In Three Guineas (1938), Virginia Woolf voluntarily discusses images of the Spanish Civil War in generic terms. Susan Sontag famously criticized Woolf’s position, claiming that her decision to generalize ‘dismisses politics’, preventing the adoption of a clear anti-fascist stand on the Spanish conflict. I argue, on the contrary, that Woolf’s recourse to the generic turns the spotlight away from the Spanish front in order to make a very political point about the violence of patriarchy that structures the British viewers’ own society. Woolf does this by highlighting the role gendered experiences of the past play in shaping the viewer’s present perception of, and affective reactions to, images of warfare. This allows readers of Woolf’s fiction to more clearly identify the feminist thrust of her depictions of World War I’s impact on the domestic sphere in her novels of the 1920s, To the Lighthouse in particular.

在三个几内亚（1938 年），弗吉尼亚·伍尔夫自愿用通用术语讨论西班牙内战的图像。苏珊·桑塔格 (Susan Sontag) 以批评伍尔夫的立场而闻名，声称她概括的决定“否定政治”，阻碍了对西班牙冲突采取明确的反法西斯立场。相反，我认为伍尔夫对泛型的诉求将聚光灯从西班牙阵线转移开，以便对构成英国观众自己社会的父权制暴力提出一个非常政治化的观点。伍尔夫通过强调过去的性别体验在塑造观众对战争图像的当前感知和情感反应方面所扮演的角色来做到这一点。尤其是去灯塔。