維珍妮亞‧吳爾芙《燈塔行》揉合小說與繪畫，在作者創新的手法、精湛的技巧背後藏有模仿人物情緒、情感最纖細的體味。《燈塔行》不論筆觸、內容或意境在在表現出吳爾芙追尋主題、濃厚的繪畫知性與感性傾向，對吳爾芙而言，生命與藝術的追求便是唯善至美的永久追求。本論文第一章試就作品“空間模式”的技巧運用檢視其分裂斷折的文字敘述，框化的造形藝術，視覺官能的虛擬情境。第二章說明“空間模式”中不可或缺的時間因素，進而將時空互動關係演至“空”這觀念，說明吳爾芙的生命觀與追尋的價值。在作者形象語言中，追尋具有圖案或圖畫，不管是藍姆西先生的線條邏列、藍姆西太太的靜態平面、或第三章中討論的莉莉‧柏斯蔻的畫作，都可以感受到這些人物對世間萬事萬物的企圖和努力。

　　This study examines Virginia Woolf's innovative form and style in <u>To the Lighthouse</u> designed to imitate the confusion of thoughts, emotions, and views of life and to reveal man's search for life's meaning and his struggle to give shape to his experiences. Chapter One of this thesis investigates the spatial form of the text, particularly the disrupted narrative, the use of frames and the focus on virtual reality. In this chapter, I try to show that the spatial writing in fact produces simultaneity and that simultaneity often makes the thoughts and emotions arise all at once. Chapter Two discusses the notion of the spatio-temporal interdependence with demonstrations of the Ramsays' search patterns, the line and the surface, the facing and the fusing. This chapter explains the idea of man's searching for order through time and the empty space as exemplified by the novel's middle part, "Time Passes." In using the similar plastic language of colors and shapes, Mr and Mrs. Ramsay suggest their common destiny, a quest for order and unity that is extended to the final chapter. Chapter Three follows and develops the search motif in Lily Briscoe's painting process, a process that combines visual actualities and memories.