书名：A Room of One's Own and Three Guineas一间自己的房间及三个基尼金币

难度：Lexile蓝思阅读指数1150L
作者：Virginia Woolf
出版社名称：William Collins
出版时间：2014
语种：英文
ISBN：9780007558063
商品尺寸：11.1 x 2.1 x 17.8 cm
包装：简装
页数：320
“A woman must have money and a room of her own if she is to write fiction.”女人要想写小说，必须有钱，再加一间自己的房间。——弗吉尼亚·伍尔夫的

A Room of One's Own《一间自己的房间》是适合许多人阅读的书，尤其是女子。无性别歧视之意，恐怕正如伍尔夫自己担心的那样，许多男子在读完这本书后会指称她是个女权主义者，或是暗示她是个同性恋者。即使他们称赞此书怎样动人或是有生气，也不如像女子那样感到一种启示，或是心灵契合。
本书为柯林斯经典系列，共包含A Room of One's Own《一间自己的房间》和Three Guineas《三个基尼金币》两篇作品，书内含历史背景及作者介绍（Life & Times），后附英语词汇注释（Glossary of Classic Literature），生词表采用《柯林斯英语词典》的解释，有助于读者学习理解。书本采用轻型环保纸印刷，小巧轻便，方便随身携带阅读。
HarperCollins is proud to present its new range of best-loved, essential classics.
‘Lock up your libraries if you like; but there is no gate, no lock, no bolt that you can set upon the freedom of my mind…’
Based on a lecture given at Cambridge and first published in 1929, ‘A Room of One’s Own’ interweaves Woolf’s personal experience as a female writer with themes ranging from Austen and Brontë to Shakespeare’s gifted (and imaginary) sister. ‘Three Guineas’, Woolf’s most impassioned polemic, came almost a decade later and broke new ground by challenging the very notions of war and masculinity.
This volume combines two inspirational, witty and urbane essays from one of literature’s pre-eminent voices; collectively they constitute a brilliant and lucid attack on sexual inequality.
Features:
·Life & Times—a fascinating insight into the author, their work and the time of publication
·Glossary of Classic Literature—useful words and phrases at your fingertips, taken fromCollins English Dictionary

伍尔芙的《一间自己的房间》，本是基于两篇讲稿。一九二八年十月二十日和二十六日，吴尔夫自伦敦两次来剑桥大学，分别在纽纳姆女子学院手戈廷女子学院，就女性与小说一题发表演讲。此后，一九二九年三月，她将两次演讲合为一文，以《女性与小说》为题，发表在美国杂志《论坛》上。而此时，她的小说《奥兰多》出版，为自己造成了一座小楼，并在这里，将《女性与小说》大加修改和扩充，写出了《房间》一书。

弗吉尼亚·伍尔夫，英国著名女作家，二十世纪现代主义作家与女性主义文学先锋。其代表作包括：小说《达洛维夫人》《到灯塔去》《海浪》，以及非虚构作品《一间自己的房间》。

Virginia Woolf was an English novelist, essayist, short-story writer, publisher, critic and member of the Bloomsbury group, as well as being regarded as both a hugely significant modernist and feminist figure. Her most famous works include ‘Mrs Dalloway’,‘To the Lighthouse’ and ‘A Room of One’s Own’.

But, you may say, we asked you to speak about women and fiction—what, has that got to do with a room of one’s own? I will try to explain. When you asked me to speak about women and fiction I sat down on the banks of a river and began to wonder what the words meant. They might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontës and a sketch of Haworth Parsonage under snow; some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs Gaskell and one would have done. But at second sight the words seemed not so simple. The title women and fiction might mean, and you may have meant it to mean, women and what they are like, or it might mean women and the fiction that they write; or it might mean women and the fiction that is written about them, or it might mean that somehow all three are inextricably mixed together and you want me to consider them in that light. But when I began to consider the subject in this last way, which seemed the most interesting, I soon saw that it had one fatal drawback. I should never be able to come to a conclusion. I should never be able to fulfil what is, I understand, the first duty of a lecturer to hand you after an hour’s discourse a nugget of pure truth to wrap up between the pages of your notebooks and keep on the mantelpiece for ever. All I could do was to offer you an opinion upon one minor point—a woman must have money and a room of her own if she is to write fiction; and that, as you will see, leaves the great problem of the true nature of woman and the true nature of fiction unsolved. I have shirked the duty of coming to a conclusion upon these two questions—women and fiction remain, so far as I am concerned, unsolved problems. But in order to make some amends I am going to do what I can to show you how I arrived at this opinion about the room and the money. I am going to develop in your presence as fully and freely as I can the train of thought which led me to think this. Perhaps if I lay bare the ideas, the prejudices, that lie behind this statement you will find that they have some bearing upon women and some upon fiction. At any rate, when a subject is highly controversial—and any question about sex is that—one cannot hope to tell the truth. One can only show how one came to hold whatever opinion one does hold. One can only give one’s audience the chance of drawing their own conclusions as they observe the limitations, the prejudices, the idiosyncrasies of the speaker. Fiction here is likely to contain more truth than fact. Therefore I propose, making use of all the liberties and licences of a novelist, to tell you the story of the two days that preceded my coming here—how, bowed down by the weight of the subject which you have laid upon my shoulders, I pondered it, and made it work in and out of my daily life. I need not say that what I am about to describe has no existence; Oxbridge is an invention; so is Fernham; ‘I’ is only a convenient term for somebody who has no real being. Lies will flow from my lips, but there may perhaps be some truth mixed up with them; it is for you to seek out this truth and to decide whether any part of it is worth keeping. If not, you will of course throw the whole of it into the waste-paper basket and forget all about it.