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Sawada, Chikako (2004) Muriel Spark's Postmodernism. Phd Thesis

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Sawada, Chikako (2004) Muriel Spark's Postmodernism. Phd Thesis Sawada, Chikako (2004) Muriel Spark's postmodernism. PhD thesis. http://theses.gla.ac.uk/1561/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Muriel Spark's Postmodernism CHEKAKO SAWADA Ph.D. University of Glasgow Faculty of Arts Department of English September2004 0 Chikako Saivada2004 ABSTRACT This study exploresthe shifting notions of postmodernism developedthrough Muriel Spark's fiction, and thereby clarifies this artist's own postmodernism. I use Jean-FrangoisLyotard's definition of the notion in his The PostmodernCondition (1979), that there is no grand narrative, as my starting point, and deploy various postmodernisttheories, which can illuminate Spark's art and can in turn be illuminated by her art, in my arguments. Tbroughout the thesis, I focus on two of Spark's most important themesas crucial keys to understandingher postmodernism:the theme of individual subjectivity and the theme of the interplay of life and art. The thesis begins with the claims Spark makes for her individuality and her individual art through the voice of 'T" ChapterI considersissues about being a woman and an artist, which Spark raisesaround the narrator-heroineof a fictional memoir, A Far Cryjr'om Kensington (1988). Here I presentthis heroine as a definition of the strength of Sparkianwomen who liberate themselvesby practicing art. Chapter11 discusses Loitering with Intent (1981), a fictional autobiographyof a fictional woman novelist, alongsideSpark's own autobiography and her various biographical works. This section illustrates Spark's notion of the "author" in relation to the "work" - and an author in control in her sense- by investigating the dynamic interplay of life and art in the form of this novel. ChapterIII analysesThe Driver's Seat (1970), the novel 2 which most shockingly elucidatesthe postmoderncondition according to Spark and demonstratesher postmodernistnarrative strategies. Her concernwith the crisis of the "subjecf' in the world in its postmodemphase is observedin the figure of the heroine,,a woman who has tried and failed to be an author in control. I arguethat Spark here theorisesthe notion of subject, by providing her own version of the psychoanalytical"death drive" and also representsthe Lacanian real as the unfigurable with this figure. ChapterIV and ChapterV follow the developmentsof Spark's discussionof the crisis of the "subject" in two of her later novels. Chapter IV concentrateson the theme of Othernessin Sytnposium(1990). ChapterV discussesReality and Di-eams(1996), in which Spark pursuesthe theme of excess and opensup the contradictionsinherent in this notion to bring about a new philosophy of life by art as excess. ChapterVI and ChapterVII focus on Spark's performer heroines,who embody variously an interplay of life and art. ChapterVI first examinesSpark's 1971 theoretical manifesto, "The Desegregationof Art, " to introduce the idea of practicing art in life and to clarify her aestheticand philosophical principles, on which her postmodernismis based. I then illustrate how she theorisesperformance further by analysing the film-actress heroine of The Public Image (1968). ChapterVII brings the heroines of The Prime ofMiss Jean Brodie (1961) and The,4bbess (1974) of Creive - women inventing themselves- into the perspectiveof Spark's postmodernism. Through re-readingsof thesenovels, I presentthe Abbess as a Sparkianwoman and as the 3 most self-consciousinstance of what I call postmodernsubject. To concludethe thesis, ChapterVHI discussesSpark's latest novel, The Finishing School (2004), as her contemplation on the theme of the end and in terms of her postmodernendings. 4 CONTENTS ABSTRACT 2 Acknowledgments 7 Referencesand Abbreviations 8 INTRODUCTION: TBE ARTIST IN ANOTIHER DIMENSION CHAPTER 1: REDEEMING THE TIME 32 "My crime had beento call him to his facepisseur de copie." -A Far Dyfrom Kensington CHAPTER 11: SURVIVING ECRITURE 64 "I always hope the readersof my novels are of good quality." - Loitering with Intent CHAPTER III: LOST IN A DRIVE 108 "I'm going to have the time of my life. " - The Driver's Seat CHAPTER IV: THE MAKING OF THE OTHER 154 "Absolutely inunersed in the philosophy of Les Autres." - Symposium CHAPTER V: SOMETFUNGEXCESSIVE 191 "It's unfinished business." - Reality and Dreams CHAPTER VI: PRACTICING ART IN LIFE 229 "Life is all the achievementof an effect." - The Public Image CHAPTER VII: INVENTING THEMSELVES 256 "Sandy was fascinatedby this method of making patterns with facts... " - The Prime ofMiss Jean Brodie 278 "Think up your best scenarios,Sisters. " - TheAbbess ofCrewe CHAPTER VIII: ENDINGS 300 "As we go through this evening and into tonight... - TheFinishing School: Conclusion BIBLIOGRAPHY 27 Acknowledgments I might not have embarkedon a postgraduatecareer, were it not for the inspiration of Prof Yoko Sugiyama,who has taught me the seriousjoys of literature - and Muriel Spark's fiction - and Prof Takashi Sasayama,whose wise advice and warm encouragementcontinued through and after my years at Kwansei Gakuin University in Japan. Throughout the courseof my researchat University of Glasgow,my supervisorPaddy Lyons -%vas constantly on hand with enlightenment,encouragement, and hospitality, so that I never doubted I am in my prime. I would also like to extend my gratitude to Sue Sirc for her generousadvice and support during a crucial late stageof my project. Nothing is possible without financial support, and I benefited from the generousassistance of the Rotary Foundation in the first year of my research. Thanks to the worldwide reachof Rotarianism, I had the good fortune to meet Mrs and Mr Nakamaru, and Mrs and Mr Loney, who have given me friendship and support far beyondany duty. I owe acknowledgementstoo to the ORS Committee of Universities UK, from whose annual Award I benefited in the secondand the third years of my course. Finally, I would like to put on the record my thanks to my friends and family who have supportedme in many ways and in various places,and -who are so precious to me: Kazumi Sato, Junko Shigematsu,Yukiko Toda, Saeko Nagashima,Katsue Onda, OscarHuerta Melchor, Courtney Bain, Mathilde Beaulieu, KassandraAguayo, Emma Faulkner,Monika Binder, Carlo Pfeiffer, and Stefan Binder - and my grandmotherKazue, my mother Yoshiko, my father Shigeru, and my sister Eiko. 7 Referencesand Abbreviations Texts by Muriel Spark All page referencesin this thesis are to the editions listed in the Bibliography, which appearsat the end of the thesis. The date of first publication is given in brackets. The titles are abbreviatedas follows. Novels C The Coinffo rters (1957) MM MementoMori (1959) BPR The Ballad ofPeckham Rye (1960) PMJB The Prime of Miss Jean Brodie (1961) PI The Public linage (1968) DS The Driver's Seat (1970) ND Not to Disturb (1971) HER The Hothouse by the East River (1973) AC TheAbbess of Crewe (1974) T The Takeover(1976) LI Loitering with Intent (1981) FCK A Far Cryfi-om Kensington (1988) S Symposium(1990) RD Reality and Dreams (1996) AA Aiding andAbetting (2000) FS The Finishing School (2004) 8 Stories AS A 11th e Stories ofMurie I Spark (200 1) Non Fiction Tw Tribute to Wordsworth:A Miscellany of Opinionfor the Centenaryof the Poet's Death (1950) ms Mary Ae Iley (198 7) Cv Curriculum Vitae:Autobiography (1992) L, D The Essenceof the Brontis (1993) Articles cLIZA33 "The Religion of an Agnostic: A Sacramental View of the World in the Writings of Prousf (1953) c6mcll "My ConversioW'(1961) "DX' "The Desegregationof Art" (1971) 9 Interviews with Muriel Spark In this thesis, reference to an interviewwill cite the letter "I" followed by the date and the source number as listed below, For instance, (1-4,1970) refers to an interview by Jean Scroggie. Full details of the sources are given in the Bibliography. 1-1 Interview by Frank Kermode (1963) 1-2 Interview by Mary Holland (1965) 1-3 Interview by Ian Gillham. (1970) 1-4 Interview by JeanScroggie (1970) 1-5 Interview by GeorgeArmstrong (1970) 1-6 Interview by Philip Toynbee(197 1) 1-7 Interview by Alex Hamilton (1974) 1-8 Interview by Loma Sage(1976) 1-9 Interview by Victoria Glendinning (1979) 1-10 Interview by SaraFrankel (1985) 1-11 Interview by Martin McQuillan (1998) 1-12 Interview by Gillian Bowditch (2001) 1-13 Interview by Alan Taylor (2004) 10 INTRODUCTION TBE ARTIST IN ANOTBER DIMENSION Dame Muriel Spark has been an arcanepuzzle in the mapping of contemporaryliterature. Norman Page,in his Muriel Spark (1990), spells out the fascination of her unclassiflablenovels: She acknowledgesand owes few literary debts and belongs to no school, group or movement; there is no one quite like her, and one rereadsher novels in the hope of coming a little closer to their meaning and in the certainty of repeated pleasure. (Page 122) Her art of fiction is so entirely new and unique that it has baffled - and indeed even terrified - as much as it has fascinatedher readers. Patrick Parrinder's "Muriel Spark and Her Critics" (1981), for instance,well representsthe attitude of thosewho unfortunately flind themselvesdisliking: a witty, graceful and highly intelligent writer who often fails to provide the emotional satisfactionsand to produce the sort of intellectual conviction traditionally associated with novel-reading. (Parrinder 75) He continuesto complain, Spark is a genuinely disturbing writer - one who disturbs our deepestconvictions and prejudices about novel-writing. (Parrinder 75) but ironically, his complaints confirm her successin breaking with such literary traditions - realist traditions - as he has in his mind.
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