雖然《奧蘭多》是維吉尼亞、吳爾芙最具創意的作品之ㄧ，但它鮮少為評論家所讚許。就因為不被評論家所重視，逐漸地，《奧蘭多》被視為作者的假期之作和淘氣孩子的遊戲之作。縱使有任何和這部作品相關的研究，評論家通常將焦點放在作品和薇塔間的關係。評論家的這項研究是根據吳爾芙在日記中所記載 “《奧蘭多》就是薇塔”。由此看來，評論家似乎很相信這就是吳爾芙寫《奧蘭多》的原因。
　事實上，《奧蘭多》不只是薇塔。近來，扮裝的概念也開始重視《奧蘭多》這部作品。這些以扮裝的概念來閱讀《奧蘭多》的評論家，不再視這部作品為鑰匙小說。事實上，這些評論家已經開始改變先前對這部作品的看法，並運用不同層次的扮裝概念來探討文本中性別與性色的問題。當運用不同層次的扮裝概念來探討文本中性別與性色的問題時，他們通常將扮裝視為兩種層次－一為衣飾符碼，另一層次則是文學呈現。
　根據這些評論家的觀點，本論文將以扮裝的概念來重新閱讀《奧蘭多》。雖然性別與性色的問題在本作品中很重要，但有關女性創意的議題也不容忽視。除此之外，扮裝的層次也不止於衣飾符碼與文學呈現。女性氣質與男性氣質也是扮裝一種。為了了解扮裝概念的轉變及在文本中所呈現不同層次的扮裝，在第二章將會先討論扮裝這個概念，以做為閱讀《奧蘭多》的準備。接下來的章節，將依序以三種不同層次的扮裝概念來討論文本中性別、性色及女性創意等議題。最後，第六章結尾，將討論吳爾芙對扮裝的看法。

　Although Orlando is one of Virginia Woolf’s most creative works, this work is seldom appreciated by critics. Because of being exiled from critics’ attention, gradually, Orlando is read as a writer’s holiday and mischievous child’s game only. If there is any study in relation to Orlando, critics’ concerns mostly focus on Vita as the prototype of Orlando because Woolf mentions that Orlando is Vita in her diary. Critics seem to believe Woolf’s writing intention in her diary.
　However, Orlando is more than about Vita. Recently, the notion of masquerade takes Orlando seriously. These critics tend to revise set opinions of reading Orlando merely as roman a clef from the perspective of masquerade. Through different levels of masquerade, critics explore the issues of gender, and sexuality in this text. Usually, critics consider masquerade from two levels—as costume travesty and as literary representation.
　Based on these critics’ viewpoints, this thesis aims to re-read Woolf’s textual Orlando through the notion of “masquerade.” Although the issues of gender and sexuality are important in Orlando, women’s creativity is also a significant issue in this text. In addition, masquerade should not be regarded as costume travesty, and literary representation merely, but it has become as femininity, and as masculinity. In order to understand the complete transformation and levels of masquerade as represented in Orlando, Chapter Two discusses the notion of masquerade as the preparation for the reading of Orlando. Then, the following chapters— Chapter Three, Chapter Four and Chapter Five, will follow three levels of masquerade to deal with the issues of gender, sexuality, and women’s creativity. And, Chapter Six, the concluding chapter discusses Woolf’s conception of masquerade.

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林宇玲。＜解讀茱蒂巴勒的性/性別理論＞。《婦女與兩性學刊》，第八期，1997年