學界關注的物件。

伍爾芙患有嚴重的抑鬱症，她曾在1936年寫給朋友的信中提及:

"....never trust a letter of mine not to exaggerate that's written after a night lying awake looking at a bottle of chloral and saying, No, no no, you shall not take it. It's odd how sleeplessness, even of a modified kind, has the power to frighten me. It's connected I think with these awful times when I couldn't control myself."

寫作於一九四二年的《幕間》，是弗吉尼亞·伍爾夫辭世之前的最後一部作品。當這部小說進展到約前五分之一的部分時，作家在讓波因茨宅一個幹粗活的女僕到清涼的睡蓮池旁喘息片刻時順便交待，十年前曾經有一位貴婦人在該處投水溺亡。那是一片濃綠的水，其間有無數魚兒“遨遊在以自我為中心的世界裡，閃著亮光。”

這真是一個不詳之兆：僅在小說完成又過了一個月之後，也就是1941年3月28日，舉世無雙的伍爾夫在自己的口袋裡裝滿了石頭，投入了位於羅德麥爾（Rodmell）她家附近的歐塞河（River Ouse）自盡。她在給丈夫的遺書中寫道：

最親愛的：

我感到我一定又要發狂了。我覺得我們無法再一次經受那種可怕的時刻。而且這一次我也不會再痊癒。我開始聽見種種幻聲，我的心神無法集中。因此我就要採取那種看來算是最恰當的行動。你已給予我最大可能的幸福。你在每一個方面都做到了任何人所能做到的一切。我相信，在這種可怕的疾病來臨之前，沒有哪兩個人能像我們這樣幸福。我無力再奮鬥下去了。我知道我是在糟蹋你的生命；沒有我，你才能工作。我知道，事情就是如此。你看，我連這張字條也寫不好。我也不能看書。我要說的是：我生活中的全部幸福都歸功於你。你對我一直十分耐心，你是難以置信地善良。這一點，我要說----人人也都知道。假如還有任何人能挽救我，那也只有你了。現在，一切都離我而去，剩下的只有確信你的善良。我不能再繼續糟蹋你的生命。

我相信，再沒有哪兩個人像我們在一起時這樣幸福。維

（據昆丁·貝爾（Quentin Bell：伍爾夫的侄子）所寫的傳記中原文譯出）

現代研究

最近關於伍爾芙的研究大多關注於三個方向：女權主義、傾向及抑鬱症病史。這方面的一個例子是1997年Eileen Barrett和Patricia Cramer所著的一系列文學批評：《Virginia Woolf: Lesbian Readings》。

1966年伊麗莎白·泰勒曾主演的電影《靈慾春宵》（Who's afraid of Virginia Woolf？），但這部影片的名字，卻和Virginia Woolf沒有絲毫關係，而是套用了一曲英國童謠，名為“Who's afraid of the big，bad wolf？”

在2002年，出現了一部以伍爾芙在寫《達洛維夫人》期間故事為題材的電影《時時刻刻》（The Hours）。這部電影獲得了奧斯卡最佳影片獎的提名，但是沒有獲獎。但是影片的主角妮可·基德曼（Nicole Kidman）獲得了最佳女演員獎。這部電影取材於普利策獎得主麥克爾·坎寧安（Michael Cunningham）1998年的同名小說。其中“The Hours”是伍爾芙在創作期間為《達洛維夫人》所起的名字。不過從事伍爾芙研究的學者對影片所描繪的伍爾芙的形象非常不滿。

出航（The Voyage Out） (1915年)

夜與日（Night and Day） (1919年)

雅各的房間（Jacob's Room） (1920年)

達洛維夫人（Mrs. Dalloway） (1925年)

到燈塔去（To the Lighthouse） (1927年)

奧蘭多（Orlando: a Biography） (1928年)

海浪（The Waves） (1931年)

歲月（The Years） (1937年)

幕間（Between the Acts） (1941年)

鬼屋及其他（The Haunted House and Others）（短篇小說集）

隨筆

一間自己的房間（A Room of One's Own ）(1929年)

普通讀者I(The Common Reader)(1925年)

普通讀者II(The Second Common Reader)(1933年)

三個畿尼(Three Guineas)(1938年)

羅傑.弗萊傳記Roger Fry: A Biography (1940年)

飛蛾之死及其它The Death of the Moth and Other Essays (1942年)

瞬間及其它隨筆The Moment and Other Essays (1948年)

存在的瞬間Moments of Being

現代小說Modern Fiction (1919年)

1992年9月16日在加拿大多倫多電影節，一部以基於Virginia Woolf‎的小說《Orlando》的同名電影上映。

因為親密的女朋友離家出走而備感思念，為了表達思念之情，伍爾芙便以她為原型，創作了被稱為“世界上最長，最動人的情書”的傳奇小說《奧蘭多》。

有評論家把伍爾芙的小說分為戲劇小說和實驗小說兩類，認為戲劇小說是其社會評論的戲劇化移植，使她能通過作品中的人物曲折地表達自己對社會問題的種種看法。《奧蘭多》當在此列。小說突破年齡，性別的，追隨主人公三百年間的傳奇經歷，在輕鬆幽默的表面情節下，以滑稽模仿的方式重審英國文學史，提出了將在同期出版的評論《一間自己的屋子》裡將正式討論的男女性差，婦女與文學等嚴肅問題。因此，這部關於，換裝癖和雙性同體的小說對女性主義批評含義無窮。而後殖民主義則十分關注奧蘭多出使東方的經歷。小說出版的年代，、種族等問題正一起困擾英國，成為公眾熱點話題。由此看來小說又不乏諷世之社會意義。

在女性主義尚未興起之前，《奧蘭多》一度被忽略。伍爾芙自己也戲稱其為一個“玩笑”。近年來，隨著女性主義文學理論的深入發展和後現代主義重讀現代主義話題的提及，《奧蘭多》愈來愈受到評論關注，成為女性主義批評的典範作家的精華作品。

VickiWoolf人物介紹

VickiWoolf

VickiWoolf是一名演員，主要作品有《一個流行歌手的自白》、《TheGreatWaltz》。

外文名：VickiWoolf

職業：演員

代表作品：《一個流行歌手的自白》

合作人物：諾曼·科恩

英國小說家艾略特簡介

艾略特(1948)

[英國]

托馬斯·史登斯·艾略特（Thomas Stearns Eliot，1888-1965）英美詩人、劇作家和批評家。生於美國密蘇里州聖路易斯，祖籍英國。父親是磚瓦商人，母親是詩人，博學多才。1906年，艾略特進哈佛大學攻讀哲學和英法文學，並走上了象徵詩歌的創作道路。1910年走巴黎入索爾大學研究哲學和文學。1913年，任哈佛大學哲學系助教。1914年，赴倫敦入牛津大學學習希臘哲學。不久即成婚並定居英國，先後當過教師、銀行職員、雜誌編輯。1922年，創辦文學評論季刊《標準》。1926年，任牛津大學講師。1927年，加入英國國籍和國教。1952年，任倫敦圖書館館長。1965年逝世。

艾艾略特從1909開始詩歌創作，先後出版《普魯弗洛克的情歌》（1917）、《詩集》（1919）、《荒原》（1922）、《艾略特詩集》（1909-2925）、《東方賢人之旅》（1927）、《灰色的星期三》（1930）、《詩選》（1909-1935）、《四個四重奏》（1943）等。其中，《普魯弗洛克的情歌》是早期詩歌的代表作；《荒原》產生於創作中期，是20世紀西方文學的劃時代作品，現代主義詩歌的里程碑；《四個四重奏》是晚期詩歌的代表作。

30年代以後，艾略特以主要精力從事詩劇創作。主要作品有《大教堂凶殺案》（1935）、《閤家團圓》（1539）、《雞尾酒會》（1950）、《機要祕書》（1954）、《政界元老》（1959）。

艾略特還是英美新批評派的奠基人之一，主要論著有《傳統與個人才能》（1917）、《論玄文學派詩人》（1921）、《批評的功能》（1923）、《詩與批評的效用》（1933）等。

艾略特自稱在上是保皇派，宗教上是英國天主教徒，文學上是古典主義者。他的文化思想屬於新經院主義和僧侶主義的範疇，主張以宗教為和文化中心，以"宗教復興"來挽救西方資本主義的文明危機。艾略特的文學創作和評論著作對英美20世紀現代派文學和新批評理論起了開拓作用，被譽為"現代文學批評大師"，並一度成為英美詩界的領袖人物。

1948年，“由於他對當代詩歌作出的卓越貢獻和所起的先鋒作用”，艾略特獲得諾貝爾文學獎。