《歐蘭朵》一向被認為是吳爾芙之雌雄同體理想的代表，同時也是極具實驗性質的女性傳記小說。然而，書中的奇幻情節不僅符合傳統奇幻文學的定義之外，也質疑了再現真實的可能性。本論文企圖藉由Rosemary Jackson和Tzvetan Todorov的奇幻文學理論來重讀這本吳爾芙唯一的一本奇幻小說。在以奇幻作為逾越政治的前提下，《歐蘭朵》挑戰了父權社會中的二元對立的意識形態，並嘗試揉雜不同文類以作為一種另類的再現形式(mode)，為歷史中被消音的弱勢族群創造各種發聲的可能性。論文也將探討數個發生在女性歐蘭朵身上「怪異」(uncanny) 的情節背後所隱藏的慾望結構及文化意涵。《歐蘭朵》在異國民俗風情的多所著墨也展現其作為另類的女性旅遊文學的特質。

Abstract
Critics used to read Orlando as a feminist text of Woolf’s idea about androgyny, as a mock biography of Vita Sackville-West’s family, and as Woolf’s ideal form of biographical novel. However, the fantastic elements in Orlando—Orlando’s sex-change, free movement in different times and spaces, automatic writing of his/her poem “The Oak Tree”—not only correspond to the characteristics of traditional literary fantasy in general, but also problematize the way of representing reality. This thesis intends to re-read Woolf’s only literary fantasy in term of Tzvetan Todorov’s and Rosemary Jackson’s definitions and analysis of this problematic generic form. In the spectrum of literary fantasy, Orlando challenges male/female, real/imaginary, orthodox/unorthodox traditional dichotomies constructed by and convicted in the patriarchal society through the manipulation of those fantastic elements on the one hand; on the other hand, it hybridizes diverse generic forms to embrace other possible ways for the repressed minority to articulate their voices and to reconstruct their histories. The scenes of the uncanny reveal the unbalanced desire contexts in Orlando, from whom we perceive the repressed, forbidden and unsatisfied desires of women in the world Orlando visits. In addition to transgressing the traditional literary boundary, Orlando also demonstrates Woolf’s idea that women’s writing can be an alternative travel writing which helps women novelists broaden their world views.

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