The purpose of this paper is to study Virginia Woolf's feminist aesthetics in both narrative technique and its inseparably related thematic aspect in The Years, the last long novel published in her lifetime. Though Woolf originally planned and wrote an essay-novel called The Pargiters to convey everything including sex, education and life extending over fifty years, she had revised this work for six years, with the beginning essay part cut out and completed The Years as an excellent novel.
In the fragmentary plotting of the family chronicle, Woolf deviated from traditional realistic novel form. Here she experimented such structural and other devices as the absence of central figure, consistent repetition of past scenes, collective memories, interruptions and cacophony. These structural and thematic innovations prove Woolf's intentional and indirect writing strategy to reflect the dissatisfied and fragmentary lives of the characters. Woolf also tried to depict the thoughts and emotions of her characters, often unexpressed in ordinary life.
Woolf attempts to penetrate the real meaning of life and to expose male egoism and oppressive social conventions in a patriarchal society, and finally to build a new world in which her characters can live differently from the past in mutual understanding and peaceful liberty and justice. This wish-fulfillment might be achieved by admitting the 'otherness' of each individual and human equality beyond sexual, racial and hierarchical differences, with real human love just as shown by Antigone who proclaimed 'Tis not my nature to join in hating, but in loving'.