影像的房間：維吉尼亞‧吳爾芙的時間主體性

Abstract

目前的吳爾芙研究都把她住過的房子╱房間以及她所創造的虛構房子╱房間讀成具體、固定且可辨識的地方。但在本論文中，我將利用吉列斯‧德勒茲的時間理論，來論證當時間展開自身的主體性時，空間如何流變為時間。而這邊所謂的時間，不是我們日常生活中習以為常的線性時間，而是過去、現在、未來並存的真實時間。作為一生命之力，當時間展開自身時，人會流變成非主體或是不可感知的無器官身體，而空間則會去畛域化而流變成任意空間。另外，由於吳爾芙和德勒茲皆對電影作為一新興藝術有所著墨，我會使用他們各自的著作加以說明觀眾如何在觀看電影時被迫和時間的主體性相遇。 論文第一章處理《達洛威夫人》。我將深入說明時間如何是一流變之力且無法被任何形式所區分與定義。除了把賽特姆斯的死亡讀成啟發克萊麗莎知曉生命意義的契機之外，我更把他的死亡讀成一德勒茲式的事件：死亡如何打開生命之力，而它的開展則使克萊麗莎的主體性與語言破碎，同時她所身處的小房間也流變為任意空間。第二章則討論「自由間接言談技巧」如何在電影與文學中創造了第四人稱的敘事者，而它所創造出的不可區分空間則呈現了時間的主體性。我將論證，在撰寫《燈塔行》中〈時光流逝〉這一節時，吳爾芙如何利用此書寫技巧逼近第四人稱敘事者的說話位子以便呈現時間的主體性；而阮賽家族的夏季度假小屋與其說是具體地方，不如說，因為它是被第四人稱敘事者所描述而流變為任意空間。第三章討論《歐蘭朵》並說明歐蘭朵的身體如何可以被閱讀成無器官身體。我舉了歐蘭朵所身處的百貨公司、她的畫廊與宅邸，說明時間主體性之開展就在於當實際影像和其自身的虛擬影像交換時。最後一章則討論〈一間鬧鬼的屋子〉，在此我論證，這間房子其實有時候是從第四人稱敘事者的角度描寫且此短篇小說是由（時間）影像的語言所撰寫，以至於文內會出現許多裂縫、缺口而語言在此篇中短路、結巴。 總結來說，當我們已習慣於線性時間時，吳爾芙與德勒茲則在各自的著作中論述時間的主體性：當時間展開自身時，人流變為非主體，而空間則流變為任意空間。

The present Woolfian scholarship reads the real houses and rooms lived by Woolf and the textual ones created by Woolf as places and spatial locations. Nevertheless, in my dissertation, I will use Gilles Deleuze’s theory of time to argue that space is transformed by time and into time when time discloses itself. The time is not the chronological time but the coexistence of the past, the present and the future. As life force, it is encompassing while transforming beings and nonbeings perpetually. Therefore, when time discloses its subjectivity, humans are transformed into non-subjects while space is deterritorialized as any-space-whatever. Although there are numerous ways to perceive the subjectivity of time in different terrains of art, I exemplify cinema and maintain that it provides moments of affect at which spectators are forced to confront time when they are transfixed by and immersed into time. Apart from elaborating on Bergson’s and Deleuze’s theoretical concepts of time in Introduction, I focus on Mrs. Dalloway in Chapter One and demonstrate that real time is a force of becoming which defies any proportional and conventional divisions. I single out the death of Septimus and read it not only as an important illumination of instructing Clarissa the meaning of life but also as a Deleuzian event which unleashes life force. It is disclosed to the degree that Clarissa’s subjectivity and language are disintegrated while the little room where she is situated is transformed into any-space-whatever. Chapter Two is devoted to discussing how free indirect discourse renders time visible by creating a fourth-person speaker both in cinema and in writing. The indiscernible zone created by such a technique makes us perceive the subjectivity of time. I argue that Woolf uses this writing technique to compose “Time Passes” in To the Lighthouse to the extent that this inter-text is narrated almost from the perspective of time. In this light, the summerhouse of the Ramsays is transformed into time and it is because if free indirect discourse is an approach to simulate a perspective ensuing almost from time by creating a fourth-person speaker, this textual house narrated by this mysterious speaker is merely a facet of time as a zone of indiscernibility. Chapter Three focuses on Orlando in which I demonstrate how Orlando’s body can be read as a body without organs. According to Deleuze, time discloses itself when the actual image is exchanging its own virtual image. In this respect, I maintain that time discloses itself when Orlando is situated in a department store, in her gallery and in her mansion. When Orlando is forced to be transformed into a BwO by involuntarily confronting the exchange process, these spaces where she is located are becoming any-spaces-whatever. Chapter Four tackles “A Haunted House.” I aver that the house is haunted by time when time as the fourth-person speaker lurking inside the house/text articulates itself. By having recourse to Deleuze’s discussion on Samuel Beckett’s language types, I argue that this short story is composed by the language of (time) image in which there are so many irremediable gaps and holes that language stutters. In other words, consonant with the Deleuzian free indirect discourse argued in Chapter Two, the subject matter of Chapter Four also unravels how this textual house is transformed into time when the speaking position is emanating almost from the perspective of time and how language is short circuited by means of it. To sum up, when we are accustomed to the chronological time, Woolf and Deleuze direct our attention to the disclosure of time in each of their corpuses. They unanimously demonstrate that when time discloses its subjectivity, humans are becoming non-subjects while space is becoming any-space-whatever.