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The article is focused on the analysis of the aspects of intermediality in the novels "The Waves" and "To the Lighthouse" by Virginia Woolf within the context of the aesthetics of Impressionism. The interaction between two arts -- literature and painting -- is seen at micro- and macro levels of the texts that is the aim of the current scientific research. Macro-level expresses worldviews, paradigms, and philosophical approaches and concepts in the interpretation of the phenomena of the surrounding reality both of the characters and the author as the artists in narrow and wide meanings of this word. Micro-level is revealed by the using of painting techniques and pictorial markers while designing visual images, as well as the using of allusions of art movements. The author pays attention to the meaning of colors, light and shadow effects which create an additional semantic layer in the novel and have a symbolic meaning. Thus, the microsemantics connections are realized in the creation of the literary texts in accordance to the semantic dominant of the impressionistic aesthetics (painting themes and forms expressed with words, moreover with poetical tools). At the same time the interaction can be seen at the level of genre (landscapes and portrait made in the style of impressionists in the novel "The Waves" or cubists in the novel "To the Lighthouse"). The writer uses a lot of pictorial markers (canvas, touches, brushstrokes, names of colors etc.) that helps the reader to recognize the world of another art and is the material for thoroughly studying of literature criticism. [ABSTRACT FROM AUTHOR]

A literary criticism of the short story "Wireless," by Rudyard Kipling is presented. It outlines the characters and explores the symbolic significance of these characters. It examines the story's reliance on values associated with realism including social legibility, sympathetic community and authoritative knowledge. It explores the narrator's impressionist style of narration.

The article presents information about tribute given by Georg Lukács to his former teacher Georg Simmel. Lukács found that Simmel's wavering commitment to ideas is something, which is to be preserved. Lukács considered Simmel's work transitional and Simmel's writings contributed to the dissolution of idealist and positivist forms of thought and observation.

This essay discusses the impressionist remodeling of modernism around the turn of the nineteenth century by litterateurs Joseph Conrad and Ford Madox Hueffer. There has been a collaboration between Joseph Conrad and Hueffer, which has been otherwise neglected, between 1898 and 1908. It was during these years in which many of Conrad's most well-known works appeared. Hueffer says that it was through their collaboration that a shared "impressionist" aesthetic was evolved. According to Hueffer, impressionism is a reaction to the internal plight of modernity caused by urbanization and by the various technological and social changes that accompany it.

Virginia Woolf's experiments begin with Impressionism. But knowing Roger Fry's criticism of Impressionism as analyzing commonsense appearances but destroying design, she adopted Fry's dualist aesthetic. Paul Cézanne's "Post-Impressionism" constructed a geometry in Impressionism's sensible world, combining "vision" and "design." Literature's counterpart to the geometry of spatial relations were the temporal relations of Cambridge time philosophy. Contrary to a common assumption, Woolf adopted not Henri Bergson's philosophy but G. E. Moore and Bertrand Russell's realism. Time passes not as durée but as a series of still moments. Temporal relations connect moments as spatial ones unify Impressionism's atomized color, with the mathematical theory of continuity playing a crucial role. Woolf's literary impressionism developed through short story experiments, each a moment, an Impressionist canvas. Katherine Mansfield was the decisive influence yet exemplified Impressionism's limits. "The mere expression of things adequately and sensitively, is not enough," Woolf quotes Mansfield. As the painter transformed vision into design, Woolf turned story into novel via continuity of moments through "the interlude." According to this hypothesis, "The Window" and "The Lighthouse" in To the Lighthouse are short stories uncannily reminiscent of Mansfield's "Prelude" and "At the Bay." The interlude "Time Passes" transforms story into novel by relating past to future in a time-series, creating a post-impressionist "modern fiction." [ABSTRACT FROM AUTHOR]

This article investigates the factors that contributed to the spread of aphorisms among Viennese authors at the turn of the 20th century. Aphoristic forms and productivity in the period can be attributed to impression and epiphany. The impressionistic aspect of the aphorism serves the verbal component, the epiphanic aspect holds the disposition toward the anti-ornamental, the purposive, or the critical. Karl Kraus, Peter Altenberg and Hugo von Hofmannsthal exhibit these aspects in their aphorisms.

The article discusses Prague as a center of Austrian expressionism versus Vienna as a center of impressionism. There are contrast between Viennese aestheticism and Prague Leibnizianism. First, since the eighteenth century the Viennese have never ceased to venerate artists and actors as a substitute for political self-expression. By way of contrast, Prague cultivated from the 179O's to the 192O's a philosophy of cosmic harmony, also as a substitute for political achievement. Second, around 1890 Viennese writers refined aestheticism into impressionism, a world-view which refused to segregate reality from fantasy. The impressionists achieved unparalleled feats of introspection by exploring what is latent and what is manifest in society, in language, and in the mind.

The article presents a discussion related to Alain Robbe-Grillet's novel "Le Voyeur." Robbe-Grillet does not stand back as if merely to observe and record the inexorable processes of life operating on creatures who, once set in motion, move to their inevitable ends. Instead, he demonstrates, obtrusively, the movements and arbitrary powers of the authorial will. If the creatures are as they are, it is because the author has made them so, indeed, is making them so. If the environment is deterministic, it is because it has been carefully selected and arranged to that end. The effect of so clear a demonstration of the author's operations is to undermine the very concept of fatality. This intention is already evident in Robbe-Grillet's first novel, "Les Gommes," in which a striking passage uncovers the conflict between the authorial will and the will of the protagonist. Mathias, the protagonist of "Le Voyeur," escape into a neutral, geometrical world, a world of mathematical calculations, free from suggestiveness and affective distortion.

The article presents a discussion related to Johann Wolfgang Von Goethe's drama "Faust." As any survey of the secondary literature on Goethe's "Faust" will demonstrate, the understanding of the work and of the author's intentions has not increased linearly during the two centuries in which it has been subjected to critical exegesis. Even broadly based differentiations between successive stages in "Faust" criticism, cannot do justice to the vast range of individual interpretations that "Faust" has elicited since its publication. From the earliest days to the present, the judgments that have been passed on the work have ranged from relentless condemnation to unmitigated praise. Few aspects of "Faust" have led to such extreme clashes of opinion as has the author's treatment of religious themes. This is because the function of religion in "Faust" is intimately bound up with the vexed question of how the drama is to be understood. From the outset, two views have been heard on this subject, according to which "Faust" might either be a model of the striving individual or this alternative is virtually irreconcilable with the former standpoint, his career might be interpreted as a warning against presumption and excess.