Dissertations / Theses on the topic 'M (Edward Morgan)'

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.

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 odysseenne
E. 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

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 monde
In 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

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.

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.

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'exil
Edward 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

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 implicites
E. 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

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.

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.

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.

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”.

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 Kipling
As 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

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

Wong Nga-lai.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2001.
Includes bibliographical references (leaves 108-112).
Abstracts in English and Chinese.
Acknowledgements --- p.i
Abstract --- p.ii-v
Introduction
Homosexuality: a sin versus a choice --- p.1 -5
Chapter Chapter One --- Wilde and his sacrifices --- p.6 -38
Chapter Chapter Two --- Forster and his private novel --- p.39 -70
Chapter Chapter Three --- Rechy and his new order --- p.71-104
Conclusion
Still a long way to go --- p.105 -107
Selected Bibliography --- p.108-112