The Study on the Novelist’s Purposes on the Level of Discourses of the Novel of Stream of Consciousness—A Case Study of the Chinese Translation of To the Lighthouse

“To the Lighthouse” is a famous and exceptional novel of Virginia Woolf. It was published in 1928. It is one of the most popular and the most striking novels by the novelist, because it makes easier reading. It is largely unique in its structure, and it reveals its maturity over the technique. The novel is known for its distinctive presentation of dimensional transitions. One of the greatest achievements of the novelist is that the technique of the stream of consciousness finds its way through the ordering of the materials in the novel. Its outward structure is really simple. The novel is an attempt to present a specific aim. A novel has always been a real as well as dynamic reproduction of the thoughts and feelings of the novelist. The novel discards the old authoritarian pattern in the family relationships, which is no longer operative in the society. Now, there is a new orientation of parent-child relationship as well as re-orientation of family and friends’ relationships. That is the vision of life in the mind of the novelist. And, that is the aim of the writer. The novel’s universal spirit and appeal will be under discourse in particular and the manifold visions in which what is receding and what is approaching, find ways to establishing a strong relationship with people in the novel. Therefore, this paper is going to investigate its realistic presentation of feelings and thoughts. It investigates that the novel exhibits the fluid mental states rather than external violent deeds. That the readers themselves interpret and then understand each of the vital characters through his or her own unique thoughts as well as through his or her specific actions. It could be called a novel of stream of consciousness, yet with a difference. Hence, the novel in question investigates its comprehensiveness in design, and “how visions have been presented for establishing relationships among the characters in the novel through strong characterization with a new technique”.

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The “One-Line-Portraitˮ in to the Lighthouse by Virginia Woolf: Freeing the Counter-Norms

Gender Studies ◽

10.2478/genst-2019-0001 ◽

2018 ◽

Vol 17 (1) ◽

pp. 1-8

Author(s):

Hélène Fau

Keyword(s):

Virginia Woolf ◽

Single Line ◽

The Novel ◽

Stream Of Consciousness ◽

To The Lighthouse ◽

The One ◽

The Way

Abstract At the Ramsay’s Scottish summer home, where guests are promised an illusory trip to the lighthouse, Lily Briscoe, a post-impressionist painter, indulges into portraying Mrs Ramsay. Throughout the novel, the portrait changes forms, starting as a moving tree in the first section ‘The Window’ and ending, after Mrs Ramsay’s death, as a single line in the very last page of the novel where Lily Briscoe sees it as completed. The “passage into abstraction” satisfies her for she executes the vision she had. The plot follows the same scheme, unfolding through shifting perspectives and oscillating between the figurative and abstract stream of consciousness of each character. It thus reflects Lily’s unstable portrait and paves the way for a deterritorialised writing. This paper will analyse how the “actes graphiques” (the drawn as well as the written items) mutate into an abstract – and therefore non- or a-gendered – line in order to release the un-articulated and un-lived antimainstream love between Lily Briscoe and Mrs Ramsay.

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The End of the Road: The Death of Individualism

Royal Institute of Philosophy Supplement ◽

10.1017/s0957042x00002960 ◽

1983 ◽

Vol 16 ◽

pp. 115-134

Author(s):

Jacquelyn Kegley

Keyword(s):

Virginia Woolf ◽

Interesting Case ◽

The Novel ◽

John Barth ◽

To The Lighthouse ◽

The Road ◽

Philosophy And Literature ◽

Jean Paul ◽

The Relationship

Though John Barth won the National Book Award for his novel, Giles Goat Boy, his second novel, The End of the Road, proves a more interesting case study for our purposes, namely, to explore the relationship between philosophy and literature. This is so for at least three reasons. First, by the author's own admission, the novel is intended as a refutation of ethical subjectivism, particularly as expoused by Jean Paul Sartre. Secondly, in the novel, Barth, like Virginia Woolf in To the Lighthouse, places reason and imagination in contention, suggesting that either faculty in isolation is inadequate in dealing with human experience. Both Barth and Woolf are reflecting and probably criticizing the assumption of a number of contemporary writers and critics, namely, that rational discourse is inadequate to the task of ordering the chaotic, fragmentary world and giving meaning to life and only the poet (novelist) employing his imagination can do this.

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The End of the Road: The Death of Individualism

Royal Institute of Philosophy Supplement ◽

10.1017/s1358246100002964 ◽

1983 ◽

Vol 16 ◽

pp. 115-134

Author(s):

Jacquelyn Kegley

Keyword(s):

Virginia Woolf ◽

Interesting Case ◽

The Novel ◽

John Barth ◽

To The Lighthouse ◽

The Road ◽

Philosophy And Literature ◽

Jean Paul ◽

The Relationship

Though John Barth won the National Book Award for his novel, Giles Goat Boy, his second novel, The End of the Road, proves a more interesting case study for our purposes, namely, to explore the relationship between philosophy and literature. This is so for at least three reasons. First, by the author's own admission, the novel is intended as a refutation of ethical subjectivism, particularly as expoused by Jean Paul Sartre. Secondly, in the novel, Barth, like Virginia Woolf in To the Lighthouse, places reason and imagination in contention, suggesting that either faculty in isolation is inadequate in dealing with human experience. Both Barth and Woolf are reflecting and probably criticizing the assumption of a number of contemporary writers and critics, namely, that rational discourse is inadequate to the task of ordering the chaotic, fragmentary world and giving meaning to life and only the poet (novelist) employing his imagination can do this.

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Dialogue in a discourse context

Narrative Inquiry ◽

10.1075/ni.16.1.11her ◽

2006 ◽

Vol 16 (1) ◽

pp. 75-84 ◽

Cited By ~ 1

Author(s):

David Herman

Keyword(s):

Distributed Cognition ◽

Narrative Theory ◽

Interdisciplinary Approach ◽

The Novel ◽

Communicative Practices ◽

To The Lighthouse ◽

Linguistic Pragmatics ◽

New Directions ◽

Cognitive Revolution

Building on recent studies of speech and thought representation in narrative fiction (Fludernik 1993; Herman 2002; Palmer 2004; Thomas 2002), this essay outlines the advantages of forging interconnections between narrative theory and a range of disciplinary frameworks concerned with talk — including literary theory, linguistic pragmatics, discourse analysis, gender studies, and research on socially distributed cognition. Using Virginia Woolf’s 1927 novel To the Lighthouse as a case study, the essay first explores general theoretical and interpretive issues raised by scenes of talk portrayed in the novel. Then it zooms in on one chapter that centers around a communicative encounter between two characters. This scene both illuminates and is illuminated by research on socio-communicative practices in general. Further, the scene requires a rethinking of modernist narrative construed as a privileging of characters’ interiority over the concrete social and material environments in which they think, act, and communicate. Hence an interdisciplinary approach to scenes of talk like Woolf’s not only necessitates a reconsideration of key ideas in literary studies, but also suggests new directions for narrative theory after the second cognitive revolution.

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The case study by Slavenka Drakulić: Whose victim is Mileva Einstein?

Зборник радова Филозофског факултета у Приштини ◽

10.5937/zrffp50-29483 ◽

2020 ◽

Vol 50 (4) ◽

pp. 3-17

Author(s):

Jasmina Ahmetagić

Keyword(s):

Sense Of Self ◽

Self Esteem ◽

The Novel ◽

Stream Of Consciousness ◽

Love Relationship ◽

Key Drivers ◽

Physical Defects ◽

Life Circumstances ◽

Identity Issue

By embedding the "theory of sadness" phrase in the novel's title (Mileva Einstein, a theory of sadness), Slavenka Drakulić suggests that she sees her heroine's life as a paradigm of melancholy and depression. By diving into the psychology of a woman who has been portrayed during the two decades as wilingless and gloomy, always lacking the sense of self-fulfillment, the author is trying to reveal the key drivers which are responsible for Mileva's humiliating life circumstances-non-assertiveness, suppression, adjustment, feeling of inferiority, inability to tolerate separation and addiction, as well as a tendency to deny the facts. The protagonist illuminates her own feelings of inferiority due to her birth physical defects which pushed her into the science. She compensates her low self-esteem by school achievements and by nurturing the love relationship towards the symbiosis and removal of self-boundaries. Therefore, the love loss is a personal impoverishment and an identity issue. The novel is told by the omniscient narrator influenced by the influx of Mileva's stream of consciousness (still unreliable, since it is a testimony of "melancholy effect" and distortion of reality). The heroine faces the deepest truth about herself and at the same time turns away from it. Intertwined contradictions and ambivalences are revealing that the main cause of Mileva's tragedy is her pathological sadness. Using the psychoanalytical repertoire of object relations, we point out that, following the loss of the object, the heroine transferred her libido to herself and became self-obsessed in a destructive manner. By suggesting to the reader why Mileva Marić Einstein's response to the circumstances was depression (amidst all other psychological possibilities), Slavenka Drakulić's work is breaking the journalistic boundaries and emerges as a psychological novel.

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A novel method for the determination of linting propensity of paper

TAPPI Journal ◽

10.32964/tj11.10.9 ◽

2012 ◽

Vol 11 (10) ◽

pp. 9-17

Author(s):

ALESSANDRA GERLI ◽

LEENDERT C. EIGENBROOD

Keyword(s):

Ash Content ◽

The Novel ◽

Offset Printing ◽

Excellent Correlation ◽

End Conditions ◽

Bottom Side ◽

Novel Method ◽

Total Fraction

A novel method was developed for the determination of linting propensity of paper based on printing with an IGT printability tester and image analysis of the printed strips. On average, the total fraction of the surface removed as lint during printing is 0.01%-0.1%. This value is lower than those reported in most laboratory printing tests, and more representative of commercial offset printing applications. Newsprint paper produced on a roll/blade former machine was evaluated for linting propensity using the novel method and also printed on a commercial coldset offset press. Laboratory and commercial printing results matched well, showing that linting was higher for the bottom side of paper than for the top side, and that linting could be reduced on both sides by application of a dry-strength additive. In a second case study, varying wet-end conditions were used on a hybrid former machine to produce four paper reels, with the goal of matching the low linting propensity of the paper produced on a machine with gap former configuration. We found that the retention program, by improving fiber fines retention, substantially reduced the linting propensity of the paper produced on the hybrid former machine. The papers were also printed on a commercial coldset offset press. An excellent correlation was found between the total lint area removed from the bottom side of the paper samples during laboratory printing and lint collected on halftone areas of the first upper printing unit after 45000 copies. Finally, the method was applied to determine the linting propensity of highly filled supercalendered paper produced on a hybrid former machine. In this case, the linting propensity of the bottom side of paper correlated with its ash content.

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Patterns: Rosamond Lehmann

10.3366/edinburgh/9781474427418.003.0004 ◽

2018 ◽

Author(s):

Vike Martina Plock

Keyword(s):

Coming Of Age ◽

Public Image ◽

Market Forces ◽

The Novel ◽

Fashion Industry ◽

To The Lighthouse ◽

Fashion Magazines ◽

Female Authorship ◽

Rosamond Lehmann

This chapter analyzes the role of fashion as a discursive force in Rosamond Lehmann’s 1932 coming-of-age novel Invitation to the Waltz. Reading the novel alongside such fashion magazines as Vogue, it demonstrates Lehmann’s awareness that 1920s fashion, in spite of its carefully stylized public image as harbinger of originality, emphasized the importance of following preconceived (dress) patterns in the successful construction of modern feminine types. Invitation to the Waltz, it argues, opposes the production of patterned types and celebrates difference and disobedience in its stead. At the same time, the novel’s formal appearance is nonetheless dependent on the very same tenets it criticizes. On closer scrutiny, it is seen to reveal its resemblance to Virginia Woolf’s To the Lighthouse (1927). A tension between imitation and originality determines sartorial fashion choices. This chapter shows that female authorship in the inter-war period was subjected to the same market forces that controlled and sustained the organization of the fashion industry.

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