Stanfords Patterson, J R
World literature today,
05/2022, Letnik:
96, Številka:
3
Journal Article
Recenzirano
Dr. Samuel Johnson's house; the terrace on Grafton where José de San Martín, the liberator of Peru, stayed during an 1811 visit; Savile Row, where tailors measure and cut cloth in the windows, just ...as they did in '69 when the Beatles played through their last set from the rooftop of Number 3. ...I take Mary Wollstonecraft's view that "the art of travel is only a branch of the art of thinking." ...as a collection of an author's remembrances and observations, travel books-perhaps more than other books-are an excellent reflection of a society within a time and place and history.
Ordinary language has difficulty transmitting certain spiritual experiences, such as mystical ecstasy or the process of conversion. These experiences, which cannot be expressed in words, and which ...involve both the spiritual and the corporeal, are called ineffable. But the literary tradition is full of examples in which these incommunicable truths are expressed linguistically: from St. Augustine to C.S. Lewis, from St. John of the Cross to John Henry Newman, many authors have expressed their mystical or conversion experiences through metaphor. Evelyn Waugh’s novel Brideshead Revisited presents the action of divine grace on the characters, as seen through the eyes of the narrator as he undergoes his conversion. The intention of this article is to discover how the use of metaphor succeeds in expressing the action of divine grace in a conversion, providing important insights into the way poetic language can communicate the ineffable experience of the intimate encounter with divinity. To this end, the article analyses three metaphors of novel, (the twitch upon the thread, the balking horse and the hut collapsing under the avalanche) taking into consideration literary theory and what it says about metaphor.
Evelyn Waugh’s novel Decline and Fall features a circular narrative structure, with the unjust expulsion of Paul from Oxford University at the beginning and his enigmatic return at the end. Existing ...interpretations of this circularity, typically labelled as ‘fruitless’ or ‘futile’, have largely neglected the underlying tension between capitalist ideology and Paul’s moral subjectivity, which governs his movements through various spaces in the novel. Drawing upon Gilles Deleuze and Félix Guattari’s conceptual framework of ‘territory’ and Henri Lefebvre’s notion of ‘social space’, this article proposes an alternative understanding of Paul’s three-part adventure as a process of ‘territorialization’, ‘deterritorialization’ and ‘reterritorialization’. These stages correspond to Paul’s moral development: moral decline, moral awakening and further moral growth. With his return to Oxford, Paul’s adventure constitutes, instead of an apparent ‘fruitless circularity’, a tortuous process of moral growth. Waugh thereby depicts the early twentieth-century British capitalist social space as a ‘vanity fair’ and explores the possibilities for individual growth within a territory of general moral decline.
Evelyn Waugh and Harold Acton had a deeply ambivalent relationship to the narrative of modernism, and their attempts to negotiate their position within the literary milieu of their own time clearly ...registers the tensions inherent in much of late modernist writing. Early modernism and high modernism were concerned with the nature of the 'firstness', of innovation and change, but as this article argues, intermodernism is best seen as an ethical mode that saw itself as increasingly removed from the organising attitudes of literary revolution. In their mid- and late-period writing, Acton and Waugh were concerned with structures of age-old history and prestige-notably Catholicism (Waugh) and China (Acton)-that they felt outweighed the innovations of modernism and made the modern aesthetic spirit seem clumsy, if not painfully late.
McCallum profiles author Evelyn Waugh. The presence of such Enlightenment elements serves at least two main functions in Evelyn Waugh's fiction. Most immediately, these relics serve as satirical ...counterpoint to the equivalents produced by the twentieth-century, an age o( jazz, plastic, and Picasso. Moreover, they give Waugh's characters and readers access to other times, other places, other present moments. They inscribe the past into the present, and in so doing establish a cultural, a civilizational continuity that in the early novels offsets the Alice-in-Wonderland-like mayhem, and in the later novels points up a condition of rapid, perhaps irreversible decline.
Looking beyond the notorious “Brideshead” aesthetes and homoeroticism of 1920s Oxford, this article explores the queer sensibilities of the university's male undergraduates and their associates ...through the 1930s. Steadily through the decade, Oxford's unique brand of queer aestheticism and same-sex love affairs became embroiled with wider debates about the hegemony of socialism and communism and the supposed degeneracy of standards at Oxford. At the same time, the assimilation of medicalized concepts of perversion and homosexuality increasingly made Oxford's aesthetes and same-sex love affairs objects of critical scrutiny, effeminophobia, and homophobia. For many of the university's queer male undergraduates, the Oxford University Dramatic Society provided a safe haven and a platform for queer expression both in Oxford and beyond. A group of images by the Russian émigré photographer Cyril Arapoff provides further insights into the male homoerotics of 1930s Oxford. Situated within the context of Arapoff's life in the city between 1933 and 1939, his extraordinary photographs of nude and seminude young men offer glimpses into the queer lives and loves at Oxford in a period when such experiences were rarely articulated in written form. The images include the spaces the young men inhabited and their interconnections to London's vibrantly queer dance and theater scene. Such insights help establish more firmly interwar Oxford as an important hub of queer modernism, with national and international import for the course of modern queer history.
The picturesque prison Heath, Jeffrey M
The picturesque prison,
c1982, 19830101, 1983, 1983-01-01
eBook
This study of the life and works of Evelyn Waugh traces the novelist's pursuit of his vocation and his long retreat from a world which he came to regard as a spiritual dungeon. Jeffrey Heath explores ...the paradoxical elements in Waugh's career: his quest for a refuge itself proved to be a prison and his devotion to the Augustan graces was accompanied by a lasting attraction to a Dionysiac age without restratint. The deep cleft in Waugh's nature imbued his art with the characteristic quirky complexity which has fascinated many readers, but it left him a choleric and melancholy man who never fully accepted his calling as a writer.
My Guy Bacevich, Andrew J
Raritan,
12/2020, Letnik:
39, Številka:
3
Journal Article
Recenzirano
In the United States, this was the Eisenhower decade, a moment defined by three seemingly unimpeachable convictions: first, that the recently concluded Second World War had been a righteous struggle ...pitting good against evil; second, that the ongoing Cold War was a replay of the conflict that had ended in 1945 in decisive victory; and third, that God had remained throughout firmly on our side. Today, several decades after they first appeared, Men at Arms (1952), Officers and Gentlemen (1955), and The End of the Battle (1961) retain their place among the very best novels of World War II. Having endured persecution at the hands of anti-Papist Anglicans and now scorned by elites with little regard for religion in any form, the family has paid a heavy price for remaining steadfast in the Faith. ...quite lately rich and numerous," its members are "now much reduced," Waugh writes. Guy himself abandons farming and retreats into self-imposed exile in the family's ramshackle castello on the coast of Italy. Since church law prohibits Guy from remarrying, it appears likely that he himself will die without an heir.
El siguiente ejemplo tomado de Mr Loveday's Little Outing sirve para ejemplificar este tipo de cohesión (la negrita no aparece en el original) Ten years had passed since the showery day in late ...summer when Lord Moping had been taken away; a day of confused but bitter memories for her; the day of Lady Moping' s annual garden party, always bitter, confused that day by the caprice of the weather which, remaining clear and brilliant with promise until the arrival of the first guests, had suddenly blackened into a squall. There had been a scuttle for cover; the marquee had capsized; a frantic carrying of cushions and chairs, a table-cloth lofted to the boughs of the monkey-puzzler, fluttering in the rain; a bright period and the cautious emergence of guests on to the soggy lawns; another squall; another twenty minutes of sunshine. From time to time, with less or more tact, her friends attempted to bring to Lady Moping's notice particulars of seaside nursing homes, of 'qualified practitioners with large private grounds suitable for the charge of nervous or difficult cases', but she accepted them lightly; when her son came of age he might make any changes that he thought fit; meanwhile she felt no inclination to relax her economical regime (21). The fact remained, however, that it was far from being the most expensive kind of institution; the uncompromising address, 'County Home for Mental Defectives', stamped across the notepaper, worked on the uniforms of their attendants, painted, even, upon a prominent hoarding at the main entrance, suggested the lowest associations (21).
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