Comparing Virginia Woolfs To the Lighthouse and Kawabatas Snow Countr

Virginia Woolfs To the Lighthouse and Kawabatas play false Country Virginia Woolfs claim that plan is banished in modern fiction is a misleading tenet of Modernism. The speckle is not eliminated so much as mapped out onto a more local level, more or less obviously with the epic structural comparison in Ulysses. In To the Lighthouse, Woolfs strategy of indirect discourse borrows much from Impressionism in its geographic expedition of the ways painting can freeze a moment and see it timeless. In Kawabatas Snow Country, the story of Yoko and her family and its relationship to the rest of the novel corresponds with an point more modern medium, film, and its superimposition of contradictory image. Lily Briscoes metaphor stabilize the chaotic humankind around her, order them into a visible representation, and make them timeless. She sh bes these goals with the Impressionists, for whom moments of being (as Woolf calls them elsewhere) are also illuminations, matches struck unexpectedly in the dark (161). The instantaneity of this image, and its reliance on light, is crucial for To the Lighthouse through and through and through the single match Lily, and Woolf, light forest fires. Other parts of the narrative clarify and become resonant through specific moments of consciousness one characters thoughts feed into anothers, the narrative voice filters through everyone elses, and the reader sees, as Lily does, the X-ray photograph (91) of everyones desires and fears. The plot is compromised in these scenes, or in the throwaway line in Time Passes that parenthetically tells us that Mrs. Ramsay died last night. But just as this remark is framed by brackets, so does all(prenominal) moment of being frame something else, a large context the singular... ...raps the sounds around each other, showing that language, even at its most freeing, is still confining. But the image is enough, and through this the Milky Way creates an anti-gravity g uinea pig that lifts the characters out of their bodies The limitless depth of the Milky Way pulled his gaze up into it (165). It is in this non-Newtonian manner that Kawabata directs our attention to the plot outline of his novel. We may focusing on one moment, but it is infinitely refracted throughout the text, and at each moment we linger on the image, the reflected image, or the idea of the image the plot is always there, but not always the primary image. Works Cited Kawabata, Yasunari. Snow Country. Berkley Publishing Corporation New York, NY 1956. Woolf, Virginia. To the Lighthouse. Introduction by D.M. Hoare, Ph.D. London J.M. reproach and Sons Ltd., 1960