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Abstract the Power of Place in the Fiction of E.M. Forster
ABSTRACT THE POWER OF PLACE IN THE FICTION OF E.M. FORSTER Ashley Diedrich, M.A. Department of English Northern Illinois University, 2014 Brian May, Director By taking a close look at each of E.M. Forster's novels, readers can learn that he, like other authors, appears to be telling the same story over and over again. It is the story of the human desire to connect, even if it means having to adjust that desire to social reality. In each of his novels, he creates characters who struggle through a series of events and complications to reconcile their unique identities with the norms of society, the purpose being to attain significant relationship. But in addition to exploring this theme of authentic connection in the face of countervailing pressures, Forster is also exploring the idea of place and the difference it makes. In all of the novels, place is significant in bringing about different opportunities for connection: Italy in Where Angels Fear to Tread and A Room with a View; pastoral England in The Longest Journey and Howards End; the "greenwood" in Maurice; and India, his most exotic location, in A Passage to India. In this thesis I emphasize the essential element of place in Forster’s characters' quests to develop their hearts and connect. NORTHERN ILLINOIS UNIVERSITY DE KALB, ILLINOIS DECEMBER 2014 THE POWER OF PLACE IN THE FICTION OF E.M. FORSTER BY ASHLEY DIEDRICH ©2014 Ashley Diedrich A THESIS SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS DEPARTMENT OF ENGLISH Thesis Director: Brian May TABLE OF CONTENTS Page Chapter 1. -
The Machine Stops"
PEOPLE’S DEMOCRATIC REPUBLIC OF ALGERIA Ministry of Higher Education and Scientific Research University Center of Ain Temouchent Institute of Letters and Languages Department of Letters and English Language Dehumanization in E.M.Forster’s novella "The Machine Stops" An Extended Essay Submitted in Partial Fulfilment of the Requirement for a Master’s Degree in British Literature Submitted by: Supervised by: Cherif Nour El Houda Belhamidi Selma Board of Examiners President : Hassain Zahira Supervisor : Belhamidi Selma Examiner : Rezigue Fatima Zohra Academic Year: 2016/2017 Dedication First and foremost, I praise the Almighty God for everything and I whole- heartedly dedicate this research paper to my supportive parents, brothers Adel Taki Eddine and Mohamed Amine, my beloved sisters Asmaa and Lina Aya. Acknowledgment My thanks and deep appreciation go to my supervisor Mrs Belhamidi, and to all our professors for their encouragement and guidance. In addition, this dissertation would not have been possible without the unending support of my parents and family. Table of contents Dedication .................................................................................................................................. I Aknowledgment ................................................................................................................ II Abstract .................................................................................................................................. III Introduction............................................................................................................................. -
A Study of EM Forster's Maurice
www.ijcrt.org © 2020 IJCRT | Volume 8, Issue 10 October 2020 | ISSN: 2320-2882 The Criminal Blindness of Society: A Study of E.M Forster’s Maurice 1Dr. Nishi Upadhyaya, 1Associate Professor , 1Department of English, 1Pandit Naval Kishore Sharma Government P.G. College, Dausa, Rajasthan, India Abstract: E.M Forster’s fiction is significant because of his ability to express some of the major dilemma of the twentieth century, in spite of their multiplicity and complexity, in the order of art. Forster’s novel Maurice (1971) touches the sensitivity of modern society to relations and questions of deep human relationships. The present paper explores in detail the emergence of the inner life of Maurice in the face of a hostile society. Index Terms – Inner life, homosexuality, taboo, quest, identity, meaningful relationship, psychological tensions, light and dark, creation. E.M Forster is a liberal writer whose works continually deal with the ideal of a cosmopolitan tolerant culture which would encourage the free and fullest growth of the individual. His portrayal of human relationships in the social, economic and political aspects was all the time concerned with the ways and means by which human beings can break down the fetters of narrow-minded conventions, destructive and inhibiting human freedom. Forster’s fiction is significant because of his ability to express some of the major dilemmas of the twentieth century, in spite of their multiplicity and complexity, the order of art. Forster’s Maurice (1971) touches the sensitivity of modern society to relations and questions of deep human relationships. In his earlier novels, Forster had dealt with the earth-connected, passionate life in its conflict with middle class society. -
Place, Race, and Modernism in the Works of E.M. Forster and Eudora Welty
Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Winter 2-18-2013 Place, Race, and Modernism in the Works of E.M. Forster and Eudora Welty Marny H. Borchardt Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Borchardt, Marny H., "Place, Race, and Modernism in the Works of E.M. Forster and Eudora Welty." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/english_diss/102 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. PLACE, RACE, AND MODERNISM IN THE WORKS OF E. M. FORSTER AND EUDORA WELTY by MARNY BORCHARDT Under the Direction of Randy Malamud ABSTRACT This dissertation examines similarities between the works of E. M. Forster ( A Room with a View , A Passage to India ) and Eudora Welty (“Powerhouse,” Delta Wedding ). This study focuses on three areas: the importance of a sense of place for both writers, their nuanced critiques of ra- cism and other intolerances, and their subtle, yet inherently modernist philosophies and meth- odologies. This dissertation also argues that both writers deserve a prominent place in the mod- ernist literary canon. INDEX WORDS: Eudora Welty, E. M. Forster, British literature, Southern literature, Modernism, Race, Place, Twentieth-century literature PLACE, RACE, AND MODERNISM IN THE WORKS OF E. M. FORSTER AND EUDORA WELTY by MARNY BORCHARDT A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2013 Copyright by Marny Hope Borchardt 2013 PLACE, RACE, AND MODERNISM IN THE WORKS OF E. -
Was the Classical Tradition Betrayed by J. Ivory's
Was the Classical Tradition Betrayed by J. Ivory’s Adaptation 1 of E. M. Forster’s Maurice? Pau Gilabert Barberà2 Universitat de Barcelona [email protected] To J. Baucells, J. M. Orteu and M. Forcano Abstract According to literature and film studies and from the point of view of the influence of classical tradition on Western culture—classical Greek tradition, in this case—this article analyses the inevitable—to a certain degree—betrayal by screenwriters of the literary texts that they adapt. However, in spite of being practically inevitable, Dr. Pau Gilabert indicates what are, in his opinion, the limits beyond which Ivory/Hesketh-Harvey should not have gone in order not to dilute the Hellenic temper of E. M. Forster’s Maurice. As citizens of this and the last century, we are very much used to the undeniable pleasure of seeing remarkable masterpieces of world literature on the screen. Images quite often endow the text with a power of seduction that appears as ‘inherent to’ and ‘exclusive of’ visual expression, and, yet, it would be absurd not to admit that ‘an image is not always worth a thousand words’. If we consider that all translations are betrayals, the translation of a literary text into images must necessarily fall into the same category. Therefore, these short reflections will deal with this idea, with J. Ivory’s small or great betrayals, whether conscious or unconscious—actually, Ivory and Hesketh-Harvey’s, since both were responsible for the script—when he brought E. M. Forster’s Maurice to the screen,3 taking into account -
Kissing and Telling: Turning Round in a Room with a View Author(S): Jeffrey Heath Source: Twentieth Century Literature, Vol
Kissing and Telling: Turning Round in A Room with a View Author(s): Jeffrey Heath Source: Twentieth Century Literature, Vol. 40, No. 4 (Winter, 1994), pp. 393-433 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/441598 Accessed: 06-06-2018 17:39 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Duke University Press is collaborating with JSTOR to digitize, preserve and extend access to Twentieth Century Literature This content downloaded from 150.210.231.20 on Wed, 06 Jun 2018 17:39:52 UTC All use subject to http://about.jstor.org/terms Kissing and Telling: Turning Round in A Room with a View JEFFREY HEATH Yesterday had been a muddle-... the kind of thing one could not write down easily on paper.... [Lucy] thought not so much of what had happened as of how she should describe it. ... But ... her words fell short of life. (A Room with a View 68, 94, 229) A Room with a View invites the same question that Charlotte Bartlett asks when she sees George Emerson's "enormous note of interroga- tion": "What does it mean?" (43). The reply might be that Forster's novel is "about" such matters as love, art, self-realization, Edwardian manners, feminism, values and their revision, exposure and conceal- ment, completion and interruption, daily life and celestial life, the subconscious mind, language, myth-and so on. -
A Room with a View by E. M. Forster
A ROOM WITH A VIEW by E. M. Forster This free e-book was created and is distributed not-for-profit by Candida Martinelli of Candida Martinelli’s Italophile Site Contents PART ONE..........................................................................................................................................3 Chapter I: The Bertolini...................................................................................................................3 Chapter II: In Santa Croce with No Baedeker...............................................................................11 Chapter III: Music, Violets, and the Letter "S" .............................................................................21 Chapter IV: Fourth Chapter...........................................................................................................27 Chapter V: Possibilities of a Pleasant Outing................................................................................32 Chapter VI: The Reverend Arthur Beebe, the Reverend Cuthbert Eager, Mr. Emerson, Mr. George Emerson, Miss Eleanor Lavish, Miss Charlotte Bartlett, and Miss Lucy Honeychurch Drive Out in Carriages to See a View; Italians Drive Them. .................................41 Chapter VII: They Return..............................................................................................................48 PART TWO.......................................................................................................................................56 Chapter VIII: Medieval .................................................................................................................56 -
From Hegel to Hinduism : the Dialectic of E. M. Forster
FROM HEGEL TO HINDUISM: THE DIALECTIC OF E. M. FORSTER By CLARA RISING A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THB DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1969 UNIVERSITY OF FLORIDA 3 1262 08642 712 6 ACKNOWLEDGMENTS I wish to express my appreciation for the help and understanding I have received at the University of Florida from both professors and staff. I especially want to thank Professor John Tyree Fain for his patience and excellent scholarship, and Professors Gordon E. Bigelow and A. L. Lewis, Jr., for their advice and encouragement. I am espe- cially indebted to Mr. Ray Jones and Mr. Sherman L. Butler and their staffs at the Graduate Research Library for obtaining material for me, and to the Harvard Theological School for lending me a rare first volume of McTaggart's Nature of Existence . Without all their help, and the in- exhaustible patience and understanding of my husband, Stanley A. Rising, and of my children, this study could not have been completed. CR TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER I THE INNER WAR 1 II GREECE 19 III ITALY 89 IV ENGLAND PAST: THE LONGEST JOURNEY 141 V ENGLAND PRESENT: HOWARDS END 204 VI INDIA 254 Mosque 264 Caves 284 Temple 311 VII BHAKTI IN BLOOMSBURY: THE LEGACY 349 BIBLIOGRAPHY 368 APPENDICES 385 1. The Dialectic 386 2. The Glossary 387 BIOGRAPHICAL SKETCH 399 . CHAPTER I THE INNER WAR born in days when wits were fresh and clear, And life ran gayly as the sparkling Thames; Before this strange disease of modern life, With its sick hurry, its divided aims, Its heads o'ertaxed, its palsied hearts, was rife- Matthew Arnold, The Scholar Gypsy It has become a commonplace in literary criticism to say that most writers have one thing to say and when they have said that they become either repetitive or silent. -
In Howards End John Attridge
Language and Literary Studies of Warsaw ROCZNIK NAUKOWY LINGWISTYCZNEJ SZKOŁY WYŻSZEJ W WARSZAWIE Nr 10 Wydawca / Publisher: Lingwistyczna Szkoła Wyższa w Warszawie al. Jerozolimskie 148, Warszawa, 02–326 Redakcja / Editorial Board: Redaktor Naczelny / Editor-in-chief: prof. dr hab. Krzysztof Fordoński Redaktor prowadzący / Executive Editor: dr Paweł Wojtas Redaktor językowy sekcji polskiej/ Polish Language Editor: mgr Klaudia Ciesłowska Redaktor językowy sekcji angielskiej/ English Language Editor: dr Matthew Foley Rada Naukowa / External Board: Przewodniczący Rady Naukowej: Prof. dr hab. Jan Franciszek Nosowicz (Lingwistyczna Szkoła Wyższa w Warszawie) Prof. dr hab. Zofia Jancewicz (Lingwistyczna Szkoła Wyższa w Warszawie) Prof. dr hab. Leonarda Dacewicz (Uniwersytet w Białymstoku) Prof. dr hab. Jacek Fabiszak (Uniwersytet im. A. Mickiewicza w Poznaniu) Prof. dr hab. Stanisław Obirek (Uniwersytet Warszawski) Prof. dr hab. Piotr Urbański (Uniwersytet im. A. Mickiewicza w Poznaniu) Dr Sabina Siebert (Uniwersytet w Glasgow) Projekt okładki / Cover design: Lingwistyczna Szkoła Wyższa w Warszawie Skład i łamanie / Typesetting: Adrian Szatkowski Druk / Print: Sowa – Druk na życzenie www.sowadruk.pl tel. (+48) 22 431 81 40 Wersja papierowa stanowi wersję pierwotną czasopisma. © Copyright by Lingwistyczna Szkoła Wyższa w Warszawie Language and Literary Studies of Warsaw ROCZNIK NAUKOWY LINGWISTYCZNEJ SZKOŁY WYŻSZEJ W WARSZAWIE Nr 10 ISSN 2300–5726 Redaktorzy tomu / Volume Editors Krzysztof Fordoński Anna Kwiatkowska Paweł Wojtas Heiko Zimmermann LINGWISTYCZNA SZKOŁA WYŻSZA W WARSZAWIE Warszawa 2020 Recenzenci / Reviewers: Prof. dr hab. Paulina Ambroży, Prof. Raffaella Antinucci, Prof. dr hab. Silvia Bonacchi, Prof. dr hab. Piotr Briks, Prof. dr hab. Dominika Buchowska-Greaves, Prof. dr hab. Wojciech Charchalis, Prof. dr hab. Agnieszka Chmiel, Prof. Stuart Christie, Prof. dr hab. -
Surrey in a Room with a View: a Candidate for Scholarly Mediation
Surrey in A Room with a View: A Candidate for Scholarly Mediation Jason Finch, Åbo Akademi University Like anyone else, E.M. Forster had his own sociocultural formation. More unusually, he wrote fiction which, both during his own lifetime and more recently, has interested readers from backgrounds widely different from his, and which has been found significant for its handling of universal themes. Not only that, but he is taken seriously even by critics who regard the notion of universal themes as mere ideological obfuscation. What makes his ability to engage such a broad range of commentators truly remarkable is that, even when, as in A Passage to India, his fictional setting is at its most exotic and his aspirations at their most universalist, so much of his central inspiration and material clearly derives from his own particular “world”—from the precise historical experience, concerns, values, places, and types of people to which he has become accustomed in his own life. It is hardly far-fetched to see a similarity with Jane Austen. Not that Jane Austen ever set a story in India—or even in Italy. On the contrary, when her characters leave the shores of England they simply disappear from view. But both of them were writers whose fiction reflected a particular, perhaps rather narrow milieu, but who nevertheless came to be seen, by a very heterogeneous readership, as exceptionally significant and worthwhile. But does a reader whose sociocultural formation is very different from Austen’s or Forster’s miss something? To some extent both Austen and Forster describe their stories’ settings quite explicitly, which is obviously helpful. -
Vital Disconnection in Howards End
University of New Orleans ScholarWorks@UNO English Faculty Publications Department of English and Foreign Languages Spring 2005 Vital Disconnection in Howards End Leslie T. White [email protected] Follow this and additional works at: https://scholarworks.uno.edu/engl_facpubs Part of the Literature in English, British Isles Commons Recommended Citation White, Leslie. "Vital Disconnection in Howards End." Twentieth Century Literature: A Scholarly and Critical Journal 51.1 (2005): 43-63. This Article is brought to you for free and open access by the Department of English and Foreign Languages at ScholarWorks@UNO. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Vital Disconnection in "Howards End" Author(s): Leslie White Source: Twentieth Century Literature, Vol. 51, No. 1 (Spring, 2005), pp. 43-63 Published by: Hofstra University Stable URL: http://www.jstor.org/stable/20058751 . Accessed: 02/05/2011 16:08 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=hofstra. -
Bfi-Press-Release-New-4K-Restoration-Maurice-2018-07-16.Pdf
MAURICE Directed by James Ivory UK 1987, 140 mins, Cert 15 A BFI release Hugh Grant, James Wilby, Rupert Graves A new 4K restoration of Merchant Ivory’s landmark drama Opening at BFI Southbank, Broadway Nottingham, Newcastle Tyneside, HOME Manchester, IFI Dublin and more cinemas UK-wide on 27 July 2018 (previews at 23 Picturehouse sites on 24 July and at Bristol Watershed’s Cinema Rediscovered on 26 July) 16 July 2018 – After a sell-out UK premiere screening, introduced by its stars Hugh Grant and James Wilby at BFI Flare: London LGBTQ+ Film Festival in March, the sumptuous new 4K restoration of Maurice, Merchant Ivory’s award-winning adaptation of E.M. Forster’s autobiographical novel, will open at BFI Southbank and selected cinemas UK-wide from 27 July 2018. Originally released in 1987, 30 years before the James Ivory-scripted 2017 smash hit Call Me by Your Name, Maurice is a landmark film, as important as any in the history of gay cinema. One of the most respected and popular mainstream gay-themed films of its day, it still has hugely broad appeal in its moving portrayal of the agony and ecstasy of first love. All three of its young leading cast went on to successful careers and are still working in film and television today. Hugh Grant was awarded a BFI Fellowship in 2016. Written by E.M. Forster in 1914, Maurice was the second of his novels to be adapted by Merchant Ivory (following 1986’s A Room with a View and ahead of Howards End in 1992).