Clarissa Dalloway, a fashionable London hostess, is to give an important party. Through her thoughts on that day and through her memories of the past, her character is gradually revealed, and so are the other personalities who have touched on her life.
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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.
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...
评分校对完毕,编辑很用心,改正了不少错别字及标点符号,表示感谢! 如果硬要吹毛求疵的话,就是有些破碎的句子被改整齐了, 有些不断重复的短语被删除了。 我觉得这些特征正反映了作者有神经质的一面,应予保留。 不过,这仅是我的个人意见。
评分 评分 评分这本书的语言风格,简直像是一场华丽的、永不停歇的意识流舞蹈。初看时可能会觉得有些吃力,因为你必须放下以往阅读小说的习惯——那种期待清晰的因果链条和明确的事件逻辑的阅读期待。在这里,逻辑让位于感受,句子常常是绵延的、充满了复杂的从句和丰富的意象,宛如一条自我延伸的思维河流。我必须放慢速度,像品尝陈年美酒一样去品味那些措辞和节奏。它要求读者全身心地投入,去捕捉那些在句子之间跳跃的联想和情感的共鸣。例如,对某个声音、某种气味、某一个过往瞬间的回忆,是如何突然地打破当下的宁静,并以一种几乎是诗歌般的方式在读者的脑海中重现。这种技巧的难度在于,它要求作者对语言的驾驭达到出神入化的地步,既要保持内在的连贯性,又要展现出思维的跳跃性和不确定性。对于习惯了直白叙事的读者来说,这可能是一次挑战,但对于那些渴望体验文学语言巅峰魅力的读者而言,这无疑是一次无与伦比的盛宴。
评分阅读过程中的体验,更像是潜入了多个人物的梦境之中。如果说大部分小说都是在讲述“发生了什么”,那么这部作品更专注于“正在发生什么感受”。那些看似微不足道的日常互动,被赋予了巨大的内在张力。比如,一个简单的问候,可能在角色的脑海中被解析出无数种潜在的含义和历史的回音。作者成功地创造了一种“共时性”的氛围,仿佛所有人的生命轨迹在某一刻都被拉到了同一个平面上,各自的挣扎和庆祝都带着一种普遍的人性色彩。我尤其为其中对个体孤独感的细腻刻画所折服。即便是在人群簇拥的派对上,那种本质上的疏离感依然挥之不去。每一个个体都困在自己独有的时空中,努力地试图通过语言、行为去连接另一个“自我”,但那连接往往是脆弱而短暂的。这种对现代人际关系中那种美丽而徒劳的努力的捕捉,让这部作品拥有了超越时代的深刻意义。它不是在批判谁,而是在温柔地揭示:我们都是在努力地,带着我们所有的伤痕和秘密,试图度过这一天。
评分真正让人感到震撼的,是这部作品对于“生命价值”的探寻。它没有宏大的历史背景叙事,也没有惊天动地的阴谋诡计,它的全部重量都压在了“个体的一天”之上。正是这种对日常的极致聚焦,反而彰显了生命的珍贵与易逝。那些在战争中逝去、或者生命轨迹未能如愿的角色,他们的“如果当初”和“未竟之事”构成了作品背景中一种沉重的底色。而活着的角色们,无论是以怎样的方式,都在努力地“存在”着——无论是通过一场精心策划的社交聚会,还是通过对内心最纯粹情感的固守。这种对“活下去”本身的赞颂,带着一种近乎哲学思辨的重量。它让你反思自己是如何度过自己的每一天,那些被忽略的瞬间,是否也蕴含着构成生命全部意义的基石。这本书提供的不是逃避现实的窗口,而是一面高清的镜子,映照出我们如何感知、如何记忆、以及最终如何与那个无法避免的终点和解的过程。它让我对“当下”这个词,有了全新的、更加郑重的理解。
评分初读这部作品时,我几乎是被一股无形的力量牵引着,一同跃入了那个伦敦的夏日。空气仿佛是凝滞的,却又处处涌动着不为人知的暗流。作者对于时间流逝的捕捉,简直是鬼斧神工。你看着那些角色在同一天里,看似漫不经心地做着日常琐事——买花、准备派对、在街上漫步——但时间却像一条无情的河流,裹挟着他们各自的记忆、遗憾与尚未言明的渴望,永不停歇地向前奔涌。那种感觉非常奇妙,仿佛你不是在阅读文字,而是直接渗入了角色的意识之中。每一个微小的感知,从清晨阳光的角度到街道上电车的声音,都被放大、细致地描摹出来,构建了一个无比真实却又极度主观的内心景观。我尤其着迷于作者如何切换视角,从一个人的脑海瞬间跳到另一个人的思绪,那种流畅和自然,让人几乎忘记了自己是在阅读一本小说,更像是在听一首错综复杂的交响乐,每个声部都在讲述着属于自己的故事,但最终又和谐地汇聚成一曲关于生命本质的咏叹调。这本书带来的震撼,不是情节的跌宕起伏,而是对“存在”本身的深刻叩问,让人读完后,久久无法从那种绵密细腻的感官体验中抽离出来。
评分读完合上书的那一刻,我体会到一种近乎眩晕的饱满感。这不是那种传统叙事中情节高潮迭起的满足,而是一种精神上的充盈,仿佛自己也曾在维多利亚·杜拉维的那些派对的华丽与空虚中穿行过。那些关于“完美派对”的筹备,本身就是一种对秩序、对自我形象的极力维护,在那个特定时代背景下,社交礼仪像一层精美的玻璃罩,罩住了所有真实的情感波动。然而,玻璃罩下的暗涌才是真正引人入胜之处。那些未竟的爱情、战争留下的创伤、以及对逝去青春的缅怀,都以一种近乎碎片化的、非线性的方式散落在角色的脑海碎片中。最令人印象深刻的是那种潜藏的忧郁,它不是外露的悲伤,而是渗透在每一个细节里的,像潮湿的苔藓,悄无声息地生长。你看着角色们在阳光下交谈,却能清晰地感受到他们内心深处那片刻的阴影。作者对人物心理深度的挖掘,超越了简单的“描绘”,更像是“还原”了人类思维中最难以捉摸的那一部分——那些我们自己都难以完全察觉的细微情绪波动,都被毫不留情地摆在了台面上。
评分第一次去巴黎时在Shakespeare and the Company买的二手书 今年终于鼓起勇气读完了 岁月予我以耐心和理解力
评分第一次去巴黎时在Shakespeare and the Company买的二手书 今年终于鼓起勇气读完了 岁月予我以耐心和理解力
评分Oh my favourite Virginia!! You officially become one of my top 3!
评分第一次去巴黎时在Shakespeare and the Company买的二手书 今年终于鼓起勇气读完了 岁月予我以耐心和理解力
评分第一次去巴黎时在Shakespeare and the Company买的二手书 今年终于鼓起勇气读完了 岁月予我以耐心和理解力
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