How "To The Lighthouse" by Virginia Woolf emphasizes subjectivity as a core theme of modernist literature

Thus, the consciousness of the characters in the novel is blurred in everything that surrounds them.This strategy involves "double flexibility". [2]. Many simultaneous dimensions of time operate in the narrative (Mrs. Ramsay's moment with James, the unspecified time of her guessing about Lily's attractiveness, moments of the author's marking - for example, 'she said') and walks in space; sometimes watching Mrs. Ramsay, sometimes calling to William at the Lighthouse. In the passage quoted above, Mrs. Ramsay's initial comment is constantly interrupted by outward manifestations and thoughts: first the image of Banks and Lily, then the impression of the two characters left in her mind. By the time Mrs. Ramsay finishes her sentence ("Now let me measure your foot"), the reader is presented with a detailed insight into her memory, personal thoughts, and physical actions. ", here special attention is paid to the activity of her own thoughts. Time is a subjective process in both novels. The reader experiences it differently. Since both novels are associated with the representation of the mind, time is also embedded in the minds of the characters.[3]For Mrs. Ramsay in The Lighthouse, the ephemeral moments, if saturated with content, are just as important: For she knew he turned his head when she turned; he watches her. She knew what he was thinking, "You are more beautiful than ever." And she felt very beautiful. The words, feelings and thoughts of Mrs. Ramsey are filtered through third person narratives. This moment of direct or indirect speech lets the reader know what Mrs. Ramsay is thinking; without the usual author's notes ("however she" or "she said to herself"). "brilliance. Her subjectivity goes against Mr. Ramsay's objectivity. 4 Although each of them has their own moments of vision, Mrs. Ramsay always seems to be trying to make something lasting out of a moment. Woolf is constantly deploying various modes of indirect speech, most often a loose indirect style to slip in and out of a character's mind and accidentally give the reader a sense of multiple time periods, lapses of time that can be chronological, cyclical, mythical, subjective, etc. [5] Thus, characters' the flow of thoughts and their subjective comprehension of time, in fact the influence of a carefully researched narrative technique, in which Woolf is a prolific master.Thus, the following conclusions can be drawn.Thus, we see that the stream of consciousness is one of the most important principles of text construction for modernists. Having set a goal to create the illusion of reality, to make the reader believe in the vitality of what is happening, to immerse him in the atmosphere of the environment, Virginia Woolf built her works from the streams of consciousness and events, conveyed the world and people through the eyes of heroes, omitted obsessive authorial judgments, allowing, on the contrary, it is for the reader to judge for himself on the basis of what he knows. All this served to immerse the reader in the atmosphere of what is happening, in the state of the characters; this idea goes back to the impressionist painters, who also convey the atmosphere, sensations, emotions on their canvases, who saw the idea of art in fixing the transience of the environment, able to recreate a more unique moment.List of referencesOn the philosophical and ideological foundations of Woolf's impressionism, see: Hintikka J. The Long-est Philosophical Journey: Quest of Reality as a Common Theme in Bloomsbury // The British Tra-dition in 20th Century Pohilosophy. Proceedings of the 17th International Wittgenstein Sympo-sium. 14–21 August. Vienna, 1995, pp. 11–26.Gay, Peter, 'On not Psychoanalyzing Virginia Woolf', in The American Scholar, Vol. 71, no. 2 (Spring 2002), pp.71-75, [Stable URL: http://www.jstor.org/stable/41213293], accessed on 26 April 2015.Golding W. Lord of the Flies [Text] / W. Golding - New York: Penguin Group, 2006 -133 p.Suzanne Raitt, Virginia WoolfsTo the Lighthouse (London: Harvester Wheatsheaf, 1990), p. 68.Tim Armstrong, Themes in 20th Century Literature and Culture: Modernism (Cambridge: Polity, 2005), p. 91.Virginia Woolf, To the Lighthouse (London: Vintage, 1990), p. 24. All quotes from the novel will be taken from this edition and abbreviated as above.Woolf V. Mr. Bennet and Mrs. Brown // Woolf V. Mrs. Dalloway and Essays. Moscow, 1984. P. 285.Woolf V. Modern Fiction // Woolf V. Mrs. Dalloway and Essays. Moscow, 1984. P. 261.