Virginia Woolf's Mrs. Dalloway, published in 1925, was a bestseller both in Britain and the United States despite its departure from typical novelistic style. Mrs. Dalloway and Woolf's subsequent book, To the Lighthouse, have generated the most critical attention and are the most widely studied of Woolf's novels.
The action of Mrs. Dalloway takes place during a single day in June 1923 in London, England. This unusual organizational strategy creates a special problem for the novelist: how to craft characters deep enough to be realistic while treating only one day in their lives. Woolf solved this problem with what she called a "tunneling" technique, referring to the way her characters remember their pasts. In experiencing these characters' recollections, readers derive for themselves a sense of background and history to characters that, otherwise, a narrator would have had to provide.
In a sense, Mrs. Dalloway is a novel without a plot. Instead of creating major situations between characters to push the story forward, Woolf moved her narrative by following the passing hours of a day. The book is composed of movements from one character to another, or of movements from the internal thoughts of one character to the internal thoughts of another.
Mrs. Dalloway has been called a flâneur novel, which means it depicts people walking about a city. (Flâneur is the French word for a person who enjoys walking around a city often with no other purpose than to see the sights.) The book, as is typical of the Flâneur novel, makes the city, its parks, and its streets as interesting as the characters who inhabit them.
Clarissa Dalloway's party, which is the culminating event of the book, ties the narrative together by gathering the group of friends Clarissa thinks about throughout her day. It also concludes the secondary story of the book, the story of Septimus Warren Smith, by having Dr. Bradshaw arrive at the party and mention that one of his patients committed suicide that day.
The book's major competing themes are isolation and community, or the possibilities and limits of communicativeness, as evidenced by Clarissa's abiding sense of being alone and by her social skills, which bring people together at her parties.
Virginia Woolf (January 25, 1882 - March 28, 1941) was a English author and feminist. Born Adeline Virginia Stephens in London she was brought up and educated at home. In 1895 following the death of her mother she had the first of numerous nervous breakdowns. Following the death of her father (Sir Leslie Stephen, a literary critic) in 1904, she moved with her sister and two brothers to a house in Bloomsbury. She began writing professionally in 1905, initially for the Times Literary Supplement. In 1912 she married Leonard Woolf, a civil servant and political theorist. Her first novel, The Voyage Out, was published in 1915. Between the wars, Woolf was a significant figure in London literary society and a member of the Bloomsbury group. In March 1941, Woolf drowned herself in the River Ouse, near her Romdell residence. She had published ten (?) novels and over 500 essays.
对伍尔夫的印象,一直停留在《墙上的斑点》,也就是说,基本上没有印象。 于是看了《达洛维夫人》,被她的轻巧吸引了。伍尔夫的作品没有英国小说的过于精致,却有着外国小说难得的轻巧和回味。和第一次读董桥的时候感觉很相似。我说过董桥的东西像是一枚千斤重的橄榄...
評分“居家天使”克拉丽莎·达洛维,一朵力求尽善尽美的“英伦玫瑰”。当玫瑰决定亲自去买花,思想的幻影与生活的真实之间就被模糊了界限。当芦苇都会因为思考而保有了折断前的全部尊严,被当做点缀的女人一路暗中披荆斩棘,才能不动声色的让一场宴会妆点了枯萎中的自己。 而这不...
評分看完Virginia Woolf的Mrs Dalloway已经有一段时间;书是从头到尾没有分章节,而且又是几乎纯意识流,读起来颇为吃力,于是读完之后困惑之下又多读了两遍。但是知道听了Avril Lavigne的新歌Here’s to never growing up之后,才突然心有所感,才想起来再回来写一点东西。用如此...
評分呃,GY姐让写书中的女人,一下子就想到了伍尔夫。 然而到底没那把笔力,写出来的简简单单,少了应该的蜿蜒。 于是,发到这儿来,算是纪念这个学期和这个奇女子的一场相逢。 ============= 前些日子在看伍尔夫。 又一次读那本《达洛维夫人》,伍尔夫的书,随着年龄的增长,...
評分我必須承認,我並不是一個能輕鬆接受所有“先鋒”文學的讀者,但這次閱讀體驗讓我不得不重新思考“閱讀樂趣”的定義。樂趣不再僅僅來源於情節的推進或懸念的揭曉,而更多地來自於對語言本身的欣賞和對人物內心世界的深度潛入。這本書就像一個精美的萬花筒,你轉動一下,裏麵的顔色和形狀就會完全重組,呈現齣新的圖案。每一次重讀,都會有新的細節浮現齣來,一些之前忽略的暗示和重復的主題會突然變得清晰,讓你有種“原來如此”的頓悟感。作者對於感官世界的描摹達到瞭令人發指的程度,那種對氣味、聲音、光綫的捕捉,仿佛能讓你真的聞到夏日午後的空氣中彌漫的花香,聽到遠方汽車駛過的嗡鳴。這種極緻的感官體驗,讓整部小說超越瞭單純的故事敘述,成為瞭一種全方位的、沉浸式的藝術感知。
评分坦白說,初讀時我有些跟不上節奏,感覺人物的情緒和思緒跳躍得太快,像是一串被隨意打散的珠鏈,需要極大的耐心去重新串聯。但一旦你適應瞭這種獨特的“意識流”敘事方式,它展現齣的魔力便會徹底俘獲你。與其說是在讀一個故事,不如說是在體驗一種思維的流程,體驗人類心智那錯綜復雜、永不停歇的內在對話。那些看似毫不相關的片段,比如一朵花的凋謝、街角的一瞥、一句未完成的話語,都在潛移默化中被編織進人物復雜的精神掛毯裏。這種寫法要求讀者投入極大的共情和想象力,去填補那些留白之處,去感受字裏行間湧動的情感暗流。它挑戰瞭傳統小說的綫性結構,提供瞭一種更加真實、更加“人性化”的體驗——畢竟,我們的真實生活很少有清晰的開端和結局,更多的是連續不斷的內在獨白。這是一次對閱讀習慣的徹底顛覆,但迴報是巨大的,它拓寬瞭我對文學錶達可能性的理解。
评分這本小說簡直是一場文字的盛宴,我仿佛隨著作者的筆觸,一同呼吸著那個特定時代倫敦的空氣。敘事視角在不同人物之間穿梭自如,那種細膩入微的心理刻畫,讓人不禁拍案叫絕。你以為隻是在看一個普通人的日常瑣事,但轉瞬之間,那些深埋心底的記憶、那些未曾言明的渴望與失落,便如潮水般湧現齣來,將你完全淹沒。作者的語言功力非凡,那些看似隨意卻又精妙絕倫的比喻和意象,構建瞭一個既宏大又私密的內心宇宙。我尤其欣賞它對時間流逝的捕捉,每一個鍾聲的敲響,似乎都不僅僅是一個時間單位的度過,而是對生命某個階段的深刻標記與反思。讀完之後,那種餘韻久久不散,仿佛我剛剛經曆瞭一場漫長而又充實的夢境,對現實生活中的許多細微之處都多瞭幾分敬畏與溫柔的審視。它不是那種情節跌宕起伏到讓你喘不過氣的小說,而是一種緩慢、深入的滲透,最終在你的靈魂深處留下難以磨滅的印記,迫使你去審視“存在”本身的意義。
评分如果用一個詞來概括我的感受,那便是“共振”。盡管故事背景與我所處的時代和生活環境相去甚遠,但書中人物內心深處的那些普遍的人類情感——愛、遺憾、對美好事物的瞬間捕捉、對逝去光陰的留戀——卻能與我産生強烈的共鳴。尤其是一些關於選擇與未選擇的生活路徑的思考,非常引人深思。我們每個人心中都住著一個“如果當初”的幽靈,這本書將這些幽靈具象化瞭,讓它們在文字中與我們對話。它不是在提供答案,而是在提齣更深刻的問題:我們是如何定義我們自己的一天的?我們真正“活著”的時刻,是在那些盛大的事件中,還是在那些不為人知的、轉瞬即逝的內心波動裏?這本書像一麵清晰的鏡子,映照齣我們自己生命中那些被匆忙忽略的美麗與徒勞,讓人在閤上書本之後,需要很長時間纔能將自己的思緒從書中的世界中抽離齣來,重新校準自己的步調。
评分這部作品的社會觀察維度令人印象深刻,它用極其私密的方式,勾勒齣瞭一個特定階層在特定曆史背景下的集體畫像。錶麵上,我們跟隨主角們度過瞭一天,參加瞭一場晚宴,處理著日常的社交禮儀,但在這層光鮮亮麗的錶象之下,是無處不在的焦慮、階級間的微妙張力,以及對自我身份認同的持續追問。那些看似無關緊要的對話、那些對衣著和舉止的過度關注,其實都是在為自己爭取在那個社會結構中的一席之地。特彆是對戰爭創傷的迴溯與處理,處理得極為剋製而有力,它沒有用宏大的敘事來渲染悲劇,而是通過個體記憶的閃迴和日常行為的細微偏執來展現那種深入骨髓的創傷後遺癥。讀到此處,我深感文學的重量,它能以如此輕盈的筆觸,承載起如此沉重的曆史與社會議題,展現瞭人物在宏大命運麵前的無力和掙紮。
评分讀得實在是緩慢...讀瞭好久都讀不完...
评分像是女性化的和去極端化的三島美學。對有彆於自己生活方式的嫉妒、所謂完美生活的空虛、社會認可虛榮、社交性依賴、母性與自我的掙紮等等與美和毀滅的融閤真的像是多瞭一層溫柔的三島(他也很溫柔,但可以觸到形狀;Woolf軟軟的可以輕輕捏一捏揉一揉)。如果三島的死亡是登頂觀日的過程,那Woolf的死亡似乎是平淡而恒久的大地,像是下過一夜雪的平原,靜默而荒涼。
评分and rocks and creaks and moans in the eternal breeze.
评分對於她如你隻讀一次等如跳來讀,永不完的詩
评分印象最深的是遊泳那段
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