In the field of literary modernism, value has been assigned most often to texts that display a certain kind of innovation: aggressive, destructive, and difficult. Other, quieter texts have been relegated to the periphery of the modernist canon. This dissertation, contributing to the work of the New Modernist Studies, argues for an expansion of how critics define innovation and, by extension, modernism. Through close reading and thorough analysis of critical reception, I explore a <“>restrained<”> modernism in the stories and novels of E.M. Forster, Nella Larsen, and Elizabeth Bowen, demonstrating how their innovation proceeds from and depends on their performance of clarity and their deconstruction of traditional forms from within. These three authors strategically deploy familiar traditions like the female bildungsroman, social satire, and the tragic mulatta tale in order to explore the queer agency of restrained subjectivities trapped inside. Forster, Larsen, and Bowen defy critical accusations of timidity, conservativism, and failure, critiquing the totalizing identity categories of nation, race, sexuality, and gender and suggesting the quiet yet radical power of a literary--and modernist--restraint.

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This dissertation presents a diplomatic edition of a journal and notebook kept by the Swedish poet Tomas Tranströmer (1931-2015) during 1952 when he composed most of the poems in his debut collection, 17 dikter (17 Poems, 1954). That debut began a career that saw him become the most internationally renowned Swedish writer besides Swedenborg and Strindberg (Espmark in Schiöler 14), and “one of the most translated poets of the post-war period, probably the most translated” (14), and culminated, in 2011, with his winning the Nobel Prize in Literature. Lightly edited type facsimiles of the journal and notebook, including his marks of revision, illustrated with reproductions of the poet’s sketches from the documents, and accompanied by en face English translations provide unprecedented insight into his composing process at the time when he was finding his poetic voice. These are in turn followed by an extensive section of commentary identifying literary allusions and echoes in the documents and analyzing his composition and revision process. Also included are metrical translations of the three long poems in blank verse that conclude 17 dikter two of which have not previously been translated in this manner. There are at present no scholarly editions of any of Tranströmer’s published or private works, so this edition represents a major contribution to studies of his poetry, and more broadly to a study of Swedish poetry at mid-century.

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This thesis explores how to design an addition to a modern building that makes the building users cognizant of the layers of history while simultaneously creating spaces that respond to the needs of the occupants today. The existing building, the Washington D.C. Central Library, designed by Mies van der Rohe, is conserved and rehabilitated maintaining the library function and new space is created for the Foundation for the Study of Social Media. The addition and the surgical rehabilitation of the existing are informed by the design concepts and details of Mies van der Rohe as well as the theories of Carlo Scarpa. The project evolves through a detail outward design approach in which material and spatial relationships at critical joints are first determined and then used to inform the design of the whole. / Master of Architecture

Willy Kyrklund (1921–2009) anknyter i en betydande del av sina verk till såväl det gamla som det moderna Grekland. I avhandlingen gör nedslag i ett antal av dessa verk, men även Kyrklundforskningen i stort diskuteras. Med inspiration från Peter Szondis diskussion kring en specifikt litterär hermeneutik ställs textens estetiska verkningsmedel i centrum. Medan en ansenlig del av den tidigare forskningen strävat efter att fixera ett fåtal bärande tankar i Kyrklunds författarskap går denna undersökning i en annan riktning: det handlar om att visa på mångfalden och rikedomen i de olika verken. Den teoretiska diskussionen ligger till grund för en serie närläsningar, där såväl beröringspunkter som skillnader mellan de olika verken klarläggs. I de tre novellsamlingarna Ångvälten (1948), Hermelinens död (1954) och Den överdrivne älskaren (1957) väljs enskilda stycken ut, där grekiska element på ett eller annat sätt är närvarande. Ett återkommande drag är hur det förflutna framträder i nutiden, som något främmande. Hur de olika tidsplanen relaterar till varandra tematiseras ytterligare i Greklandsskildringen Aigaion (1957), på ett sätt som problematiserar bokens status av reseskildring. I det korta dramat Platanhårsdialog på en ö i Aigaion (1961) blir det våldsamma förhållandet mellan nuet och det förflutna avgörande för hela formspråket. Med exempel ur två senare prosaverk, Den rätta känslan (1974) och 8 variationer (1982), påvisas slutligen en underliggande logik bakom Kyrklunds angrepp på traditionen, en strategi som får namnet 'antimyt'.

The thought of Friedrich Nietzsche is often taught, but seldom sufficiently understood, and thus what ought to be most challenging to us about Nietzsche – that is, the rationalistic basis of his rejection of liberal democracy – is not squarely confronted. I propose to lay the ground for such a confrontation. / text

This dissertation complicates conventional understandings of the emergence of modernism in Canadian cultural production, proposing instead a multiplicity of modernist practices that emerge through direct engagement with leftist politics. By examining various genres—poetry, fiction, theatre, and reportage—“Writing Left” uncovers a set of organizational principles that frame several modes of modernist production within the interwar period. Steeped in the work of recovery, this project examines critical narratives of modernism and analyzes theoretical approaches that inform a revitalized understanding of modernism in Canada. Furthermore, this dissertation offers a series of strategies for reading the ways in which Canadian modernism and political modernity are deeply intertwined. Following an introduction that situates the uneven development of Canadian modernism’s emergence in the larger field of transnational modernism, six theoretically linked case studies show the multiplicity of Canadian modernism’s emergence in relation to leftist political organization. While the first case study discusses the modernist experimentations that came out of the largely antimodernist coterie who produced The Song Fishermen’s Song Sheets (1928–1930), the second case study explores the particularly modernist tensions between representations of art and collective action in the strike novels of Douglas Durkin and Irene Baird. A re-reading of F.R. Scott’s early poetry in the third case study shows the coextensive emergence of a modernist poetics of institutional critique and the development of the Co-operative Commonwealth Federation, while the fourth case study examines the modernist theatricality of leftist responses to Section 98 of the Criminal Code of Canada. The fifth case study looks to the ways in which the Spanish Civil War prompted modernist developments in the journalism and reportage of Norman Bethune, Hazen Sise, Jean Watts, and Ted Allan. Finally, the sixth case study reads across Charles Yale Harrison’s alternative strategies of anti-war modernism, ending with his characterization of the North American leftist imaginary in his fourth novel, Meet Me on the Barricades (1938). Together, the six case studies question teleological accounts of the development of modernism in English Canadian Literature.