Academic literature on the topic 'Forster, Edward Morgan, 1879'
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Journal articles on the topic "Forster, Edward Morgan, 1879":
1
Watson, George. "Forever Forster: Edward Morgan Forster (1879-1970)." Hudson Review 55, no. 4 (2003): 626. http://dx.doi.org/10.2307/3852555.
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Yousef, Jamil Al-Asmar. "Literary Colonization between Joseph Conrad and Edward Morgan Forster." Greener Journal of Social Sciences 3, no. 5 (May 20, 2013): 232–41. http://dx.doi.org/10.15580/gjss.2013.5.021913479.
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Kowalska-Nadolna, Urszula. "Między tradycją a postępem, historią a nowoczesnością, morzem a lądem." Forum Poetyki, no. 11-12 (June 11, 2018): 136–43. http://dx.doi.org/10.14746/fp.2018.11-12.26812.
Abstract:
Recenzja prezentuje monografię Travel, Modernism and Modernity, autorstwa brytyjskiego badacza Roberta Burdena, wydaną w 2015 roku. Głównym celem omawianej pracy jest ponowne odkrycie i dogłębne przeanalizowanie modernistycznego pisarstwa podróży. Podstawą rozważań Burdena są literackie i nieliterackie teksty brytyjskich i amerykańskich pisarzy: Josepha Conrada (1957–1924), Edwarda Morgana Forstera (1879–1970), Davida Herberta Lawrence’a (1885–1930), Henry’ego Jamesa (1843–1916) i Edith Wharton (1862–1937). Ich dzieła stawały się już wielokrotnie przedmiotem analizy historyków i teoretyków literatury – to, co odróżnia pracę Burdena od rozważań innych badaczy, to przede wszystkim szerokie, kontekstowe ujęcie ich twórczości. Burden prezentuje sylwetki pisarzy, podkreśla rolę inspiracji autobiograficznych w ich pisarstwie, analizuje je w kontekście historycznym, społecznym i psychologicznym. Motyw podróży nie jest jedynym elementem łączącym poszczególne teksty omawiane przez Burdena – cała jego książka poświęcona jest wyszukiwaniu paraleli i korespondencji, a także elementów oryginalnych, wyróżniających twórczość każdego z pięciorga anglojęzycznych autorów. Omawiane studium należy potraktować jako doskonałe podsumowanie wcześniejszych ujęć, jednocześnie oferujące interesujące rozważania m.in. na temat archetypicznego motywu podróży, wędrówki i poszukiwania – zarówno miejsca, jak i tożsamości (indywidualnej oraz narodowej). Pomimo że teksty omawiane przez Burdena powstawały na początku XX wieku, trudno oprzeć się wrażeniu, iż rozważania autora omawianej monografii są niezwykle aktualne również współcześnie.
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SCHEFFEL, Marcos, and André Luís Mourão de UZÊDA. "FIGURAÇÕES E REFIGURAÇÕES DO ESTÁGIO CURRICULAR DOCENTE EM PORTUGUÊS DA UFRJ." Trama 17, no. 41 (June 1, 2021): 88–102. http://dx.doi.org/10.48075/rt.v17i41.26822.
Abstract:
O estágio curricular é uma importante etapa para construção da identidade docente; é o momento de efetivo contato com o campo de atuação profissional e da conexão entre as teorias construídas ao longo do curso de formação e a escola. Apesar dessa importância, constatamos a percepção recorrente entre muitos dos envolvidos no processo do estágio como um obstáculo a ser superado. Nessas circunstâncias, é comum o acionamento de uma série de estratégias para sua consecução. Dentre elas listamos um imaginário resultante do senso comum assumido pelos estagiários que acaba inviabilizando uma formação significativa e a construção de identidades docentes para o exercício do magistério comprometido com o processo de mudança social (FREIRE, 2014). Baseados em nossa atuação como formadores de professores – e nos saberes experienciais (TARDIF, 2002) da educação básica e do ensino superior como professores da UFRJ – pensamos em seis arquétipos de licenciandos em formação que se lhes aproximam das personagens planas na definição de E. M. Forster (2005). Trata-se de um estudo baseado em nossa observação direta do processo formativo de futuros professores, ao longo dos últimos anos, em conversas de orientação, na elaboração de materiais para sala de aula e relatórios de estágio entre outras práticas de formação docente. Para tanto, nos apoiamos nas contribuições de Tardif (2002) e Larrosa (2002) quando estes falam dos saberes da experiência e de sua relevância no campo do ensino. Além de analisar criticamente os fatores que levam à assunção dessas personagens planas por parte dos estagiários, procuramos apontar alguns caminhos trilhados para proporcionar estágios curriculares mais significativos e empodera os saberes construídos na escola sobre o fazer docente (NÓVOA, 2017).Referências:ADORNO, Theodor. Notas de literatura I. São Paulo: Duas Cidades; Editora 34, 2003.ALMUDRA, Benamê Kamu. “Parece revolução, mas é só neoliberalismo”. In: Revista Piauí, n. 172, p. 24, jan. 2021.BARRETO, Lima. Vida e morte de M. J. Gonzaga de Sá. Apresentação e notas Marcos Scheffel. Cotia: Ateliê Editorial, 2017.FORSTER, Edward Morgan. Aspectos do romance. Org. Oliver Stally Brass; trad. Sergio Alcides; prefácio de Luiz Ruffato. 4ª ed. rev. São Paulo: Globo, 2005.FREIRE, Paulo. Educação e mudança. 36ª ed. São Paulo: Paz e Terra, 2014.LARROSA, Jorge. Notas sobre a experiência e o saber de experiência. Revista Brasileira de Educação, n. 19, p. 20-28, jan.-abr. 2002. Disponível em https://www.scielo.br/scielo.php?pid=s1413-24782002000100003&script=sci_abstract&tlng=pt. Acesso em 6 jan. 2021.MELVILLE, Herman. Bartlebly, o escrivão: uma história de Wall Street. Trad. Irene Hirsch. São Paulo: Cosac Naify, 2005.NÓVOA, António. Um novo modelo institucional para a formação de professores na Universidade Federal do Rio de Janeiro. Perspectivas em Educação Básica, v. 1, p. 13-27, dez. 2017. Disponível em http://perspectivasemeducacao.blogspot.com/2017/12/um-novo-modelo-institucional-para.html. Acesso em 13 jan. 2021.ORLANDI, Eni; SARION, Maristela. Entrevista com Eni Orlandi. Pensares em Revista, n. 17, p. 8-17, 2020. Disponível em https://www.e-publicacoes.uerj.br/index.php/pensaresemrevista/issue/view/2245. Acesso em 13 abr. 2021.TARDIF, Maurice. Saberes docentes e formação profissional. Petrópolis: Vozes, 2002.TOLEDO, Demétrio; MACIEL, Regimeire; CARLOTTO, Maria; FRANCISCO, Flávio. “Uma visão nebulosa e conservadora”. In: Revista Piauí, n. 173, p. 26-29, fev. 2021.Recebido em 28-01-201Revisões requeridas em 31-03-2021Aceito em 27-04-2021
Dissertations / Theses on the topic "Forster, Edward Morgan, 1879":
1
Occelli, Alain. "Le désir dans l'oeuvre de Edward Morgan Forster." Nice, 2003. http://www.theses.fr/2003NICE2032.
Abstract:
Outre l'analyse thématique du désir au niveau de la diégèse, et l'enquête génétique, notre recherche utilise l'approche narratologique, afin de faire émerger les structures du récit, et l'approche sémio-pragmatique, dans le but d'étudier la façon dont le texte forstérien, à certains endroits métatextuel, programme sa réception par le lecteur, sollicitant la participation active de celui-ci. Par ce jeu des désirs auctoriaux et lectoraux se dessinent au final les figures respectivent du lecteur et de l'auteur, engagées dans l'échange littéraire. Dans cette perspective, nous explorons la fiction forstérienne en y examinant principalement la représentation de l'espace, mais aussi les relations complexes unissant sujets et objets du désir, ainsi que la stratégie énonciative particulièrement sophistiquée que met en oeuvre Forster aux prises avec l'autocensure.
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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.
Abstract:
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.
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.
Abstract:
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
Lanone, Catherine. "Odyssée d'une écriture : Lieux et langage dans les romans de E. M. Forster." Paris 3, 1992. http://www.theses.fr/1993PA030029.
Abstract:
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
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Rannou, Isabelle. "Vers le visible : écritures de l'image dans trois romans de E.M. Forster." Rennes 2, 2009. http://www.theses.fr/2009REN20055.
Abstract:
Nombre de lectures de l’oeuvre romanesque de E. M. Forster s’accordent sur la qualité « visuelle » de l’écriture, empruntant au registre du pictural pour évoquer celle-ci. Pourtant, les critiques évacuent souvent les complexités de l’insertion de l’image dans le texte qui, pour beaucoup, rejetterait la peinture pour lui préférer la musique. La lecture de la picturalité dans trois romans phare qui posent la question du rapport du lisible au visible (A Room with a View, Howards End, A Passage to India) trace le cheminement d’un texte qui se situe entre la convention et la recherche de nouvelles formes. Si le traitement critique de la référence « interpicturale » opéré par Forster montre bien que toute image ne fait pas « voir » dans le texte, certaines descriptions portent les traces d’une picturalité plus diffuse qui souligne que l’écriture se renouvelle et dépasse le modèle imposé pour « peindre » dans ses propres termes. Les oscillations qui caractérisent ces ouvertures au visible font écho au concept forsterien de rythme qui éclaire les modulations du pictural et permet à l’image de se détacher du cadre référentiel. Cette démarche dévoile en outre une réflexion sur la représentation et ses limites, lorsque celle-ci paraît mise en péril par les effets délétères de la modernité sur le visible, tels qu’ils apparaissent dans les derniers textes. L’écriture, qui donne une place grandissante à l’obscurité et à l’indicible, trouve pourtant dans ces nouvelles modalités du voir que sont le plat photographique et la description négative de nouveaux dispositifs qui font apparaître le visible dans les creux du texte. Plus qu’un aveu de l’échec du littéraire à écrire le voir, l’image fait du roman forsterien le laboratoire de sa modernitéMany readings of E. M. Forster’s novels agree on the “visual” quality of his writing, using words borrowed from painting to describe it. However, critics have rarely concentrated on the complex nature of its appearance within the text of the novels which, as many have claimed, tend to reject painting in favour of music. Analysing the pictorial images in three key novels addressing the connection between the verbal and the visual (A Room with a View, Howards End, A Passage to India) highlights the progression of a text wavering between convention and the search for new forms. While the critical treatment of the “interpictorial” reference reveals that some images fail to achieve visibility in the text, some descriptions displaying a more allusive pictorial dimension demonstrates that the text can renew its methods and exceed the imposed frame of reference to “paint” in its own terms. Such variations echo the Forsterian concept of rhythm and allow the consideration of the image beyond the sole reference to art. This progression further discloses a questioning of representation in the texts, when the destructive effects of modernity that are displayed in the later novels challenge its very standards. The writing of E. M. Forster, which increasingly values the invisible and the unspeakable, finds new ways of producing the visible in the very modes of modern visibility offered by the photographic and the negative description, through the gaps and fissures of the text. More than the sign of a failure of the literary to write the visible, the image reveals the Forsterian novel as the testing ground for its own modernity
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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.
Abstract:
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
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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.
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Hayes, Kalmia Joy. "Thematic integrity in filmic versions of E.M. Forster's novels." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1002261.
Abstract:
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.
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Labadie, Elisabeth. "L'implicite dans l'oeuvre de E. M. Forster : du texte à l'écran." Paris 3, 1998. http://www.theses.fr/1998PA030187.
Abstract:
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
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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.
Abstract:
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
Books on the topic "Forster, Edward Morgan, 1879":
1
Kirkpatrick, B. J. A bibliography of E.M. Forster. 2nd ed. Oxford [Oxfordshire]: Clarendon Press, 1985.
2
Page, Norman. E.M. Forster. Houndmills, Basingstoke, Hampshire: Macmillan, 1987.
3
Page, Norman. E.M. Forster. New York: St. Martin's Press, 1988.
4
Frank, Kermode. Concerning E.M. Forster. London: Weidenfeld & Nicolson, 2009.
5
Ingersoll, Earl G. Filming Forster: The challenges in adapting E. M. Forster's novels for screen. Madison: Fairleigh Dickinson University Press, 2012.
6
Messenger, Nigel. How to study an E.M. Forster novel. Houndmills, Basingstoke, Hampshire: Macmillan, 1991.
7
Lavin, Audrey A. P. Aspects of the novelist: E.M. Forster's pattern and rhythm. New York: P. Lang, 1995.
8
Forster, E. M. Letters between Forster and Isherwood on homosexuality and literature. New York: Palgrave Macmillan, 2008.
9
Shāhīn, Mohammad. E.M. Forster and the politics of imperialism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2004.
10
Fillion, Michelle. Difficult rhythm: Music and the word in E.M. Forster. Urbana, Chicago: University of Illinois Press, 2010.
Book chapters on the topic "Forster, Edward Morgan, 1879":
1
Guldin, Rainer. "Edward Morgan Forster (1879–1970)." In Frauenliebe Männerliebe, 171–75. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03666-7_38.
2
Stedman, Gesa. "Edward Morgan Forster." In Kindler Kompakt Englische Literatur 20. Jahrhundert, 47–49. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05526-2_6.
3
Stedman, Gesa. "Forster, Edward Morgan." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8540-1.
4
Stedman, Gesa. "Forster, Edward Morgan: Maurice." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8544-1.
5
Drews, Jörg, and Barbara Schaff. "Forster, Edward Morgan: Howards End." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8543-1.
6
Stedman, Gesa. "Forster, Edward Morgan: A Passage to India." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8545-1.
7
Thies, Henning. "Forster, Edward Morgan: Aspects of the Novel." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8546-1.
8
Füger, Wilhelm. "Forster, Edward Morgan: Where Angels Fear to Tread." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8541-1.
9
Stedman, Gesa. "Forster, Edward Morgan: A Room with a View." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8542-1.