Rare Books, Manuscripts, Maps & Photography (489) Lot

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Rare Books, Manuscripts, Maps & Photography (489) Lot

Rare Books, Manuscripts, Maps & Photography (489) Wed, 17th May 2017, Edinburgh Lot 117 Estimate: £1000 - £1500 + Fees Spark, Muriel - A Collection of Books, mostly inscribed from Muriel to Robin Spark, comprising Spark, Muriel The Public Image, 1968. First edition, dust- jacket, inscribed: "Robin love from Mummy xxxxxxxxx"; [Idem] The Mandelbaum Gate, 1965. Dust-jacket, inscribed: "Darling Rob - love from Mum, Dec - 1965"; [Idem] Memento Mori, 1992. Tanslated ino Hebrew by Sheffi Paz, with a note to the endpaper: "Dearest Rob - I bet you can't read this book from cover to cover! Fondest love xxx Mum"; [Idem]"Not to Disturb", 1971 (NY) red half calf gilt, inscribed: "For Robin, With fondest ever love, from Mummy, 1974; [Idem] John Masefield, 1953. Dust-jacket, inscribed: "For Robin, on his birthday, 1953, with love from his Mummy", also signed to title-page, dust-jacket soiled and chipped; Brontë, Emily Selected Poems, edited by Muriel Spark, 1952, inscribed: "Love to Robin, from his Mummy, 3rd Oct 1952", dust-jacket; Spark, Muriel The Seraph and the Zambesi, 1960, "this special edition of The Seraph and the Zambesi is privately printed and sent to the friends of the J.B. Lippincott Company, with greetings of the season", inscribed: "Robin, New Year 1961, Much love from Mummy", original printed wrappers; Maclean, A.D., editor Winter's Tales (Spark a contributor), 1960. Dust-jacket, inscribed: "To Rob, love fom Mummy, New Year 1961" with a person in hat doodle; Spark, Muriel and Derek Stanford Emily Brontë, 1953. Dust-jacket, inscribed: "For Robin, with love from his Mummy & from his friend, Derek", 1953; Spark, Muriel The Bachelors, 1960. Dust-jacket a little chipped and rubbed, inscribed: "Robin - heaps of ove, from Mummy, October 1960", signed to title; [Idem] The Takeover, 1976. Dust-jacket, inscribed: "For Robin, all loving wishes, from Mum, xxx, 1977"; Spark, Muriel and Derek Stanford My Best Mary, 1953. Dust-jacket, inscribed: "To Mother, Dad & Robin, With love from Muriel, 24.3.53"; Stanford, Derek Inside the Forties, 1977. Dust- jacket repaired and price-clipped; Spark, Muriel The Brontë Letters, 1954, inscribed: "To dearest Robin with love from Mummy 21-4-54", dust-jacket; [Idem] The Hothouse by the East River, 1973. Inscribed "Rob love Mummy xxx", dust- jacket; [Idem] Not to Disturb, 1971. Dust-jacket, inscribed: "Robin, fondest love, Mum xxx"; [Idem] Collected Poems I, 1967. Dust-jacket, inscribed: "Robin love from Mummy xxx"; [Idem] Collected Poems I, 1967. Dust-jacket, inscribed: "Robin fondest fondest love from Mummy Rome Jun. 68"; [Idem] Collected Stories I, 1967. Dust-jacket, inscribed: "Robin, love from Mummy xxxxxx"; [Idem] Collected Stories I, 1967. Dust-jacket, inscribed: "Love to Robin from Mummy - Muriel Rome Jun. '68"; Spark, Muriel & Derek Stanford Letters of John Henry Newman. Dust-jacket, inscribed: "For Robin Spark (to whom this book is dedicated - see verso page 9) With all love from the editors - love to Rob - Mummy & Derek 15 June 1957"; [Idem] The Abbess of Crewe, 1974. Dust-jacket, inscribed: "Robin fondest love xxx Mummy"; The Observer Prize Stories: The Seraph and the Zambesi and twenty others, 1952. Dust-jacket.; [Idem] The Driver's Seat, 1970. Dust-jacket, inscribed: "Robin, love from, Mum xxx"; [Idem] Curriculum Vitae, Autobiography; and 38 other books, including copies of The Poetry Review.

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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.
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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).
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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.
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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.
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The Comforters and LoiteriG with ITeT
GHENT UNIVERSITY FACULTY OF ARTS AND PHILOSOPHY 2008-2009 GOD VERSUS THE AUTHOR MANIPULATION IN MURIEL SPARK ’S THE COMFORTERS AND LOITERIG WITH ITET Eldrid Deleu August 2009 Supervisor: Paper submitted in partial Dr. Kate Macdonald fulfilment of the requirements for the degree of “Master in de Taal- en Letterkunde: Engels”. 2 3 Acknowledgements First of all, I would like to thank Dr. Kate Macdonald for her support during the constitution of this dissertation. I am very thankful for reading my drafts and helping me to find useful material. Secondly, I thank Nick for being a great source of comfort and laughter in times of authorial despair. I also want to thank him for proofreading. Thirdly, I am grateful to my family, Martin, Martine, Julie and Sil for being supportive. Finally, I want to thank my coursemates, flatmates and friends. 4 Contents Acknowledgements 1. Introduction 5 2. Biography 8 3. God versus the author 16 3.1 The Comforters 16 3.1.1 Outline 18 3.1.2 Forms of manipulation 21 3.1.2.1 The Typing Ghost, or the burden of fiction 21 3.1.2.2 Georgina Hogg, or the burden of faith 31 3.1.3 Conclusion 41 3.2 Loitering with Intent 43 3.2.1 Outline 44 3.2.2 Forms of manipulation 46 3.2.2.1 Fleur Talbot, novelist 46 3.2.2.2 Sir Quentin Oliver and the Autobiographical Association 55 3.2.2.3 Warrender Chase 63 3.2.2.4 Other minor manipulations 73 3.2.3 Conclusion 75 3.3 Comparison 76 4.
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Scenic and Textual Venice in Muriel Spark's Territorial Rights
Studies in Scottish Literature Volume 45 Issue 1 Article 5 11-21-2019 Scenic and Textual Venice in Muriel Spark’s Territorial Rights Tomás Monterrey Universidad de La Laguna Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons Recommended Citation Monterrey, Tomás (2019) "Scenic and Textual Venice in Muriel Spark’s Territorial Rights," Studies in Scottish Literature: Vol. 45: Iss. 1, 56–72. Available at: https://scholarcommons.sc.edu/ssl/vol45/iss1/5 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. SCENIC AND TEXTUAL VENICE IN MURIEL SPARK’S TERRITORIAL RIGHTS1 Tomás Monterrey Muriel Spark chose Venice as the main setting for her fifteenth novel, Territorial Rights, published in 1979 between The Takeover (1976) and Loitering with Intent (1981). Territorial Rights anticipates the latter’s metafictional concerns about novelistic distortions and fabrications of truth on rendering life facts. With the former it shares a satirical view on western moral decadence, an Italian background, and an illustrative instance of a “takeover,” as young Robert Leaver begins his criminal career by challenging American millionaire Mark Curran in his Venetian territory, while both are ultimately ousted and defeated by the even more illicit detective-agency GESS. This Sparkian “entertainment” (so highly praised by Graham Greene), or “international comedy of manners,” with a heavily- plotted story and the “starkly realistic texture of a thriller” may aptly typify a new departure in the Scottish novelist’s art of fiction.2 The narrator’s apparently limited omniscience brings together a compelling polyphony of characters and thus a rendition of events through their individual, unreliable, and often contradictory points of view.
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Muriel Spark, Alexander Trocchi, and the Empowerment of Scottish Literature During the 1960S Sylvia
Through Expatriate Eyes: Muriel Spark, Alexander Trocchi, and the Empowerment of Scottish Literature during the 1960s Sylvia Bryce-Wunder Scottish Literature benefited from and contributed to the revolutionary and experimental spirit of the 1960s. Many Scottish writers during this period challenged the nationalistic approach to literary representations of Scottish culture, experience, and identity. This paper argues that the cosmopolitan writings of Alexander Trocchi and Muriel Spark empowered Scottish Literature by transcending the real and imagined borders of Scotland and challenging the limitations imposed by the Scottish Literary Renaissance of the inter-war years. Keywords: Muriel Spark, Alexander Trocchi, cosmopolitanism, 1960s, The Prime of Miss Jean Brodie, Cain’s Book, Scottishness, anti-Renaissance, Scottish Literature, outsider, Scottish Renaissance. During the 1960s, disagreements amongst some Scottish writers centred on the question of how to represent ‘Scottishness’ in literary form. In particular, and as Eleanor Bell points out, ‘[one] of the main tensions between Scottish writers at this time… largely focused on defence of, and reaction to, tradition: a tension between MacDiarmid’s Renaissance project and a growing impatience with this amongst younger writers’.1 Bell’s analysis mainly considers developments in Scottish poetry, but the literary debates of the 1960s also indicate shifts and conflicts taking place with regard to Scottish fiction: the ‘need to openly critique forms of national insularity characterises much
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Univerzita Palackého V Olomouci
UNIVERZITA PALACKÉHO V OLOMOUCI FILOZOFICKÁ FAKULTA Katedra anglistiky a amerikanistiky Muriel Spark’s Experimental Novels of the 1970s Experimentální romány Muriel Sparkové v 70. letech Master Thesis by PAVLÍNA LYSÁKOVÁ (Anglická filologie) Supervisor: Mrg. Ema Jelínková, PhD. Olomouc 2012 Prohlašuji, že jsem diplomovou práci vypracovala samostatně, pouze s pomocí pramenů a literatury uvedených v bibliografii práce. V Olomouci 18.5. 2012 …………………………………………….. 2 Acknowledgements I would like to thank Mgr. Ema Jelínková, PhD., my supervisor, who presented me a beauty of Scottish literature and provided me help to arrange my following study in Edinburgh, Scotland. Yet I appreciate her willingness, advice and support she afforded me not only during working on the thesis. I owe special thanks to Linda Tym, PhD., my tutor at SUISS, whose enthusiasm motivated me very positively. Yet I appreciate support from Mgr. Božena Velebná, PhD., my friend and collegue, whose optimistic thinking encouraged me enormously. Finally, I would like to express thankfulness to my family and friends for their endless patience and support. 3 Content 1. INTRODUCTION ..................................................................................................................... 6 2. The Basic Facts about Muriel Spark’s Extraordinary Life ...................................................... 8 2.1. Spark as a Writer ......................................................................................................... 10 3. Muriel Spark in the 1950s ..................................................................................................
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Old and New Elements in Muriel Spark's Symposium Tomás Monterrey
Studies in Scottish Literature Volume 27 | Issue 1 Article 15 1992 Old and New Elements in Muriel Spark's Symposium Tomás Monterrey Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Monterrey, Tomás (1992) "Old and New Elements in Muriel Spark's Symposium," Studies in Scottish Literature: Vol. 27: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol27/iss1/15 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Tomas Monterrey Old and New Elements in Muriel Spark's Symposium Hurley Reed, an American painter, and Chris Donovan, a rich Aus tralian widow, enjoy entertaining friends at dinner parties. On the 18th of October the guests are four couples: Lord and Lady Suzy, who had been robbed by a gang the previous week; Ernst and Ella Untzinger, who had rec ommended Luke, an American student and one of the informers of the gang, as a serving assistant for the party; Roland Sykes, a genealogist, and his cousin Annabel Treece, an assistant television producer; and the Damiens. William Damien and his recently married wife Margaret, nee Murchie, have just arrived from their honeymoon in Italy. William is the son of Hilda Damien, a close friend of Chris and also a very wealthy widow, who sus pects Margaret's intentions. Margaret, the central character, comes from near St.
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CARACTERIZACIÓN E IDENTIDAD FEMENINA EN LA OBRA DE MURIEL SPARK Margarita ESTÉVEZ SAÁ Universidad De Santiago De Compostela
CARACTERIZACIÓN E IDENTIDAD FEMENINA EN LA OBRA DE MURIEL SPARK Margarita ESTÉVEZ SAÁ Universidad de Santiago de Compostela RESUMEN La escritora escocesa Muriel Spark nos ha presentado a lo largo de su obra una gama de personajes femeninos tan variada que impide una concepción esencialista y predeterminada sobre la condición femenina. En este trabajo analizaré el proceso de reflexión sobre su identidad que llevan a cabo algunas de las protagonistas de las obras más conocidas de Muriel Spark. Comprobaremos cómo nos topamos en su ficción con una serie de personajes que proyectan imágenes idealizadas de sí mismas que contrastan con las versiones que se les intenta imponer desde fuera. Este trabajo analiza, además, la consecuente reflexión que se detecta en las obras de Muriel Spark sobre las posibilidades y los límites del proceso de caracterización del personaje femenino. Palabras clave: identidad, caracterización, Muriel Spark, personaje femenino. ARTÍCULO La escritora escocesa Muriel Spark (nombrada Dama del Imperio Británico en 1993) juega recurrentemente en sus novelas con dicotomías tradicionales como verdad versus ficción, realidad versus fantasía o ilusión, vida versus muerte, etc. Estos pares son 99 MARGARITA ESTÉVEZ SAÁ continuamente subvertidos y, lo que es más importante en mi opinión, la autora reflexiona y ejemplifica las ventajas de esta subversión, así como los peligros y desventajas que puede conllevar este juego para la construcción o simplemente para la reflexión en torno a la identidad femenina1. Me interesa particularmente en el presente trabajo atender al juego que la escritora mantiene con la tradicional oposición verdad vs. ficción, que tendré en cuenta en las líneas que siguen con el objeto de analizar las consecuencias que tiene para la noción de identidad femenina que la autora baraja en su ficción.
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The Satiric Element in the Novels of Muriel Spark
University of Windsor Scholarship at UWindsor Electronic Theses and Dissertations Theses, Dissertations, and Major Papers 1-1-1964 The satiric element in the novels of Muriel Spark. Myrcyl G. Pullen University of Windsor Follow this and additional works at: https://scholar.uwindsor.ca/etd Recommended Citation Pullen, Myrcyl G., "The satiric element in the novels of Muriel Spark." (1964). Electronic Theses and Dissertations. 6364. https://scholar.uwindsor.ca/etd/6364 This online database contains the full-text of PhD dissertations and Masters’ theses of University of Windsor students from 1954 forward. These documents are made available for personal study and research purposes only, in accordance with the Canadian Copyright Act and the Creative Commons license—CC BY-NC-ND (Attribution, Non-Commercial, No Derivative Works). Under this license, works must always be attributed to the copyright holder (original author), cannot be used for any commercial purposes, and may not be altered. Any other use would require the permission of the copyright holder. Students may inquire about withdrawing their dissertation and/or thesis from this database. For additional inquiries, please contact the repository administrator via email ([email protected]) or by telephone at 519-253-3000ext. 3208. THE SATIRIC ELEMENT IN THE NOVELS OF MURIEL SPARK BY MYRCYL G. PULLEN A Thesis Submitted to the Faculty of Graduate Studies through the Department of English in p artial fulfilm ent of the requirements for the degree of Master of Arts at the University of Windsor Windsor, Ontario 1964 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: EC52545 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
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The French in Spark: Muriel Spark's Fruitful
THE FRENCH IN SPARK: MURIEL SPARK'S FRUITFUL MISREADING OF BAUDELAIRE, PROUST AND THE NOUVEAU ROMAN by Robyn Groves B.A. The University of Adelaide, 1973. A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES Comparative Literature We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April 1980 Robyn Groves, 1980 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date " ^X 3E-6 BP 75-5 1 I E Abstract There are three phases in Muriel Spark's career as a writer of Catholic surrealist satire. Each of these stages replies to a specific writer, and to an identifiable period within the French literary tradition. Each stage marks a significant shift in the development of Spark's novelistic skills. In my introductory chapter, I consider her work in the 1950's— both poetry and prose—written in response to a reading of Baudelaire. Her two major pieces in Collected Poems I—"The Ballad of the Fanfarlo" and "The Nativity"—both incorporate and reply to Baudelaire's youthful short story, "La Fanfarlo." In her poetry, she takes an astringent, classical position which denounces, as she considered Baudelaire had done, the false values of Romanticism.
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