C Charbonnel

F Combes

R Samadi

B Foulon

A Levy

J D Anderson

T J Sumner

O Bertolami

P Gil

L Gurtvis

S Reynaud

G Métris

P Bério

R Bingham

O Olsen

Dittus, H. 11 10

P H Andersen

K Lämmerzahl

Rievers, B. 11 11

S Theil

S Bremer

SF2A 2008

The Einsteinian theory of gravitation, General Relativity (GR), is well verified at scales ranging up to the size of planetary orbits but it is challenged by larger-scale observations. In the Solar System, several anomalies have also been detected in the trajectories of some spacecraft: a small anomalous Doppler acceleration has been detected on Pioneer 10 and 11, and several spacecrafts have an unpredicted increment of velocity after their Earth flyby. Therefore, it is extremely interesting to test the gravity laws at interplanetary scales in the solar system.

In the frame of Cosmic Vision selection, the Fundamental Physic Advisory Group of ESA suggested to use an accelerometer, as presented in Odyssey mission proposal, on the future interplanetary mission, Laplace or Tandem mission, pre-selected by ESA, in order to achieve this scientific objective.

For such objective, an accelerometer without bias is mandatory in order to discriminate between conventional forces applied on the spacecraft and gravity forces, in the low-frequency domain. The Gravity Advanced Package takes advantage of mature technology developed at ONERA for ultra-sensitive accelerometry and a bias rejection system is added in order to obtain the performance in the expected bandwidth.

Introduction

The Einsteinian theory of gravitation, General Relativity (GR), is well verified at scales ranging up to the size of planetary orbits but it is challenged by larger-scale observations. Gravitational anomalies are indeed observed in the rotation curves of galaxies and also in the relation between red-shifts and luminosities of supernovae. These anomalies (deviations between observed and expected behaviors) are interpreted as revealing the presence of dark components in the content of the Universe, but the observed anomalies can as well be consequences of modifications of GR at galactic or cosmic scales. Given the immense challenge posed by these large scale behaviors, it is important to explore any possible option. It is in particular extremely interesting to test the gravity laws at the largest possible distances, that is practically speaking at interplanetary scales in the solar system.

Odyssey [START_REF] Christophe | and the Solar System Odyssey team[END_REF]) was submitted by large international teams to ESA in response to the Cosmic Vision 2007 call, with the aim of testing gravity laws in the deep solar system, beyond the orbit of Saturn.

SF2A 2008

Though the proposal was not selected as dedicated mission, its scientific objectives were supported by the Fundamental Physics Advisory Group and a recommendation issued by ESA for embarking an accelerometer similar to that designed for Odyssey on-board one of the planetary missions selected LAPLACE or TANDEM.

The two missions have their main objectives devoted respectively to the systems of Jupiter and Saturn. They will explore heliocentric distances up to 5 AU and 9 AU respectively. Their trajectories will take benefit of several gravity assists at Earth and other planets. Embarking an accelerometer on-board one of these planetary missions would allow one to meet some of the objectives of the Odyssey project without waiting for a dedicated mission: the solar system gravity test and flyby investigation.

Scientific Objectives

2.1 The solar system gravity test Such a test has been performed by Pioneer 10/11 probes during the extended missions decided by NASA after their primary planetary objectives had been met. This largest scaled test of gravity ever performed has failed to reproduce the expected variation of the gravity force with distance due to the presence of a small anomalous Doppler acceleration (time derivative of the Doppler velocity). This deviation from the predictions of GR can be interpreted as an unexpected Sunward acceleration with a nearly constant magnitude of 0.87 ± 0.13 nm/s 2 for probes beyond the orbit of Saturn. This signal has become known as the "Pioneer Anomaly" (Anderson et al. 2002) and has been confirmed by independent analysis of the Doppler data [START_REF] Levy | SF2A Conference[END_REF]. Although the most obvious explanation would be a systematic effect, the extensive analysis performed by J. Anderson et al at JPL did not support any of the numerous mechanisms which were considered (Anderson et al. 2002). Investigations have been initiated for confronting the Pioneer data with other gravity tests in the solar system as well as analyzing the potential significance of the anomaly for fundamental physics, solar system physics or astrophysics (Jaekel & Reynaud 2006;Brownstein & Moffat 2006;[START_REF] Bertolami | [END_REF].

Modern planetary probes are navigated with radio-metric tracking (Doppler and range measurements) as the main tool for producing precise orbit determination and prediction. The accelerometer of the Gravity Advanced Package provides the navigators with a direct measurement of non-gravitational forces, thereby eliminating the uncertainties in the models currently used to deal with these forces, and then leading to a better accuracy and reliability in orbit reconstruction. It represents a major improvement with respect to the navigation in the solar system and solve interpretation ambiguity on the nature of the results in an immediate manner. It also allows one to perform measurements at earlier phases of the mission, when the solar effects are still much larger than the looked for accelerations.

In the GAP experience, the resolution havs been fixed at a value of 0.05 nm/s 2 that is 5% of the recorded Pioneer anomaly.

The flyby investigation

In most recent missions using Earth gravity assistance (EGA), NASA [START_REF] Antreasian | Astrodynamics Specialist Conference[END_REF] and ESA [START_REF] Morley | [END_REF] navigation teams have noticed that the spacecraft possesses after the fly-by a velocity larger than calculated from the precisely measured initial conditions and the known properties of the Earth gravity field. The anomalous additional velocities ∆V corresponding to this "flyby anomaly" reach values up to 13 mm/s for the first EGA of the NEAR probe. The various systematic effects which could spoil the effect (the gravity field of the Earth, atmospheric drag, charging and Earth tides, etc) have to be studied in a careful manner, but are thought (Lammerzahl et al. 2008) to result in uncertainties well below the measured ∆V. Very recently, an empirical formula has been proposed which relates the anomaly to a planet-dependent constant and to the incoming and outgoing geocentric latitudes of the asymptotic spacecraft motion (Anderson et al. 2008). This formula can now be used to predict the magnitude of the anomaly. Another important objective is to compare gravity assists at Earth and other planets in order to correlate their constants with the physical properties of the planets.

With the accelerometer on board, the non gravitational acceleration will be measured during the whole flyby, including the typical DSN black-out period. It will enable an unambiguous characterization of the nature of the fly-by anomalies, and either confirm the presence of the anomaly or solve the discrepancy, then leading to a significant improvement of our capabilities in trajectory prediction and navigation. The velocity increment ∆V will be measured by the radio-tracking system before and after the fly-by with a precision of 10 µm/s, which is less than 1% of the typical anomalous ∆V registered in the presently available analysis.

µSTAR accelerometer description

The Gravity Advanced Package is light-weight, small, and has low power consumption (3kg, 3l, 3W, including the bias compensation mechanism and the interfaces). Its core is an accelerometer benefiting from the Onera design heritage that was successfully used in many recent space experiments CHAMP, GRACE and GOCE [START_REF] Touboul | Proceedings of 49th International Astronautical Congress[END_REF]). The main challenges are the development of the bias calibration system and the integration of the package in the spacecraft.

Accelerometer Sensor

Three axis electrostatic accelerometers developed at ONERA are based on the electrostatic levitation of the instrument inertial mass with almost no mechanical contact with the instrument frame. Measurements of the electrostatic forces and torques, which result from the six servo-loops necessary to maintain the mass motionless with respect to the sensor cage, provide the six outputs of the accelerometer. The relative motion of the proofmass (6 degrees of freedom) is in fact finely measured by capacitive sensors with respect to the sensor silica core selected for its very high geometric stability. Whatever is along the orbit the charged particles radiation, the electrical potential of the mass is maintained at a constant level to linearize the actuators. The control of the proof-mass is performed by low consumption analogue functions. The outputs of the accelerometer, which are the applied voltages on the electrodes to control the proof-mass, are sent to an Interface Control Unit.

The bias rejection system is similar to rotating stage existing on the shelf, but optimized in order to reduce the mass and the consumption. This system consists of a flip mechanism to create a ±180 • rotation of the accelerometer sensitive axes with respect to the satellite ones at regularly spaced times. As a consequence, the resulting modulation of the measured accelerations projected on the instrument sensitive axes allows to distinguish the applied acceleration on the satellite from the accelerometer bias, the latter staying at DC while the first is transposed at the modulation frequency.

Instrument Performance

The total error budget of the instrument package includes the following main limitation sources:

Accelerometer noise: Taking advantage of the previous instrument development and models, the instrument characteristics can be evaluated on the basis of the selected configuration for the sensor core and the electronics functions. Over one day, the integrated noise, along one sensitive axis considering a thermal stability of 1 • C/Hz 1/2 at 0.01 mHz is 0.01 nm/s 2 rms. In this configuration, the accelerometer full range is 20 µm/s 2 .

Misalignment of accelerometer axes:

The misalignments of the accelerometer axes with respect to the ones of the spacecraft, given by the star tracker lead to errors proportional to the maximal non-gravitational acceleration applied on the spacecraft. Considering a one ton spacecraft, with a 30 m 2 surface of solar panel, the impact of misalignment is less than 0.01 nm/s 2 at 2 AU, with a requirement of misalignment less than 0.2 mrad.

Error of bias rejection: The error of the bias evaluation and rejection comes from the non perfect rotation of the instrument with respect to the considered one in the processing, the post-processing limitation, the evolution of the bias and non-gravitational acceleration during the processing period and the effect of the external acceleration signals at harmonics of the flip frequency. The total error due to the bias rejection system and the post-processing should be less than 0.02 nm/s 2 .

Coupling with spacecraft angular motion: As the sensitive centre of the accelerometer (centre of gravity of the proof-mass) will not be perfectly co-localized with the centre of gravity of the spacecraft, a coupling term with the angular motion of the spacecraft will perturb the linear acceleration measurement. This term could be corrected according to the knowledge of the relative position of the accelerometer with respect to the centre of gravity of the spacecraft and to the estimate of the angular motion of the spacecraft from SF2A 2008 the star tracker quaternions. Requirement on the residue of this term evaluation has been considered to be 0.04 nm/s 2 . Considering a decentring of the accelerometer of 0.5 m, known with 1 cm accuracy, a star tracker accuracy of 10 arcs, the attitude control of the spacecraft should be better than 0.15 • from DC to 0.1 mHz.

Spacecraft self-gravity: All the masses around the accelerometer will attract the proof-mass and creates a parasitic acceleration, the satellite self-gravity: this acceleration cannot be rejected by the rejection system as its direction is linked to the spacecraft and not to the accelerometer. This contributor shall be less than 0.01 nm/s 2 . If too large, it can be estimated according to the satellite design but nevertheless has to be limited either by a good symmetric architecture or by a good knowledge of the steady mass repartition of the components around the accelerometer in order to reduce the estimation residue.

A supplementary 0.01 nm/s 2 error is added for all other error sources, not detailed here above.

Conclusions

It has to be emphasized that the presence of the accelerometer on-board not only enables fundamental physics objectives to be met, but also constitutes an invaluable complement to the planetary mission in terms of navigation as well as knowledge of the gravity field and environment of the visited planets and moons. After a more detailed study with specialists of these scientific questions, this can be used to increase the scientific return for some solar system physics objectives. First, the accurate measurements of the surface forces during the cruise phase can be translated into an improved knowledge of solar system environment. The same conclusion holds for measurements in the vicinity of the planet or its moons. Then the improved reconstruction of the orbits around the planet, thanks to the presence of an accurate accelerometer on board, should result in a determination of the gravity field of the planet or its moons (like in Earth gravity mission CHAMP [START_REF] Touboul | Proceedings of 49th International Astronautical Congress[END_REF]), with potentially new information of major interest for the study of these bodies.


domain: shs shs

text:
Professor Salah Bouregbi Badji
email: salah.bouregbi@univ-annaba.dz

Identity (Re)Construction and Cultural Tensions in Leila Aboulela's Minaret: Fixity, Flexibility, Variability

Keywords: Minaret, Leila Aboulela, Postcolonialism Discourse, Identity Reconstruction

Leila Aboulela's novel Minaret is a kind of recovery and discovery of identity in a space different from that of the rootthe homeland. For Aboulela, identity is not ever fixed and stable, it, rather, metamorphoses and transmutes under the effect of new spaces. The challenge, the Minaret's characters have, is dialogically related to the external circumstances that undermine their choices. Najwa, the protagonist of the novel, experiences bouts of negative reactions that push her to live in reclusion. Having chosen to wear the veil (Hidjab), in a society, which demonizes it and considers it as regressive, she has found a way out and become her own.

Introduction

In this global Western culture, Immigrant writers try to challenge the uniqueness of Western discourse by abrogating and appropriating the colonizer's language and challenging the centrality of discourse within their novels. Leila Aboulela's Minaret is a good example of such appropriation. This modest article tries to delve within the novel and see the extent to which Aboulela succeeds to establish this new mode of expression and the manner she decenters the center and uses a new discourse, which recreates an identity that harmonizes between the relics of the old and the ingredients of the new.

Postcolonialism: Between Race and Culture

Adoption of the colonizer's language has become an alternative, which allows the post-colonial writers to escape the hegemony of Eurocentrism and "authenticate" the language use by centering the margin and marginalizing the center. In the words of Ashcroft et al.:

[The] notions of centrality and the "authentic" were themselves necessarily questioned, challenged, and finally abrogated.… Cultural practices can return to some "pure" and unsullied cultural condition, and that such practices themselves, such as the use of vernacular terms or grammatical forms in English literature, can embody such an authenticity. (Ashcroft, Griffiths & Tiffin, 2002, p. 40) Establishing a new discourse, different from the metropolitan language, is revisiting the language and reshuffling it so that it fits what the postcolonial writer wants to communicate. This new language practice is "alimented" with the postcolonial life, its culture and everyday experiences. Subsequently, the language gets a new discourse and becomes the center and marginalizes its metropolitan use and practice. In the words of Ashcroft et al.:

In writing out of the condition of "Otherness," postcolonial texts assert the complex of intersecting "peripheries" as the actual substance of experience. But the struggle which this assertion entailsthe "re-placement" of the post-colonial textis focused in their attempt to control the processes of writing. (Ashcroft, Griffiths & Tiffin, 2002, p. 77) Such process of controlling the text's artistry is a tool and a potential power to subvert the over dominating discourse imposed by the cultural predicament of the colonizer.

The acts of abrogating and appropriating the language of the center are in themselves revalorizing it and gauging it through a new cultural referent and new linguistic embedment. Writers restructure, or transplant, the diversity of culture and ethnic and domesticate it. In a way, they hybridize it. It is an original, yet, it is not. It fuses both the "I" and the "Other", "the Colonizer" and "the Colonized," "the Eurocentric" and the "Eurocentred," "the Subject" and the "Object". So, language dimension has extended beyond its cultural cradle and linguistic formulation. Such transformation has specified the language of the colonizer to the colonized writers. It is adapted to represent more the cultural bath of the marginalized than the center.

The subversion of imperial language is a way to decolonize the mind of the colonized and conceptualize a new discourse for the colonizer, which makes the European reader understand, through his language, the specificities of otherness, which are natural and made different because of race, belief and mode of being. That is, there is a variety of cultures in the world, and no culture is ever disposed to degrade the other. In this context, the critic Terry Eagleton (1980) points out that:

The Other is what allows me to address myself to it by evading me; I speak from where I am not, from the place of the Other (the entire network of significations) that-most obviously in the verbal slip. (p. 156) Eagleton extends further claiming that the ideology forces language to serve the writer. It, thus, becomes a tool of propaganda of the center more than a tool that tries to be too near to the "reality" of the colonized. He writes:

If ideology lays claim to an oppressive plentitude of meaning, then textuality is at hand to reveal its hidden places of "castration"; if ideology assumes a secure hierarchy of meanings, organized around some privileged set of transcendental signifiers that close it upon itself, then textuality will show how one signifier merely displaces, redoubles, and stands in for another in a potentially infinite chain that can be arrested only by violence. (Eagleton, 1980, p. 149) In the same vein, Arif Dirlikpp acknowledges that there is a strong trace, or clerics, of the post colonial in the other's text. He writes:

The generalization of the postcolonial has resulted also in the generalization of the problematics of ethnicity and race above all other questions. The meaning and politics of postcoloniality have been transformed as postcolonial criticism has suppressed important elements that earlier structured the concept of the postcolonial. (Dirlikpp, 2001, p. 9)

Literature and the Representation of the "Other"

Literature is a space where realities, of both the subject and the object, the "I" and the "Other," are, directly or indirectly, revealed. Out of the fabrics of the literary constituencies, the reader can imagine and re-imagine, guess and perceive, interpret and conceive the meaning, or meanings, the text folds within its entrails. Voices at the center and voices at the margin can be heard. The reader has only to listen to them. He could restore the senses and sensibilities of characters, who populate the text, and investigate their insights, which are quelled by the dominating voice of the subjectthe Eurocentric "I". Such signification could be known through the elusive suggestiveness of words the other utters, and the manner he behaves, or made to behave, by the subject, the European. Kerstin W. [START_REF] Shands | Neither East Nor West: From Orientalism to Postcoloniality[END_REF] states that:

[Postcolonial literature] enables us to listen to and participate in a cross-cultural and multi-voiced dialogue. Introducing new aesthetic norms and modes of appraisal and challenging notions of English exclusiveness, postcolonial writers are laying bare submerged histories, bringing minority interests and ethnic diversities to the forefront, and reconfiguring cultural forms and ways of life previously relegated to the periphery. (p. 13) Though literature is the product of the author's self and identity, it is, nonetheless, bathed within the culture of this author. It literaturizes culture and encodes its specificity as diverse, authentic to itself, referential to its place and time. Øyunn Hestetun (2008) claims that:

The stories of others may offer evidence of the ways in which weas humansconstruct our world through our narratives, our stories, our fictions. Narrative constitutes, in other words, in itself a way in which humans make sense of the world and the human condition. (pp. [45][46] The Orient, the other, is seen through the Eurocentric eye as a place of mystery, fantasy, extavegence and exoticism. It is highly exaggerated and romanticized as a place of uncommon cultural traditions. But beyond such illusion, it is seen as regressive and naturally "savage" and needs to be civilized. Kerstin W. [START_REF] Shands | Neither East Nor West: From Orientalism to Postcoloniality[END_REF] points out that:

Even though some orientalist accounts were admiring and even romanticizing, the orient was usually described as less developed, civilized, and rational, as a negative mirror image reflecting the self-described positivities of the occident. (p.

6)

Andrew Gibson explains further such subversive judgement the "I"/the Logo-European when attempting any explanation of the Other's literary production. He points out "the oddity and the incompatibility, from one cultural perspective, of value-systems that are apparently congruent enough from another" (1999, p. 198).

Such dichotomized inequality makes the East backward and regressive and the West civilized and progressive. Thus, the East cannot remain as such. It rather needs help and education by the West. In other words, the West is the mirror of civilization and the referent that gauges the extent to which the East is civilized. Such binary opposition features the literature of the West and makes it a reference to the other, who is made to ignore his race and civilization. Edward [START_REF] Said | Vintage Books Edition[END_REF] claims that:

The Orient is not only adjacent to Europe; it is also the place of Europe's greatest and richest and oldest colonies, the source of its civilizations and languages, its cultural contestant, and one of its deepest and most recurring images of the Other. (p. [START_REF] Abdullah | Minaret: Islam and Feminism at Crossroads[END_REF] This style of thought, or artistic representation, is a kind of discourse made by the West to create, through European culture/referent, an Orient thoroughly different from them and, yet, he replies colonization for the sake of culture and civilization. But what is paradoxical with this logocentric view of the West is that they do not consider themselves as others, who are geographically and culturally different from other peoples. [START_REF] Said | Vintage Books Edition[END_REF] maintains that: "As much as the West itself, the Orient is an idea that has a history and a tradition of thought, imagery, and vocabulary that have given it reality and presence in and for the West." (p. [START_REF] Ameri | Sacred Spaces in Contemporary English Literature: Muslim Contributions[END_REF] So, diversity in/of artistic representation is dialogically related to the diversity of culture and linguistic practices. Therefore, the constituents of identity, as race, ethnic, dress, belief, moral values, etc., have become parameters to gauge and assess the postcolonial writer's artistic production.

Leila Aboulela and the Dilemma of Representation in Minaret

In Minaret, Lelia Aboulila seems to reproduce some of her insights that represent her past events and reminiscences that have been haunting her all along her life. She was not satisfied with the life she spent in Sudan, where everything was mapped up and where any objection or rejection seemed to be a transgression to the already established rules of patriarchy. Right at the first pages of the novel, she draws our attention to the restricted life in Sudan, her birthplace. She suggestively writes: "I've come down in the world. I've slid to a place where the ceiling is low and there isn't much room to move." (2005, p. 7)

Aboulela is much concerned with culture and belief in her novels, mainly Minaret. She provides us with a dexterous plot of her major thematic concern, Islam, in two different geographies she lived in: Sudan and Britain. The same as herself, her characters are parted between two driving forces: one that keeps them to the first space and location of Sudan, and the other that urges them to adopt, or adapt, their culture in Britain. Hasan [START_REF] Majed | Islam and Muslim Identities in Four Contemporary British Novels[END_REF]

points out that

Muslims are always asked to be more western which means, undoubtedly, to be more modern, more civilized and much better human beings. Yet it seems that for some western people it is impossible for Muslims to be accepted as western even if Muslims want to be so. (p. 64)

The characters of Minaret live under the constraints of two different geographical spaces. The former instructs and dictates; the latter seduces and induces for change. The critic Cristina Riaño Alonso (2017) states that: Aboulela's diasporic characters have to confront alienation, but on the other, they are asked to be grateful, to accept the treatment that is given to them and surrender to the system of new spacesand social structuresthey inhabit. (p. 57) Speaking about the novel, Susan Taha Al-Karawi (2014) maintains that:

In [Minaret], Leila Aboulela provides a contrast to dominant Western discourses on Islam regarding Arab women's experiences and identities. The novel depicts a sympathetic view of immigrant Muslim communities and Islamic lifestyles through illustrations of the veil and Islam and how the female protagonist, Najwa, goes through stages and transitions characteristic of liminality in order to achieve a hybrid identity that is modern in Western terms, but firmly Muslim through the wearing of the veil. (p. 256)

The novel reports the life of some protagonists, who are mainly from Muslim world and who are trying to assimilate to the culture of the new geography they live in. It foregrounds differences and difficulties and points out the sense of metamorphoses and changes. Most of the characters of the novel have become what they were not. In the words of Youcef Awad, the plot of Minaret centers on "a displaced Arab woman who either chooses to live in Britain in order to pursue higher education and work or is forced to live in Britain as a (self) exile or refugee. The protagonist is cut off from her country of origin for most of the narrative." (2011, p. 42)

The third space that seems to be a niche for immigrants is only a means to dissociate themselves from both the first and the second spaces: the old and the new. But can it be possible to be both and hyphenise two differing cultures? How can one possess the new geographical space and claim it to be his? How can one keep his space's tradition within this new space, which is, in most of the time, different from his own and attest that his is assimilated? How can one fashion an identity out of the relics of the old and the ingredients of the new? Furthermore, is it possible and manageable for mature individuals, whose identities have been already mapped up by their source cultures? In other words, the third space, of H. Bhabha, is only a mirage on parched sand: a space that only exists in art or in one's imagination. The artist finds refuge in the world he creates for himself and by himself. The hyphenated identity, that Awad (2011, p. 41) refers to, is only a myth, because the hyphenated individual becomes either intradividual, or a selfless person: either he belongs to himself and, thus, reverts from society, or he belongs to both cultures, but not to himself. This idea of appartedness or / and in-betweenness is pointed out by Aboulela herself in her interview of 2018. Aboulela seems to tell us that she fails to accommodate with both Arabic dialects of her mother and father: she is neither her mother the Egyptian, nor her father, the Sudanese. She, rather, finds herself at ease in English language. She says: I, however, couldn't and so I often spoke as little as possible. What aggravated the problem also was that I "felt" Sudanese and yet my speech was not reflecting that. Among Egyptians, I felt like a fraud, passing as one of them but being an outsider. I think that this was one of the reasons why I gravitated towards expressing myself in English. It was a third language, refreshingly free from the disloyalty of having to choose between my father and my mother's tongues. (Gabi-Williams, 2018, p. 2)

A closer reading of Aboulela's Minaret reveals that there is a paradox: there are two settings and spaces: one foregrounds the Islamic doctrine, the other legitimizes secularization. The first forbids the second; the second accepts the first but through adaptation and renunciation. How can it stand? Is Najwa really happy? Has she really accepted the first in the second, without renouncing? Agnieszka Stanecka points out such uneasiness and difficulty to decide mainly when the mind is mapped up by her culture. She says:

The state of insecurity and unstable emotional and financial situation make Najwa search for deeper and more meaningful things in her life. She recognized her identity as blurred, weak and disturbed. In the world of fast cars, determined, well educated women she felt abandoned and lonely. (Stanecka, 2018, p. 77) The event that happened to Najwa in the bus illustrates her uneasiness and difficulty to negotiate her integration: The critic Nesrin Koç maintains that "[Minaret] narrate[s] the painful state of displacement through foregrounding the binary opposition between the East and the West, to expose how postcolonial subjects longing for belonging negotiate British Muslim identity positions." (2014, p. 9)

The subaltern speaks but differently. He uses the same language of the Subject, but with a special discourse, which is, frequently, suggestive and reflects his identity. Leila Aboulela speaks out of the situation she has been made in both spaces, through language suggestiveness. Her novel, Minaret, reflects the dichotomy of two differing attitudes, which are the subsequent outcome of culture and lived experiences. Koç states that:

While in Sudan, she [Aboulela] was in a privileged position, thus avoided intriguing remarks about her identity; whereas while in the West, she finds herself in the position of the Orient, just because she is wearing the hijab. The centre freezes Aboulela's identity as the oppressed Oriental female; her westernized upbringing, university education in London hardly ever becomes visible to western eyes. (2014, p. 20) But what Koç seems to neglect, or, rather, underestimate, is Aboulela's identity in Sudan. Even if she is in her homeland, she is not herself: the ceiling is low and there isn't much room to move. She is theirs, but not herself. Sudan is a space of security for her, and, thus, she has to restrict herself to the social values and tradition of society. But being in Europe, Britain, Aboulela has become Leila, herself, without imposed restriction. She only follows personal conviction. In this way, she has, to a certain extent, synthesizes the old and the new. But has she succeeded to be almost free? Or is she more passive and remote due some value conventions imposed by secular society? Recreating one's homeland in this new geography makes the person face to face with the established conventions and orders of the British culture. Thus, being in the guest land, Aboulela is constrained to engage a relationship, which responds positively to the space she lives in. The migration to the new land is not an identity displacement as far as the moral background of the displaced is preserved. It is, rather, a relocation of one's identity in another space, whose background is different and has some recommendations to follow and conventions to obey. In other words, there could be a clash between both worlds. Two "divided and dislocated" worlds, whose "parts are not continuous or coherent with each other" (Spivak, 1988, p. 276). Speaking about the heroines of Aboulela novels in The translator and Minaret, Sara A. Al-Asmakh (2009) comments:

The heroines of both novels hold to religion in multicultural settings. The heroines are displaced in the land that they migrated to. They feel like strangers in an unfamiliar setting where both of them long for their native land, Sudan. As a result they both try to take advantage of the multicultural setting in Aberdeen and London. They go to the mosque and gather with minorities like them to create a sense of home. (pp. [START_REF] Abdullah | Minaret: Islam and Feminism at Crossroads[END_REF][START_REF] Aboulela | Minaret[END_REF] But this sense of home within the new home-space excludes them more if they don't adapt and rearrange it so that they integrate the conventions of Western society. Though Britain is an open space for all cultures, it, nonetheless, makes of these cultures "Others" within their own space. In the words of Al-Asmakh, there is a perpetual struggle to belong to the majority culture (2009, p. 2).

Creating a home within a home is, somehow, preserving one's origins and race and belief within another home, which is not similar to his, yet, accepts his reclusion in a diasporic world. Christiane Steckenbiller (2013) states that:

The dwelling space emerges as a heterogeneous, open, and fluid space that complicates traditional conceptualizations of the home. Home is never ideologically neutral. Closely linked to domesticity and frequently used interchangeably with the private sphere and the household, it is often envisioned as a place of rootedness and safety, the domain of the family and of intimacy. (pp. 38-

39)

Displacement begets either change in the immigrant's identity, by the adoption of some of the values and conventions of the new land, or reclusion within a free liberal space. People, who come from the ex-colonies, such as Sudan, are under two constraining choices: either they change or they do not. In both cases, they become uneasy and their identity reverberates. Koç points out that: "They [Immigrants] are now trying to define an identity position for themselves as exilic subjects located in the colonial centre." (Koç, 2014, pp. 6-7)

Home creates a sense of belonging; thus, its construction is basically cultural. The latter qualifies one's identity and existence. The sense of home, thus, is more than the external material construction. It is more inner and intrinsic. It is the extension of one's identity. Steckenbiller maintains that:

More than a mere physical structure, home is a highly complex concept that can refer to the actual living arrangements, the homeland, the nation, the attachment to a time and place, and the feeling of or longing for "being at home." (2013, p. 38)

The Veil as a Vehicle of Muslim Culture: Home Belonging Minaret is a novel of negotiation between two values of two spaces that are different in background and mode of life. Aboulela tries to gauge her origins against a referent, which is liberal and humanistic. Firouz Ameri (2017) maintains that:

Significantly, this depiction of the spiritual world of the Muslim characters is offered through the genre of the realist novel, a genre very familiar to western readers. Thus, [the text uses] a familiar vehicle to convey points about Islam that are different to those conveyed by more mainstream representations. (p. 4)

In the same vein, Susan Taha Al-Karawi (2014) claims that:

The veil speaks to the positive, negative, and in-between experiences that Muslim women confront in their continuous effort to shape their identities as modern and respectable women of faith. Whether she wears the veil or not, its presence or absence suggests a dense web of meanings that often change over time. To speak of the veil is to speak of security/insecurity, ambivalence/security, and struggle/comfort. (p. 256)

In this quote, Al-Karawi argues that the veil (hidjab), in this new space, is no longer imposed on women. The latter are free to act the way they want and according to their own convictions. Najwa's "freedom is associated with doing things that would have been prohibited or at least unacceptable back home" (Fouad Mazloum, 2015, p. 556). Najwa remembers well how it happened in Sudan:

It wouldn't be done in Khartoum for a woman to be alone in a restaurant. "I' m in London", I told myself, "I can do what I like, no one can see me". (Aboulela, 2005 , p. 128) But though Najwa is able to find a place for herself in the West through her own choices, "these choices are far more complex than the simple privileging of Western over Islamic values" (Fouad Mazloum, 2015, p. 559). Though this patriarchal culture is absent in effect, it is ever present in the mind. Najwa's decision to wear the veil is free and is under no pressure or restriction. Probably, she has assessed what she accumulates in her mind as souvenirs and learning of her homeland and decides, finally, that it is better to be veiled and show her need to integrate the new culture, which does not harm since individuals are all bound by some rules and norms that guarantee a peaceful social life in Britain. Fiddian-Qasmiyeh (2016) states that there is

An awareness of the heterogeneous perspectives on the migration-religion nexus, [which] permits a deeper understanding of the multiple ways in which age, generation and life stage influence, and are influenced by, migratory experiences and religious identity and identification alike. (p. 155)

But this peaceful social life is only a façade, which hides internally a kind of uneasiness and restlessness. Immigrants see themselves as others and a minority seen from afar by the Euro-logo-centric society. This is a kind of antagonism between accepting one's rootedness to religion, which is comfort and safety and becoming a source of subversion by the external world, which looks at them as regressive and even reactionary in a world, which seeks modernity and progress. In this quicker mutating society, authenticity is no longer a return to one's roots, but rather an embracement of this newness and its multiple services. In the words of Taha Al-Karawi (2014):

This religiosity cannot be truly liberatory because it is held hostage by what it perceives as a threat: …its conservatism, its rejection of existential freedom and political responsibility, and its unreflective (or desperate) embrace of an idealized past. (p. 316) Leila Aboulela's Minaret crystallizes the existing conflicts and challenges between cultures. Though antagonism is a necessary mechanism of change and/or readjustment that notify social dynamism, it, nonetheless, has some negative drawbacks that lie in the exclusion and reclusion of those who resist to its rules and laws. Ashraf Ibrahim Zidan (2016) points out that:

Minaret revolts against the racial stereotypes and the deep-rooted conventions about the concept of hijab and harem. The West thinks that both of these concepts mean invisibility and periphery. However, invisibility does not mean absence, but more freedom: Aboulela tries to correct these misconceptions and stereotypes. (p. 37)

In the first stance of the novel, Najwa, the protagonist, spent a kind of life different from that of London. In Sudan, she lived in a decent family, who belongs to the noble of Sudan; a family that possesses servants and gardeners. Najwa exclaims:

I used to take them for granted. I didn't know a lot about them -our succession of Ethiopian maids, houseboys, our gardener -but I must have been close to them, absorbing their ways, so that now, years later and in another continent, I am one of them. (Aboulela, 2005 , p. 129) In the words of [START_REF] Zidan | Islamic Feminism and Concept of Hijab: A Study of Leila Aboulela's Minaret[END_REF]: "[She] lives in a society where class distinction and good breeding are more important than efficiency." (p. 34)

The hijab (Islamic veil) is considered as an essential part of a chaste good woman in Sudan, mainly in noble families. And so, Najwa should show this engagement and applicability of the dress. But the hijab, that one is constrained to wear in Sudan, is different from the one that Najwa has in Britain: the former is obligatory; the latter is voluntary. Taha Al-Karawi (2014) points out that: Multicultural society and diversity in background could be a social good when there are some humanistic rules and norms that channel them. The culture of minorities should cope and embrace these new norms imposed by the unity of society. But does humanism succeed to link such differing cultures and make them unite? If yes, how can we explain the labels "minority," "otherness," and the like? Behind the façade of unity, there is a kind of antagonism and internal fear to lose one's culture within these humanistic principles. Losing one's culture and failing to be accepted by the dominating culture place the individual in an uncomfortable space: he is made to live under constraints to (re)contruct a third space, another world in this world. Thus, he excludes himself and lives in reclusion. Al-Asmakh (2009) claims that:

The cultural aspects that are presented define the characters and play a major role in their identity formation, and most importantly in their identity crises. Culture determines a person's affiliation to a certain geographical place, certain traditions and norms, and as well as determine certain behaviors. Culture proved to be a main component of one's identity and its loss is a reason for one's identity loss. (p. 4)

All characters of Minaret have metamorphosed. They have become what they were not. The displacement and geographical changes have made them look at the East through the West, mainly in approaching matters of belief, culture, tradition, norms and even ideologies. Even if some of the characters have stuck to some relics of their beliefs, they have done it through a Western eye, as the case of Anwar and Najwa. This double consciousness of being alienated from spaces, the new and the old, enhances characters to look for a niche and third space to secure them, as the case of Najwa, who has chosen the mosque. Najwa's double consciousness is very significant in this quote:

I wanted to pray in the same way that I wanted to sprout wings and fly. There was no point in yearning, was there? No point in stretching out. In my own way, in my own style, I was sliding. First my brother, and now it was my turn to come down in the world. (Aboulela, 2005 , p. 277) The critic Pankhuri [START_REF] Aggarwal | Questioning and Subversion of some Stereotypical Assumptions about the Muslim Veil/ Hijab: A Study of the Novel Minaret by Leila Aboulela[END_REF]

maintains that

In Najwa, Aboulela depicts an independent woman whose faith is not a matter of abstract dogma or empty rituals, but rather a struggle within, between the lures of an individualist consumer culture and the promise of a communitarian religious experience. (p. 1341)

The critic Nasrin Koç believes that Minaret is not an example of failure; it is, rather, an example of integration of the old within the new. She writes: Leila Aboulela's Minaret portrays how faith can be used as a power that eases the trauma of migration, and in fact provides the individual with the sense of belonging and rootedness in the host country, and hence facilitating integration. (Koç, 2014, p. 14) But what Koç seems to underestimate, or neglect, is that the characters have been given a restricted choice: either to accept this new space, or to remain an "other". It means to renounce their culture and respond positively to the exigencies of the majority. So, such integration is only a façade, which does, in no way, reflect the insights of these characters. The following quote explains better the uneasiness of Najwa to decide whether to renounce and integrate or to keep safe within religion in this new space: I never know which point of view I support. I find myself agreeing with whoever is speaking or with the one I like best. And I become anxious that someone's feelings will get hurt, or worse take serious offence, as sometimes happens, and stop coming to the mosque. (Aboulela, 2005 , p. 123) At the end, Najwa decides to stick to her religion. The mosque of Regent's streets is a lighthouse, which guides her and makes her decide over her life. She says: "We never get lost because we can see the minaret of the mosque and head home towards it." (Aboulela, 2005 , p. 319) The Veil and Selfhood: Veiling vs Invisibility All the characters of Minaret live in perpetual struggle. Such inner/outer conflicting state is very critical since it pushes them to decide upon what to follow and/or how to stick to one's identity and integrate the new world. No doubt, religion is the source of relief, easiness and comfort to characters, mainly Najwa, who suffers integration in the White-white culture.

Being perceived as regressive and hostile for the West, Muslims are seen as others even though they try to improve or "correct" their image for the European. Ashraf Ibrahim Zidan states that:

Being an Arab, you are not only deported, but suspected as well. The Arabs should forget their past and look into the future in order to live and coexist in Britain. (Zidan, 2016, p. 34) Najwa veiled herself voluntarily. For her, the veil is more than a religious symbol of piety. It is, rather, a means of protection from the negative look of the White-white culture. Veiling liberates her movement, mainly in streets and market places. It is a shield Najwa protects herself with against the modern civilization in Britain. This civilization could be harmful when it comes against her conviction as a Muslim. In other words, the veil secures Najwa's self and makes her comfortable. By wearing it, the external world looks at the dress rather than what is behind the dressthe body.

Najwa's traditional dress is a kind of self autonomy in a world, which is free, yet, conducted by secular rules that could deprive her of being herself. What is very paradoxical with Najwa is her position about the veil. At home when she was in Sudan, the place where the veil is imposed, she did not wear it, but being in Britain she has put it. In other words, she chooses to wear the veil in the absence of constraints. This shows that she wants it in a place, where it is frequently unwanted. In the words of Susan Taha Karawi:

Aboulela presents a devout Muslim woman as the protagonist, Najwa, who shows an ever-present awareness of her religious identity. In other words, she knows herself deeply as a Muslim and both consciously and unconsciously live as a Muslim. (2014, p. 258) Minaret is a pulpit for Imams (preachers) to give sermons and advice to Muslims in Mosques. In Britain, it has become, mainly for Najwa, a pulpit for freedom and free speech. In the former, she was a listener to what is said and what has to be done. In the latter, she has become an actor, who generates words of humanity and love, mainly with Muslim diaspora: She becomes participant with them and decides to work with them and for them: she works as a maid in immigrant household.

Najwa is wiser and mature enough compared to her boyfriend Anwar and her daughter Randa. Unlike Anwar and Randa, who are lost within the majority culture losing their own, Najwa has negotiated her state and, to a great extent, reconciled what she is with what she is needed to be. She is her own, yet, she has the sense of belonging to the majority culture. Anwar and Randa are very negative vis-à-vis their culture and have a negative view about the veil. They even claim that the source of regression of the Islamic world is the precepts of Islam. "How can a woman work dressed like that [With black Chador]?", (Aboulela, 2005 , p. 29) she asks Najwa. In the same context, Anwar condemns the veiled women and considers them as regressive and cannot embrace modernity. He says: "We have to go forward not back." [START_REF] Aboulela | Minaret[END_REF], p. 34) But Najwa looks at the veil otherwise. It is the symbol of one's culture and does not harm its holder: I remembered the girls in Khartoum University wearing hijab and those who covered their hair with White tobes. They never irritated me, did they? I tried to think back and I saw the rows of students praying, the boys in front and the girls at the back. At sunset I would sit and watch them praying. They held me still with their slow movements, the recitation of the Qur'an. I envied them something I didn't have but I didn't know what it was. I didn't have a name for it. Whenever I heard the azan in Khartoum, whenever I heard the Qur'an recited I would feel a bleakness in me and a depth and space would open up, hollow and numb. (Aboulela, 2005 , p. 134) The veil of Najwa is very significant. It makes a change in her life: I didn't look like myself. Something was removed, streamlined, restrained; something was deflated. And was this real me? (Aboulela, 2005, p. 245) She goes further wondering:

In the full-length mirror I was another version of myself, regal like my mother, almost mysterious. Perhaps this was attractive in itself, the skill of concealing rather than emphasizing, to restrain rather than to offer. (Aboulela, 2005 , p. 246) Najwa's contact and interaction with Muslim women at the Regent's Park Masjid (Mosque) make her re-discover the bounty of Islam. In the words of Abu Sufian: "As time goes, her love and allegiance to Islam increases. She finds peace and solace in her faith in God." (2014, p. 400)

Conclusion

Najwa, the protagonist of Leila Aboulela's novel Minaret, has clearly become what she was not. She has got a new identity, which is more inner, very spiritual and more transcendental. Whether demonized or marginalized by the Euro-centric majority in Britain, she manages to be herself trying to find out a way to her life, in the way she understands it. Aboulela starts her novel by "Bism Allah Ar-rahman, Ar-raheem" (In The Name of Allah, The Most Gracious and The Most Merciful). In the name of Allah she starts her story, and by confining herself to God, through pilgrimage to Mekka (Hadj), she ends it. Though her decision to go to Hadj seems, somehow, logical in the sense that she wants to cleanse the sins, she committed when experimenting dynamic life in Sudan and Britain, it seems that she has withdrawn from the feast of life and does no longer need to challenge the logocentrism of her new geography. What is also paradoxical is that she used to be served by Ethiopian in Sudan; now in Britain, she has become a house maid serving others: she serves the minority to which she belongs. Does this mean that she has succeeded to integrate the British society?

Remembrance of her father's home, Sudan, is a kind of reconsideration to her new home. The new can never displace the old: the skies do not change the soul. Her very last lines of the novel suggestively metaphorize the opening lines of the novel.

The novel explores spaces, moments and thoughts of minority characters. It also shows Najwa's commitment to her religion within a secular society, whose morality is moneytheistic backed up with rules and conventions, rather than faith and spirituality.

  Aboulela's work, in showing the rootedness of religion in the lives of many Muslim women, thus fills a gap in Western representations of Muslim women. (p. 256)

  Laughter from behind me... I hear footsteps come up behind me, see a blur of denim. He says, You Muslim scum', then the shock of cool liquid on my head and face. I gasp and taste it, Tizer. He goes back to his friendsthey are laughing. My chest hurts and I wipe my eyes.(Aboulela, 2005, p. 126)

Minaret. 1-25. amalalmalki.com/journal/wpcontent/uploads/2009/05/sara_analysis.pdf. 7. Ashcroft, B., Griffiths, G., & Tiffin, H. (2002). The Empire Writes Back: Theory and Practice in Post-Colonial Literatures. 2nd edition. London and New York: Routledge. 8. Awad, Y. (2011). Cartographies of Identities: Resistance, Diaspora, and Trans-cultural Dialogue in the Works of Arab British and Arab American Women Writers. A Thesis Submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities. 9. Bhabha, H. (1994). The Location of Culture. London & New York: Routledge. 10. Dirlikpp, A. (2001). Placing Edward Said: Space Time and the Travelling Theorist. In Ashcroft, B. & Kadhim, H. (Eds.), Edward Said and the Post-Colonial (pp. 01-29). New York: Nova Science Publishers, Inc. 11. Eagleton, T. (1980). Text, Ideology, Realism. In Said, E. W. (Ed.) Literature and Society (pp. 149-173). Baltimore, and London: The Johns Hopkins University Press. 12. Fiddian-Qasmiyeh, E. (2016). Inter-Generational Negotiations of Religious Identity, Belief and Practice: Child, Youth and Adult Perspectives from Three Cities. In Garnett, J. & Harris, A. (Eds.), Rescripting Religion in the City: Migration and Identity in the Modern Metropolis (pp. 154-165). New York: Routledge. 13. Fouad Mazloum, S. (2015). "Displaced" Muslim Women in Monica Ali's Brick Lane and Leila Aboulela's Minaret. International Journal of Humanities and Cultural Studies, 2(3), 546-568. 14. Gabi-Williams, O. (2018). Interview with Leila Aboulela. Borders, 1-13. 15. Gibson, A. (1999). Postmodernity, Ethics and the Novel: From Leavis to Levinas. London: Routledge. 16. Hassan El-Nour, E. A. (2017). Faith as Refuge: Female migration in Leila Aboulela's Novels. GCNU Journal, 8(2), 325-339. 17. Hestetun, Ø. (2008). Excursions into the Literary Territories of the Other. In Shands, K. W. (Ed.), Neither East Nor West: Postcolonial Essays on Literature, Culture and Religion (pp. 43-52). Stockholm: Södertörns högskola. 18. Koç, N. (2014). Representation of British Muslim Identities in Leila Aboulela's Minaret and Nadeem Aslam's Maps for Lost Lovers. A Thesis Submitted to the Graduate School of Social Sciences of Middle East Technical University for the Degree of Master in English Literature.


text:
Salah Bouregbi
email: salihbourg@yahoo.fr

Artistic Creation as a Mystical Transmutation in Virginia Woolf's To the Lighthouse

Keywords: Mysticism, Transmutation, Sensibility, transcendence, art and vision

This paper deals with the mystical experiences in Virginia Woolf's artistic creation. Woolf denies any form of modernism that cannot transcend reality. There are moments, where reality is never what it is but a visiona perspectivewhose meaning is beyond the graspable. Reality, thus, becomes un-realitya halo, and the artist becomes a contemplatora devotee to such visionary manifestation. Virginia Woolf does not make an exception to this rule. She is par excellence a mystic. The artistic design of her novels, mainly, To the Lighthouse, is of transcendental dimension. Both, Mrs Ramsay's and Lily Briscoe's perceptions of life are beyond the palpable: their selves merge within a process of sublimation comparable to that of mysticism. In other words, art (mainly fiction) becomes a process of change from the factual to the transmutable.

Introduction

The act of writing is an act of metamorphosis: an act of becoming another person. It is an on-going manifestation of the authorial authority through written form. But this activity is not always linguistic. It goes beyond words. There are moments, where reality is never what it is but a visiona perspectivewhose meaning is beyond the graspable, transcending to a world of never-never time and never-never space. Reality, thus, becomes un-realitya halo, and the artist becomes a contemplatora mystic. He becomes a devotee to such visionary manifestation. Virginia Woolf does not make an exception to this rule. She is par excellence a mystic. The artistic design of her novels, mainly, To the Lighthouse, is of a transcendental dimension.

Woolf leans more to mystical experiences in her artistic creation. She denies any form of modernism that cannot transcend reality and step beyond the earthly world in order to express the spiritual intensity of characters. "Literary modernism," Drobot maintains, "is known as a movement away from the conventions of the 19 th century realism and toward an aesthetic of self-conscious interiority." [START_REF] Adilee | Contremporary Reviews of Virginia Woolf's To the Lighthouse[END_REF] This interiority is an inner-eye, which is personal, silent but very contemplative.

Contemplation is a flicker of subliminal response to life, which makes the contemplator and the contemplated one thinga Unity. This unity is a kind of transmutation, which cannot be possible without the immanent power of the artist's inward visionthe inward eye. Words, which live in mind more than in dictionaries, are not an end in themselves, but a means of transmutation that enables the artist to unite the inner voices of/in the self. The body, itself, is equally a means, not an end: instincts and physical drives do not liberate the self; they chain it to the physical world and its envies, and prevent it to reach its essence and embrace oneness in Eternity.

Mysticism and Perceptual Vision of Woolf's Artistic Creation

Mysticism is understood by Richard King as "a process of sublimation, which carries the correspondences of the self with the universe up to higher levels than those on which our normal consciousness works." [START_REF] Apter | A Study of her Novels[END_REF] That is, man does not experience time as such, but as a sensation, motion, and change. "Time loses its meaning," admits the philosopher Tseng Jui-hua. "The past and the present merge together. The recreated universe then is an insubstantial oneness, its myriads of atoms disseminating like nebula but all connected together to form a unified whole. As for the speaker's sense of euphoria, it is in fact a mystic's ideal of mind." [START_REF] Banfield | The Phantom Table: Woolf, Fry, Russell and the Epistemology of Modernism[END_REF] In the same vein, Fan Grace, in his article, "Beyond Reason: The Certitude of the Mystics from Al-Hallaj to David R. Hawkins," maintains that: "Mystics throughout history have discussed the timeless state of ego dissolution, when all sees of a personal self dissolves into that which is Universal and Eternal." [START_REF] Barrett | Imagination in Theory -Essays on Writing and Culture[END_REF] The critic Ann Banfield notes the importance of sensation in conceiving reality and differentiates between what science formulates as realitya reality of matter and substanceto the sensations, which remain its evidence. He writes: Out of sight and beyond earshot lie then, perhaps, sights and sounds unseen and unheard [….] Precisely, because [the] universe is a plurality of occupied and unoccupied perspectives, the objects which fill it are always unresolved by someone. Separated from their owners in time and space, lost objects do not necessarily cease thereby to exist. [START_REF] Bennet | Virginia Woolf: Her Art as a Novelist[END_REF] Past experiences might themselves continue to exist somewhere inaccessible, but observable for us: there is no way to re-enter or re-observe them, except in mind. This state of mind is what the critic Evelyn Underhill calls the "apex" or "the spark of the soul," [START_REF] Bennis | Some Interpersonal Aspects of Self-Communication[END_REF] which marks the last stage of contemplation. "As humans," Rom Landau points out, "we can see only fragments of the whole. Moreover, we seldom penetrate beyond their surface." [START_REF] Blavasky | The Key to Theosophy[END_REF] But as mystics, we can get unity with the object we perceive.

This self-realization, as conceived beyond the earthly world, involves both the awareness of the self, as it currently exists, and its potential extension to selflessness. "For us the key of self-realization, to discover what the self can be is selflessness: we become our self only as we can get our self." [START_REF] Caramagno | The Flight of the Mind[END_REF] This selflessness is a characteristic mystic concept associated with the enlightened state. H. Fingarett points out:

It [selflessness]
does not mean the absence of a self in the psychoanalytic sense of that term, nor does it refer to the absence of the ego or of the self-representation, or to the loss of ability to distinguish "inner" and "outer" as in hallucination or estrangement…"Selflessness", being a tern in a "subjective" language, expresses the lack of conscious awareness of self. [START_REF] Chittick | The Sufi Path of Knowledge[END_REF] Such absence, or alienation from the real world, means that the individual is estranged from his real self, which "becomes a stranger, a feared and disturbed stranger." [START_REF] Climacus | Ladder to Divine Ascent[END_REF] Man's self, thus, is bound up with his conscious effort directed at his attempt to "get away" from the "Karma" of impressions, thoughts, emotions, and desires. "Such a desire for pleasure," according to the mystic philosopher Sadhu Santideva, "can be fulfilled only if one can find a final place in a state that is entirely free from pain and opposition of every description and is one of supreme bliss." [START_REF] Corner | Mysticism and Aestheticism in To the Lighthouse[END_REF] This is mystically called the charm after annihilation of the body: death of the body, or in a Sufi term: fana فناء( ). "They (Sufi) agree that in fana consciousness of the phenomenal world is lost; that fana leads to gradual unification with God; and that it involves a giving up of all personal desires, and resignation to the will of God." [START_REF] Drobot | Moments of Beings» in Virginia Woolf and Graham Swift[END_REF] In Moments of Being, Woolf describes a state of inebriation recalled from her past: "It is of lying and hearing this splash and seeing this light, and feeling, it is almost impossible that I should be there; of feeling the purest ecstasy I can conceive." [START_REF] Daco | Triomphes de la psychanalyse: Du traitement psychologique à l'équilibre de la personnalité[END_REF] The core of Woolf's mystic philosophy is clearly demonstrated in the following passage from Moments of Being:

From this I might call a philosophy; at any rate it is a constant idea of mine; that behind the cotton wool lies a pattern; that we -I mean all human beingsare connected with this one; that the whole world is a work of art; that we are parts of this work of art. Hamlet or a Beethoven quartet is the truth about this vast mass that we call the world. But there is no Shakespeare; certainly and emphatically there is no God; we are the words; we are the music; we are the things themselves. And I see this when I have a shock. [START_REF] Grace | Beyond Reason: The Certitude of the Mystics from Al-Hallaj to David R. Hawkins[END_REF] Given Woolf's description of her union with the whole world in a single pattern, where distinctions vanish, it will be argued here that what Woolf calls "a philosophy" or "a constant idea of mine" is, in fact, essentially mystical. The oblivion of "ideas, feelings or insights may be closely tied to their «unspeakability»; a key doctrine of mysticism is of course that neither the Infinite nor our sense of inebriation in it is expressible in words." [START_REF] Doyle | These Emotions of the Body»: Intercorporeal Narrative in To the Lighthouse[END_REF] The root of mystical experienceloss of self, merging with a greater unity, apprehension of numinousness, timelessness, transcendence, and intensified meaning -is recognizable in many of Woolf's novels and essays. Woolf terms her mystical experiences "moments of being." Such moments constitute true "reality" for her, a belief which she knows to be "irrational", but does not attempt to resolve it: "It is irrational, it will not stand argumentthat we are sealed vessels afloat upon what is convenient to call reality; at some moments, without reason, without an effort, the sealing matter cracks; in floods reality." [START_REF] Ferrer | To the Lighthouse[END_REF] These moments are characteristics of Woolf's writing. Drobot points out that: "The first characteristics of a mystical which are noticeable in Woolf are a noetic quality and passivity. The noetic quality allows characters to access moments of vision, during which they experience various revelations." [START_REF] Fingarett | The Ego and Mystic Selflessness[END_REF] As early as 1917, Woolf recorded having told to Clive Bell: "Every word has an aura. Poetry combines the different auras in a sequence." [START_REF] King | Orientalism and Religion: Postcolonialism Theory, Indian and Mystic East[END_REF] Life is "not a series of gig lamps symmetrically arranged," she wrote; "Life is a luminous halo, a semitransparent envelope surrounding us from the beginning of consciousness until its end." [START_REF] Landau | The Philosophy of Ibn Arabi[END_REF] When her intellect was scattered at social events, she felt herself "beginning to glitter and englobing people with a champagne mist. And then it fades away." [START_REF] Leadbreaker | The Charkas[END_REF] Human beings "show the light through. But what is the light?" she asked in her diary in March 1929. [START_REF] Lewis | Music of a Distant Drum[END_REF] As C. W. Leadbreaker explained in his 1927 book The Charkas (transcendence), each charka's vibratory level corresponds not only to a colour but to a tonal sound and to a set of vowels or consonants from the ancient Sanskrit alphabet. This correspondence sets up the possibility of translating tonal sound and colour and language into each other, providing a "rational explanation for the occurrence of synesthetic perception." [START_REF] Love | Worlds in Consciousness: Mythopoetic Thought in the Novels of Virginia Woolf[END_REF] From the Theosophists, too, such experiences constitute expanded ways of knowing, and take place under altered states of consciousness such as meditation, trance, or sleep, rather than on the physical plane. It is the out-of-body travel. Jui-Hua Tseng states that:

Not only do all these sensual images interweave into larger "states of mind", but the distinction between subject and object is blurred as well. Time loses its meaning. The past and the present merge together. The recreated universe then is an insubstantial oneness, its myriads of atoms disseminating like nebula but all connected together to form a unified whole. 23 16 Woolf, Moments of Being, 142. [START_REF] Fingarett | The Ego and Mystic Selflessness[END_REF] Drobot, "«Moments of Beings» in Virginia Woolf," 1470. [START_REF] King | Orientalism and Religion: Postcolonialism Theory, Indian and Mystic East[END_REF] Virginia Woolf, The Diary of Virginia Woolf (1915-1919) But later in 1926, Woolf began to entertain the idea of writing a work about a heroine whose consciousness was somehow not bounded by time:

Yet I am now and then haunted by some semi mystic very profound life of a woman, which shall all be told on one occasion; and time shall be utterly obliterated; future shall somehow blossom out of the past. One incidentsay the fall of a flowermight contain it. My theory being that the event practically does not existand time either. [START_REF] Miller | Mr Carmichael and Lily Briscoe: The Rhythm of Creativity in To the Lighthouse[END_REF] According to Hinduism/theosophy, the "aggregate of individual karma"those right and wrong actions carried out in an individual's past lives -"becomes that of the nation to which those individuals belong, and further… the sum of National Karma is that of the world." [START_REF] Poleskey | The Elusive Self: Psyche and Spirit in Virginia Woolf's Novels[END_REF] A very spiritually advanced individual may "redeem" the aggregative negative karma of a nation or even the world:

It is reserved for heroic souls to find out the cause of this unequal pressure of retributive Karma, and by a supreme effort to readjust the balance of power, and save the people from a moral engulfment a thousand times more disastrous and more permanently evil than the like physical catastrophe, in which you seem to see the only possible outlet for this accumulated misery. [START_REF] Santideva | [END_REF] Whether or not, all these allusions to Indian mystical practices are deliberate on Woolf's part. Her diaries and notes definitely reflect the shift in her attitude toward mysticism, which took place between 1927 and 1931. In a 1919 letter to Janet Case, she writes: "And then there's the whole question, which interested me, again too much for the books sake, I daresay, of the things one doesn't say; what affect does that have? And how far do our feelings take their colour from the drive underground." [START_REF] Stace | Mysticism and Philosophy[END_REF] Part of Woolf's own "mystical feelings" is associated with her bouts of mental illness: "I believe these illnesses are in my casehow shall I express it? -Partly mystical." [START_REF] Stauch | A Philosophy of Literary Criticism[END_REF] Contemporary research into manic depression claims that Woolf's particular mental disability is the cause of her mystical experiences. Thomans Caramagno explains that the manic stage of the illness is associated with "torrents of ideas and words connected by complex webs of associations", delusions, hallucinations, a heightened sense of the meaning of life, a sensation of [START_REF] Miller | Mr Carmichael and Lily Briscoe: The Rhythm of Creativity in To the Lighthouse[END_REF] Woolf, The Diary of Virginia Woolf, vol. III, 118. [START_REF] Poleskey | The Elusive Self: Psyche and Spirit in Virginia Woolf's Novels[END_REF] Edwin G. Blavasky, The Key to Theosophy, 1889, Abr. Joy Mills (Wheaton, Illinois: Theosophical, 1972), 122. [START_REF] Santideva | [END_REF] Ibidem, 124. [START_REF] Stace | Mysticism and Philosophy[END_REF] Virginia Woolf, The Letters of Virginia Woolf (1912-1922), vol. II (1976) eds. Nigel Nicolson and Joanne Trautmann (New York and London: A Harvest/HBL Book, 196, 1978), 400. [START_REF] Stauch | A Philosophy of Literary Criticism[END_REF] Woolf, The Diary of Virginia Woolf, vol. III, 287.

being able to "read one's environment, even auras and halos around things." [START_REF] Tseng | Walter Pater; the Stenphens and Virginia Woolf's Mysticism[END_REF] In the same vein, M. Barrett maintains that:

Psychoanalytically, Woolf's "moments of being" could be related to what Jung defined as the penetration of unconscious contents into the consciousness. Characters begin to daydream when they seem to lose contact with objective reality, and they seem to create their own world by means of perception. Unconscious contents play a significant part in shaping another dimension of reality. [START_REF] Underhill | Mysticism[END_REF] Woolf's encounter and challenge with the Bloomsbury Group and its aesthetics and her mystic inclinations enable her to pave the way for a sensibility of art, which has distinctive qualities and senses of the world. Living in an era where the conventionalism of artistic form is being replaced by new canons and values, Woolf sublimates worldly morality and beauty in a manner to that of Platonic metaphysical contemplation. Liberated from the external forms of words and language, she relies more on her "inner light" (inwardness) expressing it through prismatic colours, and pours forth, as a mystic does, "an abundance of archetypal images in plain language to a point where metaphor has transcended its normal function, and instead of merely indicating a point of resemblances between two differentiable entities, it has totally merged them." [START_REF] Woolf | To the Lighthouse[END_REF] Woolf establishes a certain knowledge of the world. Her soul is opened up to the spirits and the "inner light", but it is only through the act of writing, a form of contemplation proceeding through the powers of recollection and imagination deep in her soul, that she is able to penetrate to the core of life's wholeness. "It is only by putting it into words that I make it a whole," she said in Moments of Beings. [START_REF] Woolf | Moments of Beings: Unpublished Autobiographical Writings[END_REF] Writing, in other words, becomes a mystical transmutation for the writeran actualisation of her sensibility.

It was only in moments of writingmystically speaking moments of being that Woolf could liberate herself from all particular doctrines, intellectual limitations and psychological problems. For her, as Martin Corner points out, mysticism "is the renunciation of inappropriate expectations toward the nonhuman world; but it was also a condition of that purified perception which would reveal [START_REF] Tseng | Walter Pater; the Stenphens and Virginia Woolf's Mysticism[END_REF] Thomas C. Caramagno the world as ordinary and yet miraculous, as nonhuman in its otherness and yet beyond everything worth our attention." 33 Woolf combines the formal aesthetics of the Bloomsbury Group and mystical influences together. She maintains, thus, the equilibrium between what might be called intelligence and soul. Above all, she is a writer who keeps seeking the truth from within, and the representation of her truth comes only through art. Her knowledge or vision of the One (oneness) could only be reached through her highly poetic prose. It is precisely here that this "One", as prismatic colours of light, disintegrates into a multiplicity of inner voices and sense of impressions.

Aesthetics of Impersonality and Mystical Dimensions in "To the Lighthouse"

For Woolf, art does transcend life. And life is significant only in its functioning as part of the whole: that is art. Life, therefore, is not inherently valuable in itself. It derives its very significance from the fact that it is a constituent of art, the whole. In To the Lighthouse, both art and life are fused together to produce wholeness. Both Lily and Mrs Ramsay attempt to use their respective arts to "compose from […] fragments a perfect whole or read in the littered pieces the clear words of the truth." 34 Two selves experience a transmutation: they merge or blend their selves with the outer world. Ali HadiMulla Al-Adilee states that: "Mrs Ramsay is a rational mystic who works at reunion opposites and bringing together illogical fragments into an active unity. A Similar creative power is also included by Lily Briscoe, her spiritual heir. Lily is a rational Mystic, in addition to being a creative artist; she shares Mrs Ramsay's mystical energy toward unity." 35 The ground of Woolf's writing is the experiencing of the physical body in a spatiotemporal, kinetic field. The experience of "I", as a body in space in relation to other bodies (objects), is fundamental to Woolf's thinking on selfhood, selfrepresentation and art. "Lily's painting," J. Hillis Miller admits "is presented as rhythmical movement which seems to be sustained by an impersonal transcendent rhythm which is beyond her and in which she nevertheless participates." 36 So, Lily's art of painting and performance, in harmonizing between the artistic act and the rhythms of the body movement, and the physical world, is a translation of the body onto the canvas. In its mystical sense, it is the turning for the charm and transcendence. What is communicated with striking clarity, through Lily's performing experience, is the sense of bodily movement that constitutes the act of painting: the pauses, the strokes and how that bodily movement creates the rhythm constitute the act:

With a curious physical sensation, as if she were urged forward and at the same time must hold herself back, she made her first decisive stroke. The brush descended. It flickered brown over the white canvas; it left a running mark. A second time she did it-a third time. And so pausing and flickering, she attained a dancing rhythmical movement, as if the pauses were one part of the rhythm and the stroke another, and all were related; and so, lightly and swiftly pausing, striking, she scored her canvas with brown running nervous lines which had no sooner settled there than they enclosed (she felt it looming out at her) a space… 37 The lasting values in life and art are not, then, in the shifting details on the surface of things, but, rather, in the formal and permanent pattern that both life and art must try to remain forever. What Mrs Ramsay attempted, during her days of action, is the final truth. Death does not destroy it. And Lily at last realizes that, what the artist sees and what he feels about what he sees becomes a work of art. The seer and the seen are one. That is, when the inner form has been translated to the canvas and when the significance of the vision is communicated, not in the language of surface representation, but in the language of the design, the artist reaches unity and order. "In the state of ecstasy," Grace points out, "the soul vibrates with intense longing to unite with the One, the Beloved. The undercurrent of dualism (Lover and Beloved) melts in the moment of union or enlightenment, at which point there is no longer an individual «seeker» or «devotee». One has become Love itself."38 This state of oneness, according to John Clumacus, is the soul transcendence to Divinity. He writes: "The summit of the soul's ascent is, paradoxically, the «Divine abyss» where God «delights in his own Being» as the "soul forgets its own being" and allows the death of ego-self as the source of one's existence, uniting «with His nameless; unchartered, wayless Being.»"39 Art is the apex of essence. "Art of whatever kind," Daniel Ferrer states, "must reach a point where the paternal language failsbut in painting, things are more clear, more simple, for this silence is not covered by the rustling of words." 40 In other words, painting has the advantage of being outside the field of language, outside the system of words alphabetically ordered by the patriarchal authority.

Woolf transforms any sensory contact with the object into artistic image. Physical images are parts of her artistic design, through which she represents her mind and her reality. That is, she encloses her inner world in the visual world that surrounds her. Thus, anything can become a part of her consciousness as well as a part of her novel's world. In her article, "«These Emotions of the Body»: Intercorporeal Narrative in To the Lighthouse," Laura Doyle admits that:

The work of art, like the land that stokes, must "take its place among the things it touches." The narrator / painter discover herself as both inhabitor (sic) of objects and inhabitantsbeside those objectsof an intercorporeal world. Such a positioning gives the artist a three-dimensional open space [….] From within that space, the artist can carve a thing that exerts its own pressure in the hierarchyinward world of intercorporeal objects. 41 The lighthouse is a central symbol in To the Lighthouse, and what it means depends on who is looking at it. Its relation to Mrs Ramsay is of crucial importance, for Mrs Ramsay has the power to see the transfiguration of time by eternity. Although she sits in her room and undergoes the mystical experience of becoming the thing she looks at, the lighthouse, she nevertheless recognizes that its meaning is paradoxical: it is "so much her, yet so little her."42 It stands firm and unchanging amid the seas of time, yet in a sense has no reality apart from the sea. Its beam revolves in a pulsing rhythm akin to that of the time process, and so, as she watches it, she calls it "the pitiless, the remorseless." 43 At the same time, however, it gives her a sense of stability, be separated from change, and therefore represents a vital synthesis of time and eternity: "In the midst of chaos, there was shape; this external passing and flowing.... was stuck into stability." 44 The relationship between Mr Ramsay's world of rationally apprehended fact and Mrs Ramsay's world of intuitively apprehended vision is figured symbolically by the central image of the lighthouse itself: Mr. Ramsay bears a clear figurative resemblance to the lighthouse tower; Mrs Ramsay sees him "as a stake driven into the bed of a channel upon which the gulls perch and the waves beat…marking the channel out there in the floods alone." 45 But such a stake possesses no light of its own; the light of the lighthouse is associated, rather, with Mrs Ramsay: "Often she found herself sitting and looking… until she became the thing she looked atthat light." 46 Mrs. Ramsay prefers to get sensation through the contemplation of the lighthouse rather than the lighthouse itself. Remote from the lighthouse, she reacts with joy and fascination to the stroke of its beams of light.

Being flexible in symbols, the lighthouse may also be considered as a symbol of awareness and personal awakening. "A person that projects his sentiments," Pierre Daco admits, "is, thus, like a lamp which throws its light on someone, who believes that the other emits some luminous rays, but in reality, he only reflects them." [START_REF] Daco | Triomphes de la psychanalyse: Du traitement psychologique à l'équilibre de la personnalité[END_REF] Jung considers this state as the progression of the ego forward into the future. It is the process of sublimation, which denotes how the mind can transform and integrate instinctual energy into more reasonable, nobler or spiritual efforts. Jung also states that the psyche has an instinct of transcendence, which can synthesize the personality into a balanced, integrated being. The individual both achieves wholeness and realizes a more complete selfactualisation. [START_REF] Jung | A Philosophy of Literary Criticism (Jericho and[END_REF] Mrs. Ramsay is aware that the lighthouse stands still, pitiless, remorseless, but gives light for those who want it: "All the being and the doing, expansive, glittering, vocal, evaporated; and one shrank, with a sense of solemnity, to being oneself, a wedge-shaped core of darkness." 49 The beam of light it reflects coaxes Mrs. Ramsay to respond to it. That is, the lighthouse is exposed to the truth of darknessalonelike Mrs. Ramsay herself, who is exposed to the truth of her own life and equally in isolation and alone. "For the reader as for Mrs. Ramsay," Joan Bennett comments, "lighthouse beam symbolizes the rhythm of joy and sorrow in human life and the alternating radiance and darkness of even the most intimate relationships." [START_REF] Bennet | Her Art as a Novelist[END_REF] Mrs. Ramsay identifies herself with the lighthouse. "She is magically related to the world in other ways: she has the power to become the thing she sees." [START_REF] Love | Worlds in Consciousness: Mythopoetic Thought in the Novels of Virginia Woolf[END_REF] The established magic that identifies Mrs. Ramsay with the lighthouse is well expressed in Mrs. Ramsay's admiration of the light the house reflects. She exclaims:

"Oh, how beautiful!" For the great plateful of blue water was before her; the hoary Lighthouse, distant, austere, in the midst; and on the right, as far as the eye could see, fading and falling, in soft low pleats, the green sand dunes with the wild flowing grasses on them, which always seemed to be running away into some moon country, uninhabited of men. 52 Looking at the lighthouse this way, Mrs Ramsay becomes a seeker, a devotee, who wants to be the object she looks at. Light forms the essence of the senses. Mrs Ramsay is in a state of transcendence and body annihilation. Rom Landau considers this act as an ascent means to reach Divinity. He writes: "Everything that enables us to apprehend lifein fact our very awareness of livingis this Light. Since God is the root of everything that is, He is Light par excellence."53 W. Chittick extends further maintaining that "The objection of vision, which is Real, is light, while that through which the perceiver perceives Him is light. Hence, light becomes included within light. It is as if it returns to the root from which it became manifest." 54 Both Mrs. Ramsay and the Lighthouse form a unityoneness. Both have the power to stave off the unhappy situations and the chaos associated with Mr. Ramsay. In part One, when Mrs. Ramsay was alive, the light of the tower was dominant. But when she died, in part Two, disorder predominates: there is chaos and decay.

It [The lighthouse] still caresses her, but also has power over her. [….] She feels a strange division between the mind as investigator and the mind as the object of investigation, and she is aware how her previous perfect union with her surrounding has changed them ; and, initially, the change is disturbing. 55 Mrs. Ramsay responds more acutely to the lighthouse beams. She accords and even shapes her innermost sense of identity through the beams of light it emits. Such response is a kind of transmutation, a way to become a self without body. Landau states that:

In the mystics case Divine essence is revealed directly to the "heart" in an immediate vision. The mystic's heart sees (or reflects) all the Divine perspectives which, otherwise, are scattered in endless multiplicity throughout the universe. In fact, only the mystic heart can perceive Reality itself which is beyond thought. 56 Mrs Ramsay dies. Death is the most powerful assault. It sweeps her away, but it cannot destroy the lighthouse; and by the time she dies, the lighthouse has become the symbol of Mrs Ramsay. Mrs Ramsay equals eternity. From the window, she looks out on life, irradiating and transforming the human landscape. Her gaze reaches out to meet and mirror the lighthouse beam.

Being a source of regeneration and power, L.A. Polesky associates the lighthouse to God. He writes: "Woolf suggests the connection between the self and God, the Lighthouse stands firm and steadfast upon its rock base in the midst of the ever-flowing-dark sea. The sea archetypally symbolizes the unconscious, while the Biblical symbol of the rock usually refers to God or spiritual power." 57 Such revitalization, that the three strokes give to the spirit, is paralleled to the within power that the self regenerates as a response to the beams of light of the lighthouse. According to Polesky, the lighthouse "represents God within the self." 58 The third stroke emitted by the lighthouse is very significant. Mrs. Ramsay identifies herself with it, and makes her different from her husband. If Mr. Ramsay regenerates, symbolically, his power from the power of the lighthouse and its beams of light, Mrs. Ramsay sees her "self" through it. In other words, the lighthouse stimulates Mrs. Ramsay. It makes her introspect. She, unlike her husband, has the capacity to see what lies behind the darkness. She can see the core of her "self" and the depth of her identity. Her identification with the third stroke of the lighthouse makes her illuminate the core of darkness and, symbolically, the self within such core:

[T]here she looked out to meet that stroke of Lighthouse, the long steady stroke, that last of the three, which was her stroke, for watching them in this mood always at this hour one could not help attaching oneself to one thing especially of the things we saw ; and this thing, the long steady stroke, was her stroke. [….] It will end, it will end, she said. It will come, it will come, when suddenly she added, We are in the hands of the Lord. 59 Mrs. Ramsay re-enters her life with a new understanding about identity and mainly her "self." "All of her concern over people marrying is actually the ego's disguise for her self's deep-seated concern: the marriage of Mrs. Ramsay to God. 56 Landau, The Philosophy of Ibn Arabi, 37. 57 Louise A. Poleskey, The Elusive Self: Psyche and Spirit in Virginia Woolf's Novels (Toronto and London: University of delamare's Press, 1981), 129.

58 Ibidem, 129. 59 Woolf, To the Lighthouse, 96-7.

She realizes this when she, having awakened into consciousness, returns her gaze to the light." 60 Such self that holds lightthe light of the third strokeis associated with the Biblical image of a bride, who filled her spirit and self with the light of God. "The goal of fana is the attainment of true knowledge by the passing away of everything phenomenal, that is, everything other than God. This, however, must not be interpreted as becoming God. Rather it is God's recognizing Himself through, and with the medium of man." 61 Or in the words of Hallaj: "Oneness with the Beloved." 62 Or in Marguerite Porete formulation: "I am absorbed in Him." 63 This third stroke, which has great effect in Mrs. Ramsay's self, could be associated with the Divine Light of the Holy Spirit. The absorption of this light revitalizes Mrs. Ramsay's soul: "She looked upon over her knitting and met the third stroke and it seemed to her like her own eyes meeting her own eyes, searching as she alone could search into the mind and her heart, purifying out of existence that lie, any life." 64 The ceaselessness of contemplating makes the contemplator and the contemplated One: "A lover's absorption in the beloved." 65 It is a full realization of oneness. This state of looking is a mystical experience according to Hallaj. Landau expresses Hallaj's ideas as follows:

Everyone who perceives must have some relationship to the light, by which he is made able to perceive, and everything which is perceived has a relationship with God, Who is Light, that is, all which perceives and all which is perceived. 66

Conclusion

Undoubtedly, Woolf writes through a sensibility, which values the watchable and makes it an image or symbol of something that exists only when fusion appears between the seer and the seen, the contemplator and the contemplated. This mode of experience is very similar to that of mysticism. Forgetfulness of the body is the only avenue for such a process of transcendence. Like the mystic, Mrs Ramsay and Lily Briscoe become the thing they look at: the lighthouse. Images, Woolf uses in To the Lighthouse, are internal responses, which reveal and reflect the inmost spirit of characters. Strangely, her characters project their emotions into 60 Poleskey, The Elusive Self, 137. 61 external objects and appreciate looking at these emotions in these objects. That is, there is a process of transmutation allowing souls to extend from the body to the objects they look at or they recreate.

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