維吉妮亞．吳爾芙《幕與幕之間》的技術（性）美學

Technical Aesthetics in Virginia Woolf's Between the Acts

本篇論文從德希達閱讀佛洛伊德出發，討論吳爾芙的《幕與幕之間》如何呈現了書寫技術（性）、郵寄技術（性）與檔案技術（性）。《幕與幕之間》雖為村莊居民聚在一起觀賞英國歷史劇的小說，我們卻可觀察到上述眾多的技術（性）。首先，書寫作為痕跡，藉由括弧將自己敘述其內。其次，郵寄技術物（信件、報紙、帳單）和遠端傳輸、運輸技術物（火車、汽車、腳踏車、飛機、電話、教堂的鐘），呈現了觀眾四散而去的意識與記憶。最後，建檔的欲望（二戰前夕再現英國歷史以凝聚社群），和檔案摧毀自身的欲望（歷史劇無法呈現單一意義與最終意指），讓《幕與幕之間》實踐了德希達式的檔案技術（性）|也讓吳爾芙這部關於舞台的書寫，更深刻地帶出德希達式的書寫舞台。

This paper starts with Jacques Derrida's reading of Sigmund Freud, and argues that although Virginia Woolf 's Between the Acts describes how local citizens gather together to enjoy a pageant play, three important techniques- writing, postal and archival-along with their technical objects frame this fiction. Writing as a technique weaves itself into the text and numerous technical objects used in the postal system (such as letters, newspapers and bills), while tele-communication and long-distance transportation (such as trains, cars, bicycles, airplanes, telephones and bells) render present the dispersed consciousness and recollection of the audience. Between the Acts further practices the Derridean archival technicity: the archival desire of this pageant play to represent English history before the Second World War is in a tug of war with the self-destructive desire within this textual archive so that this pageant play or Woolf's fiction cannot convey a unified meaning. By reading via Derrida's concepts of the scene of writing, this paper expounds on how Between the Acts as Woolf's writing of scenes renders present the said three important techniques.