【正文】 te, in 1926, in a diary entry written during her final version of the novel, y present opinion is that it is easily the best of my books?（ibid.: 231). The Critical Responses to To the Lighthouse AbroadIn the history of Woolf critical acceptance in general, a significant moment came in 1953 when Willard R. Trask?s translation of Erich Auerbach^ Mimesis: The Representation ofwas published. In he Brown Stocking?，Auerbach last chapter, a text in critical writing on the literature of Modernism became classic. The total fifth section of he Window，was quoted by Auerbach and explained by him that Woolf，s method is not only a question of technique but f the author attitude towards the reality of the world?（qtd. in Hussey，1995: 322). After paring Woolf to Marcel Proust，Auerbach mented that To the Lighthouse was uone of the few books of this type which are filled with good and genuine love, but also, in its feminine way, with irony, amorphous sadness and doubts of life?（ibid.).Much of the early criticism of To the Lighthouse focuses more on the Ramsays than on Lily Briscoe. Maria DiBattista，for example, describes how he cooperation of male and female wills underlies the novel veiled myth of marriage as Eden?（Freedman, 1975: 175). Joseph L. Blotner employs Sigmund Freud?s interpretation of the Oedipus myth to explain the relationship between the Ramsay couple and their son James who cherishes intense adoration for his mother and has an equally strong hatred for his father (Beja, 1985: 169). According to Virginia R. Hyman, Mrs. Ramsay embodies some values of Julia Stephen: sympathy, social awareness, organizing activities and selflessness. Hyman concludes that in the very process of analysis and synthesis, Virginia Woolf is repeating the pattern of her father for the purpo escaping from her own dilemma (McNees, 1994: 596).Many critics view the novel in terms of a struggle between masculine and feminine principles embodied in Mr. and Mrs. Ramsay. Herbert Marder?s study of Woolf, Feminism and Art (1968) sketches Woolfs theory of patriarchy and androgyny. As Marder suggests, Woolf takes androgyny to represent a convergence of her feminism and her mysticism. He thinks To the Lighthouse follows the research on unity in the development of integrated personalities (Mepham, 1992: 78). Like Marder, Bazin finds the lighthouse and Lily^ tree in the center of her painting androgynous symbols and Carolyn Heilbrun views it as Woolf est novel?of androgyny, with the emale impulse?in Part I and the ale impulse?in Part III united in athc androgynous vision which ends the book^ (Heilbrun, 1973: 162).In a variation on Freudian readings focused on the son, several critics?attention has been drawn to the role of Lily Briscoe as a woman artist who must struggle against the ideology represented by the Ramsays. In her Woman of Letters (1978), Phyllis Rose deals with To the Lighthouse, and depicts varieties of womanhood and demonstrates how one can be a woman without being like Mrs. Ramsay, who is taken to be a dusky, outofdate, and selfsacrificing character to whom the artistic spinster Lily Briscoe offers an alternative and preferable model (Mepham, 1992: 80). The Critical Responses to To the Lighthouse in ChinaAlthough Chinese academic circle began the research on Virginia Woolf as early as in 1932 when Ye Gongchao translated ?A Mark on the Wall?，a short story of stream of consciousness that was written by Woolf in 1917, it was not until in the 1980s that the research on Woolf reached an upsurge in China. However, at the beginning, scholars mainlytranslated her works and introduced foreign studies. Woolfs feminist work, A Room of One39。s Own, was translated by Wang Huan in 1989. Qu Shijing, in 1988 to 1989, translated some of Woolfs critical essays and edited them into two books A Study on Virginia Woolf and Virginia Woolf39。s Critical Essays. Qu published his monograph: Virginia Woolf: the Novel Stream of Consciousness in 1989. Li Naikun selected some of Woolfs critical essays,stories and parts of novels and edited them into the book Virginia Woolf39。s Selective Works in 1990. Liu Bingshan translated some of Woolfs essays and edited them into a book Book and Portraits in 1994. Huang Mei and Zhang Yaodong published another small book, Woolf39。s Essays in 2001. In 2002, Yi Xiaoming^ Elegance and Insanity: Virginia Woolf39。s Biography was published, in which both her life and works are involved.The earliest research on Virginia Woolf was in 1937 when Jin Donglei made a brief ment on her in History of British Literature. However, in China, it was not until the late 1980s that the real and prehensive research on Woolf began. Qu shijing is the first to have a paratively prehensive study and research on Woolf. He places extra emphasis on the research of Woolf ?s stream of consciousness and makes a systematic summary of theories of Woolf novels. Qu sums up her theories and views from seven aspects (Qu Shijing，1986: 23356). 〇u makes an indepth study and research on the differences of all kinds of Woolfs adoption of stream of consciousness and his research is most important in the 1980s in China.The translations and publications of Woolf works have provided Chinese readers, writers and scholars with firsthand materials for them to understand, study and research Woolf. Since the 1980s, there are about 300 papers, 3 bibliographies and many other doctoral dissertations.In conclusion of the researchcritics in China focus on the following three aspects: 1) on the stream of consciou:Q8In his paper, Wu Qinghong makes a discussion about Woolf?s feminist thoughts under the background of the development of western feminism. As Wu considers, Woolf has realized that feminism of the late 19th century and the early 20th century, which put overemphasis on equal rights for men and women in law is deficient and Woolf suggested that feminists establish a female perspective of their own, that is