scholarly journals Nonverbal communication and its implications in the novel To the Lighthouse by Virginia Woolf

2015 ◽  
pp. 171-188
Author(s):  
Radojka Jevtic
Keyword(s):  
Nonverbal Communication ◽  
Virginia Woolf ◽  
The Novel ◽  
To The Lighthouse

scholarly journals Quando o silêncio narra o que aconteceu: a morte em "To the Lighthouse"

Scriptorium ◽  
2019 ◽  
Vol 5 (1) ◽  
pp. 33180
Author(s):  
Adriana Madeira Coutinho
Keyword(s):  
Literary Criticism ◽  
Virginia Woolf ◽  
Traumatic Event ◽  
Human Condition ◽  
The Novel ◽  
To The Lighthouse ◽  
Life And Death ◽  
Empirical Perspective ◽  
The Relationship ◽  
Concrete Reality

Este artigo reflete sobre a condição humana e seu fim último, a morte, através do romance “To the Lighthouse”, de Virginia Woolf, em que a narrativa se desenvolve na relação entre a vida e a morte. Nas três partes do romance os acontecimentos giram em torno da morte, não só da morte física mas também de uma morte simbólica. Para tanto são apontadas algumas observações sobre subjetivismo e realidade objetiva, sobre temporalidade e sobre a própria prosa moderna nas formulações de Erich Auerbach. Em uma perspectiva empírica a autora aproxima o romance de sua realidade concreta, desnuda a dificuldade da escrita após um evento traumático além de apresentar aos leitores a fragilidade humana diante do inesperado. O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – Brasil (CAPES) - Código de Financiamento 001.  *** When silence tells what happened: death in "To the Lighthouse" ***This article reflects on the human condition and its ultimate end, death, through Virginia Woolf's novel "To the Lighthouse," where the narrative unfolds in the relationship between life and death. In the three parts of the novel, events revolve around death, not only physical death but also a symbolic death. To this end, some observations on subjectivism and objective reality, on temporality, and on modern prose itself in the formulations of Erich Auerbach are pointed out. In an empirical perspective, the author brings the novel closer to its concrete reality, exposes the difficulty of writing after a traumatic event, as well as presenting the human frailty before the unexpected. This study was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior – Brasil (CAPES) – Finance Code 001.Keywords: Virginia Woolf; Death; Human condition; Literary criticism.

scholarly journals Virginia Woolf Established a Strong Human Relationship Through Effective Characterization in her Novel, “To the Lighthouse”

2018 ◽  
Vol 8 (3) ◽  
pp. 6
Author(s):  
Imam Alam Khan
Keyword(s):  
Virginia Woolf ◽  
Family Relationships ◽  
Strong Relationship ◽  
Mental States ◽  
The Novel ◽  
Stream Of Consciousness ◽  
Parent Child Relationship ◽  
To The Lighthouse ◽  
Child Relationship ◽  
A New Technique

“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”.

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

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.

scholarly journals Portrayals and Treatments of Women in Virginia Woolf's to The Lighthouse: A Critical Analysis

2021 ◽  
Vol 9 (5) ◽  
pp. 57-65
Author(s):  
Varun Kumar Chaudhary
Keyword(s):  
Virginia Woolf ◽  
English Literature ◽  
The Novel ◽  
Skilled Worker ◽  
To The Lighthouse ◽  
The Public ◽  
The Family ◽  
The Everyday ◽  
The Relationship ◽  
Basic Examination

This paper means to address Virginia Woolf's own substitute her answer to "ladies can't paint, ladies can't compose", a reflection on the Victorian bias of the part of ladies in the family and society shared by both her people, Leslie and Julia Stephen. By connecting a nearby literary investigation with the latest mental basic examination, I contend that aside from the political, social and imaginative ramifications, Woolf's disposition to the Victorian generalizations identified with sexual orientation jobs convey a profoundly close to home message, being obviously affected and controlled by the relationship with her folks and her need to deceive rest some unsure issues concerning her status as a woman skilled worker. This paper further means to investigate Woolf's 1926 novel, To the Beacon, which is, without a doubt, her most self-portraying novel. Lily Briscoe, the unmarried painter who at long last figures out how to conceptualize Woolf's vision toward the finish of the novel has a twofold mission in this novel. In the first place, she needs to determine her own weaknesses and come to harmony with the memory of the expired Mrs Ramsay, an image of the Victorian lady what's more, Julia Stephen's creative change personality. Second, she needs to associate with Mr Ramsay and demonstrate to herself that ladies can, in fact, paint. As she develops as a painter Virginia Woolf is defeating her resentment and dissatisfaction caused by the way that she didn't not find a way into the by and large acknowledged example of the lady's part in the public eye and in the everyday life, and particularly of the situation with ladies as specialists. By making quite possibly the most difficult books of the English Literature, Virginia Woolf likewise demonstrates to herself and to the perusers that ladies can, to be sure compose.

scholarly journals “It was one’s body feeling, not one’s mind”

2019 ◽  
Author(s):  
Chloe Leung
Keyword(s):  
Twentieth Century ◽  
Virginia Woolf ◽  
Close Reading ◽  
The Novel ◽  
Bloomsbury Group ◽  
To The Lighthouse ◽  
Early Twentieth Century ◽  
Physical Gestures ◽  
The Aesthetic ◽  
The Mind

The Russian ballet was celebrated amongst the Bloomsbury group in the early twentieth-century. Throughout 1910s-1930s, Virginia Woolf enjoyed Russian ballets such as Petrushka, Le Spectre de la Rose and Scheherazade staged by Michel Fokine and Sergei Diaghilev. The expressivity of the dancing body rectifies words which, as Woolf delineates in “Craftsmanship,” are dishonest in articulating emotions (Selected Essays 85). This paper thus divulges an oppositional thinking that belies Woolf’s modernist aesthetics – a compulsion to give words to emotions that should be left unsaid. In To the Lighthouse (1928), this “silence” is communicated in the dancing gestures that populate the novel. Juxtaposing the context of Woolf’s attendance at the ballet with her concurrent composition of Lighthouse, I shall argue that the aesthetic convergence between Woolf’s prose and the Russian ballet is not a coincidence – that Woolf very much had the ballet in mind when she wrote. Woolf’s and the Russian ballet’s shared aesthetics however, do not characterise this paper as a study of influence the Russian ballet had on Woolf. Rather, Woolf involuntarily deploys the language of dance/ballet in articulating ineffable emotions. I will offer a close reading that scrutinizes the underexplored physical gestures of Mr and Mrs Ramsay with a perspective of dance. In projecting emotions, Woolf’s novel sketches a reciprocal network between the dancing body and the mind. I conclude by suggesting that the communicational lapses do not sentence the failure of but sustain human kinship. By extension, the Russian balletic presentation of the dancing body will also reanimate the mind-body conundrum that has haunted academia for centuries.

The End of the Road: The Death of Individualism

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.

The End of the Road: The Death of Individualism

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.

scholarly journals Concept of Time in Virginia Woolf’s To the Lighthouse: Bergsonian Study

2021 ◽  
Vol 2 (2) ◽  
pp. 67-74
Author(s):  
Fatemeh Sadat Basirizadeh ◽  
Shiva Zaheri Birgani ◽  
Narges Raoufzadeh
Keyword(s):  
Virginia Woolf ◽  
The Novel ◽  
Human Consciousness ◽  
Human Beings ◽  
Conscious Mind ◽  
To The Lighthouse ◽  
Knowing That ◽  
Formal Element ◽  
Relationship Of ◽  
The Relationship

Time is an important element in modern literature, has always been one of the most important themes of Virginia Woolf’s novels. The purpose of this paper is to look at Woolf treatment of the movement of time within the conscious mind in the novel in title of To the Light House by Virginia Woolf. One conclusion drawn from this study is that Woolf began to use time as a literary element, thereby decreasing her development of plot and characterization. A second conclusion is that she was greatly influenced by the philosophy of Henri Bergson and that consequently her writing increasingly reflects the fluid movement of time within consciousness. This paper demonstrates that Virginia Woolf used time as a formal element of narrative to show the relationship of time to human consciousness; and she never overlooked the fact that time moves human beings toward death. For Woolf, life is characterized by endless variety and movement. Its exquisite beauty is enhanced by knowing that we humans live short lives and lose everything when we die.

‘Nothing is simply one thing’: Woolf, Deleuze and Difference

2013 ◽  
Vol 7 (4) ◽  
pp. 456-474
Author(s):  
Beatrice Monaco
Keyword(s):  
Virginia Woolf ◽  
Prose Poetry ◽  
Close Reading ◽  
Similar Model ◽  
Complex Interplay ◽  
To The Lighthouse

This paper explores some key texts of Virginia Woolf in the context of Deleuzian concepts. Using a close reading style, it shows how the prose poetry in Mrs Dalloway engages a complex interplay of repetition and difference, resulting in a remarkably similar model of the three syntheses of time as Deleuze understands them. It subsequently explores Woolf's technical processes in a key passage from To the Lighthouse, showing how the prose-poetic technique systematically undoes the structures of logical fact and rationality inscribed in both language and everyday speech to an extremely precise level.

Patterns: Rosamond Lehmann

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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