ANGL 4850-01 Prospectus Lawrence Durrell's Alexandria Quartet

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ANGL 4850-01 Prospectus Lawrence Durrell’s Alexandria Quartet Professor Paul M. Curtis, 858-4250 (messages), [email protected] Monday 12 :00-13 :15, Wednesday 10 :00-11 :15, 170 Pavillon Jacqueline-Bouchard Office Hours: Monday & Wednesday afternoons, by appointment Welcome to the English Department’s Special Topics course for the academic year 2012- 2013. In recognition and in celebration of the centenary of Lawrence Durrell’s birth, we will read what is considered to be his most successful work, the four novels that comprise his Alexandria Quartet: Justine (1957), Balthazar (1958), Mountolive (1958) and Clea (1960). Although the four novels appeared in quick succession, their gestation period was about 15 years; and, taken together, the Quartet represents a major event in Durrell’s progression as an artist from his previous novel The Black Book (1938). Sensitive to theories of psychology as well as relativity, the first three novels tell very different stories even though they make use of the same materials of plot and character. The significance of all depends upon narrative perspective, it would seem. Only the fourth novel, Clea, extends the series into a future time of plot, setting and character. Our job will be to read the Quartet as intensively as possible and to try – depending upon the interests of the class – to apply various theories of interpretation. We will conclude the class with a reading of Durrell’s Monsieur, or the Prince of Darkness, his first novel in the series of five that goes by the name The Quincunx, or The Avignon Quintet. A bibliography, a syllabus as well as a list of topics will be circulated the first meeting, Monday, 10 September. Required Texts: Lawrence Durrell, The Alexandria Quartet, (any four-volume edition, in print, online, or in the bookstore) Lawrence Durrell, Monsieur, or the Prince of Darkness, (any single-volume edition, etc.) Method: READING & DISCUSSION. Each student will receive an itinerary for each meeting. As we proceed, I will try to avoid formal lectures as much as possible. Come to each class with at least one question to ask of all. Course Requirements and Evaluation: The students will be required to submit a one-page essay (no more, no less) once each week. Each essay will isolate and debate the significance of one feature of the novel under discussion, and the feature (rhetorical, metaphorical, symbolic, etc.) will be of each student’s choosing. The students will submit one final research paper (during the final examination period) of at least 12 pages (excluding bibliography) on the topic of their choice, determined after consultation. No final exam. .

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644A Disciple Has Crossed Over by Water': an Analysis of Lawrence
64 4A disciple has crossed over by water’: an Analysis of Lawrence Durrell’s Alexandria Quartet in its Egyptian Historical and Intellectual Contexts.” Mike Diboll. Submitted for the degree of Doctor of Philosophy, University of Leicester. University College Northampton August 2000 UMI Number: U139322 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U139322 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 <DIAOI2 AAEEANAPEY2IN Dedicated to Phyllis (1908 - 1994) and Joan (1916 - 2000). Abstract: “ ‘A disciple has crossed over bv water’: Lawrence Diirrell's Alexandria Quartet in its Egyptian Historical and Intellectual Contexts” by Mike Diboll. This dissertation examines Lawrence Durrell's The Alexandria Quartet in its various Egyptian contexts. It contests the idea that the Alexandria of the Quartet is essentially a city of the imagination which bears little or no relation to the real city of history. It argues that various strata of Alexandrian history, from antiquity to the nineteen- fifties, are deeply embedded in Durrell’s Quartet. Of particular interest is the tetralogy’s representation of the history of Egypt's Wafdist independence movement in the years 1919 - 1952, and Britain's responses to it.
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Characters and Characterisation in Durrell's the Alexandria Quartet
CHARACTERS AND CHARACTERISATION IN DURRELL'S THE ALEXANDRIA QUARTET Dr. Anna Pratt When The Alexandria Quartet appeared in the late fifties (Justine 1957; Balthazar 1958; Mountolive 1958; Clea 1960) it was given a very mixed reception. Some critics were enthusiastic, making sometimes exaggerated claims for Durrell's originality and greatness; others were more sceptical. George Steiner for instance praised the richness of Durrell's style, saying : "No one else writing in English today has a comparable command of the light and music of language ... Who is to say ... that The Alexandria Quartetwill not lead to a 1 renascence of prose" ? ( ) , while Angus Wilson disagreed, claiming that "Durrell's aims are magnificent, but his execution is often slipshod and pretentious, and the language floridly vul 2 gar" . ( ) It is interesting to note that Durrell's most severe critics tended to be British, and his popularity was much greater in America and on the Continent than in his own country. Dur rell's biographer, G.S. Fraser, says that the prevailing view in England was that the Alexan dria Quartet "is a most impressive but in some ways flawed or imperfect work, extraordinarily 3 vivid, but too rich, too gaudy" . ( ) A similar difference of opinion can be noticed in critical comments on Durrell's methods of characterisation and his ability to create convincing characters. Here again, most British critics were not impressed by characters in The Quartet . The following quotations illustrate the dominant attitude : "For the most part the characters in these novels remain flat surfaces . .. they never become three-dimensional figures ..
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37I TIME in the ALEXANDRIA QUARTET THESIS Presented to The
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THE ALEXANDRIA QUARTET: LOVE AS METAPHYSICAL ENQUIRY By
THE ALEXANDRIA QUARTET: LOVE AS METAPHYSICAL ENQUIRY by ELIZABETH LEE JOHNSTON 3.A., Sir George Williams University, 1974 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, 1976 (fc\ Elizabeth Lee Johnston, 1976 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of <f-K gj 1 > < U The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V.6T 1W5 Date cTcx.,x tl ^ 1% n 1 1 ABSTRACT This thesis is based on a conviction that Lawrence Durrell's The Alexandria Quartet is a metaphysical romance in a truly modern sense; a parable which uses the terminology of modern psychology and romantic love to describe a search for gnosis, or self-knowledge. The characters are prototypes whose enemies are the warring forces within the psyche: the romantic imagination, which manufactures the Illusions of love, and the intellectual examination which may destroy the illusion, but leaves nothing in its place. Durrell shows that his prototype characters must learn to value the naked experience of an emotional moment with a balanced spontaneity of perception divorced from the extremes of both the romantic imagination and the intellect.
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Lawrence Durrell's Alexandria Quartet As a Transitional Work in Twentieth Century Literature Tyler John Niska Iowa State University
Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2008 Bridging the gaps: Lawrence Durrell's Alexandria Quartet as a transitional work in twentieth century literature Tyler John Niska Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons, and the Modern Literature Commons Recommended Citation Niska, Tyler John, "Bridging the gaps: Lawrence Durrell's Alexandria Quartet as a transitional work in twentieth century literature" (2008). Retrospective Theses and Dissertations. 15361. https://lib.dr.iastate.edu/rtd/15361 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Bridging the gaps: Lawrence Durrell’s Alexandria Quartet as a transitional work in twentieth century literature by Tyler John Niska A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program of Study Committee: Leland Poague, Major Professor Geoffrey Sauer David Zimmerman Iowa State University Ames, Iowa 2008 Copyright © Tyler John Niska, 2008. All Rights Reserved 1453897 1453897 2008 ii Table of Contents Acknowledgements iv A Note
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The International Lawrence Durrell Society the Herald Editors: Peter Baldwin Volume 43; April 2020 [NS-4] Steve Moore Founding Editor: Susan Macniven
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Lawrence Durrell's Alexandria Quartet
8 A Quartet that is a Quartet: Lawrence Durrell’s Alexandria Quartet Just as the term “symphony” denotes both an orchestra and the form of work performed by an orchestra, so the musical term “quartet” denotes both “a composition for four solo performers” and the four performers themselves. The technical term for the quartet form is “sonata,” which “refers to the structure of an individual movement” within a work, rather than “the overall form of a multi-movement work.”1 Unlike other literary works (such as The Raj Quartet, which merely has four parts, Tolstoy’s “Kreutzer Sonata,” which is merely named for the sonata performed by a character in the work, or the movie Intermezzo, which has no relationship to music form, Lawrence Durrell’s Alexandria Quartet is indeed a literary application of the musical sonata (quartet) form. Durrell’s letters to Henry Miller indicate that he had given a great deal of thought to the application of the musical quartet form to litera- ture. In September, 1937, Miller suggested to Durrell the idea of creating a quartet of writers—Alfred Perlés, William Saroyan, Durrell, and him- self.2 Years later Durrell wrote to Miller that he had supplied the title for Eliot’s “Four Quartets.” By calling the work a quartet, he indicates that he is aware that a work with four movements may be called a “quartet.” Also by suggesting the title “Four Quartets” (in the plural) rather than simply “Quartet,” Durrell shows that he is aware that “quartet” refers to a movement rather than a complete work.
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Scattergories Round 01 Questions by Will Nediger 1. Frederick Ashton’s ballet Marguerite and Armand is danced to this piece. The fact that its Grandioso theme resembles the plainchant Crux fidelis was used by Paul Merrick to support his theory that this piece’s slow movement is about “the redemption of Man after the Fall,” though Alan Walker dismisses theories that this piece is programmatic. Three themes, marked Lento assai, Allegro energico, and marcato, are introduced in the first 17 bars of this piece. The original loud ending on this piece’s manuscript was crossed out in (*) red and replaced with a quiet ending. Like Schubert’s Wanderer Fantasy, this piece has a four-movement structure but with no pauses between the movements, and it is considered an exemplar of double-function form. For 10 points, name this solo piano piece by Franz Liszt. ANSWER: Franz Liszt’s Piano Sonata in B minor [or S.178; or Klaviersonate h-moll] 2. This author created the all-powerful corporation Merlins, known as the Firm, which causes the death of the protagonist’s lover Iolanthe, who is later resurrected as a robot which sacrifices itself to destroy the Firm’s head. His first novel is narrated by an autobiographical character surnamed Lucifer and draws from the diary entries of “Death” Gregory. A novel (*) series by this author begins with Bruce meeting up with Piers and Sylvie, who travel to Egypt and join a Gnostic cult led by Akkad. He referred to that series, consisting of the novels Monsieur, Livia, Constance, Sebastian and Quinx, as a “quincunx.” For 10 points, name this author of The Revolt of Aphrodite, The Black Book, and The Avignon Quintet, who also wrote The Alexandria Quartet.
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Easter Issue, 1 April 2018 Raypardo@Gmail
Earth Day at Qa’Qad Stormwater Park Lawrence Durrell The Manchester Community Association will sponsor an Earth Day Event at the Stormwater Park Saturday April 21st from 11 to 2 pm. For fun, there will be a planting Lawrence George (Larry) Durrell was born to Irish table for kids to plant their own sunflowers to take home. parents in Jullundur, India (a small town near the There will be presentations by Clean Water Kitsap about Tibetan border) in late February 1912. When he Rain Garden installation and the stormwater park, Kitsap became a teenager, Durrell went to England for his Solid Waste program with information about recycling, formal education. Appalled by the country’s class- Kitsap Health department answering questions about maintaining healthy septic systems, Manchester Water and ridden society, however, Durrell resisted academic the Port of Manchester sharing ways to use our water wisely life and deliberately flunked his university exams. and keep it healthy, and information about the Arbor Day Resolved to be a full-time writer, Durrell debuted in Foundation. 1931 with a collection of poems entitled Quaint Fragments. In 1935 he and his first wife, Nancy An Invitation Myers (While not exactly a stud muffin, Durrell must I would like to personally invite any of you have had some appeal to the opposite sex. He was who have an interest in volunteering to consider married four times.), moved to Corfu where he wrote helping out with the Friends of the Manchester a draft of The Book of the Dead. It proved to be his Library. Why would you want to be a Friend of the initial attempt at The Alexandria Quartet, which he Manchester Library? It has to come from the finished in France in 1960.
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Political Disillusionment and Cultural Enchantment in Lawrence Durrell's Mountolive: New Perspectives
Research Journal of English Language and Literature (RJELAL) A Peer Reviewed (Refereed) International Journal Vol.5.Issue 3. 2017 Impact Factor 6.8992 (ICI) http://www.rjelal.com; (July-Sept) Email:[email protected] ISSN:2395-2636 (P); 2321-3108(O) RESEARCH ARTICLE POLITICAL DISILLUSIONMENT AND CULTURAL ENCHANTMENT IN LAWRENCE DURRELL'S MOUNTOLIVE: NEW PERSPECTIVES Dr. P. MEENA GRACE Assistant Professor, Dept. of English & Humanities, Anil Neerukonda Institute of Technology and Sciences ( ANITS), Sangivalasa, Bheemunipatnam Mandal, Visakhapatnam District. email : [email protected] ABSTRACT Lawrence Durrell's Mountolive, the third volume of his most famous literary work The Alexandria Quartet is a document of Durrell's personal experiences in Alexandria, Egypt. The title 'Alexandria' refers to the historical city and the 'Quartet' to the musical pattern of the four novels – Justine, Balthazar, Mountolive and Clea which combine together like a symphony. The Alexandria Quartet reflects experiences in his love life, diplomatic life and his career. It was during the war years in Egypt, Durrell conceived the idea of writing The Alexandria Quartet. As head of the Information Office in Alexandria in 1943 Durrell was close to Egypt's diplomatic affairs with Britain and his third novel Mountolive is laid against this political background. The Egypt which Durrell re-creates in his novel is one already re-shaped following the Anglo-Egyptian Treaty of 1936. This article tries to illuminate our understanding of the way in which Durrell's Mountolive re-creates and interrogates the political history of Egypt and Britain against the backdrop of the city of Alexandria and his re-interpretation of the fascinating oriental cultures in his portrayal of Alexandria.
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