也许与她的心理状况有关弗吉尼亚伍尔夫(1882年1月25日- 1941年3月28日)在许多故事中，对感知和视角的兴趣，以及它们与想象的关系。在两篇先锋短篇作品——《星期一或星期二》(6段)和《蓝色和绿色》(两段，每种颜色一个)中，伍尔芙试图通过离散的、明显不相关的联想印象来传达城市和自然世界的现实。
星期一或星期二，蓝色和绿色
在《星期一或星期二》中，一系列的对比是上下、空间自由的永恒(一只慵懒飞翔的苍鹭)和限制性的时效性(时钟敲响)、白天和黑夜、内部和外部，现在的经历和后来对它的回忆传达了标题所暗示的普通的生命周期，并帮助捕捉它的经验现实，通过第二，第四和第五段的叠句问题所表达的关注:“和真理?”
类似的对比体现在描述现实中蓝色和绿色的两段，以及“蓝色和绿色”中与之相关的感觉。这两种色彩在伍尔芙的短篇小说中占主导地位，具有象征意义。不同的视角，几乎是电影的或绘画的，也构成了《在果园里》的结构，故事的三个部分，一个叫米兰达的女人睡在果园里，重点是，按顺序，睡眠中的米兰达与她的物理环境，自然环境对米兰达梦境的影响(以及想象和外部世界之间的联系)，最后回到自然环境，把焦点转移到果园的苹果树和鸟类上。这三种视角的同时性和不同角度都体现在每一部分结尾的叙述性叠句中，这句话指的是米兰达跳起来，说她要迟到了。
想象力的能力，一个重复的重演Winoolf的短篇小说，以准确地看待周围的世界是许多故事的问题。在“墙上的标记上，”一个叙述者被引导到了掌握了关于标记的关联骨折，只能发现令人厌恶的讽刺，富有想象力的旋转源的来源是实际上是一个低蜗牛（进一步结束的讽刺逆转being an unexpected reference toWorldWar I, whose seriousness undercuts the narrator’s previous whimsical free associations). Even more difficult is the imagination’s perception of people (who and what individuals really are) in the surrounding world. This is the chief problem of the biographer, a task at whichWoolf herself was successful, though not the self-centered and somewhat dishonest novelist’s biographer who narrates “Memoirs of a Novelist.” In the four stories “An Unwritten Novel,” “Moments of Being: ‘Slater’s Pins Have No Points,’” “The Lady in the Looking Glass: A Reflection,” and “The Shooting Party,” a major character or the narrator is led through small details into imaginative flights about the life and personality of an individual— only, in the story’s concluding reversal, to be proved incorrect or be left very doubtful about the picture or account created. Likewise showing a connection between the literary artist’s problem of depicting the truth and the imagination’s problem in probing reality is the story “The Three Pictures,” in which the first picture, of a sailor’s homecoming to a welcoming wife, leads the narrator to imagine further happy events, undercut by the second and third pictures revealing the sailor’s death from a fever contracted overseas and the despair of his wife.
“和真理？”的问题(as phrased in “Monday or Tuesday”) can be comically superficial, as in the narrator’s wasted sympathetic imaginings in “Sympathy” in response to a newspaper account of Humphrey Hammond’s death, only to discover in the story’s conclusion that the article referred to the elderly father rather than the son (with ironic undercutting of the genuineness of the narrator’s sympathy because of her chagrin about the “deception” and “waste”). In contrast, in “The Fascination of the Pool,” the deeply evocative imagery and symbolism of never-ending layers of stories absorbed by a pool over time, and always going inexhaustibly deeper, have a meditative and melancholic solemnity.
英国皇家植物园
与想象力和艺术有关（可能或可能不会弥合人类之间的差距），以及社会批评和女权主义问题（无论是角色和身份团结或划分，履行或挫败人），是孤立和异化的主题在许多故事中。In “Kew Gardens,” the first paragraph’s twice-repeated detail of the heart-and-tongue shape of the colorful plants symbolizes the potential of love and communication to effect communion, while the colors projected by the flowers from sunlight on various things (mentioned in the first and last paragraphs) symbolize the various couples’ imaginations projected on the environs. In the social context of the park, however, the four sets of strollers are isolated from one another, as is the other major “character” described, the snail; each is solipsistically involved in its own affairs. Only in the fourth set, a romantic young couple, do love and communication seem to promise, though not guarantee, the hope of communion.
固体物质
In “Solid Objects,” the first paragraph’s emphasis on a changing perspective (a black dot on the horizon becomes four-legged and then two men) symbolizes how the protagonist’s, John’s, perspective changes from imaginative engagements with people, politics, and ideas, to engagements with small things or concrete objects, beginning with his discovery at the beach of a smooth, irregular fragment of glass. While Charles, John’s friend, at the beach casts flat slate stones into the water, aware of objects only as a means of allowing physical action and release, John becomes attached to them with the child’s and artist’s fascination, which lures him away from the practical and pragmatic adult world of action and politics, in which he had a bright future. John thus becomes alienated from all those around him, including Charles. Symbolically during their last encounter, both end up conversing at cross purposes, neither person understanding the other.
鬼屋，拉宾和拉皮诺娃
“一个闹鬼的房子”和“Lappin和Lapinova”的表演，分别是人类社区的成功和失败。前故事使用幽灵故事和哥特式小说的公约，几乎讽刺或讽刺地，建议人类心脏谜团的更广泛主题。Implicitly two kinds of mystery are contrasted: the mystery of ghosts, haunted houses, secret treasures, and so on, and the real, important mystery of what is most worthwhile in the universe—the ghostly couple’s lesson at the story’s close that the house’s hidden treasure is love, “the light in the heart.” The implicitly living couple presumably have love, paralleling the ghostly couple’s bond. The cyclical repetitions in the story help convey, stylistically, the pulsation or beating of the human heart, the seat of this love. In contrast, the married couple in “Lappin and Lapinova” become alienated because the husband cannot genuinely share in the wife’s imaginative fantasy of the two of them as rabbit and hare, reverting to his pragmatic and stolid family heritage and an arrogant masculine impatience.
达洛维夫人派对单车
构成达洛维夫人派对循环的九个故事中的大多数(“达洛维夫人的故事”)。《邦德街的达洛维》(Dalloway in Bond Street)、《新衣》(The New Dress)、《祖先》(Happiness)、《引子》(The Introduction)、《相聚与分离》(Together and Apart)、《爱他同类的人》(The Man Who Loved His Kind)、《简单的旋律》(A Simple Melody)、《总结》(A总结))等，通过对社交场合的关注，自然地将交流或疏远处理得很好，正如《相聚与分离》(Together and Apart)的标题所暗示的那样。“夫人。在邦德街的达洛维，“主人公仍然与周围的世界隔绝或隔绝，象征着她要买的手套(可能是为了派对)，当她沉思着一个最近认识的人的死亡时，她对交通和其他现象都漠不关心，她无视故事结尾的爆炸(虽然矛盾的是，她在与一位熟人交流时，记住并说出了那个名字，而忽略了爆炸)。在派对本身，《新衣服》的主人公梅布尔·华林(Mabel Waring)被疏远了，因为她的新衣服，由于她有限的手段，似乎失败和尴尬的来源;《幸福》的主人公斯图尔特·埃尔顿，保持着一种自我中心的平衡，这就是他的幸福;《先祖们》的主人公瓦伦斯太太被她周围年轻人肤浅、不庄重的谈话和价值观所疏远，这与她的过去形成了鲜明的对比。伍尔夫对女性不公正的从属和压迫的女权主义关注(突出表现在《菲利斯与罗莎蒙德》、《V小姐的神秘案件》、《琼·马丁小姐日记》、《一个社会》、《来自外界的女子学院》和《遗产》)是由莉莉·埃弗里特的孤立和疏离暗示出来的，当被介绍给鲍勃·布林斯利时，他感到自己的不足，鲍勃·布林斯利是轻率的男性权力和自负的象征。 Despite Everit’s esteemed essay writing (paralleling Woolf’s), Brinsley negligently assumes that she must, as a woman, write poetry, as his initial question shows. Everit feels crushed, stifled, and silenced by the weight of masculine accomplishment in the arts and sciences.
Two impromptu pairings in the Dalloway party cycle—Roderick Serle and Ruth Anning of “Together and Apart,” and Prickett Ellis and Miss O’Keefe of “The Man Who Loved His Kind”—achieve temporary communion: Serle and Anning when they imaginatively attune to each other, sharing profound emotions about experiences in Canterbury; Ellis and O’Keefe when the latter concurs with the former’s concern about the poor excluded from affairs such as Mrs. Dalloway’s party. These couples, however, driven apart at story’s end by the evening’s experience—Serle and Anning when the former is mockingly accosted by a female acquaintance, and Ellis and O’Keefe when the former fails, with some self-centered posturing, to appreciate the latter’s understanding of the need for beauty and imagination in the life lived at all social levels. Only the protagonists of the last two stories of the cycle, George Carslake in “A Simple Melody” and Sasha Latham in “A Summing Up,” achieve a transcendence over isolation and alienation. Carslake melds all the partygoers and himself through a blend of imagination, art, and nature by meditating on a beautiful painting of a heath in the Dalloways’ house and imagining the various partygoers on a walk there that reduces them all to fundamentally decent human beings coalesced in a common enterprise. Like Carslake, Latham achieves wisdom by fixing on inanimate objects, the Dalloways’ beautiful Queen Anne house (art) and a tree in the garden (nature), and meditating on them; like Carslake, Latham sees people admirably united in motion—in her reverie, adventures and survivors sailing on the sea.
主要作品
小说:Melymbrosia,或者说是。1912年,pb。1982年修改后的铅。2002年(The Voyage Out的早期版本;露易丝迪沙佛、编辑);《远航》，1915年;日夜，1919年;《雅各的房间》,1922;达洛维夫人,1925;《到灯塔去》，1927年; Orlando: A Biography, 1928; The Waves, 1931; Flush: A Biography, 1933; The Years, 1937; Between the Acts, 1941.
非小说类作品:《普通读者》第一部，1925年;《一个人的房间》，1929年;《普通读者:第二辑》，1932年;三个金币,1938;罗杰·弗莱:传记，1940;《蛾之死》和其他随笔，1942年;《时刻和其他随笔》，1947年;船长的临终之床和其他文章，1950年;《作家日记》，1953年;书信:弗吉尼亚·伍尔夫和利顿·斯特雷奇，1956; Granite and Rainbow, 1958; Contemporary Writers, 1965; Collected Essays, Volumes 1-2, 1966; Collected Essays, Volumes 3-4, 1967; The Flight of the Mind: The Letters of Virginia Woolf, Vol. I, 1888-1912, 1975 (pb. in U.S. as The Letters of Virginia Woolf, Vol. I: 1888-1912, 1975; Nigel Nicolson, editor); The London Scene: Five Essays, 1975; Moments of Being, 1976 (Jeanne Schulkind, editor); The Question of Things Happening: The Letters of Virginia Woolf, Vol. II, 1912-1922, 1976 (pb. in U.S. as The Letters of Virginia Woolf, Vol. II: 1912-1922, 1976; Nicolson, editor); A Change of Perspective: The Letters of Virginia Woolf, Vol. III, 1923-1928, 1977 (pb. in U.S. as The Letters of Virginia Woolf, Vol. III: 1923-1928, 1978; Nicolson, editor); Books and Portraits, 1977; The Diary of Virginia Woolf, 1977-1984 (5 volumes; Anne Olivier Bell, editor); A Reflection of the Other Person: The Letters of VirginiaWoolf, Vol. IV, 1929-1931, 1978 (pb. in U.S. as The Letters of Virginia Woolf, Vol. IV: 1929-1931, 1979; Nicolson, editor); The Sickle Side of the Moon: The Letters of Virginia Woolf, Vol. V, 1932-1935, 1979 (pb. in U.S. as The Letters of Virginia Woolf, Vol. V: 1932-1935, 1979; Nicolson, editor); Leave the Letters Til We’re Dead: The Letters of Virginia Woolf, Vol. VI, 1936-1941, 1980 (Nicolson, editor); The Essays of Virginia Woolf, 1987-1994 (4 volumes); Carlyle’s House and Other Sketches, 2003 (David Bradshaw, editor).
参考书目
Baldwin，Dean R. Virginia Woolf：对短小说的研究。波士顿：Twayne，1989。
巴雷特，艾琳和帕特丽夏·克莱默合编。弗吉尼亚·沃尔芙:女同性恋读物。纽约:纽约大学出版社，1997。
Bleishman Avrom。《伍尔夫短篇小说的形式》在拉尔夫·弗里德曼编辑的《弗吉尼亚·伍尔芙:重估与延续》中。加州大学出版社，1980。
布里格斯,茱莉亚。弗吉尼亚·沃尔芙:内心世界。佛罗里达州奥兰多。:哈考特,2005年。
Dalsimer凯瑟琳。弗吉尼亚·沃尔芙:成为一名作家。康涅狄格州纽黑文:耶鲁大学出版社，2002。
狄克，苏珊编。《弗吉尼亚·伍尔夫短篇小说全集导论》。2d版。圣地亚哥:哈考特·布瑞斯·约瓦诺维奇，1989。
头,多米尼克。“实验类型。”《现代主义短篇小说:理论与实践研究》。英国:剑桥大学出版社，1992。
《女性的生活:从门槛看世界》。北京:北京大学出版社，1999。
王,詹姆斯。弗吉尼亚·伍尔夫。纽约:W. W. Norton, 1995。李,赫敏。弗吉尼亚·伍尔夫。纽约:Alfred A. Knopf, 1997。
《大部头II:短篇小说系列》修订版，共8卷。加利福尼亚州帕萨迪纳:塞勒姆出版社，2004。
罗伊，苏和苏珊塞勒斯，编辑。《弗吉尼亚·伍尔夫剑桥指南》纽约:剑桥大学出版社，2000。
类别：文学批评,俄罗斯乌克兰比分直播,现代主义,短篇小说
凯瑟琳·曼斯菲尔德小说分析
d·h·劳伦斯小说分析
詹姆斯·乔伊斯小说分析
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