【作者】 牛宏宇；

【导师】 曾艳兵；

【作者基本信息】 天津师范大学 ， 比较文学与世界文学， 2014， 博士

【摘要】 作为当代空间理论最重要的思想先驱之一,列斐弗尔在其1974年出版的《空间的生产》一书中宣称：“1910年左右,某个空间崩溃了。”列斐弗尔所指的空间崩溃是指基于欧几里德空间与透视空间,并在西方艺术和哲学中得以充分体现的传统理性空间的崩溃。列斐弗尔指出,伴随着这一参照系的消失,诸如城镇、历史、父权、音乐、道德观等等方面的一系列传统观念也消失了。对于这一空间巨变,其实伍尔夫早在五十年前就有过相似的论断,她说：“就让我们把这些变化的时间确定在1910年左右吧。”伍尔夫所指的变化是人与人之间一切关系的变化,以及随之而来的信仰、行为、政治和文学的变化。可以说,伍尔夫很早就意识到了人与人之间的复杂社会关系所构成的社会空间的变化,感知到了空间的工具性,并因此终其一生地致力于寻找适应这一变化的文学形式,但直到几十年后,列斐弗尔才将空间的概念引入对这种社会变化的分析之中,试图构建一种理论来描述和分析这种变化的实质及其产生的影响。因此,当列斐弗尔的社会空间理论以其巨大的包容性和适用性潜能进入文学批评的视野时,伍尔夫创作中隐蔽的空间性特征就得以彰显出来。本论文旨在运用列斐弗尔的社会空间概念及其空间三元辩证法的理论,分析伍尔夫作品所呈现的空间化叙事结构及其作品中的空间所蕴含的政治意义。作为二十世纪前半期的现代主义作家,伍尔夫经历了城市化、工业化和世界大战带来的时空观的变化及相应的身体与心理体验方面的变化,其空间化叙事的美学实验就体现了对这种变化的关注和反应。另外,伍尔夫对空间的处置也源于她自身作为一名女性作家的边缘身份,正是这种边缘身份使她能够敏锐地意识到地理位置和边界所体现出的社会压迫以及日常生活实践和话语中的不平等的权力关系。在伍尔夫的创作中,她不仅以超越传统的空间化叙事再现了令现代人倍感焦虑的破碎的世界,杂乱的空间和无情的现实,同时将空间作为由社会生产和权力关系构建的、具有差异性的、矛盾的、动态的场域,通过对空间中受压制的他者力量的呈现,揭露并批判了社会权力阶层借空间表征的作用对弱势群体或异质力量的同质化压迫。本论文引言部分是对论文选题缘由的介绍。正文部分共分为三章内容。第一章主要是对伍尔夫空间研究的可行性分析。首先,简单介绍文学批评研究的“空间转向”,其次,指出列斐弗尔的社会空间理论及其空间三元辩证法与伍尔夫创作研究的契合关系；最后,分析伍尔夫研究空间的复杂性和开放性,并指出伍尔夫空间研究的可行性。第二章主要探讨伍尔夫小说创作中的空间化叙事。首先,伍尔夫的小说革新实验是构成社会空间的文学空间实践,它将历史的宏大叙事转向对日常生活空间、生存的此在空间和感性的社会空间的关注,彰显了文学空间的他者力量对文学叙事传统的颠覆；其次,《墙上的斑点》、《达洛卫夫人》和《奥兰多》等作品的空间化叙事表明了伍尔夫的创作实验致力于在时间的碎片中“追忆流逝的空间”,表征了现代都市生活的碎片化、异质性和无序性,又体现了伍尔夫自己的生存体验和人生哲学,这种叙事形式的创新是对现代叙事困境的突围,也是对资本主义现代性发展进程中文学表征空间的建构。第三章主要探讨了伍尔夫作品中的空间政治。空间化叙事使作品中的空间不再是静止、中立、被动的故事背景,而成为既是手段又是目的的社会空间,社会空间中的人物在性别、阶级、民族“空间表征”的规训下,通过“空间实践”,以差异化的“表征空间”,向“空间表征”挑战,对性别主义的、民族主义的和权力阶级的话语提出了质疑并予以解构。本章通过对《一间自己的房间》、《三个基尼币》、《往事杂记》、《出航》、《夜与日》、《达洛卫夫人》、《到灯塔去》、《弗勒希》、《海浪》、《岁月》等作品的分析,分别从性别、阶级、民族三方面指出伍尔夫以性别政治为核心内容,兼顾阶级政治和民族政治的空间政治批评。本论文的结语部分不仅是论文的核心思想和内容的总结性结尾又是与本论文相关的后续研究的开端。本论文在空间理论的观照下将政治文化批评与文学本体研究结合起来,从文本内部结构和文本外部的社会层面更全面地研究了伍尔夫所具有的他者力量。可以说,这一研究不仅颠覆了伍尔夫只关注内心世界、思想偏狭、创作“非常空洞而无意义感”的传统形象,而且也表明了伍尔夫研究更多可能性的存在。更多还原

【Abstract】 Henri Lefebvre, a forerunner of the Theory of Social Space, has claimed in his The Production of Space published in1974that "around1910a certain space was shattered". The shattered space Lefebvre mentioned refers to the space of classical perspective and geometry, developed from the Renaissance onwards on the basis of the Greek tradition and bodied forth in Western art and philosophy. Lefebvre states that with the disappearance of the reference systems, other former ’commonplaces’ such as the town, history, paternity, music, traditional morality, and so forth have also disappeared. As for such great change, Virginia Woolf has made the similar announcement fifty years earlier that "Let us agree to place one of these changes about the year1910." According to Woolf, about the year1910all human relations have shifted, hence a change in religion, conduct, politics, and literature. Woolf, so to speak, has been aware of the shift in social space woven by all human relations and the instrumentalness of space at very early time and devoted her whole life to seeking new ways of writing to fit the social change, whereas Lefebvre introduced the concept of space into the analysis of the social change dozens of years later and attempted to construct a theory to describe and analyze the essence of the change and its effect. Therefore, while Lefebvre’s Theory is seeping into the literary criticism with its great potential of inclusiveness and applicability, the hidden features of spatiality and sociality in Woolf’s writing are manifest. The present dissertation aims at analyzing the spatialized structure of narration and the political significance implicated by social spaces in Woolf’s writings by using Lefebvre’s concept of social space and his triad dialectic of space. Virginia Woolf, as one of the famous modernist writers, went through the urbanization, the industrialization and the First World War in the first half of the twentieth century, which brought about the change in her outlook and experience of space and time and influenced her aesthetic experiment. In addition, Woolf’s way of dealing with space in writing is resulted from her marginal identity as a woman writer which enabled her to be sensitive to the social oppression embodied by geographical places and the unequal power relations in the practice and discourse of everyday life. Woolf’s writings not only represent the broken world, the chaotic space and the relentless reality by means of the spatialized narration, but also disclose and criticize the social authority’s oppression on the disadvantaged groups or the heterogeneous forces by using space as constructed, contradictory and dynamic.The introduction of the dissertation briefly introduces the reasons for choosing the subject and the perspective of the study. The body part consists of three chapters. The first chapter analyzes the feasibility of studying Woolf and her writings from the perspective of social space. Firstly,’the spatial turn’ in literary criticism is simply introduced; secondly, how Lefebvre’s theory fits into the study of Woolf’s writings is analyzed; and lastly, the complexity and openness of the study space about Woolf is presented and the feasibility of the space study about Woolf is proved. The second chapter focuses on the spatialized narration of Woolf s novel writing. The first section of this chapter points out that Woolf’s writing innovation is a kind of literary spatial practice which can be considered as part of the social spatial practice. The new way of writing transfers the concern from the grand historic narrative to the everyday life space, the Dasein space and the perceptual social space, which reveals the subversion of the other in the literary space against the literary narrative tradition. The second sector points out that the spatialized narration in Woolf’s novel innovation represents the recollection of the past spaces in the temporal fragments by analyzing such novels as The Mark on the Wall, Mr. Dalloway and Olando. The untraditional way of writing reflects the fragmentization, heterogeneity and disorderedness of the modern urban life and embodies Woolf s own living experience and philosophy. It is not only a break through the modern narrative predicament, but also a construction of the literary space in the development of the capitalist modernity. The third chapter is mainly about the spatial politics in Woolf s writings. In the spatialized narratives, spaces are no longer the static, neutral and passive story settings but rather the dynamic, active and open social spaces both producing and being produced. People in the social spaces, who are disciplined by the representations of space in terms of gender, class and nation, make challenges to the representations by means of spatial practice, questioning and subverting the discourses of sexism, nationalism and class hegemony. This chapter concerns with such works as A Room of One’s Own, Three Guineas, A Sketch of the Past, The Voyage out, Night and Day, Mrs. Dalloway, To the Lighthouse, Flush, The Waves, The Years, etc. By analyzing the functions of spaces in these writings, this chapter expounds the spatial politics criticism in terms of gender, class and nation. The epilogue of the dissertation is not just an ending that concludes the core thoughts and contents of the previous chapters, but a very beginning of the subsequent studies related to the present one.The present dissertation combines the literary ontology study with the political and cultural criticism in light of the theory of social space, presenting Woolf’s otherness power both from the internal structural level and from the external social level of the texts. The study on the one hand subverts the traditional image of Virginia Woolf whose only interest is the inner world, whose thought is narrow and whose writings are "empty and meaningless", and on the other hand, it turns out that the Woolf study space is open and there exists more possibilities to be explored.更多还原