Academic literature on the topic 'Waugh, Evelyn, 1903-1966'
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Journal articles on the topic "Waugh, Evelyn, 1903-1966"
Blayac, Alain. "Wilson, John Howard, Evelyn Waugh, a Literary Biography, (1903-1924), vol. I, (1924-1966), vol. II." Études britanniques contemporaines 28 (2005). http://dx.doi.org/10.4000/1204o.
Full textDissertations / Theses on the topic "Waugh, Evelyn, 1903-1966"
Lowrie, Mona. "Evelyn Waugh : son catholicisme." Bordeaux 3, 1999. http://www.theses.fr/1999BOR30045.
Full textGuyot, François. "Waugh et l'abyssinie." Paris 12, 1999. http://www.theses.fr/1999PA120031.
Full textEvelyn waugh was send twice as a journalist in ethiopia, a first time as special correspondent of the times on the occasion of the haile selassie's coronation, a second one by the daily mailto cover the italo-ethiopian war. So he attended the two most important events of the thirties in this country. He belonged at this time to the very narrow circle of specialists of ethiopia. He wrote four books about ethiopia : two travel books remote people (1931) and waugh in abyssinia (1936) and two novels black mischief (1932) and scoop (1938), which are scarcely used in ethiopian studies because of waugh's political ideas. The objective of this thesis is to integrate waugh into ethiopian studies. It first studies the relations between the author and the travels, travel to ethiopia and travel to the east, then to focus on waugh's particularities in his writing and in his relations with ethiopia, his writing style and the comparison with his contemporary writers show several aspects of waugh's originality : he used very uncommon style and point of view. The last part studies the relations between waugh and italian propaganda. This work is followed by two appendices : the first one, based on analysis of old maps, about the geographical wandering of the word "ethiopia" ; the second one gives, in french and in english, the whole writings of waugh about ethiopia
Verniquet, Michael. "Les demeures d'Evelyn Waugh." Rouen, 2007. http://www.theses.fr/2007ROUEL620.
Full textThe aim of this piece of research is to delve into the multi-faceted world of Evelyn Waugh's great houses, in a systematic and chronological way. A lifelong interest of his, he never tired of studying them: he described them thoroughly, never failing to convey their symbolic value, the strands of which we have striven to unravel. Over the years, Waugh segued from blind admiration into a more mature assessment of great houses, but they never ceased being a hallmark of his work. This thesis tackles the study of great houses in a three-pronged way: first, the study of the many buildings (British and foreign) that intersperse the novels, books and articles of Waugh; then, the symbolic value attributed to those buildings comes under scrutiny - they stand for civilization vs. The barbarity of the modern age, they are a metaphor of the holy city besieged by dark and evil forces, they are mirrors held up to the owners, reflecting their vices or virtues. The particular aspect of the British ness of the concept `house' is also pinpointed. Finally, as Waugh himself admitted to writing a book as if he were an architect building a house, this simile is consistently explored, and the way the novels are written dissected. Waugh tried to live the life of one his own characters, so Waugh's own houses is an avenue to go down. The true extent of his architectural knowledge is assessed, so is the contradiction between his Roman Catholicism and his thirst for material possessions and upward mobility aspirations
Feenstra, Robin E. (Robin Edward) 1972. "Modern noise : Bowen, Waugh, Orwell." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115604.
Full textChapter One provides a reading of Elizabeth Bowen's audible terrains in her novels of the 1930s, where silences and sudden noises intrude on human lives. In Bowen's novels, technological noise has both comedic and tragic consequences. Chapter Two examines noise as a political signifier in The Heat of the Day, Bowen's novel of the blitz. Chapter Three takes up the significance of the culture racket to Evelyn Waugh's novels and travel writing of the 1930s; noise assumes a disruptive, if highly comedic, value in his works, an ambiguity that expresses what it means to be modern. Chapter Four examines Waugh's penchant for satirizing the phoneyness of contemporary culture---its political vacillations---especially in Put Out More Flags, set during the Second World War. Chapter Five considers Orwell's engagement with the emerging social and political formations amongst working, racial, and warring classes in the 1930s. Documenting noise in his reportage, Orwell sounds alarms to alert readers to the mounting social and political crises in his realist novels of the decade. Chapter Six argues that Orwell's final two novels of the 1940s, Animal Farm and Nineteen Eighty-Four, represent the politics of noise in as much as they announce the noise of politics in totalitarian futures. Noise demarcates the insidiousness of propaganda as it screeches from telescreens, the keynote in Big Brother's ideological symphony of domination. Noise, throughout Orwell's writing, signifies the struggle for power. In its widest ramifications, noise provides an interpretive paradigm through which to read Bowen's, Waugh's, and Orwell's fiction and non-fiction, as well as modernist texts generally.
Ziino, Jabe (Jabe S. ). "Waugh revisited : destabilizing language and structure in Vile bodies, A handful of dust, and Brideshead revisited by Jabe Ziino." Thesis, Massachusetts Institute of Technology, 2011. http://hdl.handle.net/1721.1/65330.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (p. 64-66).
Introduction: Last Fall semester I had only a very vague idea of a thesis topic: with a broad interest in the conflict between romantic love and religion inspired in part by a summertime reading of Brideshead Revisited, I spent a few evenings sharing company with St. Augustine, Abelard and Eloise, and Julian of Norwich. My interest in serious religion was quickly satisfied. Soon after choosing to focus on twentieth century British Catholic novelists-Graham Greene, Muriel Spark, and Evelyn Waugh-I realized the extent to which my enjoyment of Waugh greatly surpassed that of all my other readings. Jabe, I told myself, if you are going to spend a year of your precious young time on a literature thesis, you had damn well better have fun. Evelyn Waugh it was. His work is often noted for its contradictory nature. A devout Catholic, he was also somewhat of a misanthrope; across and within works he mixes bitter, hilarious satire with authentic, often quiet, human concern to a powerful effect that proves remarkably difficult to analyze. The distant narrator of many of his works and the romantic narrator of others both seem at odds with the public Waugh, a crotchety, outspoken conservative to whom critics often refer. Thus it was somewhat with the interest of finding a "new voice" in Waugh that I began my project. I did not find the voice I expected, but eight months, countless hours of reading and discussion, and many drafts later, my interest in the complex workings of Waugh's work has only deepened, surely the sign of a successful topic choice. While there have been numerous biographies of Evelyn Waugh in recent years, with another due to be published in several months, there has been a notable dearth of full-length, or indeed even article-length, critical texts on Waugh's work. This phenomenon can perhaps be explained in part by the seemingly autobiographical nature of his best-known novel, Brideshead Revisited, which was adapted in 1981 into an enduringly popular BBC miniseries and in 2008 into a full-length feature film. However, it is not only the popular imagination that seems to be captivated by Waugh's life; numerous critics of Waugh attempt to understand his work through the lens of his biography, using details such as his conversion to Catholicism early in his career or his political writings and public statements to inform their readings of his novels. The themes and qualities of Waugh's novels are not easily unified across his career; the cynical work of his early career seem very much at odds with the sentimentality and overtly religious concerns of much of his later writings, of which Brideshead Revisited is the best-known example. Accordingly, Waugh's career is often divided into two sections. The first section begins in 1928 with the publication of his first novel Decline and Fall and ends before the publication of Brideshead Revisited in 1945, while the second section begins with Brideshead Revisited and continues to the end of Waugh's career, encompassing the historico-religious novel Helena and the Catholic war novels of the Sword of Honour trilogy. Attempts at reconciling these "two Waughs" recur throughout the criticism; many studies of Waugh as an author either read the later novels as representing Waugh's "true concerns" and attempt to fit the early satires into this model, or dispense altogether with trying to unify the concerns of Waugh's early and later works. According to James Carens, "in Brideshead Revisited Evelyn Waugh turned from the nihilistic rejection of his early satires to an affirmative commitment; to satisfy the other impulse of the artist-rebel, as Albert Camus has described him, Waugh affirmed a vision which he believed gave unity to life." According to Frederick L. Beaty's reading of Brideshead Revisited, Waugh's "affirmative commitment" is a belief in God and Catholicism: The chaos that surrounds [Waugh] becomes not only tolerable but meaningful as he views from a radically changed perspective a universe he once saw in ironic terms. Relativism, paradox, and indeterminacy give way before the conviction that an immanent, transcendent Deity is the ultimate reality. Waugh's enunciation of this positive credo marks a conscious turning away from philosophical irony-with its essentially skeptical vision-as the underlying world view for his fiction. The conclusion of Brideshead Revisited thus functions as an articulation of Waugh's religious beliefs and a rejection of his earlier secular works; Beaty secures meaning in Waugh's writing by aligning each novel with Waugh's presumed personal philosophy. In contrast, non-biographical criticism of Waugh often fails to find consistent themes or concerns across the novels. Michael Gorra articulates this phenomenon well in the following argument, which begins with criticism of to Jeffrey Heath's The Picturesque Prison: Evelyn Waugh and His Writing: Like most of the explicitly Catholic criticism of Waugh, [Heath's book] places too much weight upon his comic prefigurations of his later beliefs. Most treatments of Waugh as a satirist tend, similarly, to read his career backwards.. .A useful corrective to accounts of Waugh as either Catholic apologist or satirist is David Lodge's argument in Evelyn Waugh that his early novels in particular contain "a mosaic of local comic and satiric effects rather than a consistent message." In this paper, I propose a different reading of Waugh: one that finds neither dogmatic affirmation nor disparate ingenious effects but finds rather the performance of a complex expression of the insecurity and energy of the modern world that disintegrates the traditional interpretation of Waugh's work as strict ironic satire.
S.B.in Literature
Morère-Labay, Julie. "Civilisation et barbarie dans l'œuvre d'Evelyn Waugh (1945-1966)." Montpellier 3, 2007. http://www.theses.fr/2007MON30039.
Full textAfter the youthful excesses illustrated in the novels of the first period, from 1945 to 1966, Evelyn Waugh’s works continue to condemn the spiritual vacuum that is at the core of the modern world, insisting more and more on the necessity to take up arms against it. The power of the British novelist’s writing comes from his form, his style, and the variety of topics discussed, all revolving around a central concept – the conflict that opposes civilization and barbarism. These notions entertain a chiasmic relationship, in between a civilized barbarism and a barbaric civilization. The diaries, correspondence, articles, essays, reviews and fictional works denounce the ethical and aesthetic contradictions of the modern world, positioning the author contra mundum. Waugh’s writing mirrors the many masks he adopts, a critique and an aesthete in turn, a determined and stubborn war correspondent, a political thinker, a bold observer of the customs of his country and of others, a pious catholic and a ferociously religious writer. What is ultimately at stake for him is the defence of the English language and its literary tradition, while at the same time embodying the spirit of an era that he observed and criticized, constantly measuring its flaws against the values of a bygone age that he deemed superior to the world he lived in
Bratten, Joanna K. "Representations of adultery and regeneration in selected novels of Ford, Lawrence, Waugh and Greene." Thesis, University of St Andrews, 2002. http://hdl.handle.net/10023/6723.
Full textLarkin, Owen James. "The horror and the glory : transformation of satire to mature faith in the writing of T.S Eliot and Evelyn Waugh." Phd thesis, 2004. http://hdl.handle.net/1885/151310.
Full textBooks on the topic "Waugh, Evelyn, 1903-1966"
Waugh, Evelyn. The essays, articles and reviewsof Evelyn Waugh. Harmondsworth: Penguin, 1986.
Find full textWilson, John Howard. Evelyn Waugh: A literary biography. Madison, NJ: Fairleigh Dickinson University Press, 1996.
Find full textMartin, Stannard. Evelyn Waugh: No abiding city, 1939-1966. London: J.M. Dent, 1992.
Find full textPatey, Douglas Lane. The life of Evelyn Waugh: A critical biography. Oxford, UK: Blackwell Publishers, 1998.
Find full textBook chapters on the topic "Waugh, Evelyn, 1903-1966"
Gorra, Michael. "Evelyn Waugh (1903–1966)." In The English Novel at Mid-Century, 156–97. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-11457-3_5.
Full textMilthorpe, Naomi. "Waugh, Evelyn (1903–1966)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2094-1.
Full textMartínez Díaz, Alicia Nila. "Más allá de las palabras: un estudio comparatista de la representación de la gracia, el pecado y la redención en la novela y la película Brideshead Revisited." In La presencia del ausente. Dios en literaratos contemporáneos, 85–100. Ediciones de la Universidad de Castilla-La Mancha, 2021. http://dx.doi.org/10.18239/estudios_2021.173.06.
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