This article examines the intersections between memory and artistic vision in Virginia Woolf’s To the Lighthouse (1927) and Margaret Atwood’s Surfacing (1972), two novels resonating with feminist tensions and gender issues. Investigating two anxious female artists—Lily Briscoe in Woolf’s novel and the unnamed narrator of Atwood’s novel—the researchers argue that memory functions as a source of order and recuperation. Against patriarchal norms, memory allows for psychic healing, liberation and a fresh start. It engenders a space that can correct the wrongs of the past and help the female characters explore their imaginative abilities and enhance their self-esteem. Digging into the past, these artistic figures redeem their lives from the ravages of time, war and patriarchal oppressions. This approach allows for the liberation and the future growth of the artistic visions of the two painters. Each artist, however, reacts differently to the resurfacing of the painful past. For instance, in To the Lighthouse (a modernist text), Lily embraces art as a form of redemption and thus finishes her painting through her positive memory of Mrs Ramsay. However, the unnamed artist in Surfacing (a postmodern manifestation of art) renounces art and destroys her drawings in the process of coming to terms with her past. This article situates both texts within modernist and postmodernist notions on the value and function of art in order to explicate the essential junctions between memory and art and, therefore, demonstrate dissident artistic responses oscillating between (modernist) espousal and (postmodernist) repudiation.

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记忆与艺术异议：伍尔夫的灯塔与阿特伍德浮出水面的类比解读

本文探讨了弗吉尼亚伍尔夫的《到灯塔》（1927 年）和玛格丽特·阿特伍德的《浮出水面》（1972 年）中记忆和艺术视野之间的交叉点，这两部小说与女权主义的紧张局势和性别问题产生了共鸣。调查两位焦虑的女艺术家——伍尔夫小说中的莉莉布里斯科和阿特伍德小说的未透露姓名的叙述者——研究人员认为，记忆是秩序和恢复的源泉。与父权制规范相反，记忆允许心理治疗、解放和重新开始。它产生了一个空间，可以纠正过去的错误，帮助女性角色探索他们的想象力，增强他们的自尊。挖掘过去，这些艺术人物从时间、战争和父权压迫的蹂躏中拯救了他们的生活。这种方法允许两位画家的艺术视野得到解放和未来的发展。然而，每个艺术家对痛苦的过去的重新浮出水面的反应都不一样。例如，在《去灯塔》（现代主义文本）中，莉莉将艺术视为一种救赎，因此通过她对拉姆齐夫人的积极记忆完成了她的绘画。然而，《表面》（一种后现代艺术表现形式）中的无名艺术家在与过去妥协的过程中放弃了艺术并破坏了她的绘画。本文将这两个文本置于现代主义和后现代主义关于艺术价值和功能的概念中，以阐明记忆与艺术之间的基本联系，从而展示在（现代主义）拥护和（后现代主义）否定之间摇摆不定的持不同政见者的艺术反应。