This thesis is a study of Nadia Fusini’s Italian translations of three novels by Virginia Woolf: Mrs Dalloway, To the Lighthouse and The Waves. Fusini is an author, a literary critic and a translator. In 1998, she was commissioned to edit the new Meridiani edition of W oolfs complete works and to retranslate those novels that had been ‘badly’ translated into Italian. Her choice fell on W oolfs three modernist novels, which lend themselves to an interdisciplinary study as they bring together elements of femininity/feminism, modernist experimentalism and biographical aspects of W oolfs life. Fusini herself, during an interview, declared that her threefold interest in feminism, literature and psychoanalysis had induced her to elect Woolf as a suitable subject of study and a challenging author to translate. In line with the nature of the object of investigation and with recent theories of Descriptive Translation Studies, this study follows an eclectic and interdisciplinary approach that utilizes bottom-up and top-down techniques and takes into account a considerable amount of paratextual information, such as the translator’s intentions and her ideological standpoint. The analysis of both source and target texts is supported by theories in text linguistics, narratology, gender and translation studies. The aim of this study is to evaluate to what extent Fusini’s interest in Freudian and Lacanian psychoanalysis has affected her reading and translating of W oolf s novels. In particular, this thesis investigates how her views of Lacanian theories of lack, language and desire, and her phallocratic ideas of the role of the mother account for her psychobiographical reading and translating Woolf. Translation shifts are analyzed against the Lacanian concept of ‘phallic mediation’ versus the Woolfian notion of ‘female sentence’. The results show that Fusini de-textualizes W oolfs ‘female sentence’ and, countering her translation intentions, downplays the salient traits of W oolfs experimental writing. Indeed, she privileges a psychobiographical reading of her novels, which draws attention to the relevance of the lack of the Lacanian object of desire in W oolfs life: her absent, yet ever present, mother/M/Other.

This thesis examines Anthony Powell's technique and style in A Dance to the Music of Time. These can only be fully appreciated through an understanding of the wealth of allusion, metaphor and quotation in the text. Drawn from a wide variety of sources, these are the filters through which the narrator Nicholas Jenkins both perceives and presents his view of life, and extends the possibilities of the first person narrative. The forms of art which for Nicholas constitute a parallel world to that of actual existence, and also the metaphorical means of apprehending while portraying everyday reality, are shown to be the analytical tools with which "the eternal question of what constitutes experience" may be pondered. , r Powell's narrative is one that openly exhibits and plays upon its fictional nature, absorbing and parodying the plastic, visual and dramatic arts as well as the work of other authors. It is this chameleon quality of the text that allows theme, character and situation to be illuminated in a wholly original way, varied yet precise, and which forms the focus of this study. I . ../ The thesis begins by analyzing Powell's five early novels i,n orde,r to demonstrate t~e genesis of his methods. Then the structure of A Dance to the Music of Time is examined showing how the organization of the work q~mtributes towards the meanings. . The full effect of Powell's work is gained by the rich intermingling of art 2 forms, the necessary division into separate components for study detracting from its true flavour. The next section of the thesis therefore takes a' look at the venetian sequences of Temporary Kings, a fine example of the arts working in cumulative combination. This is followed by chapters on the arts as used by Powell considered individually. Key examples, the "presiding ikons" of the text, are closely examined with the aim of demonstrating the function of the arts in the narrative. Though numerous minor allusions are also considered, the thesis seeks to be exemplary rather than exhaustive. A thread that runs through the whole thesis is the aim of deciphering the reticent and elusive character of the narrator. Revealing little in action Nicholas is indicated everywhere in a self-reflexive text that is a c' portrait of an artist at work.

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By the early twentieth century, the epistemology oftime had become a question of an individual's changing perceptions. In this context, Dorothy Miller Richardson (1873-1957) provided one of the most striking studies of an individual's varying perceptions of time in her magnum opus, the multi-volume Pilgrimage (published 1915-1967). Frequently overlooked as a theorist of time, Richardson developed innovative literary techniques to represent this new understanding of the variable quality of temporal perception. Drawing on her affinity with film for its ability to disrupt linear chronology, Richardson appropriated cinematic devices and the experience of the silent cinema into Pilgrimage. By choosing a technique that combines notions of time, human mentality, and cinema-and the implicit relationships between philosophy, art, and science-Richardson contributes to the very definition of "modernism." This thesis incorporates Richardson's unpublished and published literary and film theory into her predominant works, including but too often limited to Pilgrimage and her column in the film journal Close Up, in order to provide a more detailed contextual and theoretical explanation of Richardson's cinematic writing. This explanation reveals that her fiction and non-fiction mutually support her position that certain cinematic themes--change, silence, and openness to interpretation-express temporal perception. This intertextual analysis is also a method of providing Richardson studies a contextual interpretation of Richardson's Close Up articles, now widely available. This examination grounds Richardson's cinematic fiction in her own philosophy in order to illuminate the consistent themes throughout her works. As Richardson's philosophy corresponds with and diverges from philosopher Henri Bergson's ideas on time and the cinema, it concludes that the problems with articulating temporal perception reside in verbal language. The temporal capacities of the "language" of film explain Richardson's motivation to transform cinematic devices into literary techniques. This thesis will analyze her use of specific cinematic devices throughout Pilgrimage, supported by her philosophy on the cinematic nature of existence. This analysis reveals that Richardson's cine-literary theory was shared by the writer Gertrude Stein, who unknowingly complements Richardson's approach by privileging the temporal abilities of cinematic "language" over traditional verbal language. Outlining Richardson's equation of silence with free contemplation, this thesis also reinterprets her feminism as her push towards both human intellectual freedom and the emancipation of her own identity. Ultimately, this thesis's intertextual reconstruction of Dorothy Richardson's identity inaugurates her as an analyst ofmodemity, substantiating the contextual relevance of this single-author study and providing a methodology for bringing neglected authors like Richardson out of obscurity.

This thesis explores Joyce's lifelong questioning of subjectivity and language in terms of his work's largely overlooked context of multiple personality psychology, and parapsychology. Turn-of-the-century multiple personality encompassed a diverse set of pre-Freudian psychologies and discourses - hypnosis, hysteria, spiritualism, psychical research, psychopathology, and Gothic literature—constellated around the period's discovery of the unconscious and its unsettling vision of a psychically porous and multiplex self. These models of the mind—and the fears and fantasies attached to them— provide a context not only for the social and psychic reality in Joyce's fiction but also for the various procedures associated with his modernist assault on character and narrative.

This project takes a new approach to the treatment of Catholicism in Finnegans Wake, by looking beyond established theological and philosophical readings in order to focus on the intricacies of Joyce's engagement with Irish Catholic culture, c. 1850•1 939. This period accounts for the years of Cardinal Cullen's 'devotional revolution' in Ireland, for the formation of-the deeply conservative and Rome-centred religious culture into which Joyce was born, and for the emergence of a new Irish Catholic state following the Anglo-Irish Treaty of 1921. As my tide suggests, this thesis highlights Joyce's critique of the Church. Adopting a historicist methodology, and drawing upon extensive archival research, I consider how Joyce's sources-both textual and cultural-are transformed through his revolutionary aesthetic into a radical dismantling of Irish Catholic society. Topics considered include the following: the role of the artist-intellectual in the 'new' Ireland, as shown through the portrait of Shem the Penman; the nature and reach of Joyce's devastating anticlerical satire of Shaun; the difficulties faced by unmarried Irish Catholic girls, as embodied by Issy, and the impact of ALP's concerted attack on the material culture of Irish Catholicism, an act that is performed in defence of her husband. The final section of this thesis rums LO the historical complexities of Book IV. It attempts to articulate how ALP's closing monologue can be understood against the backdrop of a new dawn of conservative Irish Catholicism, and in relation to the decline of the Anglicized patriarch HCE.

This thesis sets out to consider Joseph Conrad's and J. M. Coetzee's approaches to, and interrogations of, theories of ethics and identity. In pursuit of this task, the study presents an analysis of the authors' distinctive and complementary address to the ways in which certain influential concepts are 'applied' by, and within, their cultures. Especially relevant in this respect, as extensive preoccupations of both Conrad and Coetzee, are the authors' literary expressions of 'consciousness' and 'conscience'. In noting the special attention paid by these authors to the writing of consciousness, and to the consciousness of writing, the thesis illustrates particular thematic representations and engagements with the notion of the 'self and the 'human good'.

This thesis examines how the work of James Joyce deals with the literature, history and philosophy of Scotland. My first chapter discusses the Scottish character Crotthers of the , 'Oxen of the Sun' and 'Circe' chapters of Ulysses and demonstrates how this character, especially his name, is the beginning of Joyce' s treatment of the connections of Scottish and Irish histories. Chapter Two examines a motif from Finnegans Wake based on words related to the names of two tribes from ancient Scottish and Irish history, the Picts and the Scots. Here I discuss how this motif relates to the divided consciousness of the Wake's dreamer and also how Joyce bases this representation on 19th century Scottish literature, especially the works of James Hogg and Robert Louis Stevenson. Chapter Three is a look at the function of allusions to the work of the Scottish poet James Macpherson in Finnegans Wake. I claim that references to Macpherson and his work operate as signifiers of the cyclical and repetitive nature of life and art in the text. Chapter Four studies connections between the works of Joyce and Robert Burns, studying passages from Finnegans Wake, Ulysses and Joyce's poetry. The chapter covers the use of song in Finnegans Wake, connections in Irish and Scottish literature and provides close readings of a number of passages from the Wake. The final chapter looks at Joyce and the Scottish Enlightenment, particularly allusions to the philosopher David Hume in Finnegans Wake. The chapter considers connections between the scepticism and idealism of Hume's thought with the internal world of the dreamer of Finnegans Wake. As a whole this thesis seeks to show Joyce's indebtedness to Scottish literature, examine the ways in which Joyce uses Scottish writing and describe Joyce's representation of the Scottish nation.

This thesis focuses on James Joyce's writings, collaborations and publications in London, the political and publishing centre of the British Empire and the matrix for Anglophone modernism. The period covered is from 1900 to 1939 and is marked by Joyce's first and last London publications: the article on Ibsen in the Fortnightly Review, and Finnegans Wake, published by Faber and Faber. The first part of the thesis historicises Joyce's encounters with and perceptions of the imperial metropolis and his aspirations to publish his work there in order to reach the largest reading public in the world. It then discusses the composition of parts of Ulysses (1922) and Finnegans Wake (1939), which responded to London-centred literary texts and socio-political formations. The second part of the thesis outlines the publication background of several manifestations of Joyce's work in a variety of formats, from contributions to anthologies, to H.M.V. records. Here the thesis explores in particular Joyce's engagement with multifarious networks of publishers, intellectuals and institutions, including the BBC, Robert Lynd and the New Statesman, Jacob Bronowski, co-founder with William Empson of the Cambridge magazine Experiment, T. S. Eliot and Faber, C. K. Ogden's Orthological lnstitute and Herbert Hughes at the Daily Telegraph. By drawing on the methodology of New Modernist studies and my original archival research, carried out thanks to the immense generosity of the Christine Bolt Scholarship 2007, the thesis introduces a new interpretative framework able to position Joyce's work within a cultural and political context that is crucial for Irish and British modernism. It thus sheds light on Joyce's interventions designed to promote the cultural and symbolic value of his writings on Dublin in London's literary marketplace, and explores the cultural politics affecting how Joyce, the Dublin writer, published and promoted his work through London, the imperial metropolis.

This submission is in two parts: a creative component, comprising a a collection of short stories, and a critical component, which takes the form of an investigation into the early short prose fiction of Dylan Thomas. Researched and written during the period, 2005-2008, the two parts are discrete, freestanding bodies of work. However, the two forms of writing are seen to interrelate in a number of ways, and attempts to identify these are to be found in the Conclusion, particularly.