Elizabeth Outka
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195372694
- eISBN:
- 9780199871704
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195372694.003.0006
- Subject:
- Literature, 20th-century and Contemporary Literature
The conclusion argues that the history and development of the commodified authentic are key to understanding later works of high modernism, as well as our contemporary moment, with its strangely ...
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The conclusion argues that the history and development of the commodified authentic are key to understanding later works of high modernism, as well as our contemporary moment, with its strangely hybridized blend of nostalgia and modernity. The chapter investigates how the commodified authentic became a critical modernist tool, analyzing key moments concerning advertising, authenticity, and shopping in works by D. H. Lawrence (Women in Love), James Joyce (Ulysses), and Virginia Woolf (To the Lighthouse). The chapter concludes by exploring how the commodified authentic remains a powerful marketing technique and cultural strategy.Less
The conclusion argues that the history and development of the commodified authentic are key to understanding later works of high modernism, as well as our contemporary moment, with its strangely hybridized blend of nostalgia and modernity. The chapter investigates how the commodified authentic became a critical modernist tool, analyzing key moments concerning advertising, authenticity, and shopping in works by D. H. Lawrence (Women in Love), James Joyce (Ulysses), and Virginia Woolf (To the Lighthouse). The chapter concludes by exploring how the commodified authentic remains a powerful marketing technique and cultural strategy.
David Leeming
- Published in print:
- 2001
- Published Online:
- November 2003
- ISBN:
- 9780195142884
- eISBN:
- 9780199834402
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0195142888.003.0002
- Subject:
- Religion, Religion and Society
Creation myths from several traditions – Zuni, Vedic, Christian, and Icelandic, for example – reveal several ways by which humans through the ages have attempted to identify themselves culturally in ...
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Creation myths from several traditions – Zuni, Vedic, Christian, and Icelandic, for example – reveal several ways by which humans through the ages have attempted to identify themselves culturally in relation to what they have seen as the source of being. Ex Nihilo cosmogonies stress a central male creative sky power; earth‐centered cosmogonies see creation through the feminine metaphor of motherhood. Universalists and some scientists see a new vision of creation based on new scientific understandings. A literary example of a modernist approach to creation is Virginia Woolf's novel, To the Lighthouse.Less
Creation myths from several traditions – Zuni, Vedic, Christian, and Icelandic, for example – reveal several ways by which humans through the ages have attempted to identify themselves culturally in relation to what they have seen as the source of being. Ex Nihilo cosmogonies stress a central male creative sky power; earth‐centered cosmogonies see creation through the feminine metaphor of motherhood. Universalists and some scientists see a new vision of creation based on new scientific understandings. A literary example of a modernist approach to creation is Virginia Woolf's novel, To the Lighthouse.
Alice Fox
- Published in print:
- 1990
- Published Online:
- October 2011
- ISBN:
- 9780198129882
- eISBN:
- 9780191671876
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198129882.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism, 16th-century and Renaissance Literature
This chapter narrates Virginia Stephen's introduction to Hakluyt's Voyages, Travels, and Discoveries of the English Nation and the subsequent influence the book had on the imagination and writing ...
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This chapter narrates Virginia Stephen's introduction to Hakluyt's Voyages, Travels, and Discoveries of the English Nation and the subsequent influence the book had on the imagination and writing style of Virginia Woolf. What was then confusing to the young Virginia became an object of her admiration, and she often re-read the book throughout her life, which eventually had a dramatic effect upon her creative imagination and writing. She wrote her first critical essay using Hakluyt's Voyages as her subject, and in 1906, the book became an influential framework for her first novel, The Voyage Out. In addition to the tremendous influence of the book on Woolf's writing, the chapter also discusses the Elizabethan age as found in the pages of her Hakluyt's Voyage-inspired writings. Getting inspiration once again from Hakluyt's Voyages, Woolf recounted her heightened social awareness of the inequalities in the status quo of men and women and of rich and poor. In her subsequent critical essays and novels such as Jacob's Room, To the Lighthouse, Orlando, the influence of Hakluyt's Voyages remained dominant, as some of its passages are used in her illustration of the society and the social issues surrounding her essays and novels.Less
This chapter narrates Virginia Stephen's introduction to Hakluyt's Voyages, Travels, and Discoveries of the English Nation and the subsequent influence the book had on the imagination and writing style of Virginia Woolf. What was then confusing to the young Virginia became an object of her admiration, and she often re-read the book throughout her life, which eventually had a dramatic effect upon her creative imagination and writing. She wrote her first critical essay using Hakluyt's Voyages as her subject, and in 1906, the book became an influential framework for her first novel, The Voyage Out. In addition to the tremendous influence of the book on Woolf's writing, the chapter also discusses the Elizabethan age as found in the pages of her Hakluyt's Voyage-inspired writings. Getting inspiration once again from Hakluyt's Voyages, Woolf recounted her heightened social awareness of the inequalities in the status quo of men and women and of rich and poor. In her subsequent critical essays and novels such as Jacob's Room, To the Lighthouse, Orlando, the influence of Hakluyt's Voyages remained dominant, as some of its passages are used in her illustration of the society and the social issues surrounding her essays and novels.
Angela Smith
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198183983
- eISBN:
- 9780191674167
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183983.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism
The haunting presence of Katherine Mansfield recurs in Virginia Woolf’s personal writing throughout her life, often as a slightly challenging phantom. They mirror each other in many ways, in spite of ...
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The haunting presence of Katherine Mansfield recurs in Virginia Woolf’s personal writing throughout her life, often as a slightly challenging phantom. They mirror each other in many ways, in spite of their evident differences. In 1920, for instance, each describes a moment of suspension which is at once a response to the natural world and an impression of their experience of writing. Fictional borders are erased in Woolf’s and Mansfield’s entries into their characters’ abjection, for instance in the horrors revealed through Septimus Warren-Smith in Mrs Dalloway or through Linda in ‘Prelude’. This book contains two chapters on abjection as it is explored in the personal writings, as well as chapters that focus exclusively on its effect on the fiction, within the wider context of an interpretation of liminality in the two women’s work. The focus as far as Woolf is concerned is on her writing up to To the Lighthouse (1917). The liminal place inflects the two authors’ version of modernism, and affects their perception of the boundaries between different art forms.Less
The haunting presence of Katherine Mansfield recurs in Virginia Woolf’s personal writing throughout her life, often as a slightly challenging phantom. They mirror each other in many ways, in spite of their evident differences. In 1920, for instance, each describes a moment of suspension which is at once a response to the natural world and an impression of their experience of writing. Fictional borders are erased in Woolf’s and Mansfield’s entries into their characters’ abjection, for instance in the horrors revealed through Septimus Warren-Smith in Mrs Dalloway or through Linda in ‘Prelude’. This book contains two chapters on abjection as it is explored in the personal writings, as well as chapters that focus exclusively on its effect on the fiction, within the wider context of an interpretation of liminality in the two women’s work. The focus as far as Woolf is concerned is on her writing up to To the Lighthouse (1917). The liminal place inflects the two authors’ version of modernism, and affects their perception of the boundaries between different art forms.
Angela Smith
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198183983
- eISBN:
- 9780191674167
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198183983.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism
In an essay written in 1933, the Italian critic Salvatore Rosati celebrates what he calls Virginia Woolf’s ‘psychological impressionism’ in To the Lighthouse: ‘In the last section, in particular, the ...
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In an essay written in 1933, the Italian critic Salvatore Rosati celebrates what he calls Virginia Woolf’s ‘psychological impressionism’ in To the Lighthouse: ‘In the last section, in particular, the interpenetration of the present with past memories creates, in a dreamlike atmosphere, a continuity of psychological texture and an evocative power which shows a close relationship between the art of Virginia Woolf and that of Katherine Mansfield’. This chapter focuses on two works by Mansfield and Woolf, ‘Prelude’ and To the Lighthouse, both of which use shifts and ellipses to transform the symbolic order from the inside, using the characters’ thresholds and experience of being between borders to do it. Lyndall Gordon hints at the disruption of narrative expectations in the writers’ representation of psychological time in the two novels, which are dominated by the writers’ mothers and families, pivot on a series of thresholds and rites of passage, and are preoccupied with liminality.Less
In an essay written in 1933, the Italian critic Salvatore Rosati celebrates what he calls Virginia Woolf’s ‘psychological impressionism’ in To the Lighthouse: ‘In the last section, in particular, the interpenetration of the present with past memories creates, in a dreamlike atmosphere, a continuity of psychological texture and an evocative power which shows a close relationship between the art of Virginia Woolf and that of Katherine Mansfield’. This chapter focuses on two works by Mansfield and Woolf, ‘Prelude’ and To the Lighthouse, both of which use shifts and ellipses to transform the symbolic order from the inside, using the characters’ thresholds and experience of being between borders to do it. Lyndall Gordon hints at the disruption of narrative expectations in the writers’ representation of psychological time in the two novels, which are dominated by the writers’ mothers and families, pivot on a series of thresholds and rites of passage, and are preoccupied with liminality.
Vincent Sherry
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195178180
- eISBN:
- 9780199788002
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195178180.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter situates Virginia Woolf's creative response to the Great War in the deep context of the English Liberalism she knew intimately through her father, Sir Leslie Stephen, who was a dean of ...
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This chapter situates Virginia Woolf's creative response to the Great War in the deep context of the English Liberalism she knew intimately through her father, Sir Leslie Stephen, who was a dean of high Victorian Liberal thought. Where the Liberal government travestied the language of rationalism in its defense of its war policy, Woolf found freedom from the Word of an oppressive patriarchy. Her major development shows in her masterful play with the gestures and postures of logical language. This countermeasure surfaces first in the short stories she wrote during and just after the war, most notably “The Mark on the Wall” and “Solid Objects”. The liberation she enjoyed is witnessed in the new verbal textures of her characteristically modernist novels, most notably Jacob's Room, Mrs. Dalloway, and To the Lighthouse, where her stylistic experiments are matched with probing accounts of the historical legacy of the war.Less
This chapter situates Virginia Woolf's creative response to the Great War in the deep context of the English Liberalism she knew intimately through her father, Sir Leslie Stephen, who was a dean of high Victorian Liberal thought. Where the Liberal government travestied the language of rationalism in its defense of its war policy, Woolf found freedom from the Word of an oppressive patriarchy. Her major development shows in her masterful play with the gestures and postures of logical language. This countermeasure surfaces first in the short stories she wrote during and just after the war, most notably “The Mark on the Wall” and “Solid Objects”. The liberation she enjoyed is witnessed in the new verbal textures of her characteristically modernist novels, most notably Jacob's Room, Mrs. Dalloway, and To the Lighthouse, where her stylistic experiments are matched with probing accounts of the historical legacy of the war.
Gillian Beer
- Published in print:
- 2005
- Published Online:
- January 2012
- ISBN:
- 9780197263242
- eISBN:
- 9780191734014
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263242.003.0008
- Subject:
- History, Cultural History
This lecture discusses how far during the twentieth-century writers have trusted memory as good. It compares the longing mistrust of Hardy's poem ‘The Voice’ with the serene re-embodiment of Mrs. ...
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This lecture discusses how far during the twentieth-century writers have trusted memory as good. It compares the longing mistrust of Hardy's poem ‘The Voice’ with the serene re-embodiment of Mrs. Ramsey appearing to the artist Lily in To the Lighthouse. The lecture also discusses the concept of revenants and tries to answer the question of what will happen when migration becomes a common experience, without the likelihood of return.Less
This lecture discusses how far during the twentieth-century writers have trusted memory as good. It compares the longing mistrust of Hardy's poem ‘The Voice’ with the serene re-embodiment of Mrs. Ramsey appearing to the artist Lily in To the Lighthouse. The lecture also discusses the concept of revenants and tries to answer the question of what will happen when migration becomes a common experience, without the likelihood of return.
Barbara Lounsberry
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780813062952
- eISBN:
- 9780813051833
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062952.003.0011
- Subject:
- Literature, 20th-century Literature and Modernism
A crisis in November 1918 propels Woolf into her second diary stage: that of her thirteen mature, spare, modernist diaries, 1918 to 1929. These semiprivate diaries reveal her steady growth into her ...
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A crisis in November 1918 propels Woolf into her second diary stage: that of her thirteen mature, spare, modernist diaries, 1918 to 1929. These semiprivate diaries reveal her steady growth into her distinctive modernist style. She reaches toward new realms with her 1920 diary, turning inward toward the soul and also toward literature. She moves closer to her distinctive voice and activates her rhythmic “turn-and-turn-about” movement in her 1922 and 1923 diaries. Woolf pares her diary entries and begins to flower into poetry in 1924. Most notably, she never stops her intellectual and artistic stretch. Others’ diaries refresh her across the 1920s—and supply rich matter for modernist use. Several of Woolf’s most memorable modernist phrases, images, and moments are offered to her in multiple diaries: the lighthouse, “a room of one’s own,” Professor von X, and Judith Shakespeare. Other elements she borrows from just one diary: Mrs. Ramsay and summer holidays at the Scottish seaside with “a large and clever family,” the figure moved to the middle of a painting, £500, and “derision.” A cornerstone of Woolf’s genius was her understanding of the treasure residing in diaries and her ability to absorb that bounty and transmute it into art.Less
A crisis in November 1918 propels Woolf into her second diary stage: that of her thirteen mature, spare, modernist diaries, 1918 to 1929. These semiprivate diaries reveal her steady growth into her distinctive modernist style. She reaches toward new realms with her 1920 diary, turning inward toward the soul and also toward literature. She moves closer to her distinctive voice and activates her rhythmic “turn-and-turn-about” movement in her 1922 and 1923 diaries. Woolf pares her diary entries and begins to flower into poetry in 1924. Most notably, she never stops her intellectual and artistic stretch. Others’ diaries refresh her across the 1920s—and supply rich matter for modernist use. Several of Woolf’s most memorable modernist phrases, images, and moments are offered to her in multiple diaries: the lighthouse, “a room of one’s own,” Professor von X, and Judith Shakespeare. Other elements she borrows from just one diary: Mrs. Ramsay and summer holidays at the Scottish seaside with “a large and clever family,” the figure moved to the middle of a painting, £500, and “derision.” A cornerstone of Woolf’s genius was her understanding of the treasure residing in diaries and her ability to absorb that bounty and transmute it into art.
Michael Wright, David Clark, and Jennifer Hunt
- Published in print:
- 2006
- Published Online:
- November 2011
- ISBN:
- 9780199206803
- eISBN:
- 9780191730474
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199206803.003.0013
- Subject:
- Palliative Care, Patient Care and End-of-Life Decision Making, Palliative Medicine Research
Malawi (population 11.87 million) is a landlocked country in Southern Africa that covers an area of 118, 400 km2. Five palliative care organizations are known to exist in Malawi and deliver some ...
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Malawi (population 11.87 million) is a landlocked country in Southern Africa that covers an area of 118, 400 km2. Five palliative care organizations are known to exist in Malawi and deliver some twelve services. Palliative care services may also be provided by St Luke's Hospital, Zomba and Ekwendeni hospital, near Mzuzu. The reimbursement and funding for services is shown. No national palliative care organizations are known to exist in Malawi. However, the UK Forum for Hospice and Palliative Care Worldwide has given support to the African Palliative Care Association to help establish a national palliative care association in Malawi. The palliative care coverage and the palliative care workforce capacity in Lighthouse, Tiyanjane, Umodzi Clinic, Mulanje Mission Hospital, and St Anne's Hospital are given. Finally, the history and development of hospice-palliative care in Malawi is discussed.Less
Malawi (population 11.87 million) is a landlocked country in Southern Africa that covers an area of 118, 400 km2. Five palliative care organizations are known to exist in Malawi and deliver some twelve services. Palliative care services may also be provided by St Luke's Hospital, Zomba and Ekwendeni hospital, near Mzuzu. The reimbursement and funding for services is shown. No national palliative care organizations are known to exist in Malawi. However, the UK Forum for Hospice and Palliative Care Worldwide has given support to the African Palliative Care Association to help establish a national palliative care association in Malawi. The palliative care coverage and the palliative care workforce capacity in Lighthouse, Tiyanjane, Umodzi Clinic, Mulanje Mission Hospital, and St Anne's Hospital are given. Finally, the history and development of hospice-palliative care in Malawi is discussed.
Robert J. Bennett
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199584734
- eISBN:
- 9780191731105
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199584734.003.0009
- Subject:
- Business and Management, Business History
This chapter is a radical reappraisal of the earlier academic literature. It shows the breadth, persistence, and impact of early chamber lobbies, with a strongly developing set of locally independent ...
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This chapter is a radical reappraisal of the earlier academic literature. It shows the breadth, persistence, and impact of early chamber lobbies, with a strongly developing set of locally independent voices in Liverpool, Manchester, Glasgow, Dublin, etc. They were important in Treaty negotiations, American debt compensation (Jay Treaty), over lighthouses, the post office, East India Company charter, and many other matters. The chapter reviews these developments, and the Union of chamber which formed in 1793. It analyses lobbies by all the early major chambers showing how North ‘s and Pitt's governments were influenced. The chapter also covers the short-lived General Chamber of Manufacturers. It demonstrates that the demise of that chamber was due more to personalities than economic tensions, and to an unworkable structure trying to relate national and local voices. Contrary to earlier academic opinion, it had little relation to, or effect on, the independent chambers.Less
This chapter is a radical reappraisal of the earlier academic literature. It shows the breadth, persistence, and impact of early chamber lobbies, with a strongly developing set of locally independent voices in Liverpool, Manchester, Glasgow, Dublin, etc. They were important in Treaty negotiations, American debt compensation (Jay Treaty), over lighthouses, the post office, East India Company charter, and many other matters. The chapter reviews these developments, and the Union of chamber which formed in 1793. It analyses lobbies by all the early major chambers showing how North ‘s and Pitt's governments were influenced. The chapter also covers the short-lived General Chamber of Manufacturers. It demonstrates that the demise of that chamber was due more to personalities than economic tensions, and to an unworkable structure trying to relate national and local voices. Contrary to earlier academic opinion, it had little relation to, or effect on, the independent chambers.
Michael Brian Schiffer
- Published in print:
- 2008
- Published Online:
- August 2013
- ISBN:
- 9780262195829
- eISBN:
- 9780262283120
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262195829.003.0020
- Subject:
- Society and Culture, Technology and Society
This chapter scrutinizes the various challenges that emerged regarding the adoption of electric arc lights. Lighthouse keepers needed training to maintain the different parts of the arc lights that ...
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This chapter scrutinizes the various challenges that emerged regarding the adoption of electric arc lights. Lighthouse keepers needed training to maintain the different parts of the arc lights that were not required in oil lamps. Arc lights were also expensive to set up and in case of breakdown required at least one to three hours to be restored. As time went on, most of the lighthouse-maintaining agencies decided against the electric lights because of high installation and maintenance costs. However, electricity operated-lighthouses became a status symbol for certain countries since their presence implied that the country’s economy was capable of installing such a high-cost technology. Following the changes brought about in England and France, other European countries started adopting the electrical lighting systems in lighthouses.Less
This chapter scrutinizes the various challenges that emerged regarding the adoption of electric arc lights. Lighthouse keepers needed training to maintain the different parts of the arc lights that were not required in oil lamps. Arc lights were also expensive to set up and in case of breakdown required at least one to three hours to be restored. As time went on, most of the lighthouse-maintaining agencies decided against the electric lights because of high installation and maintenance costs. However, electricity operated-lighthouses became a status symbol for certain countries since their presence implied that the country’s economy was capable of installing such a high-cost technology. Following the changes brought about in England and France, other European countries started adopting the electrical lighting systems in lighthouses.
Liesl Olson
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780195368123
- eISBN:
- 9780199867639
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368123.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter first explores how Woolf associates the ordinary with prose rather than with poetry—a distinction that emphasizes how the genres were becoming less distinct, as both aimed to represent ...
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This chapter first explores how Woolf associates the ordinary with prose rather than with poetry—a distinction that emphasizes how the genres were becoming less distinct, as both aimed to represent the “dirty work” typically associated with prose. The chapter then examines the significance of what Woolf calls “the cotton wool of daily life” in relationship to literary realism. Particularly in Mrs. Dalloway, daily life lies at the heart of Woolf’s representation of character. The novel also turns to the ordinary as an alternative to the trauma associated with the First World War. The chapter proceeds to show how the ordinary becomes an enduring fixation for Woolf in her subsequent novels. Her ambivalent use of “facts” in fiction is an ordinary style, as she herself implies in her long essay “Phases of Fiction,” an essay that reveals Woolf’s strong attachment to novelists who satisfy a reader’s need to believe in a recognizable world. Her determined disassociation from the Edwardians, whose work is entrenched in materialist facts, is considered in context of her admiration for many older novelists whose use of facts she emulates as a means of achieving the ordinary.Less
This chapter first explores how Woolf associates the ordinary with prose rather than with poetry—a distinction that emphasizes how the genres were becoming less distinct, as both aimed to represent the “dirty work” typically associated with prose. The chapter then examines the significance of what Woolf calls “the cotton wool of daily life” in relationship to literary realism. Particularly in Mrs. Dalloway, daily life lies at the heart of Woolf’s representation of character. The novel also turns to the ordinary as an alternative to the trauma associated with the First World War. The chapter proceeds to show how the ordinary becomes an enduring fixation for Woolf in her subsequent novels. Her ambivalent use of “facts” in fiction is an ordinary style, as she herself implies in her long essay “Phases of Fiction,” an essay that reveals Woolf’s strong attachment to novelists who satisfy a reader’s need to believe in a recognizable world. Her determined disassociation from the Edwardians, whose work is entrenched in materialist facts, is considered in context of her admiration for many older novelists whose use of facts she emulates as a means of achieving the ordinary.
Jürgen Pieters
- Published in print:
- 2021
- Published Online:
- January 2022
- ISBN:
- 9781474456555
- eISBN:
- 9781399501996
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474456555.003.0006
- Subject:
- Literature, Criticism/Theory
The bibliotherapeutic publication that is central to this chapter is Katharine Smyth’s All the Lives we ever Lived, a touching memoir of her father’s illness in which the reading of Virginia Woolf’s ...
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The bibliotherapeutic publication that is central to this chapter is Katharine Smyth’s All the Lives we ever Lived, a touching memoir of her father’s illness in which the reading of Virginia Woolf’s To the Lighthouse provides the necessary consolation. The topic of literature’s consolatory powers is related in this chapter to Donald Winnicott’s analyses of ‘comforters’, what the British pyschoanalist labels ‘transitional objects’. The chapter also engages in a discussion of what David James calls ‘discrepant solace’.Less
The bibliotherapeutic publication that is central to this chapter is Katharine Smyth’s All the Lives we ever Lived, a touching memoir of her father’s illness in which the reading of Virginia Woolf’s To the Lighthouse provides the necessary consolation. The topic of literature’s consolatory powers is related in this chapter to Donald Winnicott’s analyses of ‘comforters’, what the British pyschoanalist labels ‘transitional objects’. The chapter also engages in a discussion of what David James calls ‘discrepant solace’.
M. Hakan Yavuz
- Published in print:
- 2013
- Published Online:
- January 2013
- ISBN:
- 9780199927999
- eISBN:
- 9780199980543
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199927999.003.0005
- Subject:
- Religion, Islam
Education is the most important tool for the movement to realize its mission of molding young people and transforming the future. The chapter examines the three objectives of the Gülen educational ...
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Education is the most important tool for the movement to realize its mission of molding young people and transforming the future. The chapter examines the three objectives of the Gülen educational networks: theological, socioeconomic (developmentalism), and political (independence). The movement seeks to cultivate a new generation of elites who are at home in both a religious and modern rationalist framework. The chapter examines the sites (summer camps, lighthouses, dormitories, reading rooms, and schools) and strategies (teblig versus temsil) of the movement's educational policies. The last part of the chapter examines both the positive contributions, as well as the criticism, of the educational mission and accomplishments of the movement.Less
Education is the most important tool for the movement to realize its mission of molding young people and transforming the future. The chapter examines the three objectives of the Gülen educational networks: theological, socioeconomic (developmentalism), and political (independence). The movement seeks to cultivate a new generation of elites who are at home in both a religious and modern rationalist framework. The chapter examines the sites (summer camps, lighthouses, dormitories, reading rooms, and schools) and strategies (teblig versus temsil) of the movement's educational policies. The last part of the chapter examines both the positive contributions, as well as the criticism, of the educational mission and accomplishments of the movement.
Julia Briggs
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748624348
- eISBN:
- 9780748651856
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748624348.003.0011
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter studies the role and treatment of Constantinople in some of Woolf’s novels. In Mrs Dalloway, Constantinople is briefly figured as an area of sexual crisis, while a classic view of it is ...
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This chapter studies the role and treatment of Constantinople in some of Woolf’s novels. In Mrs Dalloway, Constantinople is briefly figured as an area of sexual crisis, while a classic view of it is presented in The Voyage Out. The next paragraphs centre on the inclusion of Constantinople in Orlando and To the Lighthouse.Less
This chapter studies the role and treatment of Constantinople in some of Woolf’s novels. In Mrs Dalloway, Constantinople is briefly figured as an area of sexual crisis, while a classic view of it is presented in The Voyage Out. The next paragraphs centre on the inclusion of Constantinople in Orlando and To the Lighthouse.
Cara L. Lewis
- Published in print:
- 2020
- Published Online:
- January 2021
- ISBN:
- 9781501749179
- eISBN:
- 9781501749193
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501749179.003.0003
- Subject:
- Art, Photography
This chapter analyzes Virginia Woolf's To the Lighthouse (1927). It diverges from the critical commonplace that aligns the form of To the Lighthouse with Lily Briscoe's painting and claims instead ...
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This chapter analyzes Virginia Woolf's To the Lighthouse (1927). It diverges from the critical commonplace that aligns the form of To the Lighthouse with Lily Briscoe's painting and claims instead that the novel unfolds the iconographic implications of a still-life composition. The carefully arranged dish of fruit and a seashell on the Ramsays' table signals the novel's interest in minor, everyday objects and also establishes a vanitas motif—a reminder of mortality and the impermanence of human life. Woolf's still life metamorphoses into various vanitas forms throughout the novel, precipitating later turns of the plot and linking up with the novel's elegiac project. All these vanitas motifs are thus mortal forms that help to determine the shape and flow of the narrative, which is itself a mortal form—hopelessly entangled with human emotion, fated to reckon with mortality, and challenged to mourn the dead. In this way Woolf, like James, requires one to modify the notion that the modernist novel is best approached as a spatial form.Less
This chapter analyzes Virginia Woolf's To the Lighthouse (1927). It diverges from the critical commonplace that aligns the form of To the Lighthouse with Lily Briscoe's painting and claims instead that the novel unfolds the iconographic implications of a still-life composition. The carefully arranged dish of fruit and a seashell on the Ramsays' table signals the novel's interest in minor, everyday objects and also establishes a vanitas motif—a reminder of mortality and the impermanence of human life. Woolf's still life metamorphoses into various vanitas forms throughout the novel, precipitating later turns of the plot and linking up with the novel's elegiac project. All these vanitas motifs are thus mortal forms that help to determine the shape and flow of the narrative, which is itself a mortal form—hopelessly entangled with human emotion, fated to reckon with mortality, and challenged to mourn the dead. In this way Woolf, like James, requires one to modify the notion that the modernist novel is best approached as a spatial form.
Orrin H. Pilkey, Linda Pilkey-Jarvis, and Keith C. Pilkey
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780231168441
- eISBN:
- 9780231541800
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231168441.003.0008
- Subject:
- Environmental Science, Climate
A wide variety of low-elevation and near-shoreline infrastructure and buildings of all kinds is at great danger of destruction by sea-level rise. Particular problems are toxic waste sites, landfills, ...
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A wide variety of low-elevation and near-shoreline infrastructure and buildings of all kinds is at great danger of destruction by sea-level rise. Particular problems are toxic waste sites, landfills, and sewer plants which must be moved as sea level rises. Nuclear power plants which require water for cooling are frequently at low elevations. Overall the potential for pollution of nearshire water in a rising sea is immense. Rising seas also will cause salinization of agricultural soil which is already occurring along bays such as Delaware and the Chesapeake. In addition, coastal roads and accompanying water, sewer, and power lines are already frequently destroyed in storms (Outer Banks of North Carolina). Military installations are at risk, for example, the largest naval facility in the U.S. is in Norfolk, Virginia, where the sea-level rise is particularly rapid because of land subsidence.Less
A wide variety of low-elevation and near-shoreline infrastructure and buildings of all kinds is at great danger of destruction by sea-level rise. Particular problems are toxic waste sites, landfills, and sewer plants which must be moved as sea level rises. Nuclear power plants which require water for cooling are frequently at low elevations. Overall the potential for pollution of nearshire water in a rising sea is immense. Rising seas also will cause salinization of agricultural soil which is already occurring along bays such as Delaware and the Chesapeake. In addition, coastal roads and accompanying water, sewer, and power lines are already frequently destroyed in storms (Outer Banks of North Carolina). Military installations are at risk, for example, the largest naval facility in the U.S. is in Norfolk, Virginia, where the sea-level rise is particularly rapid because of land subsidence.
Philip Gerard
- Published in print:
- 2013
- Published Online:
- July 2014
- ISBN:
- 9781469602073
- eISBN:
- 9781469608136
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469602073.003.0014
- Subject:
- Environmental Science, Environmental Studies
This chapter describes the ferry dock for the Southport-Fort Fisher ferry where the brick remains of a twenty-foot-tall lighthouse, Price's Creek Light, stand. Built in 1849, it was one of eight ...
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This chapter describes the ferry dock for the Southport-Fort Fisher ferry where the brick remains of a twenty-foot-tall lighthouse, Price's Creek Light, stand. Built in 1849, it was one of eight lighthouses along the lower Cape Fear used to mark the twenty-five-mile passage from Oak Island to Wilmington. The other seven are long gone. Price's Creek Light was a valuable signal station for the Confederate blockade-runners during the Civil War, and after the war it fell into disuse. All that remains is the conical brick base. The carousel and light have disappeared, and only an iron axle sticking up from the flattened top reminds us that it is headless. Here, also, is the nuclear power plant—Progress Energy's nuclear plant—where about 1 percent of all the water in the Cape Fear River is pumped into.Less
This chapter describes the ferry dock for the Southport-Fort Fisher ferry where the brick remains of a twenty-foot-tall lighthouse, Price's Creek Light, stand. Built in 1849, it was one of eight lighthouses along the lower Cape Fear used to mark the twenty-five-mile passage from Oak Island to Wilmington. The other seven are long gone. Price's Creek Light was a valuable signal station for the Confederate blockade-runners during the Civil War, and after the war it fell into disuse. All that remains is the conical brick base. The carousel and light have disappeared, and only an iron axle sticking up from the flattened top reminds us that it is headless. Here, also, is the nuclear power plant—Progress Energy's nuclear plant—where about 1 percent of all the water in the Cape Fear River is pumped into.
Molly Hite
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781501714450
- eISBN:
- 9781501714474
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501714450.003.0002
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter considers tone in three of Woolf’s very different narrative experiments. The discussions of each novel suggest how tonal cues both enable and destabilize ethical judgments that readers ...
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This chapter considers tone in three of Woolf’s very different narrative experiments. The discussions of each novel suggest how tonal cues both enable and destabilize ethical judgments that readers can feel justified in making. The chapter closes with a section addressing an apparently paradoxical question: What might be good about the ethical uncertainty that Woolf’s writing can prompt?Less
This chapter considers tone in three of Woolf’s very different narrative experiments. The discussions of each novel suggest how tonal cues both enable and destabilize ethical judgments that readers can feel justified in making. The chapter closes with a section addressing an apparently paradoxical question: What might be good about the ethical uncertainty that Woolf’s writing can prompt?
Barbara Lounsberry
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780813062952
- eISBN:
- 9780813051833
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062952.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
Woolf seeks out new realms in her 1920 diary. In January, she wonders how far she should allow herself to report indiscretion in her diary. In March, she ponders something more profound: whether she ...
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Woolf seeks out new realms in her 1920 diary. In January, she wonders how far she should allow herself to report indiscretion in her diary. In March, she ponders something more profound: whether she can write “a diary of the soul.” In April, she considers whether her diary can “trench upon literature”—another (but related) realm, as the soul holds her “precious art.” On her thirty-eighth birthday, January 25, 1920, she had conceived of “a new form for a new novel”—her first modernist novel, Jacob’s Room. Declaring that she could “think [herself] a novelist” if she could record “talk,” Woolf experiments across her 1920 diary with different ways to render conversations. She practices, in short, for her public prose. In April, she is sent W.N.P. Barbellion’s famous Journal of a Disappointed Man. It spurs her exploration of the soul, offers her half the plot of Mrs. Dalloway, and helps her envision To the Lighthouse to come. In October, she publishes a lengthy commemorative essay on John Evelyn’s diary, probing the diary’s power—and also how this seventeenth-century diarist differs from his contemporary descendants.Less
Woolf seeks out new realms in her 1920 diary. In January, she wonders how far she should allow herself to report indiscretion in her diary. In March, she ponders something more profound: whether she can write “a diary of the soul.” In April, she considers whether her diary can “trench upon literature”—another (but related) realm, as the soul holds her “precious art.” On her thirty-eighth birthday, January 25, 1920, she had conceived of “a new form for a new novel”—her first modernist novel, Jacob’s Room. Declaring that she could “think [herself] a novelist” if she could record “talk,” Woolf experiments across her 1920 diary with different ways to render conversations. She practices, in short, for her public prose. In April, she is sent W.N.P. Barbellion’s famous Journal of a Disappointed Man. It spurs her exploration of the soul, offers her half the plot of Mrs. Dalloway, and helps her envision To the Lighthouse to come. In October, she publishes a lengthy commemorative essay on John Evelyn’s diary, probing the diary’s power—and also how this seventeenth-century diarist differs from his contemporary descendants.
