to the lighthouse presentation

To the lighthouse

Jul 27, 2014

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To the lighthouse. An Introduction to Virginia Woolf’s 1927 novel. Virginia Woolf (1882-1941). Prominent modernist author Father, Leslie Stephen, an eminent Victorian philosopher and historian Mother, Julia Duckworth, a renowned beauty Sister, Vanessa Bell, a gifted painter

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To the lighthouse An Introduction to Virginia Woolf’s 1927 novel

Virginia Woolf (1882-1941) • Prominent modernist author • Father, Leslie Stephen, an eminent Victorian philosopher and historian • Mother, Julia Duckworth, a renowned beauty • Sister, Vanessa Bell, a gifted painter • Was a member of the Bloomsbury Group – a fashionable modernist coterie in London, mostly associated with the University of Cambridge. • Included T.S. Eliot, Bertrand Russell, Roger Fry, John Maynard Keynes, Lytton Strachey, Vita Sackville-West, Clive & Vanessa Bell, Duncan Grant, Thoby & Adrian Stephen (her brothers), E.M. Forster, among others.

The Setting • Edwardian (1901-1910) English family vacationing on the Isle of Skye, Summer 1910 • Skye is in the Hebrides, a group of islands off western coast of Scotland • The Family is of the middle class, the father a philosophy professor • Many of the characters and events are based on autobiographical detail: • Mr. & Mrs. Ramsay are based on Woolf’s parents, Leslie Stephen & Julia Duckworth

Themes • Greatest threats and dangers are those from within, moresothan from without • Lighthouse – signal and promise of stability amid chaos of modernity (viii) • Cf. T.S.Eliot on the “immense panorama of futility and anarchy that is contemporary history” (The Egoist) • Rhythm – “heterochronicity” – multiple modalities of time • Pattern of waking & sleeping, cycle of seasons, cycle of years, cycles of human history, presence & absence • Reality is what looms; love what pervades (x)

A High Modernist Novel • Fragmented and difficult, yet ordered. • It is about philosophical introspection more than plot • Plot: potential trip to a lighthouse in the bay; touches off a number of conflicts within/among the characters. • Interiority: We read mostly thoughts, observations, and memories of various characters. • Emphasis on perspective – how a person’s background and self determine how they see and understand. • Some preference seems to be given to the perspective of Lily Briscoe. • Her status as female, single, and artist marks her as an “outsider”

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Virginia Woolf’s To the Lighthouse

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AS and A2 Module Information AQA English Literature Specification A.

The Victorian Period ( ) A Period of Progress and Decline

FROM THE VICTORIAN AGE TO MODERNISM.  To better understand the dynamics that allowed the passage from the Victorian Age to Modernism  To have a more.

Baldin Ruben Class 5A.  The adoption of the interior monologue  Plot is reduced to the minimum  There are simultaneous time and chronological time.

REALISM Realism is the artistic response to the Civil War and the industrial/economic revolution that swept Europe and America in the last part of the.

. James Joyce ( ). His stream of consciousness He attempted to make a fiction that would reflect the whole life, conscious and subconscious, without.

Chapter 13 Early 20th-Century Novels

LITERATURE - IN ENGLISH SS1,WEEK 2

Writing a literary analysis essay English II Honors.

Virginia Woolf ( ) *.

Virginia Woolf Virginia Woolf was born in 1882, after the death of her mother, she had her first nervous breakdown. For Virginia the sea, as a symbol.

Virginia Woolf Virginia Woolf.. 1. Life ( ) Her father Leslie Stephen was an eminent Victorian man of letters. She grew up in a literary and intellectual.

Modernism Polidori Chiara cl. 5D D. Bomberg. What is Modernism? It is a cultural trend. It is the movement in visual arts, music, literature and drama.

The 20th Century Literature

In this PowerPoint, you will find the terms that you will need to know for tests, discussions, and essays.

FFocuses on language, structure, and tone IIntrinsic Reading vs. Extrinsic FFormalists study relationship between literary devices and meaning.

William Faulkner Human Conflict Dr. Peih-ying Lu Oct 22, 2012.

MODERNISM MICHAELA OČKOVÁ MONIKA KUZMOVÁ. MODERNISM This term can be applied to the STYLISTIC CHANGES which took place in literature Broadly:

The Victorian Age and Victorianism It was the period of Queen Victoria's reign from June 1837 until her death on 22 January 1901 Victorianism is the name.

MODERNISM AND MODERN AGE ( ). What is modernism? It is a global trend in culture It affected the intellectual elité (the only one who had the.

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Virginia Woolf's To the Lighthouse (Presentation Notes)

The work's autobiographical roots, composition history, samples of contemporary reviews, a general history of criticism by decade, a particular history of the work's relationship to philosophy, and discussion questions.

Related Papers

Virginia Woolf Miscellany 86 (Fall 2014/Winter 2015): 19-21

Gerardo Rodríguez-Salas

Our aim in this article is to trace the projections of feminine friendship that we find in Virginia Woolf’s and Katherine Mansfield’s fictional work. As opposed to those critical readings that have seen an unequivocal specificity, operativity and even essentialism in feminine friendship as depicted in literary works by women, Woolf and Mansfield show, both in their actual relationship in real life and in their literary writings, the inadequacies and shortcomings of a specifically feminine mode of identification. Our argument is that in the two writers, bonds between female friends cannot be seen as independent of or impervious to male influence. In the case of Mansfield, the male presence works as a disruptive intrusion that prevents women from inventing alternative relations to prevailing hetero-reality. In the case of Woolf, the man is also a friend that expands the boundaries of friendship, which becomes a far-reaching, though also fragile and uncertain terrain. What is destructive in Mansfield becomes creative in Woolf.

Emily M . Hinnov, Ph.D.

Kathryn Simpson

Virginia Woolf and the Natural World

Elisa Kay Sparks

A general survey of Woolf's uses of flowers in her fiction, organized novel by novel.

Trinity College

Ben Gambuzza

The idea that a reader can empathize with fictional characters and be engrossed in the reading experience goes back at least to Chaucer’s dream vision poems of the 14th Century. Traditionally, though, we tend to associate this phenomenon with Victorian fiction, which, as empathy theorist Suzanne Keen has shown, was thought to immerse readers in an entrancing reading experience. Current criticism tends to lean on the assumption that Modernist novels, like those of Joyce, Woolf, Conrad, and Ford, eschew empathy and engrossment with their reliance on formal experimentation. However, I argue that Ford Madox Ford and Virginia Woolf revised the aesthetic theories of Walter Pater and Joseph Conrad, and forged a new relationship between reader and text. Far from emotionally barren fiction, Ford and Woolf create affective fiction: while Ford bewilders us with the impossibility of engrossment or reader-character identification, Woolf’s phenomenology makes the reader “know” characters like never before. Readerly empathy and engrossment did not stop with Modernism, it just looked a little different.

Caroline Marie

Contradictory Woolf

Rebecca DeWald

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A Summary and Analysis of Woolf’s To the Lighthouse

By Dr Oliver Tearle (Loughborough University)

To the Lighthouse was Virginia Woolf’s fifth novel. By this stage of her career, she’d written a couple of more conventional novels, The Voyage Out (1915) and Night and Day (1919); she’d written the novel which is often cited as the turning point in her career as a modernist writer, Jacob’s Room (1922); and she’d written what is probably her most famous novel, Mrs Dalloway (1925), which features a couple of characters who’d featured in The Voyage Out (the action of Mrs Dalloway takes place over one day in June 1923, although there are numerous flashbacks to earlier in the characters’ lives, particularly to the youthful years of the title character).

However, to call  To the Lighthouse  (1927) a ‘novel’ at all is to go against Woolf’s own intentions, slightly: she believed that a new word (‘elegy’ was her own suggestion) more satisfactorily summed up what she is trying to do in this nov… sorry, in this  book , call it what you will.

Summary of  To the Lighthouse

The book is divided into three sections: ‘The Window’, ‘Time Passes’, and ‘The Lighthouse’.

The first section, ‘The Window’, follows  Mrs Dalloway in being set over the course of just one day during the Ramsays’ family holiday on the Isle of Skye. The son, James, wants to take a boat out to the lighthouse (hence the title), but his father, the distant Victorian patriarch Mr Ramsay, isn’t sure the weather will allow it – perhaps tomorrow (but probably not even then).

The second section, ‘Time Passes’, is at odds with the first section in reducing ten years of ‘action’ into a relatively short middle section. Several of the novel’s characters – including Mrs Ramsay herself – die, news of their deaths dropped casually into the narration parenthetically. The War lurks behind this section – that is, WWI.

The final section, ‘The Lighthouse’, sees James – now grown into a young man – finally making the trip to the lighthouse, ten years after he’d originally wanted to make the journey.

Themes of  To the Lighthouse

Perhaps Woolf altered the facts here to suggest the ironic relationship between her ‘three-volume’ novel and the triple-deckers that had dominated the Victorian era, of which  Middlemarch (despite its actual four-volume structure) symbolically embodies. (Sutherland also suggests that the closing words of  Middlemarch are being alluded to here: Eliot’s  magnum opus ends by extolling the value of those who live hidden lives – implicitly, the women who faithfully serve their menfolk.)

Divided into three sections (‘The Window’, ‘Time Passes’, and ‘The Lighthouse’), the novel may, then, be attempting to put us in mind of the triple-decker novels of the Victorian era (which had rapidly died out in the 1890s during Woolf’s childhood). But if we expect a linear, teleological narrative with a clear goal and conclusion, our expectations are to be dashed, because To the Lighthouse is all about delay, repetition, and inaction.

Note that the title, To the Lighthouse , could suggest a journey steadily progressing towards an end goal (compare Woolf’s earlier use of the journey motif in The Voyage Out ), but what the novel actually gives us is a narrative in which that journey ‘to the lighthouse’ is delayed until the end of the novel (and that final section, pointedly titled ‘The Lighthouse’; the preposition has been dropped, but has the trip to the lighthouse really been achieved? It is, after all, years later and the children have grown up).

Thus the novel ostensibly remains a novel with a linear narrative (as its title and three-part structure imply), while at the same time it seems to be straining against the limits or expectations of such a narrative. Note how the novel ends with the lighthouse being reached, and Lily Briscoe finishing her painting (which may be read as a self-reflexive touch on Woolf’s part, since Woolf the literary ‘artist’ is at this moment finishing her portrait of Mrs Ramsay, namely the novel).

Yet the action of painting the picture, the experience of artistic creation and the memories and thoughts it entails, have been the important thing for Lily Briscoe: she doesn’t care what happens to her picture once she’s finished it. Unlike Mr Ramsay, she couldn’t be less concerned with questions of legacy or posterity.

Analysis of  To the Lighthouse

Immediately we can see that subjective experience and perspective are key elements of Woolf’s novel. Mr Ramsay sees the world very differently from his wife. However, the two are not so different as they may first appear.

For instance, Mr Ramsay seems to embody the male, patriarchal, linear, and teleological view of the world which nineteenth-century novels had often adopted (where we find out who the murderer was, the man and woman get together, and all loose ends are satisfactorily tied up by the final page): he sees ‘thought’ as something to be understood in a linear fashion, like working through the alphabet from A to Z (there is an autobiographical suggestion here, too, since Woolf’s father, Leslie Stephen, who was the model for Mr Ramsay, was the first editor of the Dictionary of National Biography , now the  ODNB ).

He also spends part of the early section of the novel reciting Tennyson’s ‘The Charge of the Light Brigade’ , which is revealing because this is a Victorian poem by the pre-eminent Victorian poet ( Tennyson was Poet Laureate for 42 years ) but also because it is a poem about the action of charging, moving forward, attacking, progressing.

However, it is also ironic, because the ‘charge’ memorialised in Tennyson’s poem was a futile and self-destructive military action which resulted in the deaths of hundreds of men: the light brigade charged to their deaths.

But the linear, progressive, masculine quality of Mr Ramsay’s reference to this poem is also undermined by the fact that he is constantly repeating the same phrase (tellingly, ‘Someone had blundered’), and is thus caught in a cyclical world of repetition and return which is at odds with the linearity he ostensibly embodies.

Mr Ramsay’s best work also appears to be behind him, and he seems doomed to repeat the same ideas in his later work. He is caught in an ideology of teleological development but cannot develop to any precise ‘end’.

Similarly, Mrs Ramsay’s narrative may embody more ‘feminine’ qualities, with its emphasis on cycles, return, nurturing, and selflessness, but these same qualities also point up her complicity in the Victorian patriarchy embraced by her husband: she is a traditionalist who believes women should be married, wives should serve their husbands, and unmarried men and women should not stay out too late together. In other words, those looking for a clear distinction where Mr Ramsay = linearity and progress and Mrs Ramsay = cycles and returning are sure to be disappointed.

If you enjoyed this analysis of Woolf’s novel, check out our short analysis of her earlier novel,  Jacob’s Room and our introduction to her last novel, Between the Acts .

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In a summerhouse on the Isle of Skye, James is enraged when Mr. Ramsay insists he won’t get to go to the Lighthouse the next day. Mr. Tansley echoes Mr. Ramsay. Mrs. Ramsay tries to preserve James’ hope. She reflects on Mr. Tansley’s charmlessness, then recalls his confiding in her about his poverty. Lily struggles to paint on the lawn. She agrees to accompany Mr. Bankes on a walk and they discuss the Ramsays. Meanwhile, Mr. Ramsay argues with his wife about the Lighthouse again, aggravating James. Mr. Ramsay meditates by the sea. After walking, Mr. Bankes admires Mrs. Ramsay and Lily considers the vivacity distinguishing her beauty. Lily explains her painting to Mr. Bankes.

Meanwhile, Mrs. Ramsay wishes Cam and James could stay small, thinking she’s not pessimistic (as her husband says), just realistic. She worries about Nancy, Andrew, Paul , and Minta on their walk. After James goes to bed, Mrs. Ramsay watches the Lighthouse, thinking, a sight which saddens Mr. Ramsay. She walks with him, chatting affectionately. Mr. Bankes and Lily walk, too, discussing painting, then the Ramsays. They come upon Mr. and Mrs. Ramsay who seem suddenly symbolic in the spell of evening.

On the cliffs, Nancy, Minta, Paul, and Andrew have separated and reunited awkwardly on the sight of Minta and Paul embracing. Their return is delayed by Minta’s lost brooch, which Paul chivalrously determines to find. He has successfully proposed to Minta. Minta sobs for more, Nancy feels, than the brooch.

At the summerhouse, Mrs. Ramsay lets Jasper and Rose help her dress and is relieved when the walk party returns. Though she despairs at dinner’s start, Lily helps her manage small talk and the conversation eventually carries the night into an orderly beauty that Mrs. Ramsay believes partakes of eternity. Mr. Tansley and Mr. Bankes flounder, then find footing at the table. Lily feels burned by lovestruck Paul’s indifference, and decides not to marry. After dinner, Mrs. Ramsay coaxes Cam and James to sleep, sends Prue, Paul, Minta, Lily, and Andrew off on a walk, then joins Mr. Ramsay reading. She feels transported by a sonnet. After reading, Mr. and Mrs. Ramsay say little but still express their deep love for one another.

Nights pass, then the season. Mrs. Ramsay dies suddenly. The house stays empty. Prue marries, then dies in childbirth, and Andrew dies in World War I. Mr. Carmichael gets famous. Mrs. McNab eventually gives up on caring for the house, which falls into disrepair. Then, after ten years, Mrs. McNab receives word to prepare the house and laboriously does so. Lily and Mr. Carmichael return.

The first morning back, Mr. Ramsay forces the teenage Cam and James to go to the Lighthouse with him. Lily fails to avoid him before they leave. During an awkward conversation, Lily feels Mr. Ramsay silently pleading for her sympathy and feels like a defective woman for not giving it. Mr. Ramsay sets off with a resentful Cam and James and Lily feels guilty. She tries to paint but is distracted by thoughts of Mrs. Ramsay and questions life’s meaning.

At sea, Cam and James have a pact of silence against their father’s imperious bossiness. Cam doesn’t break it even as she’s tempted to give in to her father’s attempts to engage her, admiring him as she does.

Lily considers Paul and Minta’s failed marriage and her own singleness and wants to show the matchmaking Mrs. Ramsay how wrong her instincts were. Suddenly, Lily tears up at Mrs. Ramsay’s ghost and life’s senselessness. She looks for Mr. Ramsay’s sailboat, wanting to give him her sympathy.

At sea, James inwardly contrasts his father and mother. Cam feels spontaneously joyous and loves Mr. Ramsay.

On land, Lily observes how little one can know of other people’s lives and reminisces about the Ramsays. She reflects that the greatest skill is to see the world as simultaneously ordinary and miraculous.

At sea, Mr. Ramsay finally gives James the praise he craves, but James conceals his joy. Reaching shore, Mr. Ramsay leaps eagerly towards the Lighthouse.

On land, Lily and Mr. Carmichael agree Mr. Ramsay has reached the Lighthouse. Lily paints a final line and is satisfied, even knowing her painting will be forgotten. She has had her vision.

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To the Lighthouse

To the lighthouse virginia woolf as a woman, i have no country. as a woman, i want no country. as a woman, my country is the whole world. virginia woolf 1882 ... – powerpoint ppt presentation.

• Dedicated to a rejection of the strictures and taboos of Victorianism Religious, Artistic, Social, Sexual
• Known for intellectual snobbery
• Term Bloomsbury has now become synonymous with snob
• 1912 - Virginia marries Leonard Woolf
• 1914-1917 - WWI
• 1922 - Virginia meets Vita Sackville-West
• 1925 - Publishes Mrs. Dalloway
• 1926 - Publishes To the Lighthouse
• Once conform, once do what other people do because they do it, and lethargy steals over all the finer nerves and faculties of the soul. She becomes all outer show and inward emptiness dull, callous, and indifferent.
• Virginia Woolf
• As a concept modernism is easier to employ than to define. At its broadest it refers not just to innovation in literature but to the radical remaking of all the arts that went on in Europe and America in the year 1914.
• (From an Outline of English Literature by Pat Rogers )
• TTL shows how, in major modernist fiction, the novel not only approaches poetry, but in a certain sense becomes it.
• TTL is set in a holiday house party in the vanished pre-1914 world. It has its basis in the personal experiences of Virginia Woolf and her family and friends
• Like other modernist texts, TTL is much concerned with the nature of art and artistic creation, exemplified in the novel by the painter Lily Briscoe, whose art is clearly meant to be a metaphor for Virginia Woolfs own
• (From an Outline of English Literature by Pat Rogers 389)
• Coined in 1890 and became popular in the early twentieth century Flow of conscious experience
• Creates the impression that the reader is eavesdropping on the flow of conscious experience, gaining intimate access to a characters private thoughts
• Involves presenting in written text something that is neither entirely verbal nor textual
• Lays open the imagined inner lives of characters
• (http//www.litencyc.com/php/stopics.php?rectrue UID1062)

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Why thousands of U.S. congregations are leaving the United Methodist Church

By Sarah Maddox

September 9, 2023 / 8:00 AM EDT / CBS News

Bishop Karen Oliveto sees her consecration in 2016 as a breaking point for some of the thousands of people who have made the once unthinkable decision to leave the United Methodist Church. 

Oliveto is the church's first openly gay bishop and oversees congregations in Colorado, Montana, Utah, Wyoming and one church in Idaho. Her service defies long-standing rules in the denomination. Disregard for those church laws is fueling divisions that have already led to the exodus of about 20% of the United Methodist Church's congregations across the U.S. since disaffiliations began in 2019. The number of members who have left with their congregations isn't as clear, as the latest figures from 2021 don't reflect the total number of departures.

According to the church's Book of Discipline, which outlines church laws, LGBTQ people are banned from ordination. Same-sex marriages are also forbidden. Under church rules, Oliveto shouldn't be holding her elected position.

For years, these rules have been challenged — and upheld — by the church's global legislative body, the General Conference. The United Methodist Church among the country's largest Protestant denominations and has millions of worshippers worldwide. Methodist congregations outside the U.S. that tend to be more conservative have helped keep change at bay, voting among those who want to uphold the existing rules. 

The church largely hasn't taken action against the congregations that are allowing the consecration of LGBTQ clergy or marrying same-sex couples, and more conservative congregations are typically the ones leaving — more than 6,000 of them, according to a United Methodist News Service tally . That's about a fifth of all U.S. congregations.

"People aren't upset at those bishops who were closeted. It was okay for them to not tell the truth. But they're upset at me for living openly in love and joy," said Oliveto. "How can we say no to love and joy as a church?"

The Book of Discipline does "implore families and churches not to reject or condemn lesbian and gay members and friends" — which Oliveto sees as falling short.

"That's not acceptance. That's a conditional welcome," Oliveto said.

A recent report from the Public Religion Research Institute found the percentage of Americans who aren't affiliated with any religion increased to 27% in 2022, from 16% in 2006. Thirty percent of those surveyed who have changed their religious tradition or denomination cited negative teachings about or treatment of LGBTQ+ people.

In 2019, the General Conference held a special session and passed a plan for congregations that wished to leave for "reasons of conscience" regarding human sexuality.

The deal says after two-thirds of a local church agrees to leave, it must uphold significant financial obligations to the United Methodist Church, including money for fees and pensions.

An amicable separation plan created by church leaders was supposed to pass the following year, at the 2020 General Conference. But the coronavirus pandemic pushed the meeting — and the plan's approval — back to 2024.

Churches have until the end of December to decide whether to leave under the current rules.

In 2024, there will be another chance for proponents to try to liberalize the church's teachings. The conference could also vote to regionalize the church, which could lead to separate rules about LGBTQ ordination and marriage in different parts of the world.

But many congregations aren't waiting to find out what happens next year, and are leaving to join the newly formed Global Methodist Church, which launched in May of 2022 and stands by rules prohibiting LGBTQ ordination and marriage.

"As the conflict in the church intensified, it became clear that for the health of the church overall, a division was going to be necessary," said Keith Boyette, who is in charge of overseeing the Global Methodist Church during its transitional period. A former church member, Virginia pastor, elder and even a member of the Judicial Council, which is the church's highest court, Boyette said he is committed to a theologically conservative presentation of the Christian faith.

Boyette said disagreements over how congregations are handling LGBTQ clergy and marriages aren't the sole driver of the massive United Methodist withdrawal. The way members understand the authority of the Bible within the church, as well as who they interpret Jesus to be, have also caused divisions.

"We became a church, in my view, that was ungovernable and in chaos," Boyette said. "There was no standard anymore, and each person did what was right in their own eyes."

"We decided that it was better to let the United Methodist Church go than to continue in what I would refer to as a cage fight, in which we would fight each other until we're a bloody pulp and the church would be destroyed," said Boyette. "I have grief that the church was not able to find its way to make decisions and abide by them that would be honoring of who the church is."

The United Methodist Church's southern jurisdictions account for the most departures. According to a study conducted by the Lewis Center for Church Leadership, the southeastern jurisdiction alone makes up nearly half of them.

The Rev. Kim Goddard is a district superintendent, whose conference in the southeastern jurisdiction includes churches in parts of Tennessee, Georgia and Virginia.

"It's been especially hard for me because the district that I serve is my home district," Goddard said.

Goddard oversaw the disaffiliation of the congregation where she served while a newlywed and where her first daughter was born.

"When we announced the vote, they applauded," she said.

In many instances, local churches are facing the painful reality of some members leaving, while others remain behind. 

The social community aspect of the church is an important piece of the separations, said Lee Jefferson, an associate professor of religion at Centre College in Kentucky. "The bellwether of United Methodist practice isn't necessarily Sunday worship. It's Sunday school," he said.

"Some congregations would prefer to move on and agree to disagree because that's kind of like their social network and their home," he said.

The United Methodist Church now has designated "lighthouse" congregations that accept people who want to remain a part of the church when their local churches leave.

Goddard and Boyette believe the United Methodist divide would have occurred no matter what divisions were happening in society as a whole.

"I think that society at large needs that almost counter-cultural witness that will say, 'Here is a group of people, and we would proudly proclaim that we do not agree, but we will love each other in the midst of those disagreements," Goddard said.

Oliveto hopes the future will allow the United Methodist Church to be "more engaged in mission, of relieving human suffering, of fighting injustice and making sure there is room at the table for everyone."

Jefferson believes conversations like the ones happening in the United Methodist Church could attract more people who haven't had a strong interest in religion, when they see "a more diverse community, and not just a one-size-fits-all way to practice this religion called Christianity."

He said it could also open the door for people who distanced from congregations "out of a fear they may not be welcomed."

Sarah Maddox has been with CBS News since 2019. She works as an associate producer for CBS News Live.

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