身為布魯斯貝利這個文藝團體的一員‚伍爾芙的美學觀念深受介紹後印象派給她的羅傑傅賴的影響。即使《達洛威夫人》與《燈塔行》經常被歸類為後印象派小說，但這兩本小說中的回憶模式是立足於印象派與後印象派的相似點與相異點上。為了解決她在小說寫作中遇到的主要難題，伍爾芙利用回憶的流動性來賦予這兩本小說兩個似乎相左的特質。本論文嘗試探究印象派與後印象派對於伍爾芙在這兩本小說中的回憶模式，以及她如何藉著結合這兩個美學運動的相似與相異來解決遇到的難題。
　　雖然後印象派反對印象派某些理論，兩者之前卻有共通的重要美學觀念。伍爾芙利用兩者共通的四個概念來刻畫回憶：一、挑戰傳統呈現事物的方式，二、捕捉瞬間印象置於框架內，三、模糊物體固定的界線，四、利用色彩鮮豔的景色。伍爾芙將這四點轉換成文字格式來當作小說中回憶的本質：一、藉著使用回憶打斷時間來放棄傳統敘述方式，二、生動捕捉瞬間回憶刻畫在文字裡，三、呈現回憶過程中物體界線的模糊狀態，四、以色彩感官描述來創造鮮明視覺的回憶場景。
　　伍爾芙在小說寫作遇到的難題是來自於人的元素和格式結構的衝突。根據伍爾芙的定義，人的元素指的是小說家必須著重在描述日常瑣事而非主角生命中的轉捩點，並且同時激起讀者的情感，使讀者可以被小說中的角色生活所吸引。為了賦予回憶人的元素‚伍爾芙結合印象派與後印象派的相同與相異。印象派與後印象派共通的理念為藝術家必須選擇日常的場景作為創作的題材；而兩派的差異為印象派著重在物體的感官呈現，而後印象派則關注畫作是否能激起觀看者的情感。但這樣迥異的差異卻共存於伍爾芙的回憶模式裡。在伍爾芙的小說中，她藉著呈現充滿感官與情感的回憶，這樣的呈現方式不僅貼近讀者切身的經驗，且使讀者更容易進到小說裡的世界。
　　另一方面，伍爾芙認為小說必須由一個結構所寫成，這樣的結構可以使小說有組織並且能經得起時間考驗。她認為小說的結構必須在小說本身與讀者之間保持一定的距離。在小說中，伍爾芙持續使用片段的回憶來打斷時間，這個方式呼應印象派與後印象派使用的快速筆觸。使用這樣的敘述方式，伍爾芙不但忠實呈現真實的心理狀態，而且避免讀者容易陷入小說的情節之中。為了賦予小說一個結構，伍爾芙利用角色共同擁有的回憶當作是疏離的個體與時刻之間的無形連結。當這些瑣碎的事件被不同角色回想起來時，它們的意義也就因此產生。透過回想同樣的事件，孤立的各個角色事實上是連結在一起。
　　伍爾芙的回憶模式與印象派和後印象派緊緊相扣。利用這樣的模式，伍爾芙使她的小說同時擁有人的元素與格式結構。她企圖創造偉大的小說以及能忠實刻畫世界大戰後的世界。在伍爾芙描寫表面上的疏離與孤立的同時，她其實暗示著人與人之間確實存在著無形的連結。

　　As a member of Bloomsbury, Woolf’s aesthetic concepts were greatly influenced by Roger Fry, who introduced Post-Impressionism to her. Although Woolf’s Mrs. Dalloway and To the Lighthouse are frequently classified as Post-Impressionist novels, moments of recollection in them are in actuality written based on the similarities and differences between Impressionism and Post-Impressionism. In order to achieve the balance of the human element and formal integrity, which is the main dilemma she encounters in fiction-writing, Woolf makes use of the fluidity of memory to endow these two novels with these two seemingly contradictory factors. This thesis attempts to explore the influence of Impressionism and Post-Impressionism on Woolf’s manipulation of memory in Mrs. Dalloway and To the Lighthouse, and her ambition to resolve the dilemma by combining the similarities and differences between these two aesthetic movements.
　　Although the Post-Impressionists revolted against some of the Impressionists’ theories, the former did share significant concepts with the latter. Woolf makes use of four shared notions to shape moments of recollection in these two novels: their defiance of the orthodox methods to portray reality, their rendition of a fleeting impression in a fixed shape, their dissolution of the outlines of objects and their exploitation of bright-colored scenes. Woolf transmutes these four notions into verbal form as the nature of memory in her fiction: to abandon traditional narrative by interrupting linear time with memory, to vividly capture a transient memory in fixed languages, to render a memory where the outlines of the objects are blurred, to create vivid visual scenes in memory with sensual references to color.
　　The dilemma Woolf encounters in fiction-writing comes from the conflict between the human element and formal integrity. According to Woolf’s definition, the human element refers to the fact that the novelist focuses on ordinary incidents instead of the crises or climaxes in characters’ lives, and at the same time arouses emotion in the reader, which can draw the reader to the life depicted in the novel. In order to endow memory with the human element, Woolf combines the similarity and difference between Impressionism and Post-Impressionism. The similarity is that artists should select ordinary scenes as their themes while the difference lies in the fact that while the Impressionists paid exclusive attention to the sensual rendition of objects, the Post-Impressionists were concerned with the arousal of emotions in the viewer. This contrast is compromised in Woolfian memory. By presenting sensual and emotional memories, which are similar to the reader’s actual experience, Woolf makes it easier for the reader to enter the world in the novel.
　　On the other hand, Woolf argues that a novel should be composed with a design that makes it organized and durable. The structure of the novel should keep a distance between the reader and the novel. By constantly interrupting the present moment with fragmentary
memories, which echo the swift brush strokes employed by both the Impressionists and the Post-Impressionists, Woolf not only faithfully portrays psychological reality but also prevents the reader from sinking into the plot too easily. In order to endow the novel with a structure, Woolf makes use of shared memories as a means of invisibly connecting isolated individuals and moments. Meanings are given to seemingly trivial past incidents when they are remembered by several characters, and through the remembrance of the same past incidents, the isolated characters are in actuality connected beneath the surface.
　　Closely connected with both Impressionism and Post-Impressionism, Woolfian memory is employed by Woolf as a means of achieving a balance of the human element and formal integrity. It is Woolf’s ambition to compose great novels and to faithfully present the post-war world. While she depicts the appearance of isolation and discontinuity, she implies that there is in actuality an imperceptible connection among individuals.

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