《出航》中的旅行敘事 - 政大學術集成

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(1)國立政治大學英國語文學系碩士班碩士論文. 指導教授：胡錦媛先生 Advisor：Chin-yuan Hu. 《出航》中的旅行敘事. 政治大. Travel Discourse in The Voyage Out. 立. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. al. Ch. engchi. i n U. 研究生：李曼瑋撰 Name：Man-wei Lee 中華民國 100 年 6 月 June, 2011. v.

(2) TRAVEL DISCORSE IN THE VOYAGE OUT. A Master Thesis Presented to Department of English,. 政治大. National Chengchi University. 立. ‧. ‧ 國. 學 er. io. sit. y. Nat. al. n. iv. In Fulfillment n CPartial U h i Degree e n g for of the Requirements of c hthe Master of Arts. by Man-wei Lee June, 2011.

(3) Acknowledgement With almost two years‟ struggles, the thesis has finally been completed. Without the insightful advice of Professor Chin-yuan Hu and her inspiring class Travel Literature, I would not have written a work in which I find so much pleasure. She reminded us to write something that is concerned with our lives because that is what literature is about. It is also what we love literature for and what keeps us pursuing our academic career. Under Professor Hu‟s guidance, I began to realize the significance of “movements” under the genre of travel literature. Two years of writing is like to travel into a vast space where I am the traveler who encounters the characters, theorists, and writers and writes down the unique experience to be my thesis. I also want to express my gratitude to professor Shang-kuan Chang and professor Yauling Hsieh. They are both the committee members of my proposal and thesis defense. I appreciate their great support and helpful advice. Professor Chang reminded me to examine the ideas more closely and encouraged me to study further. I am extremely thankful for their detailed suggestions for me to refine my thesis. The unconditional support of my family is the strength that I can focus on my study without pressure. I find myself so lucky that I can totally devote myself into the study of literature. I thank them for their understanding when I was a l fully concentrated on myi vthesis. I also want to thank my fiancé, Lisin, for C his encouragement and n companionship. U h e nmy h ifriends in the department of I would also like to thank for g cdear English, Catherine, Danny, Emily, and Floria. We shared with each other all the worries and joys we had in graduate years. Because of them, the laborious school work became much lighter. Besides, I owe my deepest gratitude to the study club formed by my college Professor Jinguiyu Hsieh from Fu Jen University. The discussions and topics proceeded in my study club broaden my horizons, including the field of my academic study. Many of the inspirations that I have in my thesis came from the talks shared by the members. Most of all, I thank myself for the determination to complete the thesis without any compromise. I am proud of what I have come to present in my thesis. I have fulfilled the promise that I have made to myself, and there is nothing better than that!. 立. 政治大. ‧. ‧ 國. 學. n. er. io. sit. y. Nat. iii.

(4) TABLE OF CONTENTS Acknowledgement………………………………………………………………..... iii. Chinese Abstract………………………………………………………………….... vi. English Abstract…………………………………………………………………... vii. Chapter I Introduction.………………………………………………………….. 1. The Voyage Out.………………………………………………………..... 2. Literature Reviews.……………………………………………………….. 1 3 4. 3. Theoretical Approach.……………………………………………………. Movements in Space / Movements in Duration……………………....... The Actual / The Virtual………………………………………………... 政治大 Lines…………………………………………………………………… 立 The Creation of Being…………………………………………………... 7 8 11. Chapter II Rigid, Supple, Differences in Kind………………………………….. 1. Rigid: Subsuming the Other into One‟s Own Territory………………….. The Concentric Power…………………………………………………. An Abstract Machine of Overcoding…………………………………... Failed Communication…………………………………………………. 2. Supple: Appreciating the Other‟s Uniqueness……………………………. 20 21 22 23 25 28. ‧. ‧ 國. 學. 4. Organization of the Thesis………………………………………………... 13 14 17. n. er. io. sit. y. Nat. al. Ch. i n U. v. A Body without Organs in the First Place……………………………... Challenge to the Centralized Organism………………………………... Supple: Encountering the Other………………………………………... Supple, as well as Rigid………………………………………………... 3. Mobile and Immobile Traveler…………………………………………… 4. Differences in Kind……………………………………………………….. 28 30 32 33 35 38. Chapter III The Virtual Actualized: Mutual Understanding and the Realm of Communion…………………………………………………………... 1. Swinging from Rigid to Supple…………………………………………... The Warmth of Sensibility Experienced by St John Hirst……………... The Communion between Terrence and Rachel………………………... 40 40 40 42. What is “Happiness?”………………………………………………….. 2. The Uniqueness of Rachel……………………………………………….... 47 50. engchi. iv.

(5) Rachel‟s Minor Position……………………………………………….. Female Traveler / Becoming-Woman………………………………….. The Openness of Rachel………………………………………………... 51 53 55. Creative Autonomy and Music………………………………………… Rachel and Euphrosyne: Being Nomadic………………………………. 56 59. 3. The Realm of Communion through Emotion and Intuition………………. 61. Chapter IV Nomadic Travel on Lines of Flight………………………………… 1. The Point of Departure and the Point of Arrival…………………………. Leaving London: the Suspicion of Imperialism……………………….. Where does Rachel Sail to?...................................................................... 63 63 63 64. 2. Rachel‟s Death…………………………………………………………… A Tragic End or an Extension of Her Sea Voyage?............................... From Lines of Flight to Affirmative Becoming………………………... 69 69 72. 政治大 Rachel‟s Dreams and Deliriums……………………………………….. 立 Antigone‟s Renown…………………………………………………….. ‧ 國. 學. On the Day that Rachel Dies…………………………………………... ‧. Chapter V Conclusion…………………………………………………………... 1. The Love between Rachel and Terrence…………………………………. 2. The Continuity of Life…………………………………………………….. sit. y. Nat. n. al. er. io. Works Cited………………………………………………………………………... Ch. engchi. v. i n U. v. 75 81 83 86 86 88 92.

(6) 國立政治大學英國語文學系碩士班碩士論文提要論文名稱：《出航》中的旅行敘事 Travel Discourse in The Voyage Out 指導教授：胡錦媛 Chin-yuan Hu 研究生：李曼瑋 Man-wei Lee 論文提要內容：《出航》(The Voyage Out 1915) 是維吉尼亞．吳爾芙 (Virginia Woolf) 的第一本小說。就像女主角從倫敦出發航向南美一個虛構的異地一樣，吳爾芙似乎也從此開始了她做為作家的旅行。女主角瑞秋．凡瑞斯 (Rachel Vinrace) 從一個懵懂的中產階級女兒，一腳踏入了未知的大海航程。在乘載著她橫跨大西洋的商船上，瑞秋體驗了與原本平靜生活截然不同的衝擊。當她走向聖塔瑪莉納 (Santa Marina)，她眼中儘是對這個熱帶異鄉的熱情與渴望。在那裡，瑞秋依著自己的步伐／速度與其他的角色相遇、相識、相知，開啟了自己對這個世界的視野。她與泰倫斯．希威特 (Terrence Hewet) 相戀、決定互許終生。然而，一場熱病讓瑞. 立. 政治大. ‧ 國. 學. ‧. 秋在返鄉之前過世。她的靈魂，似乎就此沒入深不見底的大海之中(Woolf 398)。本論文以德勒茲 (Gilles Deleuze) 與葛塔力 (Felix Guattari) 的著作《千高臺：資本主義與精神分裂》(A Thousand Plateaus: Capitalism and Schizophrenia) 中所探討的旅行路線：固著路線 (rigid line)、可彎路線 (supple line)、逃逸路線 (line of flight) 來討論《出航》中角色之間的人際互動。從不同角色交疊橫越的旅行路線中，自我與他者的關係也不斷地在不同的情境之中形塑與消融。《出航》不再. n. er. io. sit. y. Nat. al. Ch. i n U. v. 只是瑞秋個人的生命成長旅行經驗，更是眾多角色相互影響、體驗、與改變的廣大場域。小說裡表現了柏格森 (Henri Bergson) 所主張的種類差異 (differences in kind)，以及從中所發展出的個體性 (singularity) 價值與溝通的可能性。瑞秋的遊牧旅行軌跡，使她與泰倫斯之間擁有了超越性別差異的結合。在這種動態、開放的情境之下，瑞秋死亡之前的幻想與精神錯亂似乎象徵著逃逸路線所帶出的蛻變：在精神高度凝縮之下，全然的開放、專注於當下、無限接近真我。. engchi. 不同的路線象徵不同旅行者的選擇以及路線背後的意義。本論文分成五章來探討《出航》裡交織複雜的旅行路線：第一章介紹《出航》的相關評論與背景，並且說明本論文所使用的理論架構；第二章以固著路線與可彎路線的討論為主，帶出絕對差異 (absolute difference) 的意義與價值；第三章探討真正溝通的可能性以及瑞秋從可彎路線出發的旅行軌跡；第四章從瑞秋的旅行起點到旅行終點，以逃逸路線的角度，找出詮釋她的死亡的另一種面向；第五章以瑞秋與泰倫斯之間的「愛」作結，帶出小說最終以死亡來表現生命的苦難與持續性。. vi.

(7) Abstract The Voyage Out (1915) is Virginia Woolf‟s first novel. Like the heroine‟s voyage from London to a fictional town in South America, Woolf has begun her travel as a writer since then. Rachel Vinrace, a daughter of a middle class merchant, plunges into the sea voyage out to the unknown world. In the cargo boat that takes her across the Atlantic, contrary to her original quiet life in Richmond, the interactions with the other crew make a profound impact on Rachel. Stepping onto the soil of Santa Marina, she is full of passion and has a thirst for this tropical foreign land. Here, Rachel encounters, and becomes acquainted and intimate with the other characters. She and Terrence Hewet fall for each other and decide to spend the rest of their lives together. However, a serious fever carries her off on the verge of her return trip. Rachel‟s soul seems to “curl up at the bottom of the sea” (Woolf 398). The thesis intends to explore the interactions among the characters in The. 政治大 Voyage Out with the travel lines (rigid line, supple line, and lines of flight) discussed 立 in Gilles Deleuze and Felix Guattari‟s A Thousand Plateaus. From the intertwining. ‧ 國. 學. travel lines of the characters, the relation between the self and the other is constantly constructing and blurring. The Voyage Out is not only the bildungsroman of Rachel. ‧. but also a vast field for the characters to interact, experience, and become. The novel reveals the concept of differences in kind explored by Henri Bergson and the value of singularity and possibility of communication developed by Bergsonian ontology. Rachel‟s nomadic travelling trajectory allows her to form a kind of union with Terrence that is beyond the limitation of gender difference. Under this dynamic and open circumstance, the deliriums and dreams before her death seem to suggest her. n. er. io. sit. y. Nat. al. Ch. i n U. v. becoming generated from the lines of flight: in the intensity of her spirit, she is open to the other, focuses on the present, and approaches to the primordial pure state. The thesis is divided into five chapters to investigate the complicated travel lines in The Voyage Out: Chapter I introduces the background of The Voyage Out and its literature reviews, and the theoretical approaches used in the thesis will also be illustrated; Chapter II concentrates on the discussion of the effect of the rigid line and. engchi. the supple line in The Voyage Out and develops the meaning of absolute difference; Chapter III looks for the possibility of true communication and the orbit of Rachel‟s voyage launched from the supple line; Chapter IV begins with Rachel‟s point of departure and her point of arrival in order to form another dimension of her death, contrasted with traditional interpretation with the discussion of the lines of flight; Chapter V concludes with the love between Rachel and Terrence and reveals the suffering and continuity of life that the novel tries to display through death.. vii.

(8) Lee 1. CHAPTER I INTRODUCTION. They had left London sitting on its mud. . . . They were free of roads, free of mankind, and the same exhilaration at their freedom ran through them all. The ship was making her way steady. . . . Down [Rachel] looked into the depth of the sea. While it was slightly disturbed on the surface by the passage of the Euphrosyne, beneath it was green and dim, it grew dimmer and dimmer . . . (Woolf 23-24). 政治大 the departure of the British passengers on board. With the background of British high 立. In Chapter II of The Voyage Out (1915), Virginia Woolf composes the scene of. ‧ 國. 學. imperialism, the setting of The Voyage Out, like those of Joseph Conrad‟s Heart of Darkness (1899) and E. M. Forster‟s A Passage to India (1924), is located on a. ‧. foreign land. From departure to return, the characters encounter their own sameness. sit. y. Nat. and difference through movements of travel. While Western travel literature has. al. er. io. constructed the circular structure since Homer‟s The Odyssey, the travel literature in. v. n. the early twentieth century, as David Adams in Colonial Odysseys suggests, “does not. Ch. engchi. i n U. manifest the sort of nostos that animates The Odyssey” (2; emphasis added).. 1. Literature in that period exhibits its unique outset with the collision of the imperial self and the colonized other, and the impact is made possible within the action of a series of spatial movements that structures travel writings. “The narrative of travel,” as Syed Manzurul Islam suggests in The Ethics of Travel, “unfolds the events of trekking space” (5). Travel is about movements in. 1. “Nostos (Greek: νόστος) is the Greek word for homecoming. It is a theme dealt with in many Homeric writings such as The Odyssey, in which the main character, Odysseus, strives to get home after the Trojan War.” This definition is quoted from the online source, Wikipedia. The circular structure of travel literature is thus about leaving for a foreign place from the hometown and the difference the traveler obtains while returning home. David Adams also refers nostos to the meaning of homecoming in the introduction of Colonial Odysseys..

(9) Lee 2. spatial locations. The action of travel involves “leaving one spatial marker and arriving at another” (Islam 5). In the passage to a foreign space, people inevitably confront the other, which could be unfamiliar native culture and geography or/and unknown strangers. Travel narratives reveal the significance of various kinds of interaction between the same and the other. For those who tend to mark the line between themselves and the other whenever they land on a foreign space, the security and protection deprive them of the opportunity to explore the other. Their experiences in the foreign place are limited to their own perspectives. And accordingly, the face of. 政治大 may very much ensue. The fear of the unknown other may eventually lead to conflicts 立 the other may be distorted by the veil of rigidified boundaries. Misunderstandings. ‧ 國. 學. and wars. On the other hand, there are travelers who choose different routes. Instead of limiting themselves to familiarities, they would rather cross the lines to meet the. ‧. other. They might have to confront a situation that is full of risks and uncertainties,. sit. y. Nat. but they are still willing to lay down their arms. It is this kind of attitude that allows. n. al. er. io. the travelers to enter into a foreign space physically and mentally. If one wants to. v. reach a certain degree of communication, the first step is to be open with respect. The. Ch. engchi. i n U. only way to avoid conflicts begins with mutual respect and understanding. Reading travel writings is to explore the significance of the relation between the same and the other. The action itself not only involves using certain methodology to analyze the characters and the plot in one particular text, but also turns into a mirror reflecting people‟s relationships in society. These kinds of interactions can be seen in The Voyage Out, where some characters restrict themselves solely within protective boundaries while others embrace differences involuntarily. The focus of the thesis is to explore the significance of the symbolic paths taken by the characters along with the setting of The Voyage Out..

(10) Lee 3. The Voyage Out The Voyage Out is about a young woman‟s passage to a foreign land. The twenty-four-year-old heroine, Rachel, travels on her father‟s cargo boat Euphrosyne2 and bounds for the unknown voyage which is about to change her life. The novel begins with Mr. and Mrs. Amborse walking onto the ship in preparation for leaving for Santa Marina, the fictional British colony in South America. The owner of the ship is Mrs. Ambrose‟s brother Willoughby Vinrace, who takes his daughter Rachel. 政治大 Pepper, a learnt Greek scholar, the Ambroses, and the Dalloways, who get aboard in 立 Vinrace with him on this journey. On Euphrosyne, Rachel is accompanied by Mr.. ‧ 國. 學. the middle of the passage. Rachel is attracted to the delightful manners of the Dalloways and begins to be acquainted with them. One day when Richard Dalloway. ‧. wants to resume the conversation with Rachel, he follows her into her room, and he. sit. y. Nat. accidentally kisses her after a sudden lurch of the ship. His kiss has great. n. al. er. io. psychological impact on Rachel to the extent that she develops a terrible nightmare. v. afterwards. Rachel confesses the incident to Helen who decides to take Rachel to. Ch. engchi. i n U. Santa Marina and teaches Rachel the knowledge she lacks during her enclosed life at Richmond with her aunts.3 When arriving at the foreign place, Rachel sets off. 2. Euphrosyne, known as the goddess of joy, is one of the “three graces” in Greek mythology. In this novel Euphrosyne is the vehicle that carries Rachel, the heroine, from the patriarchal English homeland to the joyful unknown foreign continent. Euphrosyne, moreover, may also allude to an East Slav virgin saint, who spent her life in monastery in order to avoid marriage. Interestingly, the hotel that the English tourists stay is also said to be rebuilt from an old monastery. This piece of knowledge is delivered by Mr. Pepper when they arrive at Santa Marina. 3. Rachel‟s mother dies when she is twelve. Her father is constantly away from home on business, so he leaves Rachel to the care of his two sisters. What Helen wants to teach Rachel is pretty much the sex education that a mother is supposed to pass on to her daughter. Helen is surprised to know how little Rachel knows about the relation between a man and a woman when Rachel expresses her confusion about Richard Dalloway‟s kiss. Helen then decides to take the responsibility of a mother and leads Rachel to know the world..

(11) Lee 4. exploring the land and befriends with the English tourists staying in the hotel.4 After the dinner party and a picnic trip to Monte Rosa, Rachel eventually falls in love with the young man, Terrence Hewet. They become engaged after a river expedition. While staying in the hotel with Terrence, Rachel seems to have her vision about life and love. The next day, when Terrence is reciting a poem of Milton in the villa, Rachel has a terrible headache. In bed, she suffers from a series of delirium and a strong sense of detachment from the world. Finally, Rachel dies with Terrence holding her hands. The novel ends when the British tourists leave for Britain because. 政治大 day after Rachel dies. Her fate is sensed by the tourists as tragic, but somewhat 立. of the coming rainy season, which is brought by the first heavy rainfall on the next. ‧. ‧ 國. 學. peaceful by Terrence.. Literature Reviews. sit. y. Nat. The Voyage Out, Woolf‟s first novel, was written under the turmoil of the. n. al. er. io. author‟s life. According to Louise A. DeSalvo, who studies the novel‟s birth and its. v. relation to the author‟s personal condition, Woolf suffered from mental breakdown in. Ch. engchi. i n U. the year of 1913 during the time when she was finishing The Voyage Out. The official publication of the novel was then postponed to 1915, and the scene that was rewritten on a large scale is Rachel‟s falling into delirium. In Virginia Woolf: The Impact of Childhood Sexual Abuse on Her Life and Work, DeSalvo not only connects the characters‟ mentality to Woolf‟s personal history, but also studies the influence of sexual abuse (mentally, physically, and socially) exhibited on the bodies of these. 4. The Amrboses and Rachel stay in the villa owned by Willoughby Vinrace. However, upon seeing the sprawling scene of the garden, Mr. Pepper is worried about the sanitation of the villa and decides to stay in the hotel on the other side of the hill. Helen and Rachel pay visits to the hotel many times, and they begin to know the guests there, two of whom are Terrence Hewet and St. John Hirst..

(12) Lee 5. female characters.5 Although many of the researches about The Voyage Out are based on DeSalvo‟s findings, her study of connecting the author and her works ignores to uncover the uniqueness of the characters. In The Reading of Silence: Virginia Woolf in the English Tradition, Patricia Ondek Laurence suggests Rachel‟s dreaming state and symptoms of hysteria is a particular feminine expression. There seems to be an experiment about a kind of expression through emotion rather than reasoning intellect. While talking about mind-body themes in connection with the technique of suspension used in many of Woolf‟s female characters, Laurence observes that “the. 政治大 open up creative dimensions of language” (153). Symptoms like hysteria may reflect a 立 female body can be viewed as the entrance into aspects of the unconscious that then. ‧ 國. 學. kind of abuse that has cast upon her, but at the same time, has become the codes that allow her to express herself throughout those unstable deliriums launched in the depth. ‧. of unconsciousness. The rationality of language system can no longer get hold of a. sit. y. Nat. woman‟s conscious, particularly some of the female characters in Woolf‟s novels.. n. al. er. io. They have exhibited another way of self-expression through their bodies and minds.. v. While focusing on Woolf‟s particular interest in exploring women‟s voice, the. Ch. engchi. i n U. thesis sees The Voyage Out‟s participation in the textuality of the early twentieth century in the light of power relation exposed in imperialism. Rachel travels with the power of imperialism to a fictional colony called Santa Marina. With the delicacy in which the author sews imperialism with Rachel‟s outward and inward voyages, the novel seems to suggest that Woolf not only writes private female experience through the course of the heroine‟s travel in which there is no turning back but also experiments a possible alternative that the character may write back the patriarchal hierarchy and reconstruct her own history. 5. DeSalvo discusses the characters in Woolf‟s novels, including Helen and Rachel in The Voyage Out, Mrs. Ramsey in To the Lighthouse, Susan and Rhoda in The Waves, Rose in The Pargiters and The Years, and Isa in Between the Acts..

(13) Lee 6. Rachel dies of fever before getting married and returning to Britain. The sudden death of the heroine appeals to many critics. DeSalvo in Virginia Woolf’s First Voyage suggests that Rachel is the victim of the metaphorical parental relation, and that her choice of death can be related to the tragedy of Antigone. Karen R. Lawrence asserts that the novel is about looking for ideal “female” desire through travel, which is not completed in Rachel-Terrence relation but is carried out in Woolf‟s later novel Orlando: A Biography.6 Critics like Sandra M. Gilbert and Susan Gubar consider her death as an incompatibility Woolf sees between man and woman: “Rachel‟s struggle. 政治大 male-dominated sexuality that seems an inexorable force in history” (18). David 立 is not just a struggle against male-defined history but a conflict with the. ‧ 國. 學. Adams, on the other hand, reads the novel from the colonial influence in the early twentieth century and concludes that The Voyage Out symbolizes the dissolution of. ‧. imperial totality. Rachel‟s death is one of the focuses of these critics‟ interpretations,. sit. y. Nat. and the present thesis would like to take the focus as a stepping-stone to explore the. n. al. er. io. development of the heroine through interactions with the other characters. Rachel‟s. v. voyage is interwoven with the encounters with the other characters and the foreign locality.. Ch. engchi. i n U. Based on the ideas in Gilles Deleuze and Felix Guattari‟s A Thousand Plateaus and the affirmative ontology developed in some of Deleuze‟s works, the present thesis intends to read Woolf‟s The Voyage Out as a travel literature.7 Travel literature is not 6. The novel is about a young man Orlando, who has metamorphosed into a woman during his travel in Constantinople. Orlando returns to Britain and begins to experience the life as a woman. The novel crosses over three hundred years. It ends when she finally finishes her poem The Oak Tree. Lawrence in the chapter “Woolf‟s Voyage Out: The Voyage Out and Orlando” says that “Orlando completes Rachel‟s voyage out, returning to England as a woman who can love both man and women” (179) and “Woolf represents the necessity both of confronting one‟s „inheritance‟ and of transforming it through new paradigms of female desire” (206). 7. According to Micheal Hardt‟s research about Deleuze‟s later works in Gilles Delleuze: An Apprenticeship in Philosophy, Deleuze proposes his affirmative ontology about the infinite force in becoming with the philosophical groundwork established by Henri Bergson, Friedrich Nietzche, and.

(14) Lee 7. simply a particular genre; its moving quality is a very distinguishing feature in literature. In Essays Critical and Clinical, Deleuze elaborates that literature is not about a fixed form in a finished work, but rather involves the living process of writing, a text that is itself in the action of travel. Because of the living quality incarnated in literature, writing, as Deleuze emphasizes, is about the active and meaningful movement from one point to another. Among the courses, writing “traverses both the livable and the lived” (Deleuze 1993: 1). It deals with everything that concerns life. Literature, for Deleuze, “exists only when it discovers beneath apparent persons the. 政治大 point” (Deleuze 1993: 3). Singularity 立 makes the characters neither “vague nor general,” power of an impersonal—which is not a generality but a singularity at the highest. ‧ 國. 學. but rather “elevate them to a vision that carries them off in an indefinite” (Deleuze 1993: 3). The character is him/herself in the very literary work. Thus the character and. ‧. the work itself can develop unique and irreplaceable life line through the language of. Nat. sit. y. literature. The Voyage Out is neither the reflection of the author‟s personal life nor a. n. al. er. io. preparation and experiment for another novel. It is unique in its own kind. Along with. i n U. v. the tracks from the sea to the land, let us partake the unprecedented voyage out. Ch. engchi. through the movements of writing to an unknown, foreign world.. Theoretical Approach From the perspective of Deleuzian ontology, Rachel‟s fate would not necessarily be a pessimistic ending. Woolf may suggest the inexorable gap of heterosexual desire and marriage, but the “perfect happiness” (412) sensed by Terrence at the moment of Rachel‟s death might also shed new light on other possible. Baruch Spinoza. This thesis will also use not only the ideas in A Thousand Plateaus but also the notions in some of his works as the bases of the discussion about the relations and development of the characters in the novel..

(15) Lee 8. interpretations. John Hughes, studying Henri-Louis Bergson‟s concept of duration and the presence of time, signals that Rachel‟s psychical movements are heading toward “the pure openness of our body and senses” (Hughes 177), which suggests a particular dimension to read the novel with a dynamic atlas that opens up the threshold for one to contemplate the significance of travel. The ideas of Deleuze used in the thesis from A Thousand Plateaus are mainly derived from Henri Bergson‟s discussion on movements. As Syed Manzurul Islam stresses in The Ethics of Travel, “travel is immanent in space” so that “the relation. 政治大 locations” (5). How one interacts with the other always involves the spatiality they 立 between the same and the other, more often than not, is grounded in the spatial. ‧ 國. 學. occupy. Marking, crossing, or escaping the boundaries between the characters and the plot are significant actions in the process of writing. As D. H. Lawrence says: “The. ‧. highest aim of literature . . . is „[t]o leave, to leave, to escape . . . to cross the horizon,. sit. y. Nat. enter into another life . . . ‟” (Deleuze and Parnett 36).8 The action of leaving and. n. al. er. io. escaping shows a movement moving away from a secured boundary. The crossing. v. may result in the difference from which one encounters the uncanny other face-to-face.. Ch. engchi. i n U. However, not all movements lead to the crossing of boundaries. Some move while carrying the rigidity of their spheres to another spatial location. Movements in Space / Movements in Duration As Deleuze and Guattari state in A Thousand Plateaus: “we are made of lines” (194), the movement from one point to another constitutes the lines that each one takes. The word “line” should not be comprehended only in its spatial sense. Movements come not only from without but also from within. External movements 8. It is a quotation from D. H. Lawrence‟s comment on literature in “On the Superiority of Anglo-American Literature” of Dialogues. The complete quotation is “[t]o leave, to leave, to escape . . . to cross the horizon, enter into another life . . . It is thus that Melville finds himself in the middle of the Pacific. He has already crossed the line of the horizon” (36)..

(16) Lee 9. are representable when they are in space while internal movements cannot be sketched by any measurements in sight. Therefore, travel could mean not only physical movements but also spiritual differences happened within one‟s self. In Bergsonism, Deleuze explicates and illustrates the measurable quality of movements in space, where there are differences in degree. Take a lump of sugar for example, Deleuze says that “it has spatial configuration” (Deleuze 1988: 31). When examining its shape, we may see how it is different in degree from other things. There will be measurement for us to compare the differences in space. When a line is placed upon. 政治大 However, as Deleuze later puts Bergson‟s instance on a lump of sugar‟s duration, we 立 the spatial structure, it could be measured in length. That is the difference in degree.. ‧ 國. 學. will see how it changes in time. “In the process of its dissolving,” we see “how this sugar differs in kind not only from other things, but first and foremost from itself”. ‧. (Deleuze 1988: 32). When perceiving movements located not in space but in the. sit. n. al. er. io. changeable in kind.. y. Nat. rhythm of duration, we see differences that are not just measurable in degree but also. v. Valentine Moulard-Leonard in Bergson-Deleuze Encounters explains how. Ch. engchi. i n U. Bergson distinguishes two different ways of knowing a thing: one is by analysis, (differences in degree), and the other is by intuition (differences in kind). In analysis, “I perceive a movement in space differently depending on the mobile or immobile point of view from which I look at it” (92). The way of knowing things is relativism and “I place myself outside the object” (Moulard-Leonard 92). However, there are movements that are intrigued by intuition: “it is because I ascribe an inner being” (Moulard-Leonard 92). One can sympathize with and be within the object. In this situation one does not translate the symbol as in relative movement, “the movement will not be grasped from without and, as it were, from where I am,” but rather “from.

(17) Lee 10. within, inside it, in what it is in itself” (Moulard-Leonard 92).. Durational Movements. Differences in Kind / Singularity. Spatial Movements. 立. 政治大. ‧. ‧ 國. 學 Differences in Degree / Relativism. sit. y. Nat. al. er. io. However, “people have seen only differences in degree where there are. v. n. differences in kind” (Deleuze 1988: 23).9 The study of movements then not only lies. Ch. engchi. i n U. in the spatial variance but also expands into the site of duration. Islam explicates in The Ethics of Travel that duration itself is within a double movement: “one movement expands toward the past, the other contracts towards the future” (65), duration contains the quality of continuous changing so that “it is always something that has been－something that has just happened; on the other hand, it is something about to happen－in the process of becoming” (Islam 65). This is the absolute movement that is not to be comprehended within a fixed space. Moulard-Leonard also refers to 9. In Bergsonism, Deleuze writes that Bergsonian leitmotif is to show that people have overlooked the movement that happens in its durational sense from which develops the qualitative difference that is in kind rather than in degree..

(18) Lee 11. Zeno‟s paradoxes on motion to explain this idea.10 Since one is “incapable of reconstructing motion out of fixed positions, even though the infinite juxtaposition of infinitesimal points” (93), one “cannot reconstruct an absolute movement out of relative movements” (93). Absolute movement cannot be realized in spatial motion. It reveals the differences in kind, and one has to leap to its “mobility” to “obtain the invisible feeling” (Moulard-Leonard 93). That is what Deleuze says in Bergsonism about “intuition as method”.11 Intuition is the act for one to situate in such an absolute movement so that one can “sympathize or coincide with what is unique about an object” (Moulard-Leonard 93). The Actual / The Virtual. 立. 政治大. ‧ 國. 學. In the chapter “Duration as Immediate Datum” of Bergsonism, Deleuze sees absolute movement as the virtual and relative movement the actual. While taking the. ‧. line of the relative movement, one sees the other in terms of the actual. In the actual,. sit. y. Nat. “„object‟ and „objective‟ denote not only what is divided, but what, in dividing, does. al. er. io. not change in kind” (Deleuze 1988: 41). This is the “numerical multiplicity” that. v. n. number is only divided within a particular basis that “its differences, whether realized. Ch. engchi. i n U. or not, are always actual in it” (Deleuze 1988: 41).12 As for the virtual, it is a qualitative multiplicity. Deleuze takes the psychic state of love and hatred as an example: [A] complex of love and hatred is actualized in consciousness, but hatred and love become conscious under such conditions that they differ in kind 10. Zeno of the Elea is a Greek philosopher, who is famous for his paradoxes. One of the paradoxes is the arrow paradox from which Zeno proposes that in a flying arrow motion is impossible since it cannot move toward the direction to where it is not and it is already there to where it moves to. 11. 12. “Intuition as Method” is the title of Chapter I in Bergsonism.. The object Deleuze talks about can be seen as a subject matter. Matter can be appropriated into various shapes, but according to the law of conservation of matter, it would never disappear or change in kind. Zeno‟s paradox on motion can also be applied here. Since movements can be forever divided on the line formed by the flying arrow, the differences within it are all relative, change in degree..

(19) Lee 12. from one another and also differ in kind from the unconscious complex. (Deleuze 1988: 42) Love and hatred both develop from the psychic state, but they are different in kind. Difference in kind is seen in the virtual, as Deleuze explicates later, and keeps dividing and forming its multiplicity, “but it does not divide up without changing in kind, it changes in kind in the process of dividing” (Deleuze 1988: 42). It is nonnumerical: “There is other without there being several; number exists only potentially” (Deleuze 1988: 42; emphasis original). Here, “Several” is the unit used. 政治大 used within arithmetical perspective, but simple calculation of singularities. 立. within a range, but “other” means absolute difference. Accordingly, number cannot be 13. None. ‧ 國. 學. of the two, the virtual and the actual, exist in isolation. Life is a nonstop process that the virtual manifests itself in the actual, and this is where the virtual and the actual. ‧. meet. As Deleuze writes in Bergsonism, “It is always a case of a virtuality in the. sit. y. Nat. process of being actualized” (94).14 Thus, the communication between two subjects. n. al. er. io. can be suggested as a kind of creation that their absolute differences existing in the. v. virtual encounter in a ground that is actualized. Then, they would produce a brand. Ch. engchi. i n U. new experience that no others have preceded. This kind of communication is based on difference, which is “never negative but essentially positive and creative” (Deleuze. 13. Numbers exist in the actual while singularities in the virtual. Numbers would change relatively as the matter divided in degree. However, the emotional state of love and hatred in the virtual would not be divided but become. The alteration in the virtual is changed in kind. 14. The virtual actualized is Deleuze‟s own interpretation about how virtual meaning is produced in the actual, common ground. Concepts that generate in mind are abstract and virtual. Through the actualization of a symbolic system, two subjects can have a chance to communicate and encounter. The ideal communication is as what is brought up here, virtual actualized. However, as Bergson mentioned, people tend to see things in terms of relativism. When people interact with relative thinking, they manifest themselves in the actual through structured intellect rather than intuition (in spite of the fact that human beings are endowed with emotional intuition in the virtual). Creation that is actualized through the virtual would not be established as what is discussed here..

(20) Lee 13. 1988: 103).15 The true encounter between the same and the other lies in the virtual actualized. Lines Movements are omnipresent in a text. As we have seen, different movements involve different significance.16 According to Deleuze and Guattari, movements construct segmentarity that “is inherent to all the strata composing us” (1987: 208). Based on Bergsonian movements in space and duration, Deleuze and Guattari propose that the three kinds of lines (the supple line, the rigid line, and lines of flight) shape. 政治大 themselves into one another, cross over into one another” (Deleuze and Guattari 1987: 立 the segmentations of life.17 “The three lines do not only coexist, but transform. ‧ 國. 學. 223). The presence of the three lines constructs the multiplicity of one subject. The rigid line is concentric and territorialized. Being territorialized means that the action. ‧. itself is to subsume the other into its own territory. Being supple, however, does not. sit. y. Nat. possess the centralizing tendency of the Sate apparatus shown on the rigid line. The. n. al. er. io. flow of the supple line is more like the trajectory seen as the molecular flow that is. v. able to penetrate the molar rigid line. The molecular flow is the force of the minor,. Ch. engchi. having influences upon the power center:. i n U. molecular escapes and movements would be nothing if they did not return to the molar organizations to reshuffle their segments, their binary distributions of sexes, classes, and parties (Deleuze and Guattari 1987: 15. Islam in The Ethics of Travel also brings up similar terms as absolute D (deterriterialisation) and relative D (deterriterialisation) to talk about different travel lines. However, the absolute D is a bit different from the virtual. It is close to the concept of lines of flight, a total break off from the striated space. It begins with differences in kind that “[discovers] the schizophrenic multiplicity of forces” (Islam 40), and goes on to cut off everything that hinders. Then the subject may face “a catastrophic breakdown” (Islam 40) and “„really‟ become a schizophrenic” (Islam 40).. 16. 17. Different movements a traveler chooses might lead him/her to see differences in degree or in kind.. Note that the word “line” used here does not suggest physical lines; it is rather abstract in viewing what kind of movements the traveler takes..

(21) Lee 14. 216-17) Molecular flows enact the marginal force against and toward the rigid segmentarity, but they still “return to the molar organizations to reshuffle their segments” (Deleuze and Guattari 1987: 216-17). The object that one moves on the supple line is always the rigid segmentarity since the virtual must be actualized in the actual. The force that activates the actualization, however, does not stop in the actual. It brings its power into play on the lines of flight, which is continuous and affirmative with its creative autonomy. Being supple is in a state that is between the rigid line and. 政治大 closeness to the force enacted upon lines of flight. Like Deleuze and Guattari‟s 立. the lines of flight. Its mobility that pierces into the molar segmentarity comes from the. ‧ 國. 學. explanation of the three different lines, “lines of flight are primary, or the already-rigid segments are, and the supple segmentations swing between the two”. ‧. (Deleuze and Guattari 1987: 222).. sit. y. Nat. The Creation of Being. n. al. er. io. The penetrative force of lines of flight is the very momentum of life, which, by. v. definition, is always moving without turning back. According to Hardt‟s observation. Ch. engchi. i n U. on Deleuze‟s application of Baruch Spinoza‟s ideas, the power as the principle of being becomes the very important base for the development of Deleuze‟s own ontology. The power of being means that “power is always act or, at least in action” (Hardt 72). The acting principle of power “has two sides that are always equal and indivisible: the power to effect and the power to be affected, production and sensibility” (Hardt 72). The feeling of power is able to affect as well as be affected. In Spinozian terminology, there are active affections and passive affections for the power to be affective. Hardt then adds that an affection “may be action or passion depending on whether the affection results from an internal or external cause” (74)..

(22) Lee 15. The internal cause is called active affection while the external passive. The formation of a person can be seen as the fusion of the two. The active affection comes from the attributes of a person which are continuous and nonstop. This kind of concept can be understood as Friedrich Nietzsche‟s will to power. In Nietzsche and Philosophy, Deleuze uses Nietzsche‟s illustration on the game of the dicethrow to explain the creation of being.18 There are two moments of the dicethrow: the first one is the act of throwing the dice which affirms the multiplicity of chance, and the second one is the necessity of falling back of the dice. 政治大 indeterminate: “there is nothing preformed in the possibility of the moment” (Hardt 立. that returns to the first moment. The multiplicity of chance shows the quality of. ‧ 國. 學. 48). This is the difference in kind of Bergson: pure multiplicity. The necessity of falling back in fact returns the dice to the first moment and the possibility of chance. ‧. which creates, continues, and never stops. What makes this happen is the will to. sit. y. Nat. power. It is the will that enables the being to have the power to act. As Hardt explains,. al. er. io. “the will to power is the principle of the eternal return” (49). That is, “being must be. v. n. willed” (Hardt 49). For Nietzsche, as Hardt explains, “not every will returns: Negation. Ch. engchi. i n U. comes only once, only affirmation returns. The eternal return is the selection of the affirmative will as being” (Hardt 49). Negation is the passive affection that comes from external cause. Only the affirmative will that derives from within creates constant mutating becoming. Will is internal in being that enables the eternal return and affirms the creation of multiplicity, as Nietzche says “Always do what you will” (qtd. in Hardt 49).19 In other words, the creation of being, the process that makes life. 18. Bergson calls the force that actualizes the virtual elan vital, but the explanation of elan vital is insufficient. According to Hardt‟s research on Deleuzian ontology, Deleuze turns to Nietzche‟s eternal return for help. Nietzche‟s “alternative to the dialectic of the One and the Multiple” (Hardt 48) complements the ontological positivity of Bergson.. 19. Hardt quoted this famous line from Nietzche‟s Thus Spake Zarathustra, page 191..

(23) Lee 16. meaningful is due to the working of will. Will to power is a “creation of exteriority through the power of affirmation” (Hardt 53). It is about encountering the external, the foreign, the other, and creating unprecedented experience. Such creation may establish smooth communication between two parties and bring change to the subject through the interaction with the other. The momentum of life is a neutral force. The direction is led by negative or affirmative affection. Treading on the line of flight makes the subject situate in a dynamic position that is indeterminate and always changing since the subject is open and deterritorializing.. 治政大 Power to Exist 立 ‧ 國. 學. Power to Be Affected. (action) (production). (affection) (sensibility). Nat. n. (affirmative) (will to power). Ch. engchi. Passive Affection (external) (negative). er. io. al. Active Affection (internal). sit. y. ‧. Power to Effect. i n U. v. To probe into the meaning of movements in the text enables us to discover the significance of the complicated map of life. In A Thousand Plateaus, Deleuze and Guattari try to sketch the atlas that reveals the real. However, the real is not necessarily the “better” alternative, and neither is the direction of the thesis to affirm any particular line that is taken. The connection of the lines is the map of life. Differences between the rigid line, the supple line, and the line of flight, are various ways of interacting with the other. Different choices lead to different results. There is no such a thing as one is better than the other. Like the reminder Deleuze and Guattari.

(24) Lee 17. leave to the reader in “1440: the Smooth and the Striated,” “never believe that a smooth space will suffice to save us” (1987: 500).20. Organization of the Thesis “She wanted more things than the love of one human being—the sea, the sky” (Woolf 352). After the engagement and the preparation for returning to Britain, Rachel begins to wonder her thirst for the voyage. She seems to take another option. The Voyage Out, Woolf‟s first novel, ends in an ending that crosses over the secular. 政治大. limitation. In order to illustrate the points stated above, the thesis is composed as. 立. follows:. ‧ 國. 學. Chapter II “Rigid, Supple, Differences in Kind” focuses on the rigid line and the supple line of the characters in the novel. The first part of the chapter looks into. ‧. the influence of those who take on the rigid line. While rigid perspectives in travelling. Nat. sit. y. and interacting with others mean security and comfort of the same, they might also. n. al. er. io. lead to failed communication and misunderstandings. The supple line, however,. i n U. v. penetrates the fixed boundaries established by the rigid lines. The purpose of the. Ch. engchi. supple line is to have certain influence on the rigid line with its molecular force that sees differences in kind. The intertwining travel lines are exhibited through the encounters of the characters in The Voyage Out. Among the explorations of the characters‟ relations, the novel seems to value the appreciation of differences in kind, a perception that comes from intuitive insight rather than acquired judgment. To cherish the differences in kind is the first step that might let the other come into one‟s own space, be it spatial or durational. Possible communication between two. 20. Smooth space is where the absolute movement exists. Deleuze and Guattari at the end of A Thousand Plateaus still highlight the multiplicity of life, and of course the multiplicity of lines and movements..

(25) Lee 18. parties would then be established. Chapter III “The Virtual Actualized: Mutual Understanding and the Realm of Communion” endeavors to show a state of communion achieved by independent subjects. The chapter begins with the change of a steadfast character, St John Hirst, who sees the beauty of the flow of feelings and love when allowing the penetrative supple line to flow through his concrete wall. The difference of Terrence Hewet, moreover, displays a possible communication when he and Rachel face to face with each other equally. The different way Terrence reads Rachel shows his different attitude to her. At the time of suffering from her illness,. 政治大 independent subject that he has no control and power over anything of her, he finds 立 Terrence begins to wonder the meaning of life. It is when he sees her as an. ‧ 國. 學. peace and happiness in their virtual union. Communication is the actualization when two independent souls encounter virtually. Terrence seems to realize that at the. ‧. moment of Rachel‟s death. The second part of the chapter focuses on Rachel‟s unique. sit. y. Nat. characterization in The Voyage Out. Through the reading of her minor position,. n. al. er. io. creative autonomy, and the relation with her music, Rachel can be said as being. v. supple at the beginning of her voyage. The way she communicates with the outside. Ch. engchi. i n U. world is through virtual emotion and intuition. The link between Rachel and Euphrosyne suggests that Rachel is a nomadic traveler who sails through the smooth space of the sea. In Chapter IV “Nomadic Travel on Lines of Flight,” the discussions focus on the significance of Rachel‟s sea voyage. The point of departure for the heroine might derive from the uneasiness of imperialism as some of the modernist novels written at that time. The point of arrival, however, seems to be designed as mysteriously indeterminate. Instead of going home to complete travel, Rachel dies on the verge of boarding to London. The deliriums and dreams developed from her serious fever.

(26) Lee 19. imply a significant explanation of her death. The chapter endeavors to interpret the meanings of the chaotic memories and deliriums of Rachel in light of the discussion of lines of flight in A Thousand Plateaus. Along with textual analysis, Rachel seems to embark on another voyage that is launched with intensity and speed. She seems to plunge into her affirmative becoming to the infinite. Chapter V “Conclusion” tries to present a plausible explanation of Rachel‟s death along with the discussion of her becoming. Her voyage out to the foreignness has brought her and the other characters significant differences and changes. The theme of. 政治大 to study the text but also sets as a mirror for the reader to reflect the discussion on 立. travel in The Voyage Out not only serves as a perspective for the student of literature. ‧ 國. 學. relationships developed from the interaction between people. The travel experiences in The Voyage Out can be precious memories for all of us.. ‧. n. er. io. sit. y. Nat. al. Ch. engchi. i n U. v.

(27) Lee 20. CHAPTER II RIGID, SUPPLE, DIFFERENCES IN KIND. Since movements are with both spatial and durational senses, lines that are constructed by movements should also be comprehended with this kind of concept. In “1993: Micropolitics and Segmentarity,” Deleuze and Guattari bring up the idea about two different dimensions of life caused by two different lines, one is supple and the other rigid. The former can be seen in primitive tribes while the latter is about the centralized power of modern society. There are centers in the supple segmentarity but. 政治大 differences in kind, centers here in the primitive tribe resonate within its own 立 they do not resonate together. Like the movement that makes the traveler see. ‧ 國. 學. singularities. In modern society, on the other hand, “the centers must collect on a single circle, which itself has a single center” (Deleuze and Guattari 1987: 211).. ‧. Differences here are based on one single measurement so that they are all sized in. sit. y. Nat. degree. However, “it is not enough to oppose two kinds of segmentarity:” “they are. n. al. er. io. inseparable, they overlap, they are entangled” (Deleuze and Guattari 1987: 213).. v. Travelers also share different qualities due to the movements they undertake.. Ch. engchi. i n U. Some might be sedentary travelers, who take the rigid line as Islam points out in The Ethics of Travel that “the spatial boundary between them will be marked by the doubling of the analogous difference” (62). Other travelers, however, are not limited in one discursive orbit, moving with the routes that are flexible and penetrative. Moreover, the travel lines that construct movements also intertwine upon the travelers. Rigid and supple lines are not separate. They exist in one space with different perspectives.21 This chapter will examine the movements proceeded in rigid and 21. To summarize the discussion made in Chapter Two about the rigid and the supple lines, we may say that those who take the rigid line to interact with the others are limited in the boundary of space, be it geography or ideology. Being rigid means one treats the other only in accordance with his/her own perspective. As for being supple, it is like living in the dimension of the concept of duration, which is.

(28) Lee 21. supple lines: What are the effects developed from these two movements? How are they inter-related? Based on Deleuze‟s reading of Bergsonian ontology toward the virtual and the real of being, this chapter will see how communication rises from supple penetrative force. Being supple and rigid, different travelers in The Voyage Out display different attitudes toward the others. Whether the others are humans, nature, or a piece of art work, absolute difference reveals the multiplicity that make everything unique in its own kind. Because of such multiplicity, one can finally encounter the other with mutual respect and understanding. Equality and peace shall eventually achieve.. 立. 政治大. ‧ 國. 學. Rigid: Subsuming the Other into One‟s Own Territory. Remaining the same in the “portable territory” the immobile traveler finds a. ‧. fixed perspective to centre her/his subjectivity and to gaze down upon the. sit. y. Nat. visual space rather than experience the intensity of speed. (Islam 59;. n. al. er. io. emphasis original). v. As Islam indicates, those who proceed the rigid lines are immobile travelers, who. Ch. engchi. i n U. wrap themselves within their own boundary. Whether the boundary is national, cultural, or racial, immobile travelers do not enter into a foreign space without bringing their own perspectives along. Differences here are judged according to one single measurement, the value of the center. Moreover, as Islam observes in this quotation, their action is to “gaze down upon the visual space” (59). Gazing down suggests the viewers‟ superior position to the surroundings around them. On the rigid lines, travelers not only possess the superiority to the other, they also hold strong intention to subsume the foreign other. There is only one single direction heading for about the presence of time. That is, the unique moment of presence enables the traveler to encounter the other in a vast plain where boundaries do not exist..

(29) Lee 22. its power center. The powerful one would seize the resource, exploit the place, and discriminate against the powerless other. Then conflict and misunderstanding will appear between two strangers. The Concentric Power In Chapter IX, the English tourists who stay in the hotel are introduced. After a few conversations exchanged in different rooms, the narration begins with a depiction of their daily routines. To highlight the regularity of their lives in the hotel, the narration focuses on the repetition of the gong sound that reminds the guests of their. 政治大 upstairs to rest after breakfast flock back to the dining room because “the time had 立. meals. The second sound of the gong indicates the time for lunch. Those who go. ‧ 國. 學. come for them to feed again” (129). Between their meals are the news on the papers and the talks with each other. The chapter ends in the guests trying to figure out some. ‧. sort of works in order to “fill up the time nicely before dinner” (135). The focus on. sit. y. Nat. the waiting of regular meals implies how the guests limit themselves in a foreign. al. er. io. space. Their daily routines let them live in the accustomed British lifestyle while. v. n. locating in a foreign country. Unlike Rachel and Helen‟s exploration to the town,22. Ch. engchi. i n U. they seem to prefer the life in the secluded boundary of this English hotel. Besides, the tourists seem to be the ones that consume most of the resources, especially food. On the small visit he pays in the afternoon, Mr. Ambrose complains about what Helen tells him that “you tourists eat up all the eggs” (133). Since most of the food is used to serve the tourists, the Ambroses living in the villa would have to face the shortage of some necessary resources, and so do the locals.. 22. In Chapter VIII, Rachel and Helen have their first adventure in the town. They watch the vendors selling local goods and the local people practicing religious rituals. Moreover, they go to see the evening card party of the tourists. Contrary to their exploration, the tourists here seem to suggest the tendency of staying at the hotel which is served with English manners rather than going out to the foreign place that costs them days to reach by crossing the Atlantic Ocean..

(30) Lee 23. On the rigid lines, one would also tend to guarantee the security of the territory consciously or unconsciously. In the last chapter when people discuss about Rachel‟s illness, Mr. Flushing‟s statement about her being infected by filthy vegetables in the villa reassures the safety and comfort of the hotel.23 In addition, to blame the carelessness of the local servants in the villa would cleanse the guilt of his wife who thinks Rachel is infected in the river expedition she holds. Therefore, as soon as he hears the complaint about the villa from Mr. Pepper, Mr. Flushing quickly draws his conclusion about Rachel‟s death. In this way, he would not have to be uneasy about. 政治大 secure space of the hotel reaffirms the stability and certainty that travelers like him 立 the connection between Rachel‟s illness and the river expedition. Moreover, the. ‧ 國. 學. value the most. After his comment on the young woman‟s tragedy, the unquestionable center is once more strengthened.. ‧. Movements within the rigid lines are endowed with concentric quality. Those. sit. y. Nat. who move within this kind of line delimit the space they occupy. Moving along with. n. al. er. io. the rigid line, they never leave their country though stepping on an unknown land.. v. When one is treading on the rigid line, centripetal center appears at the same time.. Ch. engchi. i n U. Walking on the rigid line is actually to maintain the boundary and obtain the territory. An Abstract Machine of Overcoding Willoughby Vinrace, the father of our heroine Rachel, owns a mercantile business across the Atlantic Ocean. Being a successful businessman and a single parent, he provides Rachel with the best education he believes in. While constantly voyaging, he gives Rachel to the hands of his two sisters and financially supports Rachel with the pursuit of her music. Helen notes that he does have “real affection for his daughter” (93), but the way he brings her up is derived from his “selfishness” (93). 23. The last two chapters of The Voyage Out are set in the English hotel where people discuss about the cause of Rachel‟s death. Mr. Flushing claims that it is because the people in the villa “never washed their vegetables properly,” and Rachel‟s death is “a fearful price to pay” (419)..

(31) Lee 24. In the conversation where Helen wishes her brother to agree on the suggestion of taking Rachel to Santa Marina, Willoughby Vinrace reveals his plan about making Rachel a “Tory Hostess” (93). Mr. Vinrace realizes that the expansion of his business would have to count on the support of the parliament, and the best way to secure the friendly relationship with the government is to have his daughter marry one of the senators. He tells his sister that he plans to rent a house in London in order to have Rachel get acquainted with the people in the political circle. Confessing the expectation of his daughter, Willoughby Vinrace consents to the suggestion of his. 政治大 (93). Upon hearing this, Helen appears to agree with her brother, but deep down in her 立. sister and hopes that she could “complete the course of instruction of feminine graces”. ‧ 國. 學. heart she knows that she would not want Rachel to have anything to do with the scheme of the father.. ‧. When Willoughby Vinrace compares Rachel with the other resources he obtains. sit. y. Nat. in South America, he shows his selfishness in the father-daughter relationship. The. al. er. io. analogy between the resource and Rachel is conceivable when she sympathizes with. v. n. the goats “imported from South America” (438).24 When Mr. Pepper wonders why. Ch. engchi. i n U. Mr. Vinrace‟s ten cargo boats are all used to investigate the things on earth instead of those on sea, Mr. Vinrace replies that he is more interested in the “monsters of the earth” (18). Rachel then sighed for the goats. Instead of explaining the reason why Rachel pities the goats, the author uses the sharp response of her father to connect the two: “If it weren‟t for the goats there‟d be no music” (18). The sentence suggests how Mr. Vinrace‟s business pays for the art Rachel learns. The goats representing South America, the foreign other, help Rachel reach her musical achievement. 24. In the finalized version of The Voyage Out, Woolf omits the realistic details about Mr. Vinrace‟s business. Although in the novel Rachel does sigh for the goats, the novel gives no further information about them. The quotation used here is from the notes of the Oxford edition of The Voyage Out. It is actually from Melymbrosia, page 8, the former version of The Voyage Out..

(32) Lee 25. Since the benefits of the goats are able to pay for Rachel‟s music, the value of music can also be traded for other things. That is, in the eyes of her father, Rachel can also be exchanged for the thing that is worth the price. That is why when Helen asks her brother to let Rachel accompany her to Santa Marina, he expresses the wish for Rachel‟s future marriage as the means to secure his business. Being a “Tory hostess” (93), Rachel could be “of great help” (93). In the father-daughter relationship, the two stand on the sides of an unbalanced scale. When one is over the other, there forms a centralized power moving toward the. 政治大 daughter. He subsumes the other into his own territory and demands Rachel to 立 more powerful side. Mr. Vinrace takes the rigid line while interacting with his. ‧ 國. 學. become the woman who serves well to her family and to her future husband. Here, the same (the father) does not actually encounter the other (the daughter), like Helen‟s. ‧. observation when she first meets Rachel: “You see, I don‟t get on with my father”. sit. y. Nat. (19). In addition, as the connection made previously between South American goods. n. al. er. io. and Rachel, it is possible to suggest that the undiscussed other in commerce is likely. v. to share the similar relationship as Rachel does with her father. If we see the. Ch. engchi. i n U. father-daughter relationship as two bodies moving and interacting within a foreign space, the line that Mr. Vinrace chooses to interact with his is what Islam says about the immobile traveler, who remains in the same and “gaze down upon the other” (59). Failed Communication Rigid segments exist in all kinds of situations: “modes of perception, kinds of action, ways of moving, life-style, semiotic regimes” (Deleuze and Guattari 1987: 227). In Deleuze and Guattari‟s words, one is being stratified in the organism, coded in the designed system, and asked to work for the absolute center. When an interaction begins with one taking on the overcoding rigid line, the communication.

(33) Lee 26. between the two subjects may not be established and they may reach no consensus. When Mrs. Dalloway leaves Rachel and her husband alone on the deck, Mr. Dalloway and Rachel begin to chat. Expressing the hope of the union of the empire, Mr. Dalloway talks about his pride in the greatness of England‟s dominion and English blood. Although he also acknowledges the dark side of the factories in the society, he believes that everything is worthy of the great whole. Rachel then wants to remind him of the feelings of the disadvantaged minority with the story of a poor widow: “there‟s the mind of the widow— the affections; those you leave untouched” (68).. 政治大 Mr. Dalloway‟s reply, however, is to reinforce again his totalitarian philosophy 立. ‧ 國. 學. upon the relation between a person and the society:. a human being is not a set of compartments, but a organism. . . . Conceive. ‧. the state as a complicated machine; we citizens are parts of that machine;. sit. y. Nat. some fulfill more important duties; others (perhaps I am one of them) serve. n. al. er. io. only to connect some obscure parts of the mechanism concealed from the. v. public eye. Yet if the meanest screw fails in its task, the proper working of. Ch. engchi. the whole is imperiled. (69). i n U. Mr. Dalloway‟s expression reflects the typical belief in the Victorian society, where sacrifices for the greater good are necessary and understandable.25 However, Deleuze and Guattari criticize such a belief in an organic whole. In the chapter “How do you make yourself a body without organs?” of A Thousand Plateaus, Deleuze and Guattari explain that organism means a destined controlling power that asks the body to work for its own purpose (Deleuze and Guattari 1987: 158-59). A body without organs is the very first state of a body, but it cannot be reached since at first one has already 25. This can be applied to the so-called British Commonwealth, an organic empire that occupies the absolute center..

(34) Lee 27. been stratified, like classes, sex, educations, and so on. “In order to extract useful labors from the BwO,”26 organism “imposes upon its forms, functions, bonds, dominant and hierarchized organizations, organized transcendences” (Deleuze and Guattari 1987: 159). For Deleuze and Guattari, organism asks individual organs to give up their own uniqueness and work for a single value. This is also what Mr. Dalloway believes in the mechanism of an organic empire, an action that takes in the rigid segmentation where everything works for the absolute center. Since the center is the determinant, those who do not benefit the center are left unnoticed, sacrificed, or. 政治大 What Rachel wants Mr. Dalloway to understand is the plight of the minority and 立. even eliminated.. ‧ 國. 學. exactly the concern Deleuze and Guattari bring out, but Mr. Dalloway‟s response is still based on the rigidified value that Rachel tends to challenge. Even though Rachel. ‧. does not say it directly to Mr. Dalloway, she has concluded in her mind that “the. sit. y. Nat. attempt at communication had been a failure” (69).. n. al. er. io. The failed communication resulted from the secured and concentric power of. v. the rigid. Living in the centralized segments, the overcoding tendency makes one. Ch. engchi. i n U. desire all the security. As a result, the fear of loss is transformed into a block to the things that would jeopardize the connection with the essential center. One would try everything to guarantee the territory, reterritorialize the other if possible, and retreat to the rigid segment because of the thirst for security. 27 In this way, the rigid line becomes even more sedentary. 26. BwO is the shorter version of a body without organs. According to Kylie Message in The Deleuze Dictionary, BwO “exists within stratified fields of organization at the same time as it offers an alternative mode of being or experience (becoming)” and “BwO does not equate literally to an organ-less body” (33). 27. Being rigid also means comfort and convenience: one does not have to face the unexpected danger coming from the possible change, like the English tourists who tends to remain in their old habits and adapt on the rigid line. In A Thousand Plateaus, Deleuze and Guattari observe that “the more rigid the segmentarity, the more reassuring it is for us” (227)..