In the following essay, Saunders discusses Woolf's style in To the Lighthouse and its relation to the notion of self that she constructs.

In the following essay, which was originally presented at the Seventeenth International Wittgenstein Symposium in Kirchberg/Wechsel, Austria, in 1994, Nussbaum discusses the ability of people to know and understand the minds of others as Woolf sets forth her theory in To the Lighthouse.

In the following essay, Hardy argues that Mr. and Mrs. Ramsay represent the “Masculine Principle and the Feminine Principle” and, as such, symbolize the tension between subject and object and their respective places in reality.

In the following essay, Corsa discusses the ways in which To the Lighthouse follows the typical psychological patterns of mourning and Woolf's own efforts to come to terms with the persistent presence of “death in life.”

In the following essay, Levy argues that “at the most profound level, To the Lighthouse portrays the journey toward tragic vision, where the object perceived is the transience of the perceiving subject and the tendency of time to efface the structure on which personal stability depends.”

In the following essay, Stewart compares Woolf's literary technique in To the Lighthouse with the artistic techniques—particularly the use of color—of painters of the post-Impressionist movement.

In the following essay, Seltzer examines the inherent lack of integrity and stability in the human personality and the resultant personal and social distance and, ultimately, chaos as chronicled by Woolf in To the Lighthouse.

In the following essay, Lilienfeld contends that the marriage of Mr. and Mrs. Ramsay is founded on Victorian social and personal principles that are destructive to them both and that Woolf, in To the Lighthouse, is attempting to offer an alternative in the third part of the novel.

In the following essay, Friedman argues in favor of multiple interpretations of the symbolism in To the Lighthouse, particularly because of Woolf's belief in the supremacy of the individual's inner life over any artificially imposed outer reality.

In the following essay, Emery examines patriarchal and colonialist elements in To the Lighthouse.

In the following essay, Corner discusses what he sees as Woolf's intersection of atheism and mysticism in To the Lighthouse, finding that the characters come to have faith in a greater pattern but still recognize the universe as other.

In the following essay, Blotner argues for a mythic reading of To the Lighthouse, maintaining that both a coherent narrative plot and the final meaning of the novel can be located in the character of Mrs. Ramsay, who, according to Blotner, embodies the myth of the “Primordial Goddess” that includes the triad of Rhea, Demeter, and Persephone.

In the following essay, Gregor argues that the autobiographical elements in To the Lighthouse ultimately compromise the novel's success because of Woolf's difficulty in distancing herself from her narrative and her characters.

In the following essay, Proudfit contends that the meaning of To the Lighthouse, and particularly the figure of Mrs. Ramsay, is largely contained in the post-Impressionistic quality of Lily Briscoe's painting and in Lily's ambiguous relationship to Mrs. Ramsay.

In the following essay, Bassoff argues that in To the Lighthouse realism is centered on individual sight and experience.

In the following essay, Stewart explores the various meanings of darkness and light in the three sections of To the Lighthouse.

In the following essay, Cohn describes Mrs. Ramsay and Lily Briscoe as “magnetic poles,” representing, respectively, the forces of life and art.