To see the other types of publications on this topic, follow the link: E.M. Forster.
Dissertations / Theses on the topic 'E.M. Forster'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'E.M. Forster.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Oliveira, Garibaldi Dantas de. "O outro E. M. Forster." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/160769.
Full textAbstract:
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015Made available in DSpace on 2016-04-19T04:18:45Z (GMT). No. of bitstreams: 1 338071.pdf: 1791028 bytes, checksum: 05c96d54d340d8e0042be823cc25c583 (MD5) Previous issue date: 2015
O objetivo deste trabalho é fazer uma tradução comentada para o português do Brasil do conto The other boat, do escritor inglês Edward Morgan Forster. A tradução é a primeira feita em português do conto, escrito entre os anos de 1957-8 e publicado postumamente em 1972. O conto é sobre um encontro erótico, homossexual e trágico entre dois personagens de classes e raças diferentes no início do século 20. A tese propõe tornar o texto visível, mais lido e discutido, contribuindo assim para a criação de um cânone mais inclusivo onde qualquer leitor se reconheça independentemente de raça, identidade sexual, nacionalidade e língua.
Abstract : The objective of this work is to do a commented translation into Brazilian Portuguese of Edward Morgan Forster's short story The other boat. This translation of the short story, written between 1957 and 1958, and published posthumously, is the first one into Portuguese. The short story is about an erotic, homosexual and tragic encounter between two characters of different social classes and races at the beginnning of the 20th century. The thesis proposes to make the text visible, much more read and discussed, thus contributing to the creation of a more inclusive canon, where any reader, regardless of race, sexual identity, nationality or language, can recgonize themselves.
2
Malik, Charu. "Private pleasures, public texts the representation of male homosexuality in E.M. Forster's Maurice, The longest journey, and A passage to India /." Full text available, 1994. http://images.lib.monash.edu.au/ts/theses/charu.pdf.
Full text
3
Tsai, Tsung-Han. "Hearing Forster : E.M. Forster and the politics of music." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4424.
Full textAbstract:
This thesis explores E. M. Forster's interest in the politics of music, illustrating the importance of music to Forster's conceptions of personal relationships and imperialism, national character and literary influence, pacifism and heroism, class and amateurism. Discussing Forster's novels, short stories, essays, lectures, letters, diaries, and broadcast talks, the thesis looks into the political nuances in Forster's numerous allusions and references to musical composition, performance, and consumption. In so doing, the thesis challenges previous formalistic studies of Forster's representations of music by highlighting his attention to the contentious relations between music and political contingencies. The first chapter examines A Passage to India, considering Forster's depictions of music in relation to the novel's concern with friendship and imperialism. It explores the ways in which music functions politically in Forster's most ‘rhythmical' novel. The second chapter focuses on Forster's description of the performance of Lucia di Lammermoor in Where Angels Fear to Tread. Reading this highly crafted scene as Forster's attempt to ‘modernize' fictional narrative, it discusses Forster's negotiation of national character and literary heritage. The third chapter assesses Forster's Wagnerism, scrutinizing the conjunction between Forster's rumination on heroism and his criticism of Siegfried. The chapter pays particular attention to Forster's uncharacteristic silence on Wagner during and after the Second World War. The fourth chapter investigates Forster's celebration of musical amateurism. By analysing his characterization of musical amateurs and professionals in ‘The Machine Stops', Arctic Summer, and Maurice, the chapter discusses the gender and class politics of Forster's championing of freedom and idiosyncrasy.
4
Hanquart-Turner, Évelyne. "Un Humaniste dans la cité moderne : E. M. Forster /." Lille : Paris : Atelier national de reproduction des thèses ; diffusion Didier érudition, 1986. http://catalogue.bnf.fr/ark:/12148/cb34878484n.
Full text
5
Madran, Cumhur Yilmaz. "An Archetypal Analysis Of E. M. Forster&." Phd thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/3/12605507/index.pdf.
Full textAbstract:
The present analysis is intended to shed some light on Forster’
s use of myth, recurrent mythical images and archetypal patterns in his works. This study analyses Forster&
#8217
s archetypal images making particular references to his major works namely, short stories, Where Angels Fear to Tread, A Room with a View, The Longest Journey, Howards End and A Passage to India. The study is confined to the functions and significance of the mythical images and archetypal patterns represented in the aforementioned works. Forster tried to reflect the insecurity and rootlessness of modern life through mythical motifs
he showed a modern man who has become alienated from himself and nature. Forster&
#8217
s most obvious use of mythology is found in the short stories, which are fantasies. It is a mythology which stems from earth and nature, the two elements which act as unifying forces throughout his fiction. It is interesting to note further that this preoccupation with earth and nature is carried into all the other novels before A Passage to India. Forster&
#8217
s use of classical myth and his general attitude toward nature and earth are found in all his fiction. The method used is archetypal criticism
it deals with archetypes which are primordial images perceived across cultures, inherited from time immemorial, issuing from a &
#8216
collective unconscious&
#8217
. An archetype is a mythic symbol, which is deeply rooted in the unconscious, more broadly based on a foundation of universal nature than an ordinary literary symbol, and is more generally expressive of the elemental in man and nature. Chapter one identifies the dominant archetypal approaches and further selects the most appropriate framework for a study of myth and archetypes in Forster&
#8217
s work. Chapter two deals with nature archetypes which find their best expression in Forster&
#8217
s short stories. Chapter three and four focus on Forster&
#8217
s character archetypes in his A Room with a View, and Where Angels Fear to Tread. Chapter five attempts to explore the tragic and heroic aspects of the character archetypes in The Longest Journey. Chapter six deals with Forster&
#8217
s use of archetypal symbols in Howards End. Chapter seven focuses on Forster&
#8217
s prophetic vision in A Passage to India, in which Forster exhibited a prophetic tone of voice and extended the scope of his archetypes. The purpose of this dissertation is to analyse E. M. Forster&
#8217
s use of myth, recurrent mythical images and archetypal patterns in his efforts to communicate his vision of life. This study argues that Forster progresses from fantasy to prophecy. Depending on this progress, Forster&
#8217
s archetypes evolve. This investigation familiarises the reader with how mythical motifs and archetypes enable the author to communicate his vision of reality, which is essentially timeless. Keywords: Mythology, Archetype
6
Clark, Damion Ray. "Marginally male re-centering effeminate male characters in E. M. Forster /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-04212005-212920/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2005.Title from title screen. LeeAnne Richardson, committee chair; Marilynn Richtarik, Margaret Mills Harper, committee members. Electronic text (56 p.) : digital, PDF file. Description based on contents viewed May 2, 2007. Includes bibliographical references (p. 55-56).
7
Martland, Arthur. "Fratribus : homosexuality and creativity in the fiction of E M Forster." Thesis, University of Hull, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.318303.
Full text
8
Labadie, Elisabeth. "L'implicite dans l'oeuvre de E. M. Forster : du texte à l'écran." Paris 3, 1998. http://www.theses.fr/1998PA030187.
Full textAbstract:
E. M. Forster a de toute evidence, par un style tres particulier, a la fois descriptif, image, mais aussi porteur d'implicite et de non-dit, stimule l'imagination des cineastes. Cinq de ses six romans ont ete portes a l'ecran, dont a passage to india par david lean, a room with a view, maurice et howards end par james ivory. Les realisateurs, comme tout lecteur, sont appeles a combler les interstices presents dans le recit de l'ecrivain : ils prolongent l'uvre initiale, completent le texte, lui donnent une interpretation deliberee. La narration cinematographique amene necessairement a une autre organisation du recit. De plus, elle est contrainte d'expliciter certains elements tenus sous silence. Inversement des contenus clairement formules par forster semblent disparaitre a l'ecran. L'etude des analogies permet alors de constater que le cinema les exprime cependant, mais de maniere beaucoup plus implicite : angles de prises de vue, cadrages, eclairages, montage, accessoires, commentaires musicaux et silences viennent completer de leurs nombreux messages indirects ce que le jeu des acteurs et leur tenue vestimentaire suggerent par ailleurs. Le recit filmique, en revelant certains aspects du roman qui etaient dans l'ombre et en verifiant des hypotheses suggerees par le narrateur, complete l'uvre de l'ecrivain, meme s'il en occulte d'autres contenus : films et romans s'eclairent reciproquement et soulignent l'existence de ces codes culturels qui evoluent imperceptiblement d'une epoque a l'autre et permettent au lecteur/spectateur de decoder les messages implicitesE. M. Forster has no doubt stimulated filmmakers' imagination thanks to his very particular style, both descriptive and colourful, full of contents which are implicit or left unsaid. Five out of the novelist's six novels have been brought to the screen, amongst which a passage to india by david lean, a room with a view, maurice and howards end by james ivory. Like any reader, filmdirectors will fill the gaps of the writer's narrative : they extend the initial work, add to the text and give it their particular interpretation. Film must lead to a new organization of the story. Moreover it has to clarify some elements which have been left unsaid. But on the other hand some of the contents clearly expressed by forster seem to disappear on the screen. Studying analogies then reveals that cinema does express these contents but in a much more implicit way : shooting angles, framing, lighting, editing, props, musical comments and silence work as indirect messages and complete what acting and costumes otherwise suggest. Film narrative brings to light some aspects of the novel which have been kept in the shade. It checks some of the hypotheses which the narrator has suggested. Although it hides some of its contents it adds to the writer's work. Films and novels shed light on each other while underlining the existence of those cultural codes which surreptitiously change from one age to another and allow us to understand implicit messages
9
Holian, Kerrie P. ""Nothing in India is identifiable," as a sense of place is neither stable nor unconstructed /." Electronic version (PDF), 2004. http://dl.uncw.edu/etd/2004/holiank/kerrieholian.html.
Full text
10
Clavaron, Yves. "Inde et Indochine, des figures littéraires de l'Asie dans l'oeuvre d'E. M. Forster et de M. Duras." Paris 3, 1997. http://www.theses.fr/1997PA030116.
Full textAbstract:
Edward morgan forster (1879-1970) et marguerite duras (1914-1996), deux romanciers a priori que tout oppose, se rencontrent neanmoins sur un point essentiel : ils ont entretenu des rapports privilegies avec l'asie, qu'il s'agisse de l'inde pour forster ou de l'indochine pour duras. Ainsi leurs oeuvres se situent au carrefour d'une triple colonisation : la colonisation politique dont ils remettent en cause la legitimite, une colonisation litteraire qui fait de l'asie un motif d'ecriture et une colonisation biographique qui transforme l'inde ou l'indochine en refuge pour une ame dechiree. Forster et duras s'inscrivent donc dans la longue tradition de l'orientalisme, qui tente de s'approprier par le discours et l'image une terre sentie comme representant l'alterite absolue. Le detour par l'autre est un moyen d'acceder a un moi, dont l'unite est a construire. Cependant, quels que soient l'investissement autobiographique, la thematique coloniale et les liens affectifs tresses sur et avec cette terre, duras et forster restent des grands temoins de l'exteriote de l'asie. Cette derniere conserve son irreductible etrangete bien qu'elle soit possedee par l'ecriture qui en a fait un habitat biographique et litteraire. L'asie reste fondamentalement la patrie de l'exilEdward morgan forster (1879) and marguerite duras (1914-1996), two novelists who apparently hold opposite positions, nevertheless meet on a major point : they developed privileged relationships with asia, whether it be india for the former or indochina for the latter. Their works lay at a crossroads of three kinds of colonization : a political colonization whose legitimacy they question, a literary colonization which has made asia into a writing motif, and a biographical one which has turned india and indochina into a shelter for a torn soul. Forster and duras come within the long tradition of orientalim which endeavours to take over, by words or images, a land considered as embodying absolute otherness. Going through the other enables them to reach their self, whose unity is to be built up. However, in spite of the autobiographical investment, colonial inspiration and emotional bonds which unite them to that land, duras and forster remain witnesses to asian exteriority. Asia retains its indomitable singularity though it has been captured by writing which has turned it into a biographical and literary home. Asia essentially remains the home of exile
11
Lanone, Catherine. "Odyssée d'une écriture : Lieux et langage dans les romans de E. M. Forster." Paris 3, 1992. http://www.theses.fr/1993PA030029.
Full textAbstract:
Chaque roman de e. . Forster est lie a une topique precise, situee en italie, en angleterre ou en inde, comme si l'auteur puisait son inspiration dans le "genius loci". Matrice du jaillissement de l'ecriture, investi d'une presence romantique, le lieu n'est pas un pur decor ou referent ; au sein de l'intrigue, les paradigmes de l'espace composent tels des leitmotive une profondeur semantique et musicale. Dans les interstices, les blancs du texte, les lieux suggerent l'indicible. Aussi chaque roman decrit-il une quete spatiale, ou le heros connait au coeur du lieu une vision, un passage initiatiques. Lecteur et personnages doivent dechiffrer cette geographie heuristique cristallisant une trajectoire amoureuse et une transgression sociale. La lecture derive, depuis la verticale brisee des tours de monteriano, pour explorer les territoires feminins du desir, depeints dans a room with a view, puis l'aire fantasmatique de l'entre-deux-morts ou s'egare le heros de the longest journey, et ou les cercles concentriques, de cadbury, mystere chthonien, retracent l'origine perdue du texte. Apres howards end, et le retour a l'enclos organique d'une "domus" archetypale, resistant au flux capitaliste, la quete gagne l'inde, ou s'abolissent les jalons humains, dans la traversee de l'omhalos, incarnation ultime et polyphonique de l'archetype de l'ailleurs. Avec maurice le lecteur franchit le miroir de l'alterite, instant crepusculaire ou s'evanouit l'ecriture. Quelques nouvelles, derniers ecueils, brisent de silence ou s'abime la cartographie de l'ecriture odysseenneE. M. Forster was a writer inspired by the spirit of places, and each novel is closely connected with a specific location, whether italy, england, or india. Thus, places are not used simply as a setting or a badkdrop for the plot, or as a mere referential system. Endowed with a romantic life of their own, they form the matrix of writing and inspiration. In the spaces between the words, they convey what must be left unsaid by the narrator and characters, through a web of recurrent images giving the text its musical shape and meaning. Therefore each novel becomes the quest for a particular place, where the hero goes through a process of vision and revelation. The reader, like the characters, must decipher the concealed spatial message suggesting love, self-awareness and social transgression. Our journey as readers takes us from monteriano's towers, broken symbols of transgression, to the territories of female desire depicted in a room with a view. The chthonian rings of cadbury enclose the lost origin of the text, as the longest journey drifts towards sacrificial death, redeeming the hero's death-in-life wanderings. After howards end, a successful "hunt for a home" leading away from materialistic london back to a maternal microcosm, the quest reaches india, in a spiritual and prophetic passage through the womb of the universe. The haunting and nihilistic revelation engulfs all human landmarks, as well as writing itself. Finally, maurice creates parallel spaces which never communicate, and leads us through otherness into the realm of darkness, where writing vanishes beyond the looking-glass. This odyssean quest of writing ends with a few short stories, little islands lost in a cartography of silence
12
Roman, Anne-Marie J. "La recherche de la lumiere interieure dans les romans de e. M. Forster." Paris 3, 1986. http://www.theses.fr/1986PA030048.
Full textAbstract:
L'utilisation de la lumiere et de son contraire , l'absence de lumiere, les tenebres, la non-lumiere , est l'une des caracte- ristiques les plus remarquables du style de e. M. Forster, surtout dans ses romans. Les divers eclairages et les sources de lumiere naturelle ou artificielle soulignaient deja dans ses premiers ecrits de fiction les ambiguites, contradictions et tensions a l'interieur des personnages et dans leurs rapports entre eux et avec leur createur. Naguere traducteur privilegie des vacillements deontologiques et de la recherche esthetique de l'auteur dans les "romans italiens" largement influences par le mouvement impressionniste en peinture , where angels fear to tread et a room with a view , la lumiere, desormais interiorisee dans le paysage, dans la scene, puis dans le roman lui-meme, devient l'allegorie et le symbole d'une quete tant ethique qu'esthetique dans les "romans anglais" , the longest journey et howards end. Enfin, la lumiere parvient au role supreme de protagoniste et de maitre d'oeuvre dans a passage to india, apres avoir servi de guide et de principe informateur dans maurice et avoir tenu lieu de sujet , notoire pour son absence declaree , dans arctic summer. Dans son dernier roman publie, forster prononce l'echec de la quete de lumiere et de l'espoir de reconciliation des contraires dans la societe. Cependant, le romancier-devin propose une forme de salut, ou mieux un salut dans la forme, la redemption finale dans l'accomplissement de l'oeuvre d'art, la lumiere interieure a la composition rachetant l'absence de source d'espoir et de rayonnement a l'exterieur ou dans un ailleurs dont la vraisemblance est niee. L'esthetique l'empor- te definitivement sur l'ethique avec laquelle elle a fini par se confondre. Le legs final et la raison d'esperer preexistent et se per- petuent dans la quete de lumiere que l'on puise dans l'art qui demeu- re le seul ideal possible de l'artiste et de l'homme modernesThe use of light and of its opposite , the absence of light, darkness, the un-light , is one of the most characteristic features of forster's diction, especially in his novels. In his early fiction already, the various lightings and sources of light , natural and artificial , underlined the ambiguities, contradictions and tensions within the characters and between them as well as with their author. Light was the favorite medium of the writer's deontological wavering and of his aesthetic quest in his "italian novels" deeply influenced by impressionism : where angels fear to tread and a room with a view. Later, light, inside a landscape, a scene, and inside the very novel, becomes the allegory and the symbol of an artistic and moral pursuit in the "english novels" : the longest journey and howards end. Finally light is promoted to the supreme role of protagonist and stage director in a passage to india, after having served as a guide and a formative principle in maurice and having been the center of interest , remarkable for its declared absence , in arctic summer. In his last published novel, forster pronounces the failure of the quest for light and of the hope of reconciling the opposites in the world. However, the novelist-prophet proposes a form of salvation, or rather a salvation in the form, the redemption through the comple- tion of the work of art -the light within the composition compensa- ting for the hope and brightness missing without or for another world whose probable existence is denied. The aesthetics definitely overcome the ethics in the novel, the two objects of the author's quest having merged. The legacy and the reason for hope preceded the creation and are perpetrated in the quest for the light to be found in art only and that remains the sole ideal conceivable for the artist and for the man in the modern world
13
Butler, Ian. ""All vistas close in the unseen" : a study of the transcendent in the fiction of E. M. Forster." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001826.
Full textAbstract:
From introduction: It has become something of a commonplace among critics to remark Forster's relative lack of success in offering an alternative to the world which he satirises with such wit and humour. His comic treatment of the suburban absurdities of the Edwardian Englishman is, on the whole, far more compelling and memorable than the often vague, symbolic gestures by means of which he implies the possibility of something better. With the exception of his last and greatest novel, A Passage to India, his "alternatives" are largely factitious and contrived. Worse, the reader senses a fundamental uncertainty on the part of the author: his characteristic ambivalence in itself an indication of a perceptive and discriminating mind -- all too often suggests lack of conviction rather than an intelligent awareness of the infinitude of human possibilities.
14
Bilal, Maaz Bin. "From Hellenism to Orientalism : friendship in E. M. Forster, with reference to Forrest Reid." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.695254.
Full textAbstract:
The project offers new insight on the place of friendship in Forster's work, examining its political, philosophic, discursive, and aesthetic implications. Through examination of archival material, it focuses especially on some of his own friendships to delineate their influence in the development of his ideas, while highlighting the links across a long and varied discursive tradition of friendship. It, thus, works across the interstices of biography, fiction, and non-fiction. The emphasis on the literary friendship with Forrest Reid has hitherto been accorded scant regard, and provides for a particularly original argument regarding Forster's novel Maurice, using the E. M. Forster-Forrest Reid Letters Archive at Special Collections, QUB (MS44/1/22), and Reid's fiction, namely The Garden God. With regard to A Passage to India, the thesis traces the place of friendship from within Hinduism and Islam, including Bhakti and Sufi traditions, or both orthodox and heterodox religious traditions, which allow Forster to include desire within the realms of friendship. The dissertation displays the political potential for friendship in Forster's oeuvre to challenge the exclusionary boundaries of the colonial and liberal state by redefining what friendship entails, and who can be a friend. Same-sex desire, and inter-race and inter-class relations become embroiled in this new friendship. Forster's realization of this holistic model of friendship emerges through various standpoints in his novels-from a Greco-Roman philosophic understanding of friendship, through a deconstruction of late nineteenth-century Platonism, to an assimilation of the Eastern religious and poetic ideas about friendship.
15
Aguiar, Alexandre Menezes de. "Mudanças e transições na Inglaterra no século XX em Howards End, de E. M. Forster." Universidade Federal do Amazonas, 2015. http://tede.ufam.edu.br/handle/tede/4651.
Full textAbstract:
Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-21T15:04:23Z
No. of bitstreams: 1
Dissertação - Alexandre M. Aguiar.pdf: 8594585 bytes, checksum: c3945e3c68b06eb68321ddb20ca69d85 (MD5)Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-21T15:08:27Z (GMT) No. of bitstreams: 1 Dissertação - Alexandre M. Aguiar.pdf: 8594585 bytes, checksum: c3945e3c68b06eb68321ddb20ca69d85 (MD5)
Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-21T15:14:08Z (GMT) No. of bitstreams: 1 Dissertação - Alexandre M. Aguiar.pdf: 8594585 bytes, checksum: c3945e3c68b06eb68321ddb20ca69d85 (MD5)
Made available in DSpace on 2015-10-21T15:14:08Z (GMT). No. of bitstreams: 1 Dissertação - Alexandre M. Aguiar.pdf: 8594585 bytes, checksum: c3945e3c68b06eb68321ddb20ca69d85 (MD5) Previous issue date: 2015-04-24
FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas
This master´s dissertation completes a historical-literary analysis of the novel Howards End, written by the English novelist E. M. Forster. The first chapter presents the author´s life, as well as his travels abroad and novels published. Secondly, we analyze the narrative; emphasize the facts, characters and symbolic elements described by the author. Finally, the third chapter, we compare Howards End with On Beauty by Zadie Smith, approaching the facts, characters and symbolic elements written in these works. Howards End was published in 1910 during the Eduardian time, when the Victorian era is over. There was a conflict in England during this time of intense transition between the “new” and “old”, since England has no longer control over its colonies and political and economic questions in Europe seem to increase with totalitarian regimes in German and Italy. In the narrative, there is a resistance to the new changes represented by the sisters Schlegels who are intellectual and emancipated, daughters of an English mother and a German father. On the other hand, the impositions of traditions represented by the clan Wilcox, as well as the integration of another nucleus, the Basts, originally proletarians in that society. The initial conflict begins when the matriarch of the Wilcox, for a symbolic gesture of friendship, decides to leave her old cottage house, Howards End, to the old sister (Margaret), without letting her know about this decision. The families have their paths crossed with that conflict which is the core of most parts of the novel of E. M. Forster, as he seems to suggest that personal relationships represent the only possibility to comprehension of a chaotic world.
Esta dissertação de mestrado faz uma análise histórico-literária do romance Howards End, do escritor inglês E. M. Forster. O primeiro capítulo apresenta a vida do autor, assim como suas viagens ao exterior e os romances publicados. No segundo, faremos uma análise da narrativa; enfatizando os fatos, as personagens e os elementos descritos pelo autor. Por fim, no terceiro, compararemos Howards End com On Beauty, de Zadie, e faremos uma abordagem dos fatos, das personagens, e elementos descritos nessas obras. Howards End foi publicado em 1910 durante a época Eduardiana, quando o período conhecido como Era Vitoriana se encerra. Nesse momento de intensa transição na Inglaterra havia o conflito entre o “novo” e o “velho”, já que a Inglaterra não possuía mais controle sobre suas colônias, e questões políticas e econômicas na Europa parecem surgir com a ascensão de regimes totalitários na Alemanha e Itália. Na narrativa, há a resistência ao novo representado pelas irmãs Schlegel que são intelectuais e emancipadas, filhas de mãe inglesa e pai alemão e, do outro lado, a imposição das tradições representadas pelo clã Wilcox, assim como a integração de outro núcleo, os Bast, de origem proletária e marginalizada naquela sociedade. O conflito inicial se dá quando a matriarca dos Wilcox, por um gesto simbólico de amizade, decide deixar sua velha casa de campo, Howards End para a irmã mais velha Schlegel (Margaret), sem que essa tome conhecimento da decisão. As famílias têm seus destinos entrecruzados a partir desse conflito que é o cerne de boa parte da obra de E. M. Forster, quando ele parece sugerir que as relações interpessoais representam a única possibilidade de compreensão de um mundo caótico.
16
Laniel, Marie. "Espaces habités : les récritures de l'appartenance dans l'oeuvre de E. M. Forster et Virginia Woolf." Paris 3, 2008. http://www.theses.fr/2008PA030065.
Full textAbstract:
Tout en définissant des modalités d’écriture nouvelles, E. M. Forster et Virginia Woolf continuent d’entretenir des liens étroits avec leurs prédécesseurs victoriens et maintiennent avec eux un dialogue ininterrompu. Chacun des deux auteurs passe cet intertexte au crible de sa propre écriture, en développant des stratégies d’adaptation et de détournement qui lui sont propres. Pour prendre possession de cet héritage commun, Forster et Woolf réinvestissent les bastions de l’appartenance victorienne et le fief symbolique de grandes figures littéraires, telles que Thomas Carlyle, John Ruskin et Matthew Arnold. Résolus à exorciser les spectres de la Muscular School, ils font des incursions sur le territoire de Thomas Hughes et Charles Kingsley. Pour redéfinir la conception arnoldienne de la culture, ils s’approprient la figure vagabonde du « scholar-gipsy », et mettent en œuvre une pratique de la lecture buissonnière, hors des sentiers battus du canon. Leur réflexion sur l’appartenance littéraire les amène également à revisiter les grands foyers intellectuels du XIXe siècle : les débats philosophiques des « illumers » de Cambridge, la rhétorique flamboyante de Thomas Carlyle, la pensée éclairée de Leslie Stephen, l’imaginaire lumineux de John Tyndall. Au fil de ces pèlerinages littéraires, Forster et Woolf font dévier les itinéraires commémoratifs associés aux romans des sœurs Brontë, à l’imaginaire muséal ruskinien, et aux pageants historiques de Rudyard KiplingAs well as crucial experiments in form and style, the works of E. M. Forster and Virginia Woolf bear the mark of a vital connection and a continuing dialogue with their Victorian forebears. Engaged in constant critical debate with one another, both writers submit the works of their predecessors to their own specific strategies of adaptation and subversion. In an attempt to come to terms with this common legacy, Forster and Woolf make frequent and disruptive pilgrimages on Victorian territory and revisit the literary haunts of renowned men of letters such as Thomas Carlyle, John Ruskin and Matthew Arnold. Determined to confront the ghosts of the Muscular School, they trespass on the literary ground of Thomas Hughes and Charles Kingsley. To revise Matthew Arnold’s vision of culture, they appropriate the poetic figure of the « scholar-gipsy » and advocate the practice of truant reading, off the beaten track of the literary canon. Their meditation on textual legacy also leads them to revisit the works of nineteenth-century luminaries : the philosophical discussions of the Cambridge « illumers », the flamboyant rhetoric of Thomas Carlyle, the enlightened writings of Leslie Stephen, the imagery of light in John Tyndall’s works. During those literary pilgrimages, Forster and Woolf depart from the commemorative itineraries connected with the Brontë sisters’ novels, John Ruskin’s art criticism, and Rudyard Kipling’s historical pageants
17
Armbruster, Jan. "Edmund Robert Forster (1878 - 1933) ; Lebensweg und Werk eines deutschen Neuropsychiaters." Husum Matthiesen, 2000. http://deposit.ddb.de/cgi-bin/dokserv?id=2758558&prov=M&dok_var=1&dok_ext=htm.
Full text
18
Mellet, Laurent. "L'oeil et la voix dans l'oeuvre romanesque de E. M. Forster et ses adaptations cinématographiques par James Ivory." Paris 3, 2006. http://www.theses.fr/2006PA030117.
Full textAbstract:
Dans les romans de E. M. Forster, la représentation du corps révèle une ambiguïté désenchantée dans l’approche du monde et la conception de la littérature. Les figures corporelles sont a priori absentes de cette œuvre qui, par une esthétique de l’invisible et du silence, fait souvent l’économie de la description et préfère suggérer à travers le non-dit. Dans A Room with a View, Howards End et Maurice, il s’agit d’abord de donner à lire sans donner à voir, de commenter l’événement sans le raconter. L’œil et la voix renvoient alors au secret et aux différentes logiques de rétention du texte. Puis ces trois romans s’ouvrent à l’écriture du sensible pour laisser apparaître un corps d’essence idéaliste, qui se voit et se touche dans toute son immédiateté, qui devient l’objet et l’origine d’une voix au cœur d’une nécessaire complémentarité, presque phénoménologique, entre vision et visibilité. Le roman forstérien privilégierait alors la représentation dans l’espace au détriment du récit chronologique, témoignant d’une certaine modernité esthétique. C’est ce que les trois adaptations de James Ivory confirment par leurs propres figures de l’œil et de la voix, et leur questionnement de la narration cinématographique. Bien que ces films semblent d’abord passer sous silence la voix forstérienne, ils apportent aux romans un nouvel éclairage que vient encore modifier A Passage to India, où Forster renonce au corps comme à l’écriture, tous deux incapables de montrer ou de dire le mondeIn E. M. Forster’s novels the representation of the body reveals an ambiguous view of the world and a disillusioned concept of literature. At first reading there appears to be no trace of the human body in Forster’s works, which focus on silence and the invisible, and prefer to suggest rather than describe. In A Room with a View, Howards End and Maurice, the event is commented upon without really being narrated, and the reader has to read between the lines. Here the eye and the voice point up a process of secret and retention in the text. The three novels then open out to write the senses and display an idealist body, that can be seen and touched in its immediacy, and is both the object and origin of a voice linking vision and visibility in a necessary, almost phenomenological, complementarity. The Forsterian novel would thus favour representation in space over chronological narration, showing some form of aesthetic modernity which is actually confirmed in the three film adaptations by James Ivory through their insistence on the eye and the voice, and the way they call into question narration on screen. Although the films first seem to silence the Forsterian voice, they shed new light on the novels. Forster’s last choices in A Passage to India invalidate these dynamics as the writer eventually renounces the body and writing itself, both equally unsuited to show or tell the world
19
De, Silva Lilamani. "Imperialist Discourse: Critical Limits of Liberalism in Selected Texts of Leonard Woolf and E.M. Forster." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332756/.
Full textAbstract:
This dissertation traces imperialist ideology as it functions in the texts of two radical Liberal critics of imperialism, Leonard Woolf and E. M. Forster. In chapters two and three respectively, I read Woolf's autobiographical account Growing and his novel The Village in the Jungle to examine connections between "nonfictional" and "fictional" writing on colonialism. The autobiography's fictive texture compromises its claims to facticity and throws into relief the problematic nature of notions of truth and fact in colonialist epistemology and discursive systems.
20
Gunderson, Kory Marika. "Re-constructing dialogue." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/gunderson/GundersonK0809.pdf.
Full text
21
Sultzbach, Kelly Elizabeth. "Embodied modernism : the flesh of the world in E.M. Forster, Virginia Woolf, and W.H. Auden /." Thesis, Connect to title online (Scholars' Bank) Connect to title online (ProQuest), 2008. http://hdl.handle.net/1794/8544.
Full textAbstract:
Thesis (Ph. D.)--University of Oregon, 2008.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 234-242). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
22
Marostica, Laura Domenica. "Zadie Smith's NW and the Edwardian Roots of the Contemporary Cosmopolitan Ethic." BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4344.
Full textAbstract:
British contemporary writer Zadie Smith is often representative of cosmopolitan writers of the twenty-first century: in both her fiction and nonfiction, she joins a multicultural background and broad, varied interests to an ethic based on the importance of interpersonal relationships and empathetic respect for the other. But while Smith is often considered the poster child for the contemporary British cosmopolitan, her ethics are in fact rooted in the one rather staid member of the canon: EM Forster, whose emphatic call to ‘only connect’ grounds all of Smith's fiction. Her latest novel, 2012's NW, further expands her relationship to Forster in highlighting both the promise and the limitations of empathy and cosmopolitan connection in the context of modern urban British life. This paper uses Kwame Anthony Appiah's definition of “rooted cosmopolitanism” to explore Forster's and Smith's shared ethics. I argue that their relationship grounds and influences Smith's literary rooted cosmopolitanism: that while she writes books for the age of globalization, her deliberate ties to the British canon suggest an investment in maintaining and reinvigorating the British novelistic tradition as a pathway to a collective British identity that is as expansive, modern, and empathetic as her novels.
23
Elliott, David W. "A Psychological Literary Critique from a Jungian Perspective of E. M. Forster's A Passage to India." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1069.
Full textAbstract:
This paper is a psychological reading of E. M. Forster's A Pasage to India. It uses the psychological theories of C. G. Jung and the methodological postulates of Jungian literary critic, Terence Dawson, to examine the psychological implications of the text, especially in relation to the novel's characters. Attention is given to biographical material related to Forster, particularly his homosexuality, that is important for understanding the psychological implications of the text as well as Forster's art. The paper concludes that the Marabar Caves is the the central psychological symbol of the narrative, representing what Jung calls the collective unconscious. Both Adela Quested and Mrs. Moore, the novel's effective protagonist, encounter heretofore unconscious material in the caves that precipitate psychological growth for each. Adela's encounter is best understood as an animus confrontation while Mrs. Moore's more profound journey is best characterized as a meeting of the self archetype.
24
DuPlessis, Nicole Mara. "Literacy and its discontents: modernist anxiety and the literacy fiction of Virginia Woolf, E. M. Forster, D. H. Lawrence and Aldous Huxley." Texas A&M University, 2008. http://hdl.handle.net/1969.1/86028.
Full textAbstract:
Literacy theory, a multi-disciplinary, late-twentieth century endeavor, examines
the acts of reading and writing as cognitive and social processes, seeking to define the
relationship between reading and writing and other social and cognitive - especially
linguistic - acts. As such, literacy theory intersects with discussions of public and
individual education and reading habits that surface with the rise of the mass reading
public. This dissertation analyzes scenes of reading and writing in the fiction of Virginia
Woolf, E. M. Forster, D. H. Lawrence and Aldous Huxley as implicit authorial
discourses on the function of literacy, including properties of written language and the
social consequences of literate acts. It argues that reading and writing form important
thematic concerns in Modernist fiction, defines fiction that theorizes about reading and
writing as "literacy fiction," and proposes fictional dramatizations of literate activity as
subjects for literacy theory.
Chapter I argues that early twentieth-century Britain is an important historical
site for intellectual consideration of literacy because near-universal access to education across social classes influences an increase in middle and working class readers.
Woolf's Mrs. Dalloway provides a test case for the analysis of scenes of reading because
her democratic concern with education is well established in the scholarly literature.
Chapter II argues that in "The Celestial Omnibus" and "Other Kingdom," Forster
critiques use of literacy as cultural capital. Chapter III argues that Forster's A Room with
a View and Howards End portray the dangers of naive reading and the difficulties of
autodidacticism for the working class, respectively. Chapter IV argues that Lawrence's "Shades of Spring" and Sons and Lovers introduce the theoretically unexplored topic of
literacy's influence on intimate relationships. Chapter V argues that Huxley's Brave
New World responds to the Modernist discourse on literacy by addressing the restriction
of individual literacy by the State and elite intellectuals. The conclusion summarizes
Modernist representation of literacy, states the significance of the methodology and its
further applications, and refines the definition of literacy fiction. Because Modernist
writers scrutinize the relationship between external forces and the individual psyche,
their anxiety-tinged portraits treat both cognitive and social functions of literate acts.
25
Hayes, Kalmia Joy. "Thematic integrity in filmic versions of E.M. Forster's novels." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002261.
Full textAbstract:
This study discusses the extent to which Charles Sturridge's Where Angels Fear to Tread, Merchant Ivory's Howards End, and David Lean's A Passage to India have aimed at, and succeeded in, exploring the thematic concerns of E.M. Forster's novels. A brief introductory chapter explains the motivation behind this research, and the choice of critical methodologies used. It concludes with an outline of some of the problems confronting film-makers wishing to explore the concerns of novels. The first chapter, which is devoted to Where Angels Fear to Tread, reveals that while Sturridge is "faithful" to Forster's novel at a superficial level, basing most of his scenes on, and taking most of his dialogue directly from, the text, he does not explore Forster's themes. The facility with which film tells stories proves to be a treacherous trap for Sturridge. His version of Where Angels Fear to Tread is totally vacuous because he failed to develop anything beyond the story -- Forster's "tapeworm" of time (Aspects of the NoyeI41). The causality that Forster calls plot seemed beyond Sturridge's comprehension, leaving his film little more than an endless progression of "and then[s]" (Forster, Aspects 87). Characters are not given their full weight; symbols and leitmotifs are overlooked; the allegorical elements he did recognize, he failed to understand, and thus misplaced, so that the epiphanic moments of the novel are lost. There is no possibility of thematic concerns emerging from a film in which plot, characterization, symbol and rhythm are ignored. Sturridge's apparent inability to understand his source is in stark contrast to Merchant Ivory's sensitivity to Howards End, and their evident familiarity with literary criticism on the work. Chapter two explores the way in which their adaptation smooths out putative flaws in characterization and plot, and uses filmic rhythm and camera work to suggest comments made by the novel's narrator. Almost wholly successful in developing the novel's themes, Merchant Ivory's Howards End does not, however, successfully explore the spiritual dimensions of Forster's novel. Film is a medium capable of great subtlety, but its strength lies in its ability to capture the seen; the unseen tends to evade its grasp. It is in dealing with the unseen that Lean's A Passage to India misses greatness, for in virtually every other respect his version of Forster's masterpiece is superb. Chapter three explores Lean's creative and flexible approach to adaptation, his acute sensitivity to the differing demands of film and novel, and his confident technical mastery. It also explores, however, the emptiness at the heart of his film, an emptiness that is the result of his trivialization of the spiritual concerns of Forster's novel.
26
Heterick, Garry R. (Garry Raymond) 1965. "Dethroning Jupiter : E.M. Forster's revision of John Ruskin." Monash University, English Dept, 1998. http://arrow.monash.edu.au/hdl/1959.1/8604.
Full text
27
Johannmeyer, Anke. ""For Music Has Wings" : E. M. Forster's 'Orchestration' of a Homophile Space in The Longest Journey." Thesis, Uppsala universitet, Engelska institutionen, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-120397.
Full text
28
Clark, Damion. "Marginally Male: Re-Centering Effeminate Male Characters in E. M. Forster’s A Room with a View and Howards End." Digital Archive @ GSU, 2005. http://digitalarchive.gsu.edu/english_theses/1.
Full textAbstract:
In this thesis I argue that understanding Forster’s effeminate male characters is central to understanding the novels that they appear in. Tibby in Howards End and Cecil in A Room with a View are often viewed as inconsequential figures that provide comic relief and inspire pity. But if, instead of keeping them at the margins, readers put Tibby and Cecil in direct contact and conflict with the dominant themes of gender identity, gendered power structures, and gender equality in these novels, these characters develop a deeper significance that details the fin de siècle’s ever-changing attitudes regarding prescribed gender roles for both men and women. Indeed, by examining Forster’s feminized male characters, one can chart the development of these roles in both the larger world and Forster’s prescription for gender evolution in his novels.
29
An, Shi Mo. "In search of the origin of four-character structures with er (而) in literary translation from English into Chinese :a descriptive study of A Passage to India." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954314.
Full text
30
Carbajal, Alberto Fernandez. "An exploration of E M Forster's legacy in postcolonial writing." Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531629.
Full text
31
Wilkins, Wendy. "Images of Italy and Italians in the modern English novel." Thesis, The University of Sydney, 2001. https://hdl.handle.net/2123/27857.
Full textAbstract:
The English literary imagination has been nourished on the experience and idea of Italy for centuries, at least since Chaucer's Italian visits in 1372 and 1378. A combination of survey, critical analysis and theory, the thesis examines the idea of Italy and the Italians in fiction in English from Henry James to the present. The thesis provides an inclusive account of literary themes and motifs about Italy and the Italians in the modern English novel, defining the modem tradition of fiction about Italy established by James, E.M. Forster and D.H. Lawrence, and describing the continuities and discontinuities which extend to postmodern, international fiction in English about Italy and Italians.
No single theoretical model is employed. An eclectic approach is favoured in order to draw together cultural history, literary history, discourse analysis, literary criticism and biography. In addition, the aim has been to recapture and examine the sense of flux and the idea of selfrealisation through art which characterise the Italianate impulse in past and present English fiction. In terms of method and focus, the thesis converses with ideas about Italy and the Italians, literary tradition, recent theories about the representation of place, and the notion of Italy as a favoured site for the development of literary identity and style.
An introduction traces the early development of the Italian image and establishes themes which appear in the succeeding chapters: otherness cultural and self identity; the 'gaze'; 'seeing' as a metaphor for self-knowledge; the importance of place in the formation of identity; and the connections between artistic representation and place. The second chapter, on Henry James, defines some of the main terms of the recent tradition, including the relationship between Italy and the act of imaginative creation. The James chapter examines the influence of Romanticism on his Italian work; the 'Italian' contradictions in his fiction; and his search, expressed in traditional Italianate tropes, for a transcending equilibrium. James's Italian tales are given equal consideration with the novels, and both are discussed in relation to the travel essays collected as Italian Hours. The third chapter, on E.M. Forster, focuses on the conflict between chaos and order in Forster's Italian fiction, and his concern with further perennial 'Italian' themes, including paganism, the Edenic myth, and the importance of art in self-becoming. The Italian motifs in Forster's stories are compared with those in his Italian novels Where Angels Fear to Tread and A Room with a View. A shorter chapter on D.H. Lawrence outlines his problematic place in the tradition. The final section deals with Italianate postmodernism. A lengthy introduction raises general issues and is followed by closer readings of texts which demonstrate the relevance of 'Italy' to postmodern writing in English. The English, American and Australian
authors chosen for closer comment include Robert Coover, Robert Dessaix, Michael Dibdin, Ian McEwan, Michele Roberts, William Trevor and Jeanette Winterson. The final section illustrates
the continuity of the image of Italy, especially the way its reputation as artifice lends itself to elaborate, postmodern metafiction.
32
Olivier, Francois. "A queer (re) turn to nature? : environment, sexuality and cinema." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/95805.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: This thesis is in interested in the potential of (New) Queer Cinema, with its often cited subversive qualities, as a means to delineate the historical and discursive dimensions of an ongoing relationship between the politics of nature and sexual politics, and to articulate the complex array of ideas that result from this relationship. In this thesis, I investigate how a selection of films actively reproduce, question, deconstruct, or reinforce particular constructions of nature and/or epistemologies of (homo)sexuality, often demonstrating such ideas through particular expressive modes, such as nostalgia, mourning, melancholia, and postmodern play, and by referencing certain literary forms, such as the pastoral, georgic and elegy. To facilitate the analysis I outline above, I have chosen to investigate three films which enable me to move from national to transnational and postcolonial cinematic contexts. I read these films alongside a selection of literary/historical texts that I feel inform or preface each filmic text. The first film is James Ivory’s adaptation (1987) of E.M. Forster’s novel, Maurice. The second is Derek Jarman’s elegiac film, The Garden (1990), which I read alongside the English filmmaker’s journal, Modern Nature (1991). And finally for my third chapter I turn to the work of Canadian filmmaker, John Greyson; specifically Proteus (2003), his recent collaboration with South African activist/filmmaker, Jack Lewis. This final filmic text prompts questions of postcoloniality and Eurocentric modes of knowledge production. I provide context for my argument by outlining recent developments in the history of Queer Cinema and by introducing two distinct but related areas of recent academic enquiry – firstly the notion of Queer Ecology (alongside related studies on the “gay pastoral”) and, secondly, the field of Green Film Criticism or Ecocinema.
AFRIKAANSE OPSOMMING: Hierdie tesis handel oor die potensiaal van (Nuwe) “Queer Cinema”, met sy bekende ondermynende eienskappe, om die historiese en diskursiewe dimensies van ’n voortgesette verhouding tussen die politiek van die natuur en van seksualiteit af te beeld, en om die komplekse verskeidenheid van idees wat volg uit hierdie verhouding, te verwoord. In hierdie tesis doen ek ondersoek na die wyse waarop ’n versameling films sekere konstruksies van ‘natuur’ en/of epistemologieë van ‘(homo)seksualiteit’ aktief herproduseer, bevraagteken, dekonstrueer of versterk. Hierdie idees word dikwels uitgebeeld deur middel van sekere ekspressiewe modusse soos nostalgie, rou, melankolie of postmoderne speelsheid, en deur verwysing na sekere literêre vorme of genres soos die pastorale of landelike gedig en die elegie. Die bostaande analise is gebaseer op drie films wat my in staat stel om te beweeg tussen nasionale, transnasionale en postkoloniale kontekste. Ek beskou elk van hierdie films in die lig van ’n gepaardgaande versameling literêre/historiese tekste wat volgens my sentraal staan tot die volle verstaan van die filmiese tekste. Die eerste film is James Ivory se aanpassing (1987) van E.M. Forster se roman, Maurice. Die tweede is Derek Jarman se elegiese film, The Garden (1990), wat ek tesame met hierdie Engelse filmmaker se joernaal, Modern Nature (1991), beskou. Laastens kyk ek na die werk van die Kanadese filmmaker John Greyson, met spesifieke fokus op sy onlangse samewerking met die Suid-Afrikaanse aktivis en filmmaker, Jack Lewis, in die verfilming van Proteus (2003). Hierdie finale filmiese teks vra vrae oor postkolonialiteit en Eurosentriese vorme van kennisproduksie. Ek kontekstualiseer my argument deur ʼn beskrywing te bied van die onlangse verwikkelinge in die geskiedenis van “Queer Cinema” en van twee afsonderlike, maar verwante akademiese gebiede wat onlangs aandag geniet, naamlik die idee van “Queer” Ekologie (en die nou-geassosieerde ‘gay pastorale’) en Groen Film Kritiek of “Ecocinema”.
33
Baldo, Sofia <1995>. "Will the Machine stop? - E. M. Forster's "The Machine Stops" as posthuman perspective." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18398.
Full textAbstract:
Questa tesi vuole offrire una panoramica più approfondita possibile circa il postumanesimo, in tutte le sue sfaccettature sociali, ambientali, e ovviamente, umane. Supportati dalla storia breve di E. M. Forster, “La macchina si ferma”, i tre capitoli presenti in questo elaborato vogliono dapprima mettere in risalto le caratteristiche, le peculiarità e le questioni sollevate in alcuni passaggi dell’opera di Forster in correlazione col postumanesimo, per poi inserirle in un'analisi critica più approfondito. Capitolo dopo capitolo, i lettori avranno non solo una definizione più puntuale possibile su cosa vuol dire postumanesimo in termini concettuali, ma soprattutto cosa questa corrente può implicare, se messa all’interno di un’ottica più pragmatica.
34
McKinnon, Katherine Elizabeth. "“All Food Is Liable to Defile”: Food as a Negative Trope in Twentieth-Century Colonial and (Post)Colonial British Literature." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1292385406.
Full text
35
Nordenflycht, Olga von Schirren Carl. "Frederick Paulsen : Unternehmer - Forscher - Föhringer Weltbürger /." Neumünster : Wachholtz, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3130007&prov=M&dok_var=1&dok_ext=htm.
Full text
36
Woubshet, Ayele Tesfaye. "Fragmented Imperial Spaces in E. M. Forster’s Howards End and Chinua Achebe’s Things Fall Apart." Thesis, Stockholms universitet, Engelska institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-87575.
Full textAbstract:
Written in different time periods but set in the time of imperial expansion, E. M. Forster’s Howards End (1910) and Chinua Achebe’s Things Fall Apart (1958) offer a critical exploration of British imperialism and its aftermath. What similarities and what differences do these novels have in portraying imperialism? More specifically, do they portray modern imperialism in radically different and mutually exclusive ways since one is set in the center of the British Empire and the other in a peripheral colony? The essay draws on Frederic Jameson’s argument about modernism, and Howards End in particular, that the center representatively excludes the periphery in its literary works. By comparing the two novels, the essay explores these issues and asks whether the British Empire is structurally incomplete in its representation in early twentieth century canonical modernist novels? Moreover, does this theory of exclusivity extend to include modern canonical African novels written a few decades later? By analyzing Howards End and Things Fall Apart, the essay examines the hypothesis that the center and the periphery are indeed mutually exclusive in their literary productions. The conclusions reached require some significant modifications to Jameson’s theory. It was found that Howards End does indeed structurally exclude the periphery. However, the same cannot be said for Things Fall Apart, which structurally incorporates the center. Thus, Jameson’s theory does not extend beyond early twentieth century modernist novels. Moreover, Forster’s novel, although it does suffer from Jameson’s criticism, shows critical awareness of this disabling disconnection from the periphery.
37
Matsumiya, Sonoko. "Journeys towards the Unrepresentable - E. M. Forster's A Passage to India and Virginia Woolf's To the Lighthouse." 京都大学 (Kyoto University), 2002. http://hdl.handle.net/2433/149296.
Full text
38
Forsberg, Hanna Daniela Elisabeth [Verfasser], D. [Akademischer Betreuer] Körholz, M. [Akademischer Betreuer] Girndt, and M. [Akademischer Betreuer] Bald. "Untersuchungen zum Einfluss oraler Kontrazeptiva auf den Blutdruck bei gesunden Mädchen im jungen Erwachsenenalter zwischen 14 und 18 Jahren mittels ambulanter Langzeitblutdruckmessung / Hanna Daniela Elisabeth Forsberg. Betreuer: D. Körholz ; M. Girndt ; M. Bald." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2014. http://d-nb.info/1050099230/34.
Full text
39
Enström, Anna. "Kant och papegojan : Om exemplen i Kritik av omdömeskraften." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-9756.
Full textAbstract:
This essay is an examination of the examples in Kant’s Critique of Judgement. The examples which I have focused on all converge in an idea of wildness. These examples of the beautiful are illuminated by a culture-historical perspective, where the literary and scientific travelogue genre is of great importance. Apart from being exegetic and culture historical, my method is also analytic. The general ambition is to answer the question; what is the parrot doing in the third Critique and what makes it a better example of a free beauty than a jackdaw? Taking as point of departure Jacques Derrida’s notion of parergonality, the example is primarily understood as formative for the thesis, not only as illustrative. By analysing Kant’s use of the wild, exotic and colourful objects as examples the essay intends to show how imagination and understanding operates in the beautiful. The parrot thus corresponds with the role of imagination in its relation to understanding in aesthetic judgement. The examples manifest the strength of the imagination and how it dominates understanding through its wildness. The aim is to present a way to approach the restful contemplation that Kant ascribes to the mind in the experience of the beautiful as bearer of a movement with considerable importance. Rodolphe Gasché’s emphasis on the wild examples as a precognitive minimum for understanding and Hannah Arendt’s view on imagination as an ability of intuition without the presence of the object, have also been essential for my argument.
40
Forster, Florian J. M. [Verfasser]. "Computerunterstützung von kollaborativen Kreativitätsprozessen / Florian J. M. Forster." 2010. http://d-nb.info/1000901246/34.
Full text
41
"AN ARCHETYPAL ANALYSIS OF E. M. FORSTER’." Phd thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/3/12605507/index.pdf.
Full text
42
Christie, Stuart. "Worlding Forster the passage from pastoral /." Diss., 1998. http://catalog.hathitrust.org/api/volumes/oclc/41208223.html.
Full text
43
Xu, Shu-Juan, and 許淑娟. "A Buddhist Reading of E. M. Forster''s A Passage to India." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/84619103498185324500.
Full textAbstract:
碩士國立彰化師範大學
英語教育研究所
85
In A Passage to India, E. M. Forster does not simply explore thepath to better understanding of India, but man''s quest for ultimate truth.This thesis attempts to investigate E. M. Forster''s novel from a Buddhistperspective, exploring the author''s insights in comparison with Buddhistphilosophy. The thesis is divided into five sections. Chapter One is an intro-duction to Forster a a review of literature on A Passage to India. ChapterTwo introduces the Buddhist concepts of attachment and compassion. In thisnovel, Forster not only points out that the continuum of attachment to selfleads people to misjudge each other but also espouses compassion through thecharacter of Mrs. Moore. Chapter Three introduces the Buddhist concept of "Empty Logic" and examines Mrs. Moore''s disillusionment using this theory. Chapter Four considers the question that Forster raises in this novel, "Islife a mystery or muddle?" from the Buddhist "Mere- consciousness" viewpoint.The Buddhist notion of the duality of subject and object and its nondualground are discussed. Chaptaer Five concludes the thesis with Forster''s and Buddhist common humanistic concerns and offers a scope beyond the socialand political concerns of earlier commentators on this novel.
44
Winters, Paul Edward. "Ending well : the idealogy of selected endings in the novels of Dickens, Eliot, and Forster /." Diss., 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:9935186.
Full text
45
Sampaio, Paula Sofia Ramos de Sousa 1972. "Reading literature today: a study of E. M. Forster s and George Orwell s fiction." Doctoral thesis, 2007. http://hdl.handle.net/10451/546.
Full text
46
JEŘÁBKOVÁ, Silvie. "The Image of Italy and Italians in the works by E. M. Forster and Henry James." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-188380.
Full textAbstract:
For my diploma thesis, I decided to choose "The Image of Italy and Italians in the Works by E. M. Forster and Henry James." I selected this topic because my attitude towards Italy is very positive and also because it seems to me interesting to compare in what way the depiction of Italy and its inhabitants is different and in what way similar at these authors. In the introductory part of my thesis, I describe the role of Italy in the course of history. I mention the significance of this country and also its influence on people who visited it. I explain the important function of Italy during the "travel for improvement" that was a part of young English men´s education first of all in 18th century and that was called the "Grand Tour." I also point out the fact that various Italian towns were perceived in a different way. Prejudices and stereotypes played an important role in the perception of Italy, which I mention at the beginning of my thesis as well. Later on, I explain why the authors including Forster and James set the plots of their works in Italy. I present particular Forster´s and James´s works on this topic and I summarize the most important aspects of their use of Italian setting and characters. The comparison of the representation of Italy and Italians in the works of these authors is the goal of my thesis. At first, I deal in my thesis with E. M. Forster´s relation to Italy and with his works on the Italian topic. I focus on the roles and functions of Italy and on the Italian characters in these works that I subsequently compare. I use the same process at H. James. I similarly describe at first his attitude towards Italy and after that his works, the plot of which is situated in Italy or in which there are some Italian characters. I compare these works once again with the focus on author´s depiction of Italy and its inhabitants. In next part of my thesis, I compare the mentioned works of both authors. I pay attention to the Italian setting and to the presented art, then to the role of Italy in both authors´ works, to similarities and differences of Italian characters, to cultural prejudices, stereotypes and xenophobia in the works, and I also describe to what extent E. M. Forster was inspired by H. James´s works, during which I draw on Forster´s critical work Aspects of the Novel. I confront the information with some critical texts of other authors, as for example with an article by Kevin J. H. Dettmar and a review by Edmund White. At the end of my thesis I analyse film adaptations of Forster´s and James´s works with the Italian topic and I put them in contrast with the original sources, on the grounds of which they were made. I observe during these analyses the similarities and differences in the depiction of Italians and Italy.
47
Santos, Ângela Prestes Veiga dos. "Forster and his kind: Christopher Isherwood and the 30’s Group." Doctoral thesis, 2015. http://hdl.handle.net/10400.6/4250.
Full textAbstract:
Having as a starting point a Materialist outset, this research work is intended to be an interdisciplinary attempt to study the literary production as well as the life trajectories of E.M. Forster, Christopher Isherwood and other writers of the Thirties’ – the so-called ‘The Thirties’ Generation’ - with the precise goal to find a connecting thread between the older writer, born in 1879, under the rule of Queen Victoria, and these writers who started developing their writing activity in the late 20’s and 30’s. They were too young to participate in the First World War, but old enough to partake in the Second.
Our endeavour aims at bringing to light the social, economic and political impact the successive wars (not only the two World Wars but also the Spanish Civil War) as well as the consecutive convulsions that took place in the first half of last century had on the works of these writers, both E. M. Forster and the writers of the Thirties’ Generation. Moreover, it is our aim to expound how they made use of and dealt with the current predicament and the subsequent changes of the political systems in Europe (in so far as it helped) in their artistic production.
This study thus deals with the role of the intellectuals, the writers and the artists and to what extent, especially in a period of crisis, their art should be autonomous or, on the reverse, should mingle with politics in the sense of helping in the changing process of life in society. It further seeks to provide an explanation for the development of the various phases of these authors’ writing careers, the shifts in their interests, often dictated by the historical moment they were going through, by exploring the intricate interrelationships between the historical events of their time and their literary evolution. It will also try to trace E. M. Forster’s influence on the work of the younger writers (namely Christopher Isherwood), and the importance of the latter’s militant work on the various privileged grounds of their choice, be they political, of gender or religious.Tendo como ponto de partida uma perspectiva Materialista, este trabalho de pesquisa pretende ser uma tentativa interdisciplinar de estudar a produção literária bem como as trajectórias de vida de E. M. Forster, Christopher Isherwood e outros escritores ingleses da década de trinta do século XX, a chamada Geração de Trinta. Ele tem como objectivo encontrar um fio condutor entre as obras de E. M. Forster, nascido em 1879, ainda no reinado da Rainha Victoria, e estes escritores, mais jovens, que começaram a desenvolver as suas respectivas carreiras literárias nas décadas de 1920 – 1930 e que eram demasiado jovens para participar na Primeira Guerra Mundial, mas com idade suficiente para tomar parte na Segunda. Os nossos esforços têm, ainda, a ambição de trazer a lume, a importância e o impacto social, económico e político que as sucessivas guerras (não apenas as duas Guerras Mundiais mas também a Guerra Civil de Espanha) e também as inúmeras convulsões sociais, que ocorreram na primeira metade do século passado, tiveram nas obras destes escritores, tanto E. M. Forster como os escritores da “Geração de Trinta”, e como eles lidaram e fizeram uso, na sua produção artística, dos acontecimentos históricos e das subsequentes mudanças de sistemas políticos na Europa. Este estudo trata, portanto, do papel dos intelectuais, dos escritores e dos artistas e até que ponto, especialmente em períodos de crise, a sua arte deve ser autónoma ou se, pelo contrário, ela deve interferir nas questões e decisões políticas no sentido de trazer um contributo que possa favorecer o processo de mudança da vida em sociedade. Com a sua realização pretendeu-se encontrar uma explicação, que julgámos plausível, para o desenvolvimento das várias fases das carreiras literárias destes autores, das mudanças dos seus interesses, muitas vezes ditados pelo momento histórico que atravessavam, explorando as intrincadas inter-relações entre os acontecimentos históricos do seu tempo, as relações de poder no terreno e a sua própria evolução literária. Traçar a influência de E. M. Forster nos jovens escritores (nomeadamente Christopher Isherwood), tanto na sua conduta literária como na sua conduta como cidadãos, e a importância do trabalho militante destes últimos nos vários campos da sua escolha, quer seja político, de género ou religioso foi também nossa preocupação no estudo agora apresentado.
48
Nandan, Kavita Ivy. "Reading the politics of E.M. Forster's A Passage to India : a study in ambiguity." Master's thesis, 1994. http://hdl.handle.net/1885/144093.
Full text
49
Baasch, Emma. "Prophecy and Vitality: Reclaiming E. M. Forster and Christopher Isherwood's Theories of Literary Affect as Critical Tools for the Analysis of Fiction." Thesis, 2010. http://hdl.handle.net/10222/13048.
Full textAbstract:
This thesis explores the value of literary affect and reader experiences thereof for critical analysis. Two authors, E. M. Forster and Christopher Isherwood, sit at the core of this thesis due to their respective ideas of ?prophecy? and ?vitality? that propose the importance of individual reader experience in interpreting fiction. Their theories propose, in different ways, that fiction has the ability to extend beyond its mimetic and contextual limits. Derek Attridge and Emmanuel Levinas have contributed to these theories more recently and from a different perspective to re-establish the examination of literature based in reader experience and its ineffable effect. These theories are examined and combined to achieve a holistic and functional theory of literary affect that can be applied critically. The novels used as examples are E. M. Forster‘s A Passage to India, Christopher Isherwood‘s Prater Violet, A Meeting by the River, and A Single Man.n/a
50
"A comparative study of the mother archetype "Death in Chicago" and "A passage to India"." Chinese University of Hong Kong, 1990. http://library.cuhk.edu.hk/record=b5895357.
Full textAbstract:
by Carrie Yuk-ching Kwan.Thesis (M.Phil.)--Chinese University of Hong Kong, 1990.
Bibliography: leaves 137-149.
Acknowledgement
Chapter
Chapter I. --- Introduction --- p.1
Chapter II. --- The Mother Archetype --- p.9
Chapter III. --- "An Archetypal Analysis of ""Death in Chicago""" --- p.28
Chapter IV. --- "An Archetypal Analysis of A Passage to India ´ؤ with a Brief Comparison with ""Death in Chicago""" --- p.73
Chapter V. --- Conclusion --- p.117
Notes --- p.126
Bibliography --- p.137