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Zum Leuchtturm (1927)

von Virginia Woolf

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16,039254288 (3.88)772
Die Schicksale eines Familienclans vor und nach dem Ersten Weltkrieg (Handlungsort: Hebriden) als Sinnbild menschlicher Existenz. (Neuübers.: K. Kersten)
1920s (20)
Romans (30)
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the advantage of such style is that one is able to approach pathos directly (because one already speaks in metaphors. this is one advantage over modern styles, such as that of Tao Lin, who must approach pathos via roundabout, at least in my opinion). however it seems the tools have been misapplied. there is a feeling such as one gets when, in untrained hands, one wields a chisel. intending to carve filigree, one slips and strikes elsewhere by mistake – though one makes the best of it.

problems of the work:
characters reach the moment of perfection in sublime contemplation of the subject at hand. - yet this is only presented as the first step in the movement which is the nature of time. what, in other ontologies, has been proposed as the dialectical subversion of Time's dominion, is already done with. others have proposed that one could come to experience the eternal (timeless) within time, such that one takes on loan a moment from the day and never returns it. some would say this is victory enough and yet to have moved past this already from the first moment suggests already something heavier than these little victories. this must therefore be a serious work. we will consider the perspective of mrs. ramsay because her vision is strongest. heavy to her it must be to contemplate the sublime. and yet heavier still to, at every moment, surrender this to re-enter daily life. (there is an imperfection here, it being the fact that such a powerful internal movement should be readily perceptible by all around her - this is the consequence of painting with a dirty brush perhaps). so then we are left with a difficulty which upsets the balance of the work. And if there's one thing we ought agree upon it is that this work is well-balanced. we begin with mrs. ramsay, time passes (in what some reviewers are even calling a 'reverse-anagnorisis’), and we are left with the rubble heap before the angel of history (if i may paraphrase and thereby ruin another sublime text). but the air has been let out of the tire-so to speak. the tension of the moment has been relaxed by our knowledge that mrs. ramsay is already living beyond time (if we believe such an interpretation). what should it matter that she dies suddenly after a brief, unexpected illness... so then the flavor of the second section has lost its salt (what hasn’t?), as have Lily's lamentations in the third. either i am wrong or Wolff is in a pickle (no, wait, i am wrong). Wolff doesn't abide this deconstruction because she has no intention of this sublime interpretation. it is her intention (though she may be doing this indadvertently) to elucidate the bourgeois nature of the victorian style. though the sublime exists within the work (and it really does exist). the grand tablecloth, the filigree of the text is really just window dressing (in this novel, a tablecloth used as window shade would itself produce inspiriation enough for a chapter or two more). what matters in this style of fiction is the "plain, white table" beneath (i hope i am not mixing metaphors here, and the connection to a similarly-described table in the text is brightlined, so to speak) which is the physical actions which are taking place. no wonder so many critics seem to produce such insulting interpretations of the text ("it is a nice story, and also the writing is well-done"). so who cares what mrs. ramsay thought. what should it matter if she has escaped Time. for she has died (and unexpectedly i might add, for even the reader is not made aware until the last moment!). what does it matter that mr. ramsay has made it all the way to Q, for he has said the weather will be bad (no matter that only one other phrase in the text is remembered as anything other than a contrast with an internal movement. such Hard phrases 'women can't paint' being another, lay bare the construction of the text, for which the content of spoken word should matter as little as the final phrase "they will have landed".
i shall continue.

the persistence of the lighthouse itself as metaphor (while the sea, really, is the only metaphor that asserts itself without artifice)

the insistence that james will "remember this day" for the rest of his life (no such positive fatalism anywhere else in the text. lily's insistence on the low fate of her paintings is something else)

james taking pride in a complement from his father (vs 'stand against tyranny to the death')

mr. ramsay getting all the way to Q, but this means nothing because he is a tyrant. ironic because it is mr. ramsay who has actually written this novel (virginia has gotten to V)

charles tanslay (sp?) preaching 'brotherly love' despite the quote above (this case being the most obvious lambasting of that intellectual tradition, and certainly not without merit) but even his character is supposed to be 'complex' and 'dialectical', mr. ramsay's moreso. --> the dissolution of 'victorian' value (if it ever existed) in favor of action - i find this interpretation a bit too vulgar, though it strikes me with the same disgust as Z’s work. (because it is likely correct)

is good writing really about pastiche? add a metaphor here, turn this or that object into a symbol. dissolve this lamp into a musing about something else. maybe add a reference to shakespeare or melville for good measure (for one must have culture)... ““Sure, sure, one can harness words like performing fleas and make them drive other fleas. Oh, sure”

the characters have escaped even the author (to her credit) ( )
  Joe.Olipo | Nov 26, 2022 |
Very good, interesting ( )
  Thomas1017 | Nov 16, 2022 |
I have read this before, centuries ago in a college English class. Then, I was unable to rhapsodize but only struggle to turn the pages and keep my attention on the prose. I say 'prose' because there is no story, not in the classic sense. I have now read it again, and as I was ill I had nothing else pressing but to distract myself from my symptoms, I was able to immerse myself in the rhythm of Woolf's language, not sprint to the finish, but just consume the words, make pictures in my mind, go back and forth across the page.

This is a work about the inner lives of several people and how those people intersect with and mold one another. Woolf is painting a group portrait with words, and the words inevitably fail to show all the facets she wants to show, but that failure is part of the story. It is impossible to comprehend the complexities and emotional tides of other people. Just as Lily, the spinster artist in the group, both fails and succeeds in completing her painting, Woolf has also 'had her vision' and it is enough to have had it, whether or not she is entirely successful in her endeavor.

The impressionistic cover to my version of this book is perfect, because the narrative itself is very impressionistic, showing us brushstrokes and colors and the occasional exquisite detail, but the whole is necessarily without hard edges or even borders.

When I rate books, I try to judge them as what they are, rather than what I want them to be. This book isn't a page turner, isn't a thriller, isn't even really a story. It's one woman's attempt to do something different, to push the boundaries of literature. And because I think she succeeded, I'm giving her five stars. ( )
  TheGalaxyGirl | Nov 10, 2022 |
Published in 1927, To the Lighthouse is one of Woolf’s most well-known and widely read books. I finished Mrs. Dalloway earlier this year and enjoyed it immensely once I got immersed into the writing style. I did not feel quite as immersed in this one, but she definitely has a unique voice. We basically spend lots of time in the minutia of the characters’ thoughts as they look at and evaluate people and the world around them.

I normally love books with deeply drawn characters, but I must admit, even I need a tiny bit more structure than what is depicted here. I enjoyed the observations about life, death, and the passage of time. It is a lyrically written psychological study that ebbs and flows fluidly, as thoughts tend to do. While I understand the literary merit of this work, I did not find it a particularly pleasant reading experience.

One of my favorite quotes from the book provides a sense of that special feeling when everything feels “just right,” a scene from a dinner that has had its issues, but which the guests will remember fondly years later:

“It partook, she felt, . . . of eternity . . . there is a coherence in things, a stability; something, she meant, is immune from change, and shines out (she glanced at the window with its ripple of reflected lights) in the face of the flowing, the fleeting, the spectral, like a ruby; so that again tonight she had the feeling she had had once today already, of peace, of rest. Of such moments, she thought, the thing is made that remains forever after.” ( )
  Castlelass | Oct 30, 2022 |
Pues qué quieren que les diga. Al terminar este libro he leído algunas reseñas y comentarios y resulta que debería considerarlo una obra maestra del siglo pasado. Yo me he aburrido a ratos. Me ha gustado, y mucho, la parte central, la más breve, donde Woolf utiliza la casa vacía y abandonada para mostrarnos el paso del tiempo (de hecho,esa parte se llama "Pasa el tiempo") mediante la visión de la casa cerrada y donde no pasa nada, o casi nada. Antes, una larga primera parte centrada en el ajetreo de esa misma casa, propiedad del matrimonio Ramsay y a la que han traído a sus varios hijos y algunos amigos (que se confunden entre sí, imagino que de manera plenamente querida por la autora), en una tarde en que planean una excursión martítima al faro que se ve en la lejanía, excursión que no podrá celebarase por el mal tiempo. En la última parte, diez años después, lo que queda de aquella reunión vuelve a la casa (algunos han muerto, otros simplemente ya no aparecen) y se realiza la famosa travesía. Ahora la protagonista, en el sentido de que es la que parece estar en el centro de la narración, es una amiga pintora que en su momento no llegó ni siquiera a esbozar el cuadro que tenía previsto y que ahora también quiere terminarlo

Todo esto da pie a Woolf para reflexionar sobre el paso del tiempo, es verdad, pero también para hurgar en los pensamientos y sensaciones de sus personajes, al menos de los principales, siguiendo la estela de Proust y Joyce. E, imagino, muchos de los elementos deben ser considerados simbólicos: la casa, el lienzo, el faro, etc. Esto ya aparecía en "La señora Dalloway", pero creo que ahora Woolf está más acertada, al menos para mi gusto. Sin embargo, igualmente por momentos se me ha hecho pesada y demasiado oscura. Supongo que habrá quien piense que eso me pasa por ser varón, incapaz de entender los prodigiosos recovecos de la mente femenina ni su abrumadora sensibilidad ni su finura de análisis. Puede ser. A lo mejor, como al señor Ramsay, a uno le basta con que le compadezcan de vez en cuando. No sé. Lo que sí sé es que he tenido ratos de disfrute con esta novela, sobre todo (aunque no exclusivamente) en la segunda parte, pero también me han asaltado insistentes momentos de aburrimiento. Qué le vamos a hacer ( )
  caflores | Oct 22, 2022 |
How was it that, this time, everything in the book fell so completely into place? How could I have missed it - above all, the patterns, the artistry - the first time through? How could I have missed the resonance of Mr Ramsay's Tennyson quotation, coming as it does like a prophecy of the first world war? How could I not have grasped that the person painting and the one writing were in effect the same? ("Women can't write, women can't paint..." ) And the way time passes over everything like a cloud, and solid objects flicker and dissolve? And the way Lily's picture of Mrs Ramsay - incomplete, insufficient, doomed to be stuck in an attic - becomes, as she adds the one line that ties it all together at the end, the book we've just read?
hinzugefügt von davidcla | bearbeitenThe Guardian, Margaret Atwood (Sep 7, 2002)
"To the Lighthouse" has not the formal perfection, the cohesiveness, the intense vividness of characterization that belong to "Mrs. Dalloway." It has particles of failure in it. It is inferior to "Mrs. Dalloway" in the degree to which its aims are achieved; it is superior in the magnitude of the aims themselves. For in its portrayal of life that is less orderly, more complex and so much doomed to frustration, it strikes a more important note, and it gives us an interlude of vision that must stand at the head of all Virginia Woolf's work.

» Andere Autoren hinzufügen (55 möglich)

AutorennameRolleArt des AutorsWerk?Status
Woolf, VirginiaHauptautoralle Ausgabenbestätigt
Alfsen, MereteÜbersetzerCo-Autoreinige Ausgabenbestätigt
Öncül, Naciye AksekiCo-Autoreinige Ausgabenbestätigt
Bell, QuentinEinführungCo-Autoreinige Ausgabenbestätigt
Bertolucci, AttilioVorwortCo-Autoreinige Ausgabenbestätigt
Bradbury, NicolaEinführungCo-Autoreinige Ausgabenbestätigt
Bradshaw, DavidHerausgeberCo-Autoreinige Ausgabenbestätigt
Briggs, JuliaEinführungCo-Autoreinige Ausgabenbestätigt
Carabine, KeithHerausgeberCo-Autoreinige Ausgabenbestätigt
Celenza, GiuliaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Dop, Jo FiedeldijÜbersetzerCo-Autoreinige Ausgabenbestätigt
Drabble, MargaretHerausgeberCo-Autoreinige Ausgabenbestätigt
Dunmore, HelenEinführungCo-Autoreinige Ausgabenbestätigt
Fastrová, JarmilaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Fiedeldij Dop, JoÜbersetzerCo-Autoreinige Ausgabenbestätigt
Fischer, PaulUmschlagillustrationCo-Autoreinige Ausgabenbestätigt
Foa, MaryclareIllustratorCo-Autoreinige Ausgabenbestätigt
Fusini, NadiaCo-Autoreinige Ausgabenbestätigt
Hoare, D.M.EinführungCo-Autoreinige Ausgabenbestätigt
Hoffman, AliceEinführungCo-Autoreinige Ausgabenbestätigt
Holliday, TerenceEinführungCo-Autoreinige Ausgabenbestätigt
Kaila, KaiÜbersetzerCo-Autoreinige Ausgabenbestätigt
Kidman, NicoleErzählerCo-Autoreinige Ausgabenbestätigt
Lanoire, MauriceÜbersetzerCo-Autoreinige Ausgabenbestätigt
Law, PhyllidaErzählerCo-Autoreinige Ausgabenbestätigt
Lee, HermioneEinführungCo-Autoreinige Ausgabenbestätigt
Malago, Anna LauraÜbersetzerCo-Autoreinige Ausgabenbestätigt
Matar, HishamCo-Autoreinige Ausgabenbestätigt
Mathias, RobertUmschlaggestalterCo-Autoreinige Ausgabenbestätigt
McNichol, StellaHerausgeberCo-Autoreinige Ausgabenbestätigt
Munck, IngalisaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Nathan, MoniqueCo-Autoreinige Ausgabenbestätigt
Pellan, FrançoiseTraductionCo-Autoreinige Ausgabenbestätigt
Phelps, GilbertEinführungCo-Autoreinige Ausgabenbestätigt
Richards, CeriUmschlagillustrationCo-Autoreinige Ausgabenbestätigt
Ryall, AnikaVorwortCo-Autoreinige Ausgabenbestätigt
Stevenson, JulietErzählerCo-Autoreinige Ausgabenbestätigt
Valentí, HelenaÜbersetzerCo-Autoreinige Ausgabenbestätigt
Welty, EudoraEinführungCo-Autoreinige Ausgabenbestätigt
Zazo, Anna LuisaÜbersetzerCo-Autoreinige Ausgabenbestätigt
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Die Schicksale eines Familienclans vor und nach dem Ersten Weltkrieg (Handlungsort: Hebriden) als Sinnbild menschlicher Existenz. (Neuübers.: K. Kersten)

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Zehn Jahre dauert es, bis die geplante Bootsfahrt zum Leuchtturm unternommen wird. Zehn Sommer, die die Familie Ramsay mit ihren Kindern und Gästen in einem Ferienhaus in Schottland verbringt. Die Zeit verändert Menschen und Verhältnisse, und die Fahrt findet unter ganz neuen Voraussetzungen statt.
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Durchschnitt: (3.88)
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3 Ausgaben dieses Buches wurden von Penguin Australia veröffentlicht.

Ausgaben: 0141183411, 0141194812, 0141198516

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2 Ausgaben dieses Buches wurden von Urban Romantics veröffentlicht.

Ausgaben: 1909175676, 190917548X


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