DOCSLIB.ORG

A Look Back at Osborne Graham Martin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Look Back at Osborne Graham Martin Universities & Left Review 7 Autumn 1959 A Look Back At Osborne Graham Martin "Why should I care?"—Archie Rice in THE ENTERTAINER ask the wrong question. "Osborne is certainly one of the most brilliant of our young writers, but I can't help feel- THE dates of the first productions of Look Back In ing : has he really got it in him to create a complete work Anger and The Entertainer span almost exactly twelve of dramatic art. Scenes, yes, of original power and effec- months: May, 1956, to April, 1957; without question, a tiveness, but that's not quite enough, don't you see? for watershed year. How does Osborne fit in? Does he fit serious artistic consideration. Sociologically fascinating, in? or is his connection with the politics and culture of of course, an angry Coward so to speak. I hope his next that particular annus mirabilis merely chronological? That play really does the trick. I'd like to be convinced." I.e. is the question I want to explore. What follows is not beta-plus-query, and try next year for your alpha. The meant to be a full account of his plays, his other ventures, second view, more subtle than this, is that of the social- or his influence. On the other hand, any account which realist. The principle here was to butter the man up, not ignores this question is likely to miss the mark of his with a faint but with misleading praise. "Osborne is the importance. truly significant writer of our time. His plays reflect the Krushchev's remark about the Hungarian writers ("I'd significant social and political stresses of the contemporary have had a few of them shot") argues at least a serious view scene." Of course, this looks pretty good, the exact opposite of culture; one which may be thought to reflect upon the of the formalist view. Both of them, in fact, nullify, West's philistine indifference to the threat of the pen. But because neither recognises the uniqueness of an artistic the West has Reviewing, a method so much more flexible insight. The formalist escapes into the ambiguous notions and sensitive in its discriminative power, that there is even of "art" over against "sociology"; and the social-realist a certain melancholy beauty about its fine adjustment to entangles the work in the events on which it comments. particular occasions. In the case of the "dangerous" This is the perfect red herring of criticism. A writer's value Osborne, if you put aside the gossip and the slanging, this lies not in the fact but in the nature, above all in the un- elaborate machine fostered two views. The first can be obstructed freshness with which he responds to "the signifi- described as the formalist position. Its principle was to cant social and political stresses of the contemporary 37 scene." That is where he is subversive, where his art affects formance. Qualify the term "folk-art", and recall that the our awareness of ourselves and of the world we live in. music-hall was originally and in its hey-day a working-class What could be more dangerous? We need the weekly creation, and it is only a short step to the view that the reviewers for our own safety. source and inspiration of The Entertainer was The Uses of The real situation, though, is a good deal more insidious. Literacy. Well, the dates allow it (just), and in case this The formalist, the social-realist, are not lackeys of the pros- fact excites a rash ambition in some learned breast, the titute capitalist press, not literary hatchet-men set to work difficulties had better be put as well. by the Home Office. They represent ways of reacting, habi- First, Billy Rice, Archie's father: he is an attractive tual interpretations, rooted so deeply in much thinking figure, but for this thesis, awkward. While he symbolises about art that they confuse both the expression of our the one-time health of music-hall very successfully, he also feelings, and sometimes the very sources of feeling them- brings back other memories of those good old Edwardian selves. That is why I want to introduce these remarks days: jingoism, xenophobia, "the Empire" (satirised by about Osborne's plays by some comparatively graceless Archie, what's more), a general view of the period that demolition work. The social-realist case for their import- would suit a loyal royal servant, a sort of male Crawfie. ance is influential and persuasive—not, I think, because it "They were graceful, they had mystery and dignity. Why stands upon the meaning of the plays, but because it is the when a woman got out of a cab, she descended. Descended, commonest way of interpreting and misinterpreting etc." Do we ignore these views as the touching sentimen- socially-meaningful work. The social relevance of art lies talities of an old man? Even if we do, there are Archie in a different direction. If it did not, it would be a great and Jean to account for. If Archie is a dreadful warning waste of time. (equals death of community sense, especially in working- The dust-jacket of Osborne's plays prints a quotation class communities), then Jean is the only hope. And in a from Tynan's original review of Look Back In Anger which sense, she is. She stands, at some personal sacrifice, for illustrates one claim for the play's social-realism. The play, the opposite of modern jingoism, i.e., Suez; she admires it reads, "represents post-war youth as it really is, with Frank for his pacifism, despises Mick for the conformity special emphasis on the non-U intelligentsia who live in that makes him a dead hero; also she resents the patronis- bedsitters and divide the Sunday papers into two groups, ing way Archie's successful brother gave Phoebe money; 'posh' and 'wet' ". Possibly so; but of the value of the play and she takes a strong moral line about Archie's proposals this tells us nothing; and it introduces questions which for a new wife. She has all the right responses. Yet Archie unavoidably lead farther and farther from Look Back In and Phoebe are able to accuse her of lacking some essential Anger the more intensely you pursue them. Drama is not human warmth. This is not quite true, of course, but true sociology, even when it squares with, even when it initiates, enough to disqualify her for any strongly affirmative role. sociological findings. Not many people would see the Rices According to the play, Jean's principles will bring no new as representative of post-war non-U family life as it really dispensation to birth. Which leaves Archie, and if he can is, but The Entertainer continues to make its comment on represent something Jean is not, then he must mean more a post-war Britain that includes family life. than "the death of the community sense". Either Osborne is pulling his punches, or the play doesn't have the straight- Another form of the argument finds the value of Look forward allegorical pattern a social-realist might claim. Back In Anger in the fact that Jimmy and Alison's quarrel This second view is worth considering. expresses itself as a struggle between class-attitudes, held to be peculiarly typical of welfare Britain. At first sight The answer to the social-realist is therefore something persuasive, this view at once entails two pretty damaging like this. Osborne uses contemporary social issues, not as criticisms. First, do the attitudes of Alison and her family the themes, but as the material of his plays. The Jimmy fairly represent the contemporary class-reality? These Porters, lower/upper middle-class tensions, the decay of attitudes are certainly the visible part of the iceberg. But folk-art, commitment . Osborne has an ear for these what does the play's conflict of manners suggest of the things as a journalist for news. But in the plays, he makes deeply-consolidated power, of the modern forms of class- them over to his own purpose. At best, his characters dis- privilege? So little, that "superficially-observed" seems a play an intense but extremely narrow reaction to contem- mild comment. Second, a writer who dramatises a class- porary Britain. In that sense, they can be said to be "about" conflict through the tensions of a particular marriage, and it. But the plays are about them, and on this basis, a much approves the solution Jimmy and Alison arrive at, could sounder basis for their importance can be proposed: reasonably be described as frivolous. It is not as if Osborne sounder because it begins and ends with the plays as such, is saying: "Take warning! people like these with only and because it links their comment with social insights personal affiliations and responsibilities, inevitably end in from very different sources. feeble escapism". We are certainly meant to feel that the conclusion, however tenuous, affirms a new beginning, new life of a kind. It isn't easy to reconcile this with the judg- Epitaph for George Dillon ment that Jimmy and Alison escape into an irresponsible There is, so far as I know, no published evidence about fantasy without abandoning either the play, or the view Antony Creighton's share in Epitaph for George Dillon, that its theme is a class-conflict. Which is it to be? but I take it that the heart of the play, George himself, is For The Entertainer, the social-realist case is equally off Osborne's work.
Load more

Recommended publications
  • Post-War English Literature 1945-1990
    Post-War English Literature 1945-1990 Sara Martín Alegre P08/04540/02135 © FUOC • P08/04540/02135 Post-War English Literature 1945-1990 Index Introduction............................................................................................... 5 Objectives..................................................................................................... 7 1. Literature 1945-1990: cultural context........................................ 9 1.1. The book market in Britain ........................................................ 9 1.2. The relationship between Literature and the universities .......... 10 1.3. Adaptations of literary works for television and the cinema ...... 11 1.4. The minorities in English Literature: women and post-colonial writers .................................................................... 12 2. The English Novel 1945-1990.......................................................... 14 2.1. Traditionalism: between the past and the present ..................... 15 2.2. Fantasy, realism and experimentalism ........................................ 16 2.3. The post-modern novel .............................................................. 18 3. Drama in England 1945-1990......................................................... 21 3.1. West End theatre and the new English drama ........................... 21 3.2. Absurdist drama and social and political drama ........................ 22 3.3. New theatre companies and the Arts Council ............................ 23 3.4. Theatre from the mid-1960s onwards .......................................
    [Show full text]
  • UNIVERZITA PALACKÉHO V OLOMOUCI Pedagogická Fakulta
    UNIVERZITA PALACKÉHO V OLOMOUCI Pedagogická fakulta Ústav cizích jazyků Hana Štefanová II. ročník - kombinované studium Obor: Učitelství anglického jazyka pro 2. stupeň základních škol Učitelství přírodopisu pro 2. stupeň základních škol WHY WERE THE PEOPLE ANGRY? ANGRY YOUNG MEN AND BEATS Diplomová práce Vedoucí práce: Mgr. Petr Anténe, Ph.D. OLOMOUC 2017 Prohlašuji, že jsem diplomovou práci vypracovala samostatně s použitím jen uvedené literatury a internetových zdrojů. V Olomouci dne 31.5.2017 ........................................ podpis Acknowledgement I would like to thank Mgr. Petr Anténe, Ph.D. for his support, guidance and valuable advice. ABSTRACT This thesis deals with the situation in post-war Britain and its reflection in literary works of the group of writers commonly referred to as „Angry Young Men“. Emphasis is put on the society, its problems and disappointments. Several works are analysed to find the reasons for anger within the society. The thesis also investigates the situation in the United States of America and its influence on the writers of the literary movement called Beat Generation. The philosophy behind the Beat Generation is explained in order to understand their reasons for their revolt. CONTENTS ACKNOWLEDGEMENT ABSTRACT INTRODUCTION 7 1. Post-war Britain 8 1.1 Historical background 8 1.2 Social situation 10 2 Angry Young Men 12 2.1 John Osborne 14 2.1.1 Look Back in Anger 15 2.1.2 Analysis of Look Back in Anger 17 2.1.2.1 Act I 18 2.1.2.2 Act II 22 2.1.2.3 Act III 26 2.2 Kingsley Amis 28 2.2.1 Lucky Jim 28 2.2.2 Analysis of Lucky Jim 30 3 The United States of America in the 1950s 36 3.1 Historical background 37 3.2 Social situation 38 4 The Beat Generation 39 4.1 Beat Poetry 41 4.2 Jack Kerouac 42 4.2.1 On the Road 43 4.2.2 Analysis of On the Road 44 4.2.2.1 Part I 44 4.2.2.2 Part II 48 4.2.2.3 Part III 50 4.2.2.4 Part IV 53 4.2.2.5 Part V 55 4.3 Allen Ginsberg 56 4.3.1 Howl 58 4.3.2 Analysis of Howl 59 4.3.2.1 Part I 60 4.3.2.2 Part II 62 4.3.2.3 Part III 64 4.3.2.4 Footnote to Howl 65 5.
    [Show full text]
  • DOI: 10.1515/Genst-2017-0012 CLASS and GENDER
    DOI: 10.1515/genst-2017-0012 CLASS AND GENDER – THE REPRESENTATION OF WOMEN IN KINGSLEY AMIS’S LUCKY JIM MILICA RAĐENOVIĆ “Dr Lazar Vrkatić” Faculty of Law and Business Studies 76, Oslobodenjia Blvd 21000 Novi Sad, Serbia [email protected] Abstract: Lucky Jim is one of the novels that mark the beginning of a small subgenre of contemporary fiction called the campus novel. It was written and published in the 1950s, a period when more women and working-class people started attending universities. This paper analyses the representation of women in terms of their gender and class. Keywords: campus novel, class, gender. 1. Introduction After six years of war, Great Britain was hungry for change and craved a more egalitarian society. After the Labour Party came to power in July 1945 with a huge parliamentary majority, the new government started paving the way for a Welfare State, which involved the expansion of the system of social security, providing pensions, sickness and unemployment benefits, a free National Health Service, the funding and expansion of the 183 secondary school system, and giving poor children greater opportunity to attend universities. The Conservative Party returned to power in 1951 but did not make any changes to the measures that brought about the creation of the Welfare State (Davies 2000:51). Once a great world power turned to reshaping its society, in which the class system would become a thing of the past, its people believed that they were living in a country that was going through great changes (Brannigan 2002:3). The Education Act of 1944 was intended to open universities to everyone and thus expand the trend of educational opportunities to the less privileged in the society.
    [Show full text]
  • Harold Pinter: the Dramatist and His World
    Harold Pinter: The Dramatist and His World Background Nobel winner, Harold Pinter (1930- 2008) was born in London, England in a Jewish family. Some of the most recognizable features in his plays are the use of understatement, small talk, distance, and silence. These devices are employed to convey the substance of a character’s thoughts. At the outbreak of World War II, Pinter was evacuated from the city to Cornwall; to be wrenched from his parents was a traumatic event for Pinter. He lived with 26 other boys in a castle on the coast. At the age of 14, he returned to London. "The condition of being bombed has never left me," Pinter later said. At school one of Pinter's main intellectual interests was English literature, particularly poetry. He also read works of Franz Kafka and Ernest Hemingway, and started writing poetry for little magazines in his teens. The seeds of rebellion in Pinter could be spotted early on when he refused to do the National Service. As a young man, he studied acting at the Royal Academy of Dramatic Art and the Central School of Speech and Drama, but soon left to undertake an acting career under the stage name David Baron. He travelled around Ireland in a Shakespearean company and spent years working in provincial repertory before deciding to turn his attention to playwriting. Pinter was married from 1956 to the actress Vivien Merchant. For a time, they lived in Notting Hill Gate in a slum. Eventually Pinter managed to borrow some money and move away. Although Pinter said in an interview in 1966, that he never has written any part for any actor, his wife Vivien frequently appeared in his plays.
    [Show full text]
  • The Amis Inheritance
    Martin Amis ­ Kingsley Amis ­ Writing and Writers ­ Books ­ Authors ... http://www.nytimes.com/2007/04/22/magazine/22amises.t.html?_r=1&o... April 22, 2007 The Amis Inheritance By CHARLES McGRATH Ben Jonson wrote: “Greatness of name in the father oft­times helps not forth, but overwhelms the son; they stand too near one another. The shadow kills the growth.” This Oedipal principle applies to all sorts of professions, but few more so than the literary one. It’s not unheard of for the child of an author to try his hand at writing. Stephen King’s two sons are writers, and so is one of John Updike’s. Hilma Wolitzer’s daughter Meg is a novelist, as is Anita Desai’s daughter Kiran, whose second book just won the Booker Prize — an award that has so far eluded her mother. But writers’ offspring tend to go into the family business with far less regularity than, say, the children of doctors or lawyers, and it seldom happens that over the long haul, and in the deepening shade, the younger equals or outstrips the elder — the way that Anthony Trollope, to take a famous example, bested his mother, Fanny. The exception these days is the curious writerly firm of Amis & Amis, founded by Kingsley, who died in 1995, and now run by his son Martin. Kingsley Amis, an indelible figure in British letters, is the subject of an immense and sympathetic new biography by Zachary Leader (published this month in the United States) that has already caused a stir in England both by reminding readers of how funny Kingsley could be and because of its frankness about his personal life.
    [Show full text]
  • Kingsley Amis's Criticism
    https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work 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 Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Agnieszka Ksiqzek The Communication of Culture: Kingsley Amis’s Criticism Submitted to the Faculty of Arts University of Glasgow for the degree of M.Phil. December 2000 ProQuest Number: 10647787 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 com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uesL ProQuest 10647787 Published by ProQuest LLO (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q.
    [Show full text]
  • Çankaya University the Graduate School of Social Sciences English Literature and Cultural Studies
    ÇANKAYA UNIVERSITY THE GRADUATE SCHOOL OF SOCIAL SCIENCES ENGLISH LITERATURE AND CULTURAL STUDIES HEGEMONY, CLASS ANTAGONISM AND CAPITALIST POLICIES IN HIGHER EDUCATION: POST-WAR CAMPUS NOVELS BY KINGSLEY AMIS, MALCOLM BRADBURY AND DAVID LODGE PhD Dissertation Sibel ERBAYRAKTAR JUNE, 2018 ABSTRACT HEGEMONY, CLASS ANTAGONISM AND CAPITALIST POLICIES IN HIGHER EDUCATION: POST-WAR CAMPUS NOVELS BY KINGSLEY AMIS, MALCOLM BRADBURY AND DAVID LODGE ERBAYRAKTAR, SİBEL Department of English Literature and Cultural Studies Ph. D. Dissertation Supervisor: Assoc. Prof. Dr. Özlem Uzundemir June. 2018, 246 Pages This study aims at analysing six post-war campus novels Lucky Jim (1954) by Kingsley Amis, Eating People is Wrong (1959) and History Man (1975) by Malcolm Bradbury as well as David Lodge’s campus trilogy consisting of Changing Places (1975), Small World (1984) and Nice Work (1988) within the framework of post-war class dynamics and hegemonic power relationships among academics. Based on the analyses, it is concluded that the books touch upon many dysfunctional aspects of higher education with direct and indirect references to the education policies of the time and the penetration of the capitalist ideology into the universities. The education acts, reports, procedures, as well as the governmental stance in each period will be examined in relation to how socio-political dynamics is criticised in the novels. Within these discussions, the theories of Antonio Gramsci, Louis Althusser, Raymond Williams, Pierre Bourdieu, T.S Eliot and Michael Young will be utilized. In each novel, the residues of the old class-based system in English academia, hegemony resulting from class antagonism, and capitalist competition will be the focus together with carnivalesque elements, such as excessive drinking and sexual affairs at the parties.
    [Show full text]
  • The Amises on Realism and Postmodernism
    The Amises on Realism and Postmodernism: Stanley and the Women (1984) and Money: A Suicide Note (1984) By Gavin Keulks When viewed as companion texts, or contemporaneous instances of revaluative critique, Kingsley Amis’s fifteenth novel, Stanley and the Women, and Martin’s fifth novel, Money: A Suicide Note illuminate two subjects hitherto unexamined in the Amis père et fils relationship: the Amises’ perspectives on postmodernism and their controversial portraits of women. Whereas Lucky Jim and The Rachel Papers situated the Amises in relation to their divergent forms of comedy, and whereas Ending Up and Dead Babies positioned them in relation to their satiric differences, Stanley and the Women and Money extended their confrontations into new generic territory, interrogating their opinions about the evolution of postmodernism and realism. A novel that explicitly rejects all forms of literary fabulation, Kingsley’s Stanley and the Women declares the validity of classically realistic protocol. A forum for Martin’s postmodernist leanings, Money subverts the narrative assumptions that inform Kingsley’s more traditional brand of social realism. Both novels, however, confront variations of literary tradition and patriarchy: one that is socio-political in nature, concerned with distinctions between patriarchy and misogyny, and one that is generic, or modal, concerned with the modal transformations within realism. While the Amises’ writings continued to reflect their engagement in a covert literary war, their dual 1984 texts featured an additional dynamic: whereas previous novels revealed Martin’s dedication to reworking his father’s texts and his literary authority, by 1984, Martin’s career had begun to eclipse his father’s.
    [Show full text]
  • Lucky Jim Free
    FREE LUCKY JIM PDF Kingsley Amis,David Lodge | 272 pages | 25 May 2000 | Penguin Books Ltd | 9780141182599 | English | London, United Kingdom Lucky Jim by James Hart Jim Dixon feels anything Lucky Jim lucky. At Lucky Jim university he has to do the bidding of absent-minded and boring Professor Welch to have Lucky Jim hope of keeping his job. Worse, he has managed to get For an enhanced browsing experience, get the IMDb app on your smartphone or tablet. Get the IMDb app. Opening credits prologue: A Redbrick University in Britain's new Elizabethan age: here are moulded the intellectual Drakes and Raleighs of tomorrow - fearless, independent - and state supported. As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. Sign In. Available on Amazon. Critic Reviews. Photos Add Image. Ronald Cardew. Hugh Griffith. Kenneth Griffith. Ian Carmichael. Jeremy Hawk. Penny Morrell. John Cairney. Maureen Lucky Jim. Reginald Beckwith. Jean Anderson. Ian Wilson. Sharon Acker. Christine Callaghan. Clive Morton. Sir Hector Gore-Urquhart. Director: Lucky Jim Boulting. Facebook Twitter E-mail. I don't think Lucky Jim 's Boulting Brothers comedy dramatisation of Kingsley Amis's novel has aged well. It purports to mock upper-class academia of the time through the vessel of Ian Carmichael's title character cue madrigal singers as he gently rocks up against his so-called superiors and betters and supposedly knocks them down a peg or two with his freshness, unconventionality and honesty. It's funny how in so doing he comes off himself as a rather eccentric upper-class toff, one who you believe could still end up as one of the stuffy establishment figures he's presumably meant to contrast with.
    [Show full text]
  • Kingsley Amis's Lucky
    International Journal of Advanced Science and Technology Vol. 29, No. 9s, (2020), pp. 828-836 Kingsley Amis’s Lucky Jim: A Parody on Changing Social Order in Post War England Tanu Bura Research Scholar, Department of Humanities and Social Sciences, Maharishi Markandeshwar (Deemed to be University) Mullana (Ambala) Dr. Ramandeep Mahal, Assistant Professor, Department of Humanities and Social Sciences, Maharishi Markandeshwar (Deemed to be University) Mullana (Ambala) Abstract The 1950s, a period following the Second World War, was actually the beginning of an era which extends to date when class identity by virtue of birth and upbringing in England was overcome by individual achievement and social mobility between class levels. Importance of class identity is diminishing in all modern societies where access to education becomes the prime reason for social mobility. Amis in his works generally deals with the restructuring of British society post World War II. One of the effects was seen in the English education system where educational opportunities were opened to the youth of the working and middle classes. The advent of provincial universities and the declining influence of the culturally elite led to social friction between both the classes. During the 1950s England actually witnessed a period of prosperity which percolated to an emerging middle- class and also (to a certain extent) the working-class. Expanding higher educational opportunity suddenly gave a jump to the social mobility of these classes. This period has actually quite a few authors who emerged and expounded narratives which were effective in describing the social effect that this war had upon society.
    [Show full text]
  • The Development of the Campus Novel Genre Dynamika Žánru
    Jihočeská univerzita v Českých Budějovicích Pedagogická fakulta Katedra anglistiky Diplomová práce The Development of the Campus Novel Genre Dynamika žánru univerzitního románu v anglické literatuře Vypracovala: Bc. Liliana Průšová Vedoucí práce: PhDr. Alice Sukdolová, Ph.D. České Budějovice 2018 Prohlášení Prohlašuji, že svoji diplomovou práci jsem vypracovala samostatně pouze s použitím pramenů a literatury uvedených v seznamu citované literatury. Prohlašuji, že v souladu s § 47b zákona č. 111/1998 Sb. v platném znění souhlasím se zveřejněním své diplomové, a to v nezkrácené podobě fakultou elektronickou cestou ve veřejně přístupné části databáze STAG provozované Jihočeskou univerzitou v Českých Budějovicích na jejích internetových stránkách, a to se zachováním mého autorského práva k odevzdanému textu této kvalifikační práce. Souhlasím dále s tím, aby toutéž elektronickou cestou byly v souladu s uvedeným ustanovením zákona č. 111/1998 Sb. zveřejněny posudky školitele a oponentů práce i záznam o průběhu a výsledku obhajoby kvalifikační práce. Rovněž souhlasím s porovnáním textu mé kvalifikační práce s databází kvalifikačních prací Theses.cz provozovanou Národním registrem vysokoškolských kvalifikačních prací a systémem na odhalování plagiátů. Datum: Podpis studenta: Acknowledgement I would like to thank to PhDr. Alice Sukdolová Ph.D. for her valuable advice, her time, support and confidence in my skills. Poděkování Ráda bych poděkovala PhDr. Alici Sukdolové Ph.D. za její cenné rady, čas, podporu a důvěru v mé schopnosti. Anotace Cílem diplomové práce je analýza a porovnání univerzitních románů tří autorů. Práce v teoretické části vymezuje historické a socioekonomické pozadí vývoje univerzitního románu. Dále se práce zabývá samotným žánrem univerzitního románu a jeho znaky. Praktická část se zabývá konkrétními příklady tohoto žánru a jejich analýzou.
    [Show full text]
  • The Comic/ Serious Duality in Kingsley Amis's Lucky Jim " ا
    The Comic/ Serious Duality in Kingsley Amis’s Lucky Jim ا ل و ا روا آ أ " ا ظ" By Talat M. Mujahed $#"! ه Supervised by Dr. Sabbar S. Sultan د . +*ر (#)ن M.A. Thesis Submitted in Partial Fulfillment of the Requirements for Master of Arts in English Language and Literature Department of English Language and Literature Faculty of Arts and Sciences Middle East University May, 2011 II Contents Authorization…………………………………………………………………………….I Thesis Committee Decision……………………………………………………….II Acknowledgments…………………………………………………………………….III Dedication………………………………………………………………………………..IV Abstract…………………………………………………………………………………….V 1. Introduction …………………………………………………………………………………. 1 1.1Background of the Study …………………………………………………………….. 1 1.2.1 Biography of Kingsley Amis……….. ………………………1 1.2.2 Campus Novel ….………………………………………………..5 1.2.3 Angry Young Men…………...…………………………………9 1.2.4 Irony and Satire…………………………………………………..11 1.2 Statement of the Problem…………………………………………………16 1. 3 Questions of the Study…………………………………………………….17 1.4 Objectives of the Study…………………………………………............17 1.5 Methods and Procedures………………………………………………….18 III 1.6 Significance of the Study………………………………………………20 1.7 Limitation of the Study………………………………………………….21 1.8 Definition of Terms……………………………………………………….21 2. Review of Related Literature…………………………………………..23 3. The Comic and Serious Elements of Lucky Jim…………………. 38 3.1 Serious Themes behind Ostensible Fun…………………63 3.2 The Theme of Education………………………………………..69 3.3 Class Hierarchy………………………………………………………72 3.4 Love and Its Diversifications……………………………………73 4. Conclusion……………………………………………………………………………78 References……………………………………………………………………………80 IV V VI Acknowledgments I am very grateful and thankful for all who supported me to complete my thesis effectively and on time. The work on this thesis has been inspired by my supervisor Dr. Sabbar Sultan to whom I express my deepest thanks for guiding me in this thesis and for correcting various documents of mine with attention and care.
    [Show full text]