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Exterior Modernism: Evelyn Waugh and Cinema

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Exterior Modernism: Evelyn Waugh and Cinema Durham E-Theses Exterior Modernism: Evelyn Waugh and Cinema LIU, YUEXI How to cite: LIU, YUEXI (2017) Exterior Modernism: Evelyn Waugh and Cinema, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/12047/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Thesis abstract Contributing to the dynamic debates in current modernist scholarship, particularly concerning the so-called interregnum between high modernism and postmodernism, exterior modernism refers to the work of a group of younger writers, such as Evelyn Waugh, Ernest Hemingway, Henry Green, Christopher Isherwood, Anthony Powell, Elizabeth Bowen, and Patrick Hamilton, whose departure from high modernism took the form of an ‘outward turn’ privileging exteriority over the interiority of consciousness through foregrounding talk and drawing on cinema, comedy, and satire. Relating their work to other exterior modernists, I focus mainly on Waugh by way of exemplification, considering his oeuvre, non-fiction as well as fiction. This thesis is the first book-length systematic study of Waugh’s relationship with cinema; such a relationship is crucial to the emergence and development of his exterior modernism. To illuminate Waugh’s exteriority, I develop an interdisciplinary framework, informed primarily by distributed cognition. Chapter One discusses Waugh’s first short story, ‘The Balance’ (1926), and his last comic novel, The Ordeal of Gilbert Pinfold (1957), to demonstrate a movement of circularity in Waugh’s fiction. Part One compares ‘The Balance’ with Woolf’s Jacob’s Room (1922), arguing that both writers turned to cinema in search of their unique literary voices. Part Two examines Pinfold’s successful rewriting of the early story by playing with the mind while remaining outside through dissociation. While Chapter Two reads Decline and Fall (1928) – Waugh’s debut novel that established his exterior modernism – as the novelistic equivalent to a Chaplin silent film, Chapter Three regards Waugh’s experimentation with talk in Vile Bodies (1930) – a group novel preoccupied with the group mind – as resonating with the coming of sound to cinema. Concentrating on Brideshead Revisited (1945), a heritage novel, and its afterlives in heritage film and television, Chapter Four investigates exterior modernism at mid-century, which solves the problem of interiority with a distributed sense of affectivity. Exterior Modernism: Evelyn Waugh and Cinema Yuexi Liu Doctor of Philosophy Department of English Studies Durham University 2016 Table of Contents Statement of copyright ......................................................................................................... iii Acknowledgements ............................................................................................................... iv Introduction Exterior Modernism: The Outward Turn .................................................... 1 Chapter One ‘In my beginning is my end’: ‘The Balance’ and The Ordeal of Gilbert Pinfold ................................................................................................................................... 15 Part One Finding the Voice through Cinema: Woolf’s Jacob’s Room and Waugh’s ‘The Balance’ ................................................................................................................................. 15 Jacob’s Room and the Cinema Eye ........................................................................................ 18 ‘The Balance’ and the Cinematic Method ............................................................................. 24 Part Two The Sense of an Ending: The Ordeal of Gilbert Pinfold ................................... 32 The Circular Ending ............................................................................................................... 33 Pinfold as the Ending ................................................................................................... 34 Pinfold’s Ending .......................................................................................................... 40 Dissociation and Trauma: The Extended Mind as Radio ....................................................... 43 Dissociation ................................................................................................................. 45 ‘The Box’ ...................................................................................................................... 49 Trauma ......................................................................................................................... 56 The Cinematic Mind .............................................................................................................. 58 Radio versus Cinema ................................................................................................... 59 Cinematic Pinfold ........................................................................................................ 63 Chapter Two Cinema, Comedy, and Satire: Decline and Fall as a Chaplinesque Silent Film ....................................................................................................................................... 69 ‘GO TO THE CINEMA and risk the headache’: Waugh’s Apprenticeship in Cinema and His Oxford Novel ......................................................................................................................... 70 Waugh on Chaplin: The Transition ............................................................................. 71 University Cinema Culture in the Twenties ................................................................. 76 The Scarlet Woman ...................................................................................................... 83 Laughter and Satire: The Birth of Comedy ............................................................................ 89 ‘IT IS MEANT TO BE FUNNY’: The Comic Body ...................................................... 92 Exterior Modernist Satire ............................................................................................ 99 Chapter Three Talk Fiction and the Group Mind: Vile Bodies as the Group Novel ... 113 The ‘young men of 1922’........................................................................................... 115 Talk Fiction and the Talkies ................................................................................................ 120 The Group Mind: Identity and Anxiety ............................................................................... 137 The Group in the ‘Era of Crowds’ ............................................................................. 140 The Party .................................................................................................................... 145 The War ...................................................................................................................... 159 The Strike ................................................................................................................... 167 Chapter Four Waugh’s Heritage: Brideshead Revisited and Adaptation ..................... 176 Apophrades: High Modernism Revisited ............................................................................. 177 The Heritage Novel: Objects and Emotions ........................................................................ 187 The Fountain: Human Comedies and Tragedies ....................................................... 192 The Chapel: Divine Grace ......................................................................................... 198 Sebastian and His Teddy Bear ................................................................................... 203 Heritage and Heritage-making: Adapting Brideshead Revisited ......................................... 217 Literary Adaptation: Waugh versus Greene .............................................................. 219 Granada Brideshead, Nostalgia, and Heritage.......................................................... 227 Bibliography ....................................................................................................................... 236 ii Statement of copyright The copyright of this thesis rests with the author. No quotation from it should be published without the author's prior written consent and information derived from it should be acknowledged. iii Acknowledgements I would like to thank my supervisors, Professor Patricia Waugh and Dr John Nash, for their guidance, encouragement, and kindness. I am particularly grateful to Pat, who indulged and expanded my obsession with the mind. I was, and still am, constantly awed by her wide-ranging interests, encyclopedic knowledge, and abundant energy. I am also grateful to my annual reviewers, Dr Marina MacKay and Dr Abbie Garrington, who provided me
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