...Merrill Turner Although Virginia Woolf’s critical writings pay special tribute to Anton Chekhov’s stories and plays, his role as preceptor in relation to her own fiction has not been fully explored. Not only does the manuscript of To the Lighthouse display clear affinities with Chekhov’s...

... experiences. Partaking of the physical and the phenomenal, of matter and imagination, modern memory recomposes the past with the present in a way that challenges our understanding of influence. One scene in Woolf’s To the Lighthouse illustrates just such a mem- ory.4 Mrs. Ramsay’s interior thoughts...

... To the Lighthouse in 192’7, but because he concentrates so intently on the for- mal dimensions of his novelists’ work. Despite his claim to investigate “social” as well as narrative form in the study (p. xii)-and despite some very acute remarks about a variety of early twentieth-century phenomena, from...

... experience during mania is related to what she would consider an essentially feminine vision of life and that her experience during depression is related to what she would consider an essentially masculine vision of life. Moreover, as I shall explain, 7'0 the Lighthouse (1927) would seem to suggest...

... not a word about money or inheritance. Rather, its context is entirely the psychological theme of her re- cently completed novel, To the Lighthouse, the fact that since the book her father “comes back now more as a contemporary whereas before, talking about both her parents, she “was obsessed...

...Mary Steussy Shanahan Copyright © 1975 by Duke University Press 1975 THE ARTIST AND THE RESOLUTION OF THE WAVES By MARYSTEUSSY SHANAHAN Nearing the end of To the Lighthouse, in one of the depressions...

... even be said that Woolf’s own To the Lighthouse (1927), the “most signifi cant precursor” to Between the Acts, still uses an older literary currency in the narrative centrality that it accords the idea of the endangered country house harbor.4 That so many major modernists—novelists whose...

...,” as well as references to Philip Rahv (as the strawman), E. M. Forster, and Michel Foucault. As the chapter on Mrs. Dalloway builds to a con- vincing climax that is also a link to the next chapter on To the Lighthouse, Di- Battista concludes ringingly with a footnote to another recent critical book...

... and revisions that tried to get “around” the wholeness of a phenomenon. Just as boldly, Lewis’s discussion of still life in Woolf’s To the Lighthouse leads directly to an extended look at Lily Briscoe’s painting in the novel, not only to assess the different strains of visual modernism it may be invoking...

... Brace Jovanovich . Woolf Virginia . 1955 . To the Lighthouse . New York : Harcourt Brace Jovanovich . Woolf Virginia . 1969 . Between the Acts . New York : Harcourt Brace . Woolf Virginia . 2005 . A Room of One’s Own . New York : Harcourt . Woolf Virginia...

... and vision; her death is an escape, not a victory. As the lines from Comus indicate, Kachel cannot cope with the “fact” of sex. Then again, in discussing Part 2 of To the Lighthouse, Kelley takes the destructive facts too lightly. She misses the irony inherent in the way the deaths of Mrs. Kamsay...

... Politics and ‘The Mark on the Wall.’ ” English Studies 91 , no. 4 : 425 – 42 . Woolf Virginia . 1948 . “ Modern Fiction .” In The Common Reader , 184 – 95 . London : Hogarth . Woolf Virginia . 1927 . To the Lighthouse . New York : Harcourt Brace . Woolf Virginia...

.... The Waues appears to be the model of good polyphonic discourse and an implicit standard for faulting other texts. Not even To the Lighthouse passes muster, because there is a story line, a subject, and that disturbingly phallic symbol. Somehow, closure or consummation is inherently suspect...

... for faulting other texts. Not even To the Lighthouse passes muster, because there is a story line, a subject, and that disturbingly phallic symbol. Somehow, closure or consummation is inherently suspect. The novel, Pearce says, “compels us”-not allows or enables but compels us-”to reach the lighthouse...

.... (84) Barnabooth is the lighthouse whose searchlight reveals various realities in a monotonous succession : La route de campagne, la haie en fleur, la chaumicre, Et fe bicycliste attardC, et la voiture du mCdecin sur la lande, Et les abimes dCserts oh le paquebot fait...

..., shared some of their common preoccupations. Iri To the Lighthouse, for example, her privi- leged characters also seek to transcend the imprisoning ego and to be- come “one” with impersonal forces. In her criticism she articulated the need that Lawrence keenly felt and Wells expressed through...

... the usual simplistic claims about the origins of influence and authenticity. Hayot’s justification for interpret- ing Russell fictionally is framed by his close reading of two recent analyses of Lily Briscoe’s “Chinese” eyes in Virginia Woolf’s To the Lighthouse, a move that can be viewed either...

... for interpret- ing Russell fictionally is framed by his close reading of two recent analyses of Lily Briscoe’s “Chinese” eyes in Virginia Woolf’s To the Lighthouse, a move that can be viewed either as a brilliant creative play of ideas or as a chapter curiously constricted by specialized academic...

... the usual simplistic claims about the origins of influence and authenticity. Hayot’s justification for interpret- ing Russell fictionally is framed by his close reading of two recent analyses of Lily Briscoe’s “Chinese” eyes in Virginia Woolf’s To the Lighthouse, a move that can be viewed either...

... for interpret- ing Russell fictionally is framed by his close reading of two recent analyses of Lily Briscoe’s “Chinese” eyes in Virginia Woolf’s To the Lighthouse, a move that can be viewed either as a brilliant creative play of ideas or as a chapter curiously constricted by specialized academic...