울프의 식탁과 예술적 상상력
Virginia Woolf’s Kitchen Table and Her Artistic Imagination in To The Lighthouse
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Virginia Woolf incessantly imposes on the readers such philosophical questions as what a reality is, what life is, what a truth is, and what a relationship between knowledge and perception is, among many others. David Hume’s separation of object and subject and his consequent skepticism is critiqued in To The Lighthouse by the kitchen table which is the example of stability independent of perceiving circumstances and subjects. In Hume’s skepticism the table does not exist as an object when we do not perceive it. However, if for Mr. Ramsay the table is the example of the object separate from the perceiving intelligent beings, it is, for Lily and Mrs Ramsay, the place of communion, communication, and vision, unifying subject and object inseparably. Woolf says of the table in Lily’s words that in the ordinary experience of a chair and a table they are perceived as objective things, yet at the same time they are experienced as miracles and ecstasies in and by the transforming power of imagination. The things as they are, are transformed into what they might have been by and in imagination. This possible world is where art comes into. In fine, Woolf’s kitchen table in the novel is pivotal to the understanding of her artistic vision and the question of representation. What matters for Woolf after all is not the formal or factual relations but the narrative/relative relations and reconfiguration of things observed.
Abstract
Virginia Woolf incessantly imposes on the readers such philosophical questions as what a reality is, what life is, what a truth is, and what a relationship between knowledge and perception is, among many others. David Hume’s separation of object and subject and his consequent skepticism is critiqued in To The Lighthouse by the kitchen table which is the example of stability independent of perceiving circumstances and subjects. In Hume’s skepticism the table does not exist as an object when we do not perceive it. However, if for Mr. Ramsay the table is the example of the object separate from the perceiving intelligent beings, it is, for Lily and Mrs Ramsay, the place of communion, communication, and vision, unifying subject and object inseparably. Woolf says of the table in Lily’s words that in the ordinary experience of a chair and a table they are perceived as objective things, yet at the same time they are experienced as miracles and ecstasies in and by the transforming power of imagination. The things as they are, are transformed into what they might have been by and in imagination. This possible world is where art comes into. In fine, Woolf’s kitchen table in the novel is pivotal to the understanding of her artistic vision and the question of representation. What matters for Woolf after all is not the formal or factual relations but the narrative/relative relations and reconfiguration of things observed.
참고문헌 (13)
- Banfield, Ann, "The Phantom Table: Woolf, Fry, Russell and the Epistemology of Modernism" (2000), Cambridge UP
- Beer, Gillian, "Virginia Woolf: The Common Ground", pp.29~47 (1996), U of Michigan P
- Dalgarno, Emily, "The Cambridge Companion to To the Lighthouse", pp.69~79 (2015), Cambridge UP
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- Philosophy as Literature, "Literature as Philosophy", pp.1987, Esch, Deborah
- Frank, A.O, "The Philosophy of Virginia Woolf" (2001), Akademiai Kiado
- Hume, David, "A Treatise of Human Nature and Dialogues Concerning Natural Religion. Vol. I" (1964), Scientia Verlag Aalen
- Richter, Harvena, "Virginia Woolf: The Inward Voyage" (1978), Princeton UP
- Schaefer, Josephine O’Brien, "The Three-Fold Nature of Reality in the Novels of Virginia Woolf" (1965), Mouton
- Stephen, Leslie, "History of English Thought in the Eighteenth Century Vol.1" (1876), Peter Smith
- Woolf, Virginia, "To the Lighthouse" (1977), Hogarth
- Woolf, Virginia, "Common Reader. First Series" (1975), Hogarth
- Woolf, Virginia, "The Diary of Virginia Woolf. III" (1982), Penguin