This dissertation traces the evolution of the Chinese reception of Virginia Woolf through historical contextualization and explores the cultural conflicts in the Chinese interpretation and translation of Woolf with special emphasis on her feminism from a cross-cultural perspective. It also examines Woolf s and Ling Shuhua's critique of the tyrannies in the private world in their autobiographical works.The two stages of the Chinese reception of Woolf parallel those of the western one. The first stage from the early 1930s to the late 1940s may be characterized by so-called "interaction" between the Bloomsbury and Crescent Moon groups. It includes the interpretation and imitation of Woolf s stream-of-consciousness techniques, the critique of her feminist essay A Room of One's Own, and the production of Ling's autobiography with the help of Woolf and others. The second stage from the 1980s to the present, motivated by a political, cultural, and literary agenda, witnessed a systematic publication of her works and a massive body of criticism that covers her novels, literary theory, and feminism. Its focus gradually changed from an analysis of her writing techniques to an exploration of the theme and ideas of her works. Woolf s canonical status is well established in China.
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