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Cultural Transmission in the Age of Modernism: Mentorship in the Novel, 1890--1960 Dalia Oppenheimer Washington University in St

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Cultural Transmission in the Age of Modernism: Mentorship in the Novel, 1890--1960 Dalia Oppenheimer Washington University in St Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 Cultural Transmission in the Age of Modernism: Mentorship in the Novel, 1890--1960 Dalia Oppenheimer Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Oppenheimer, Dalia, "Cultural Transmission in the Age of Modernism: Mentorship in the Novel, 1890--1960" (2011). All Theses and Dissertations (ETDs). 628. https://openscholarship.wustl.edu/etd/628 This Dissertation is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY IN ST. LOUIS Department of English Dissertation Examination Committee: Marina MacKay, Chair Miriam Bailin Steven Meyer Ignacio Sánchez Prado Vincent Sherry Gerhild Williams CULTURAL TRANSMISSION IN THE AGE OF MODERNISM: MENTORSHIP IN THE NOVEL, 1890—1960 by Dalia Nechama Oppenheimer A dissertation presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2011 Saint Louis, Missouri copyright by Dalia Nechama Oppenheimer December 2011 Acknowledgments How ironic that a project about failed mentorship came into being thanks to so many inspirational and dedicated mentors. I am deeply indebted to Marina MacKay, who has been an exceptional role model from my earliest years at Washington University. I am grateful for her patience, attentiveness, and good humor over the years. Her detailed attention to my writing is to thank for any of this dissertation’s virtues. Thanks to Vince Sherry, whose 2008 Mellon Seminar proved invaluable in developing my ideas at such an important stage. Special thanks must go to Miriam Bailin, Steven Meyer, and Ignacio Sánchez Prado, all of whom have provided feedback along the way. Thanks to Gerhild Williams for her time and generosity, as well as her support of my work with assessment. Kathy Schneider and Dorothy Negri have provided an endless stream of optimism that has comforted me on many occasions. I thank them for their compassion and discretion during my most difficult days. Thanks to Heidi Kolk and Debie Rudder Lohe for encouraging me to seek out fulfillment in new endeavors. Thanks to Chuck Sweetman for his kindness and insight on all matters. Thanks to Rob Patterson for endless hours of detailed reading and editing. Thanks to Rick Godden for rescuing me at the last possible moment with his wisdom and advice, and for responding to my fears with gentle reassurance. Deepest thanks to Courtney Bates, Erica Delsandro, and Anna Teekell Hays for working so closely with me to develop this project. Our friendship is no doubt the greatest reward for all these years of hard work. My gratitude extends to my personal community, as well. Thanks to the Bais Abraham Congregation and Rabbi Hyim Shafner, and especially to Phyllis Shapiro. Above all else, I am grateful for a family that has demonstrated unwavering and awesome love and support. Immeasurable thanks to my parents, Jackie and Howard Oppenheimer: books could be written about all that you have done for me. My sister and most treasured friend, Mandy, has been the source of encouragement in whatever form I have needed, however often I have needed it; my brother, Max, is the world’s greatest (and loudest) cheerleader. Thank you all for your constant faith that I could see this journey to the end and for promising me that an even better journey is yet to come. Finally, my most heartfelt thanks must go to my husband, Jeff Glogower, who supports me in all that I do and reminds me each day to believe in myself as much as he believes in me. What a team we are, indeed. Thank you for that reminder when I needed it most. I dedicate this to Pearl Jacobsohn, Radine Feldman, and Beatrice Oppenheimer, mentors who continue to inspire me even in memory. ii Table of Contents Acknowledgments ii Introduction Education and the Pursuit of Culture 2 Chapter One Culture’s Anarchy: Mentorship and Cultural Capital 53 in Jude the Obscure Chapter Two “An Instinct Which May be Wrong”: Cross-Class Education 85 in Howards End Chapter Three “The Procession of the Sons”: Gendered Mentorship in 146 To the Lighthouse Chapter Four “Culture Cannot Compensate”: Parodic Mentorship and the 194 Rise of the Welfare State Epilogue Transfiguring Culture 242 Works Cited 247 iii “Culture is a forbidding word. I have to use it, knowing of none better, to describe the various beautiful and interesting objects which men have made in the past, and handed down to use, and which some of us are hoping to hand on.” E.M. Forster, “Does Culture Matter?” Introduction: Education and the Pursuit of Culture “Culture,” according to Matthew Arnold, is the “pursuit of our total perfection by means of getting to know, on all the matters which most concern us, the best which has been thought and said in the world.”1 Arnold claimed this pursuit involved his ubiquitous “sweetness and light,” the beauty and intellect that represent “the best” of human thought and behavior. He believed that careful study of classical traditions of learning, such as Greek philosophy, could influence contemporary behavior by imparting morality and a passion for doing good works.2 The pursuit of sweetness and light was an inward process that would encourage people to act at their own personal best. Culture for Arnold was a process of learning aimed at influencing social conduct, which led him to claim in Culture and Anarchy (1869) that culture offered “a long-term programme for the reform of Britain’s entire intellectual life.” 3 Arnold argued that if everyone pursued culture by living this “intellectual life,” they would be brought into social harmony through a shared understanding of the lessons from culture’s venerated past. Since he believed in the possibility of the widespread adoption of culture, Arnold had to conceive of culture in transmissible terms. His version of culture, like the one in 1 Matthew Arnold, Culture and Anarchy, ed. Ian Gregor (Indianapolis & New York: The Bobbs-Merrill Company, Inc., 1971), 5. 2Arnold found in the Greeks an intellectual flexibility he would call “Hellenism.” Hellenism in Culture and Anarchy refers to “spontaneity of consciousness”: “Hellenism, and human life in the hands of Hellenism, is invested with a kind of aerial ease, clearness, and radiancy; they are full of what we call sweetness and light” (112). Arnold contrasts Hellenism to Hebraism, the mechanical obedience of Christianity: “As Hellenism speaks of thinking clearly, seeing things in their essence and beauty, as a grand and precious fear for man to achieve, so Hebraism speaks of becoming conscious of sin, of awakening to a sense of sin, as a feat of this kind” (113). 3Chris Baldick, The Social Mission of English Criticism, 1848-1932 (Oxford: Clarendon Press, 1983), 22. 2 this project’s epigraph, inherently depended on being “handed down,” on the preservation and propagation of the intellectual and artistic traditions of the past. The transmission of Arnoldian culture required institutional support, “an ideal centre of correct information, taste, and intelligence.”4 Arnold found such a centre in the ancient, exclusive institutions of Oxford and Cambridge: “Yet we in Oxford, brought up amidst the beauty and sweetness of that beautiful place, have not failed to seize one truth: the truth that beauty and sweetness are essential characters of a complete human perfection.”5 Culture was a way of thinking modeled at the Oxbridge of his day, where thought and philosophy formed the core of the curriculum. Oxbridge embodied culture’s transmissibility, since it institutionalized and taught the classical tradition of learning so central to Arnold’s idea of culture. Arnold’s formulation of the university as cultural epicenter endured at least into the middle of the twentieth century: F.R. Leavis claimed in his Education and the University (1948) that universities “are recognized symbols of cultural tradition,” a position he maintained in English Literature in our Time and the University (1969).6 4 Arnold, Culture and Anarchy, 91. 5 Arnold, Culture and Anarchy, 49. In “The Literary Influence of Academies” (1865), Arnold considered the possibility of an intellectual academy along the lines of the French Académie Franҁaise. Such an academy would provide a central authority for regulating matters of intellectual life. Arnold eventually decides against such an academy for the English in favor of the inner process of culture he outlines in Culture and Anarchy, and limits his intellectual centers of authority to the already established Oxford and Cambridge. Chris Baldick believes Arnold based that decision on a fear that this academy would eventually be overrun by the “philistines”: “It was one thing to revere an already established academy sanctified by centuries of tradition, quite another to brave the stormy currents of contemporary English controversy and embark upon the messy practical work of constructing an academy anew” (Baldick 45). 6 F.R. Leavis, Education and the University: A Sketch for an “English School.” (New York: George W. Stewart, 1948), 16. 3 Leavis upheld a version of culture consistent with Arnold’s: “the future must lie in the cultural realm,” he insisted, and “in the performance of this function the universities have an essential part.”7 Both Culture and Anarchy and Education and the University reinforce the position of the university as protector and transmitter of culture because Arnold and Leavis feared culture faced a particular threat. To put it in its most general terms, this threat was utilitarianism.
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