Academic literature on the topic 'Conrad (1889-1973)'

The fascinating relationship between Conrad Aiken (1889-1973) and Malcolm Lowry (1909-1957) has formed the subject of a number of critical studies and fictional treatments. The study of this relationship is of value both for its biographical interest and literary significance, particularly in terms of the literary influence of one writer upon the other. Through Aiken and Lowry's entertaining and extremely articulate correspondence, one has access to what is possibly the most intimate view of this relationship available to date. Although a number of these letters have been previously published, often in incomplete form, In Selected Letters of Conrad Aiken ed. Joseph Killorin, and Selected Letters of Malcolm Lowry eds. Harvey Breit and Margerie Bonner Lowry, three-quarters of the letters have remained unpublished. This volume provides the first complete collection of Aiken and Lowry's correspondence. It comprises eighty-nine letters from the two writers, including photographs, poems, and drawings which they enclosed in their letters, written between 1929, the year when Lowry wrote his first letter of introduction to Aiken, and 1954. This collection contains the complete texts of all letters together with editorial notes and commentary. In addition, it provides textual notes outlining the changes made by each writer at the time of composition. These letters not only reveal the mutual admiration of Lowry and Aiken, and at times their jealousy of each other, but are literary works in their own right.
Arts, Faculty of
English, Department of
Graduate

En s'appuyant sur les théories musico-littéraires récentes, cette thèse examine l'inscription de la musique en rapport avec le temps dans les oeuvres de trois romanciers anglophones du XXe siècle : Conrad Aiken, Anthony Burgess et Gabriel Josipovici. Elle procède du constat que le rôle que joue la musique dans ces textes est intrinsèquement lié à l'idée du temps. La spécificité de la musique en tant qu'art du temps est exploitée en fiction comme source d'images, de symboles ou de structures. De l'association de la musique et du temps découlent de nombreuses dynamiques temporelles. Nous analysons certaines d'entre elles, qu'il s'agisse de la pensée du temps, des aspects phénoménologiques de la musique ou des formes et des techniques musicales transposées dans les textes. Nous démontrons qu'il existe des parallélismes entre les nouvelles temporalités en musique contemporaine et les nouvelles formes du récit en littérature. En confrontant le temps littéraire au temps musical, les textes étudiés repensent le temps par la musique et offrent une expérience temporelle qui s'écarte des conceptions traditionnelles du temps
This dissertation aims at examining the role of music as related to time in the works of three 20th-century novelists – Conrad Aiken, Anthony Burgess, and Gabriel Josipovici. Drawing on recent musico-literary studies, it propounds the notion that representing music in literary texts constitutes a means of dealing with time. As an art of time, music becomes a metaphorical, symbolical and structural template for the text, resulting in multifarious temporal aspects. We examine some of them, focusing on specific time concepts, phenomenological questions concerning music, or musical forms and techniques upon which these fictional texts are predicated. We believe that many parallels can be drawn between new temporalities in contemporary music and new forms of narrative in 20th-century literature. The texts we have decided to study not only take time as their subject matter, but they also present the reader with time experience within the context of the opposition between musical time and literary time

The writing of the American poet, fiction writer and critic, Conrad Aiken (1889-1973) significantly affected the critical receptions of Katherine Mansfield and Virginia Woolf in the United States during the first half of the twentieth century. His personal encounters with them during his time of involvement in the production of the Athenaeum is reflected not only in his incisive reviews of their fiction, but in his own creative writing as well. His short stories and experimental memoir, Ushant, (1963) reveal the two women's differing forms of influence upon him. In his memoir, he portrays the relations between Woolf and Mansfield as representative of the ‘merciless warfare’ that prevailed in the London literary world in 1920. If his creative legacy from Woolf was stylistic and psychological, from Mansfield it was inspirational. He was in love with the spontaneity and life-enhancing vitality of her prose, her ‘genius’ for making her characters ‘real.’ The sense of an intuitive connection between himself and Mansfield underpins his imaginative efforts to recreate his encounters with her, as is exemplified most powerfully in his short story: ‘Your Obituary, Well Written,’ (1928) in which he creates a thinly veiled portrait of characters uncannily similar to Katherine Mansfield and John Middleton Murry.