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The Problem of Life, Literature and Art

Virginia Woolf's novel „To the Lighthouse” and Tolkien's novels in several aspects of Ferdinand de Saussure's Theory of Language

Translated by: Author

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isible, imperceptible to the eye, and water as sound-an envelope, clothing of thought. Whereas in "To The Lighthouse" the house is submerged in consciousness, below the surface of the water, and words are needed to describe or name something clearer than it that is missing. Mrs. Ramsay is the mother of many children who resemble Virginia in some ways not just because, perhaps, they are her siblings, but because she lives in them - she is Cam, James, Andrew, Prue[xiii] and Rose. She is also in other characters - Lilly and Mr. Carmichael. But it is not Mr. Ramsay, Charles Tansley, or Mrs. Ramsay, because they are the object of study through external observation, while the other characters are also studied through empathy. Dispersing the artist in various reflections is a simultaneous disassembly (dissection) for a more detailed study of oneself and others (through oneself and others) and an attempt to assemble a complete and not sufficiently complete profile of some essence - a colorful mosaic - a set of entities - an effect resulting from the impressionistic approach. This incompleteness is present in Lilly's constant attempts to complete some detail, to bring it to perfection. She always misses something, or lacks it. The situation with the whole picture is similar - something is missing, something is missing...

    Lilly's desire to penetrate the knowledge locked in Mrs. Ramsay, to merge with her, is an expression of the impossibility of reaching the maternal. Tansley's arguments with others and Mr. Ramsay's estrangement are signs of closure, a barrier between them and the others: "Then how, she asked, does one learn anything about people, when they are all so tightly closed, sealed within themselves?" (70). But if Mr. Ramsay and Tansley themselves make it impossible to communicate with them, then in relation to Mrs. Ramsay, the reason lies in Lilly's Victorian upbringing and the inability to relax to speak, to reveal her feelings (69;70). Lilly sinks into her dreams and questions, and Mrs. Ramsay suddenly stands up. It is not clear why he is standing up. Lilly stands up after her and the sweet moment ends to replay over and over in her memories. Certainly Mrs. Ramsay doesn't understand the real reason why Lilly presses herself so hard against her knees, not simply because Lilly doesn't tell her, but because that standing implies a break in something... And indeed, later in the novel, Mrs. Ramsay dies. Through this moment creeps a shade of some impossibility for Virginia to truly communicate with her mother, long before she lost her, for the impossibility of telling her (showing) that she loves her. The memory of this embrace provokes an image in the reader of V. Wоolf in the process of work, but in a moment carried away, unconsciously embracing the portrait of his mother, or the sheet on which he describes this moment.[xiv]

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