Memory function in Virginia Woolfs To The Lighthouse essays

Memory function in Virginia Woolf's To The Lighthouse essays The mood of To the Lighthouse is one of nostalgia. The bulk of the novel (section I) takes place before World War I, before the death of Mrs. Ramsey, and before the end of childhood of the Ramsey children. The rest of the novel looks back on those moments of wholeness, innocence, and desire. The novel is heavily overlaid with a sense of memory. Each of the vivid moments of the first section has the feeling of memory in the sense that they seem to have acquired symbolic significance over the years so that they have formed vivid moments defining lives and relationships. Lilly Briscoe, the painter who stayed with the family at the summer home, is a character that focuses largely on her memory of the summer house and Mrs. Ramsey, especially when she returns years later to finish her painting. Lilly Briscoe illustrates the power of memory and symbolism in preserving someone who has passed away. The novel is written in three sections and each serves as a function of memory. The first part is where the memories are formed, the encoding of memory. In the second part a considerable amount of time passes and the memories are put away. The third part is the crucial stage of memory retrieval, when the memories are brought up in the minds of the people who return to the summer home. Part III, "The Lighthouse," resumes the story of the Ramseys, now without Mrs. Ramsey. In the first part of the novel, James Ramsey had asked to go to the lighthouse. His mother had said he could and his father had said he could not because the weather would be too rough to allow the boat to land. The novel ends with James achieving his desire and, along with his sister Cam, reconciling with his father. Part III is also a completion of the narration of Lily Briscoe painting a portrait of Mrs. Ramsey. In the absence of Mrs. Ramsey, she completes this portrait begun ten years ago. For all who return to the summer home the lighthouse is viewed as a symbol of...

Definition and Examples of Orthophemism

Definition and Examples of Orthophemism The term  orthophemism refers to a  direct or neutral expression that isnt sweet-sounding, evasive, or overly polite (like a  euphemism) or  harsh, blunt, or offensive (like  a  dysphemism). Also known as straight talk. The term orthophemism  was coined by Keith Allan and Kate Burridge in  Forbidden Words (2006). The word is derived from the Greek, proper, straight, normal plus speaking. Both euphemism and orthophemism  are typically polite, notes Keith Allen. They differ in that an orthophemism makes bald-on-record reference to a topic, where a euphemism distances a speaker from it through figurative language (Benchmark for Politeness in  Interdisciplinary Studies in Pragmatics, Culture and Society, 2016). Examples and Observations Orthophemisms are more formal and more direct (or literal) than euphemisms. Defecate, because it literally means  to shit, is an  orthophemism; poo is a euphemism, and shit is a dysphemism, the taboo word the others were created to avoid.(Melissa Mohr,  Holy Sh*t: A Brief History of Swearing. Oxford University Press,  2013) Orthophemisms and Euphemisms What is the difference between orthophemisms and euphemisms? . . . Both arise from conscious or unconscious self-censoring; they are used to avoid the speaker being embarrassed and/or ill thought of and, at the same time, to avoid embarrassing and/or offending the hearer or some third party. This coincides with the speaker being polite. Now to the difference between orthophemism and euphemism:Like euphemisms, dysphemisms are typically more colloquial and figurative than orthophemisms (but, for instance, to truthfully call someone fat is direct). (Keith Allan and Kate Burridge, Forbidden Words: Taboo and the Censoring of Language. Cambridge University Press, 2006) An orthophemism is typically more formal and more direct (or  literal) than the corresponding euphemism. A euphemism is typically more colloquial and figurative (or indirect) than the corresponding orthophemism. Words in Context As alternatives to offensive expressions, orthophemisms, like euphemisms, will typically be preferred as desirable or appropriate terms. Examples of all three kinds of language expressions would be pass away (typically a euphemism), snuff it (typically a dysphemism), and die (typically an orthophemism). However, these descriptions are problematic, since what determines them is a set of social attitudes or convention that may vary considerably between dialect groups and even between individual members of the same community.(Keith Allan and Kate Burridge, Forbidden Words. Cambridge University Press, 2006)   Calling a Spade a Spade Now, as you know, he said slowly, looking up at the ceiling, weve had a spot of trouble round here. First, there was the business on the circus field; next, the performance at the Pigeons; third, this spot of bother at Viccarys farm. Why dont you say murder? asked Keith. The inspector stopped looking at the ceiling and looked at my brother instead.I dont say murder because it isnt a nice word, he replied. But, if you prefer it, I can use it.I do prefer it.Like to call a spade a spade?Well, thats preferable to calling it the grave-diggers toothpick, said Keith.(Gladys Mitchell, The Rising of the Moon, Michael Joseph, 1945) The Lighter Side of Orthophemism Let us all point an accusing finger at Mr. Latour. Mr. Latour is an illiterate boor.He watches horse racing, instead of the sport of kings, when at the track,And to him first base is simply first base, instead of the initial sack.He eats alligator pear, instead of avocado;He says fan, or enthusiast, instead of aficionado. . . .He drinks his drinks in a saloon, instead of a tavern or grill,And pronounces know-how skill.He calls poor people poor, instead of underprivileged,Claiming that the English language is becoming overdrivileged.He says the English language ought to get out of the nursery and leave the toys room,So he goes to the bathroom, instead of the little boys room.(Ogden Nash, Long Time No See, Bye Now, 1949)