DOCSLIB.ORG

Seduction and Death in Muriel Spark's Fiction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Seduction and Death in Muriel Spark's Fiction SEDUCTION AND DEATH IN MURIEL SPARK’S FICTION FOTINI APOSTOLOU DEPARTMENT OF ENGLISH LITERATURE SCHOOL OF ENGLISH FACULTY OF PHILOSOPHY ARISTOTLE UNIVERSITY OF THESSALONIKI 1997 To Kostas Everything is seduction and nothing but seduction Jean Baudrillard Seduction “If I had my life over again I should form the habbit of nightly composing myself to thoughts of death. I would practice, as it were, the remembrance of death. There is no other practice which so intensifies life. death, when it approaches, ought not to take one by surprise. It should be part of the full expectancy of life. without the ever-present sense of death life is insipid. You might as well live on white eggs.” Muriel Spark Memento Mori C on t en t s Acknowledgments Introduction Seduction and Death in Muriel Spark’s Poetics 1 Chapter 1 Textasy: Writing and Being Written—Or, Seducing and Being Seduced 39 Chapter 2 Deadly Desires—Or, How Can the Inscription of the Body Initiate Narrative? 76 Chapter 3 Seduction of the Gaze: Spectacles and Images in The Public Image 123 Chapter 4 Gold Rush—Or, All that Glitters Is Gold in The Takeover 160 Epilogue Memento Mori? 196 Bibliography 202 Abbreviations 243 Acknowledgments My particular thanks are due to all three members of my committee for their enthusiasm and support throughout these long five years. Ruth Parkin-Gounelas, my supervisor, made things much easier with her detailed and precise comments on my work; our discussions always bore fruit, as she had an amazing ability to urge me forward step by step. Words can’t describe Jina Politi, without whose ideas my thesis would have been completely different; an inexhaustible source of inspiration, Jina really opened up new horizons before me. Karin Boklund-Lagopoulou, who never stopped believing in me, was a very supportive presence all these years; she always managed to detect some crucial drawbacks, which I was too immersed in my work to notice. I would also like to thank Katy Douka-Kabitoglou not only because her personal library was always available, but also because she stood by me, always ready to listen to my problems and offer her invaluable advice and experience. I am particularly grateful to Mr Anargyros Heliotis as he was the first to introduce me into Spark’s fiction. The friendship of Katerina Kitsi-Mitakou was inestimable both during the first years, when she read my work, and during the last phase, because she was so warm and supportive when I most needed her. I owe my thanks to Effie Botonaki, Irene Hania and Paraskevi Papaleonida, because sharing problems and experiences is always such a relief! Finally, I can’t forget Fotini Stavrou, our Librarian, and her immense help in the library. Introduction Seduction and Death in Muriel Spark’s Poetics … seduction is inevitable. No one living escapes it—not even the dead. For the dead are only dead when there are no longer any echoes from this world to seduce them, and no longer any rites challenging them to exist. Jean Baudrillard Seduction Prologue “Seduction is inevitable” as Jean Baudrillard states in his work Seduction. These three words alone capture, I believe, the essence of my argument, which will be an attempt to discover how seduction works in Muriel Spark’s narratives, how it lures its objects into its domain and bewitches them. seduction and death in muriel spark’s poetics Since the emphasis of this work is to be on seduction, I feel I should begin by clarifying what it was in Muriel Spark’s writing that brought this particular writer to the centre of my attention, that seduced me into writing about her fiction. When referring to Muriel Spark one always starts with her style, the best-known feature of her writing, since she is famous mostly for the extreme lightness of her tone, the delicately detached touch of her pen that creates a chilling distance for the reader of her (mostly very short) fiction. It was this peculiar style of handling the most serious matters with such extreme, deadly serenity that first induced, or should I say seduced, me into writing about her prose. By letting myself free to roam into the secret passages of Spark’s fiction, I tried to further this first seduction, to risk a deeper lure by attempting new readings of her work. At this point it would be appropriate to have a brief look at the wider context in which Spark wrote her work and the various readings that have been attempted by critics until now. In contemporary fiction we witness a move toward a focus on the writing process itself, toward the mechanics of writing; the role of the author, the narrator, the character; the role of language as a structure that conditions and envelops human existence. Authors, suddenly uneasy about their “implied” role in narratives, try to redefine it by standing back and reflecting on their own and all previous texts— written or spoken—that have conditioned their writings. Muriel Spark, working within this self-reflexive context, has offered her own perspective on authors and characters, language and writing, reality and fiction, content and discontent. 2 seduction and death in muriel spark’s poetics Spark’s work has often been studied in the light of metafictionality by modern critics like Patricia Waugh, Ruth Whittaker, Malcolm Bradbury, Gerardine Meaney, and others. Her interest in the fictional process is revealed in her adoption of metafictional methods, whereby she exposes the structures that underlie the process of writing and being written. What is of particular importance to these critics is Muriel Spark’s preoccupation with metafictionality and plottings, which imprison her characters and mark their inability to escape writing. Most of her critics have related Spark’s interest in metafictionality to her religious beliefs, since it was her conversion to Catholicism in 1954 that signaled her entrance into fiction—until then she wrote only poetry and some critical essays—through a process that I will discuss in more detail later. It was, therefore, to be expected that critics would focus their attention on her religion, which appeared to play such an important role in her fiction. As Patricia Waugh states in her influential book Metafiction: “The concern with freedom in both cases [Spark’s and Fowles’s] is . a consequence of the perceived analogy between the plot in fiction and the ‘plot’ of God’s creation, ideology or fate. It is a concern with the idea of being trapped within someone else’s order” (121). Waugh immediately goes on to relate this idea to the postmodern context of the imprisonment of language and signification: “At the furthest fictional extreme, this is to be trapped within language itself, within an arbitrary system of signification which appears to offer no means of escape” (121). Evidently, Spark’s Catholicism acts as a determining principle for critics who feel uncomfortable within a postmodern context. Most 3 seduction and death in muriel spark’s poetics secondary works on Spark’s narratives handle themes such as freedom, autonomy, and omniscience mainly in relation to her religion. David Lodge, for example, who discusses Muriel Spark’s omniscient narrators in his article “The Uses and Abuses of Omniscience: Method and Meaning in Muriel Spark’s The Prime of Miss Jean Brodie,” again touches on the issue of the relationship between Catholicism and omniscience: “The objections to orthodox Christian belief and to authorial omniscience in fiction are … essentially the same: that both involve a denial of human autonomy, of human freedom” (121). Freedom and autonomy, then, are inextricably bound to the doctrines of Catholicism and to omniscience. The child of a Jewish father and a Protestant mother, growing up in Scotland, Spark had a starkly complex religious and cultural background. Her marriage at an early age and her life in Africa, her divorce, and her work for the secret intelligence service of the British Foreign Office during World War II were significant cornerstones in her life. However, it was her conversion to Roman Catholicism that coincided, as I mentioned above, with a turning point in her life, her initiation into fiction and the finding of her voice as a writer. Muriel Spark was intent on the idea of the right voice that would lead her to writing; she sought desperately to find a voice that would be hers, a voice which she managed to find only after her conversion at the age of 36, after which she has written 20 novels and three volumes of short stories, in a period of 40 years. She herself stated in 1961: 4 seduction and death in muriel spark’s poetics Nobody can deny I speak with my own voice as a writer now, whereas before my conversion I couldn’t do it because I was never sure who I was, the ideas teemed, but I could never sort them out. I was talking and writing with other people’s voices all the time. But not any longer. This is the effect of becoming a Christian. (Spark, “My Conversion” 61) Her works, however, have never been a clear proclamation of her faith, thus obstructing any efforts on the part of critics to associate her directly with her religion. Gerardine Meaney, in her recently published work (Un)Like Subjects: Women, Theory, Fiction (1993)—which focuses on the writings of Hélène Cixous, Luce Irigaray, Doris Lessing, Julia Kristeva, Muriel Spark and Angela Carter—has been the only one to study Spark’s fiction from a feminist point of view. As she states in her introduction, “Muriel Spark … has never been associated with the feminist movement.
Load more

Recommended publications
  • Muriel Spark's Stylish Spinsters: Miss Jean Brodie Past Her Prime
    Muriel Spark’s Stylish Spinsters: Miss Jean Brodie Past Her Prime Hope Howell Hodgkins Maggie Smith in The Prime of Miss Jean Brodie (1969) Fashion succeeds by promising to annul the fragmented conditions of modernity with the imposition of a coherent subjectivity. Leslie Rabine / Joanne Finkelstein Baudelairean dédoublement: The wise man is “one who had acquired by habit a power of rapid self-division (dédoublement) and thus of assisting as a disinterested spectator at the phenomena of his own ego.” -D’Essence de la Rire Alexander Moffat, 1984 (Scottish National Portrait Gallery) “. head up, like Sybil Thorndike, her nose arched and proud.” She left the web, she left the loom, She made three paces thro’ the room, She saw the water-lily bloom, She saw the helmet and the plume, She look’d down to Camelot. Alfred, Lord Tennyson “The Lady of Shalott” The Lady of Shalott, William Holman Hunt, 1889-92 (Wadsworth Museum of Art) The Girls of Slender Means Edinburgh Festival 2009 Edwardian blue silk damask dress: “Bluebell” Bluebell the cat Schiaparelli Pink Schiaparelli hat, 1948 Schiaparelli dress, 1938 The Driver’s Seat, 1970 The Driver’s Seat (European title: Identikit), 1974 Mona Washbourne & Elizabeth Taylor Her own work of art: Spark in Rome, 1970 (Jerry Bauer, NLS) “Plump, motherly”: Spark with her son, early 1940s Stylish into old age. [A]n artist is only an artist on condition that he is a double man and that there is not one single phenomenon of his double nature of which he is ignorant. Charles Baudelaire, “D’Essence de la rire”.
    [Show full text]
  • The Best According To
    Books | The best according to... http://books.guardian.co.uk/print/0,,329724792­99819,00.html The best according to... Interviews by Stephen Moss Friday February 23, 2007 Guardian Andrew Motion Poet laureate Choosing the greatest living writer is a harmless parlour game, but it might prove more than that if it provokes people into reading whoever gets the call. What makes a great writer? Philosophical depth, quality of writing, range, ability to move between registers, and the power to influence other writers and the age in which we live. Amis is a wonderful writer and incredibly influential. Whatever people feel about his work, they must surely be impressed by its ambition and concentration. But in terms of calling him a "great" writer, let's look again in 20 years. It would be invidious for me to choose one name, but Harold Pinter, VS Naipaul, Doris Lessing, Michael Longley, John Berger and Tom Stoppard would all be in the frame. AS Byatt Novelist Greatness lies in either (or both) saying something that nobody has said before, or saying it in a way that no one has said it. You need to be able to do something with the English language that no one else does. A great writer tells you something that appears to you to be new, but then you realise that you always knew it. Great writing should make you rethink the world, not reflect current reality. Amis writes wonderful sentences, but he writes too many wonderful sentences one after another. I met a taxi driver the other day who thought that.
    [Show full text]
  • Literature Culture Linguistics Muriel Spark
    2018.NEXUS 02 edita: Cristina Alsina Rísquez FREDERICK DOUGLASS &MARTIN LUTHER LITERATURE KING & CULTURE MURIEL SPARK WILLFRED OWEN LINGUISTICS MATTI RISSANEN DEBORAH SCHIFFRIN M.A.K. HALLIDAY Presidente ALBERTO LÁZARO LAFUENTE Universidad de Alcalá Secretario ANTONIO BALLESTEROS GONZÁLEZ 2018.NEXUS 02 UNED Vocal 1a CRISTINA ALSINA RÍSQUEZ Copyright De los textos, sus autores. Universitat de Barcelona Editor CRISTINA ALSINA RÍSQUEZ Vocal 2a ROSARIO ARIAS DOBLAS Universidad de Málaga Graphic TONI CAMPS design useixantaquatre.com Tesorera CRISTINA SUÁREZ GÓMEZ Universitat de les Illes Balears ISSN 1697-4646 http://www.aedean.org nexus 2018-02 ÍNDICE LITERATURE AND CULTURE AND LITERATURE TRIBUTES MAR GALLEGO Universidad de Huelva 7 Frederick Douglass & Martin Luther King Commemorating Frederick Douglass and Martin Luther King: African American Rhetoric and Black Masculinity BERTA CANO ECHEVARRÍA Universidad de Valladolid 19 Wilfred Owen Wilfred Owen’s Search for Words TOMÁS MONTERREY Universidad de La Laguna FRANCISCO GARCÍA LORENZANA Y PEPA LINARES 25 Traductores de Muriel Spark Esplendida´ Spark In Memoriam. 1918-2006 LINGUISTICS TRIBUTES MARÍA JOSÉ LÓPEZ-COUSO & BELÉN MÉNDEZ-NAYA University of Santiago de Compostela 32 Matti Rissanen In Memoriam: Matti Rissanen, the linguist, the friend BEGOÑA BELLÉS FORTUÑO Universitat Jaume I 38 Deborah Schiffrin In Memoriam 3 nexus 2018-02 ÍNDICE LINGUISTICS TRIBUTES DANIEL GARCÍA VELASCO Universidad de Oviedo M.A.K. Halliday 41 El lenguaje segun M.A.K. Halliday ´ LITERATURE AND CULTURE AND LITERATURE RESEARCH PAPERS RESEARCH CLARA ESCODA Universitat de Barcelona 45 “Much Deeper than That”: Hegemonic Emotional Experiences and Affective Dissidences in Martin Crimp’s In the Republic of Happiness (2012) Research Project: British Theatre in the Twenty-First Century: Crisis, Affect, Community LINGUISTICS RESEARCH PAPERS RESEARCH MARÍA F.
    [Show full text]
  • Repetition and Narrative Time in Muriel Spark's 'The Bachelors', 'The Ballad of Peckham Rye' and 'A Member of the Fa
    Page !1 of !26 Gaenor Burchett-Vass March 2014 Repetition and narrative time in Muriel Spark’s ‘The Bachelors’, ‘The Ballad of Peckham Rye’ and ‘A Member of the Family’ ‘Story time’ is not the same thing as ‘narrative time’. The Russian Formalists, active during the early years of the twentieth century, used the terms ‘fabula’ and ‘sjuzhet’ to refer respectively to the ‘chronological sequence of events’ and the ‘order and manner in which [these events] are actually presented in the narrative’ (Jefferson and Robey, 1986: 39). Scenes which occur once in story time, the fabula, can be repeated many times in the narrative, or the sjuzhet, and any such scene will be brought into prominence, or foregrounded, thereby inviting the reader to assign significance to it. Genette’s work on ‘frequency’ in the second half of the twentieth century is built on the foundations established by the Formalists. In his Narrative Discourse, first published in French as Figures III in 1972, Genette distinguishes three possible methods available to the writer for recounting events: the singulative, repetitive and iterative. More recent work among narratologists has pinpointed the difficulties inherent in the fabula/sjuzhet distinction, briefly summarised as follows. The fabula is essentially a construct, put together by the reader at the time of reading and revised to create a final version once the text has been read. It has no external existence unless the fabula and sjuzhet can be seen to be absolutely identical. A ‘primary’ narrative must be identified to enable the construction of a fabula: this is not always straightforward and disagreements cannot easily be resolved.
    [Show full text]
  • Hidden Possibilities: Essays in Honor of Muriel Spark Edited by Robert E
    Maley, W. (2017) Hidden Possibilities: Essays in Honor of Muriel Spark edited by Robert E. Hosmer Jr. Religion and Literature, 48(2), [Book Review] This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/124247/ Deposited on: 03 October 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Hidden Possibilities: Essays in Honor of Muriel Spark. Robert E. Hosmer Jr., ed. Notre Dame University Press, 2014. vii + 295 pp. $35 paper. Robert Hosmer’s introduction – gleeful, gossipy, gushing – sets the tone for this compelling collection of intimate encounters with the late Dame Muriel Spark by connoisseurs of her poetic art. The editor has assembled a veritable Brodie Set who can scarce contain their enthusiasm for their prime subject. Hosmer is clear about the book’s aims, hoping “readers of this volume will gain a keen sense of Muriel Spark as a person, derived in good measure from reading her own words, unfiltered and uncensored, and a considerable critical appreciation of her work as articulated by some of her best readers”. Of the sixteen essays gathered here, seven are previously published, so I will pass over the elegant insights of my colleague Gerry Carruthers, as well as those of Frank Kermode, John Lanchester, Doris Lessing, John Mortimer, and John Updike, and the fascinating interview Hosmer conducted with Spark in 2005. The volume opens with a section entitled “The Work”, in which Gabriel Josipovici’s erudite exploration of Spark’s critique of fiction within her fiction is the opening essay: “The villains in Muriel Spark’s novels are those who cannot see the difference between fiction and reality.
    [Show full text]
  • The Natural and the Supernatural in Muriel Spark's Fiction
    Studia Litteraria Universitatis Iagellonicae Cracoviensis 6 (2011) DOI: 10.4467/20843933ST.11.005.0303 BOŻENA KUCAŁA Instytut Filologii Angielskiej Uniwersytet Jagielloński The Natural and the Supernatural in Muriel Spark’s Fiction Abstract A striking feature of Muriel Spark’s fi ction is its insistence on the reality of the supernatural, which occasionally breaks into the naturalistic level, defying and challenging habitual modes of perception. The fact of Spark being a religious convert is well known, but her faith is mani- fested in ways different from what is normally assumed to be religious writing. Spark’s novels are never overtly didactic or moralistic; the impact of her faith is manifest in the notion of reality as conveyed by her fi ction. Spark’s vision of reality, underlain by her Catholicism, is based on her conviction that empirical reality coexists with the supernatural world; therefore, interactions with the supernatural, however strange they may seem, are presented in her fi ction as compellingly plausible. It is argued in the article that Spark’s ontology of fi ction is rooted in a tradition going back to Chesterton, who insisted on the paradoxical conjunction of nonsense and faith, both capable of invoking a sense of spiritual wonder at the world we normally take for granted. Memento Mori, Reality and Dreams as well as selected short stories are referenced to illustrate the peculiar combination of the empirical and the supernatural in Spark’s fi ction. The article asserts the paradox, central to Spark’s vision of reality, that the supernatural should be accepted as a natural part of profane experience.
    [Show full text]
  • A Muriel Spark Bibliography
    A Muriel Spark Bibliography 1. Texts by Muriel Spark Novels Spark, M., The Comforters (London: Macmillan, 1957). —, Robinson (London: Macmillan, 1958). —, Memento Mori (London: Macmillan, 1959). —, The Bachelors (London: Macmillan, 1960). —, The Ballad of Peckham Rye (London; Macmillan, 1960). —, The Prime of Miss Jean Brodie (London: Macmillan, 1961). —, The Girls of Slender Means (London: Macmillan, 1963). —, The Mandlebaum Gate (London: Macmillan, 1965). —, The Public Image (London: Macmillan, 1968). —, The Driver’s Seat (London: Macmillan, 1970). —, Not to Disturb (London: Macmillan, 1971). —, The Hothouse by the East River (London: Macmillan, 1973). —, The Abbess of Crewe (London: Macmillan, 1974). —, The Takeover (London: Macmillan, 1976). —, Territorial Rights (London: Macmillan, 1979). —, Loitering with Intent (London: Macmillan, 1981). —, The Only Problem (London: Bodley Head, 1984). —, A Far Cry from Kensington (London: Macmillan, 1988). —, Symposium (London: Macmillan, 1990). —, Reality and Dreams (London: Constable, 1996). —, Aiding and Abetting (London: Constable, 2000). Autobiography —, Curriculum Vitae (London: Constable, 1992). Drama —, Voices at Play (London: Macmillan, 1961), includes radio drama. —, Doctors of Philosophy (London: Macmillan, 1963). Stories —, The Go-Away Bird and Other Stories (London: Macmillan, 1958). —, Voices at Play (London: Macmillan, 1961), includes short stories. —, Collected Stories I (London: Macmillan, 1967) —, The Stories of Muriel Spark (London: Macmillan, 1987). —, Bang-Bang You’re Dead and Other Stories (St Albans: Granada, 1982). —, Collected Short Stories (London: Macmillan, 1995). —, Madam X (London: Colophon Press, 1996). 230 A Muriel Spark Bibliography 231 —, Harper and Wilton (London: Colophon Press, 1996). —, Open to the Public: New and Collected Stories (London: New Directions Books, 1997). —, The Quest for Lavishes Ghost (London: The Cuckoo Press, 1998).
    [Show full text]
  • The Mandelbaum Gate #Muriel Spark
    The Mandelbaum Gate #Muriel Spark 0140027459, 9780140027457 #1967 #The Mandelbaum Gate #Penguin Books, 1967 #Muriel Spark #Barbara, engaged to an archaeologist, has pursued the beauty and danger of a life of faith. On a visit to Jerusalem she has befriended the diplomat Freddy Hamilton. Ignoring his warning that she risks arrest because of her Jewish blood, she has set out on a pilgrimage beyond the Mandelbaum Gate. file download vopunip.pdf Fiction #1995 #ISBN:0811212963 #106 pages #Muriel Spark #The Abbess of Crewe #An election is held at the abbey of Crewe and the new lady abbess takes up her high office with implacable serenity The Mandelbaum Gate pdf Fiction #Reality and Dreams #Mar 20, 2012 #ISBN:9781453245095 #A Novel #Sleek and suggestive . [Reality and Dreams] is so smart and seductive that you fail to notice how completely youve accepted a world gone utterly awry. Kirkus Reviews #Muriel Spark #156 pages Mandelbaum Gate The Mandelbaum Gate download 1960 #Muriel Spark #214 pages #And Other Stories #UCAL:B3865811 #The Go-away Bird #Africa The Prime of Miss Jean Brodie #ISBN:0060931736 #Fiction #A teacher at a girls' school in Edinburgh during the 1930s comes into conflict with school authorities because of her unorthodox teaching methods, in a new edition--which #150 pages #1961 #Muriel Spark download The Mandelbaum Gate pdf file Fiction #ISBN:0811214575 #Mrs. Hawkins, a buxom young war widow, spends her days working for a mad, near-bankrupt publisher ("of very good books") and her nights dispensing advice at her small South #189 pages #Sep 17, 2000 #A Far Cry from Kensington #Muriel Spark The Mandelbaum Gate pdf download ISBN:9781590176146 #Renata Adler, Muriel Spark #154 pages #Pitch Dark #2013 #""What's new.
    [Show full text]
  • MURIEL SPARK a Catalogue
    MURIEL SPARK A Catalogue JONKERS 1 RARE BOOKS Offered for sale by Jonkers Rare Books “With Graham Greene and Evelyn Waugh, Muriel Spark completed a 27 Hart Street Henley on Thames grand triumvirate of Catholic-convert novelists. After Greene’s death in RG9 2AR 1991, she was often described as ‘the greatest living British writer’, and both her predecessors were awed by her talent.” 01491 576427 (within the UK) +44 1491 576427 (from overseas) Dame Muriel Spark, as Martin Stannard’s praise attests, The collection presented in these pages is the product of was one of the great British novelists of the Twentieth Century. But it one private collector, and shows the extraordinary range of Spark’s email: [email protected] was not until 1957, a week after her thirty-ninth birthday that her first canon. It begins with issues of the James Gillespie’s School Maga- zine, where her poems appeared under the commission of teacher website: www.jonkers.co.uk novel, The Comforters, a finely tuned examination of mental health and the literary mind, was published. Miss Christina Kay, who was later fictionalised, as was the school, in The Prime Of Miss Jean Brodie. It goes on to offer examples of Payment is accepted by cheque or bank transfer in either After this, however, and following reviews in the most en- sterling or US dollars and all major credit cards. All items are Spark’s early publications of literary criticism as well as the great couranging terms from both Greene and Waugh, Spark’s literary out- unconditionally guaranteed to be authentic and as described.
    [Show full text]
  • Religious Conflict in Muriel Spark's Novels
    RELIGIOUS CONFLICT IN MURIEL SPARK’S NOVELS: THE BACHELORS, THE COMFORTERS AND MEMENTO MORI Nilgün ŞENOL ADMEŞ Yüksek Lisans Tezi İngiliz Dili ve Edebiyatı Anabilim Dalı Danışman: Prof. Dr. Hasan BOYNUKARA 2018 T.C. TEKİRDAĞ NAMIK KEMAL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ İNGİLİZ DİLİ VE EDEBİYATI ANABİLİM DALI YÜKSEK LİSANS TEZİ RELIGIOUS CONFLICT IN MURIEL SPARK’S NOVELS: THE BACHELORS, THE COMFORTERS AND MEMENTO MORI Nilgün ŞENOL ADMEŞ İNGİLİZ DİLİ VE EDEBİYATI ANABİLİM DALI DANIŞMAN: Prof. Dr. Hasan BOYNUKARA TEKİRDAĞ-2018 Her Hakkı Saklıdır BİLİMSEL ETİK BİLDİRİMİ Hazırladığım Yüksek Lisans Tezinin bütün aşamalarında bilimsel etiğe ve akademik kurallara riayet ettiğimi, çalışmada doğrudan veya dolaylı olarak kullandığım her alıntıya kaynak gösterdiğimi ve yararlandığım eserlerin kaynakçada gösterilenlerden oluştuğunu, yazımda enstitü yazım kılavuzuna uygun davranıldığını taahhüt ederim. 30/11/ 2018 Nilgün ŞENOL ADMEŞ ii T.C. TEKİRDAĞ NAMIK KEMAL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ İNGİLİZ DİLİ VE EDEBİYATI ANABİLİM DALI YÜKSEK LİSANS TEZİ Nilgün ŞENOL ADMEŞ tarafından hazırlanan “Religious Conflict İn Muriel Spark’s Novels: The Bachelors, The Comforters And Memento Mori” konulu YÜKSEK LİSANS Tezinin Sınavı, Namık Kemal Üniversitesi Lisansüstü Eğitim Öğretim Yönetmeliği uyarınca 30.11.2018 günü saat ...........’de yapılmış olup, tezin …………………………. OYBİRLİĞİ / OYÇOKLUĞU ile karar verilmiştir. Jüri Başkanı: Prof. Dr. Hasan BOYNUKARA Kanaat: İmza: Üye: Doç. Dr. Petru GOLBAN Kanaat: İmza: Üye: Doç. Dr. Cevdet YILMAZ Kanaat: İmza: Sosyal Bilimler Enstitüsü Yönetim Kurulu adına ...../...../..... Doç. Dr. Emrah İsmail ÇEVİK Enstitü MüdürüTEZ VERİ GİRİŞ FORMU iii ÖZET Kurum, Enstitü, ABD : Namık Kemal Üniversitesi, Sosyal Bilimler Enstitüsü, İngiliz Dili ve Edebiyatı Ana Bilim Dalı Tez Başlığı : Religious Conflict In Muriel Spark’s Novels: The Bachelors, The Comforters And Memento Mori Tez Yazarı : Nilgün ŞENOL ADMEŞ Tez Danışmanı : Prof.
    [Show full text]
  • Transfiguring Betrayal : Reading Muriel Spark's Postmodernism
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Transfiguring betrayal : reading Muriel Spark's postmodernism Lok, Joshua Cheng Huai 2019 Lok, J. C. H. (2019). Transfiguring betrayal : reading Muriel Spark's postmodernism. Master's thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/105515 https://doi.org/10.32657/10220/47857 Downloaded on 03 Oct 2021 08:48:44 SGT TRANSFIGURING BETRAYAL: READING MURIEL SPARK’S POSTMODERNISM LOK CHENG HUAI JOSHUA SCHOOL OF HUMANITIES 2018 TRANSFIGURING BETRAYAL: READING MURIEL SPARK’S POSTMODERNISM LOK CHENG HUAI JOSHUA School of Humanities A THESIS submitted to the NANYANG TECHNOLOGICAL UNIVERSITY in Partial Fulfilment of the Requirements for the Degree of MASTER OF ARTS 2018 Statement of Originality I certify that all work submitted for this thesis is my original work. I declare that no other person's work has been used without due acknowledgement. Except where it is clearly stated that I have used some of this material elsewhere, this work has not been presented by me for assessment in any other institution or University. I certify that the data collected for this project are authentic and the investigations were conducted in accordance with the ethics policies and integrity standards of Nanyang Technological University and that the research data are presented honestly and without prejudice. February 11, 2019 . Lok Cheng Huai Joshua Supervisor Declaration Statement I have reviewed the content of this thesis and to the best of my knowledge, it does not contain plagiarised materials. The presentation style is also consistent with what is expected of the degree awarded.
    [Show full text]
  • Muriel Spark's `Informed Air' : the Auditory Imagination and the Voices of Ction.', Textual Practice., 32 (9)
    Durham Research Online Deposited in DRO: 06 December 2018 Version of attached le: Published Version Peer-review status of attached le: Peer-reviewed Citation for published item: Waugh, Patricia (2018) 'Muriel Spark's `informed air' : the auditory imagination and the voices of ction.', Textual practice., 32 (9). pp. 1633-1658. Further information on publisher's website: https://doi.org/10.1080/0950236X.2018.1533171 Publisher's copyright statement: c 2018 The Author(s). This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http:// creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. Additional information: 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 DRO • 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 DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Textual Practice ISSN: 0950-236X (Print) 1470-1308 (Online) Journal homepage: http://www.tandfonline.com/loi/rtpr20 Muriel Spark’s ‘informed air’: the auditory imagination and the voices of fiction Patricia Waugh To cite this article: Patricia Waugh (2018) Muriel Spark’s ‘informed air’: the auditory imagination and the voices of fiction, Textual Practice, 32:9, 1633-1658, DOI: 10.1080/0950236X.2018.1533171 To link to this article: https://doi.org/10.1080/0950236X.2018.1533171 © 2018 The Author(s).
    [Show full text]