Thesis (Ph.D.)--Boston University / The relationship of Elizabeth Bowen's critical theory to her practice has not yet received detailed treatment. Her essay "Notes on Writing a Novel" (1945), a comprehensive and revealing source of practical formulations on method, reveals her basic traditionalism and her striking individual qualities as well. It serves, furthermore, to bring her novels into relief and it suggests tentative conclusions about her place in contemporary literature. Examined here in detail are the eight main divisions of the essay: Plot, Characters, Scene, Dialogue, Visual Angle, Moral Angle, Advance, and Relevance of special importance in considering each of the eight novels are the following: under Plot, "the non-poetic statement of a poetic truth," "mystification as emphasis," "action of language," and "what-is-to-be-said"; under Characters, "materialization," "unpredictability and inevitability," and "diminution of alternatives"; under Scene, "the mood of the 'Now,'" "categoricalness," "staticness," and "dramatic use"; and under Dialogue, "faked realistic qualities" and "functional use." [TRUNCATED]

The thesis focuses on the significance of the cinematic medium for Elizabeth Bowen's novels, from the level of prose and formal representations to broader aspects of narrative and character. The chapters on To the North (1932) and The House in Paris (1935) examine complementary issues of motion and stillness and the consequent impact on subjective experiences of time, space, knowledge, and identity. The final chapter expands the issue of genre revision in The Heat of the Day (1949) to the greater problem of precedent and the reconstruction of identity through storytelling; the novel not only uses formal cinematic techniques by evoking the tone of film noir, but also reconfigures narrative and character tropes of the genre. Thus the advent of cinema not only opened up formal possibilities in the language of fiction but also expanded the types of worlds and effects an author could depict.

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The modern soundscape buzzes with noise. In the 1930s, telephones, radios, and gramophones filled domestic spaces with technological noise, while crowds shouting in the streets created political clamour. During the war in the 1940s, bombs and sirens broke through buildings and burst through consciousness. This dissertation examines the response of three British modernist writers to the cultural shifts brought about by technology and politics, which altered everyday experience and social relations. Elizabeth Bowen, Evelyn Waugh, and George Orwell represent noise in their fiction and nonfiction as a trope of power. Noise, as a palpable emblem of discontent and the acoustic unconsciousness of the period, infiltrates sentences and rearranges syntax, as in the invention of Newspeak in Nineteen Eight-Four. Noise cannot leave listeners in a neutral position. The "culture racket" of the 1930s and 1940s required urgent new ways of listening and listening with ethical intent. / Chapter One provides a reading of Elizabeth Bowen's audible terrains in her novels of the 1930s, where silences and sudden noises intrude on human lives. In Bowen's novels, technological noise has both comedic and tragic consequences. Chapter Two examines noise as a political signifier in The Heat of the Day, Bowen's novel of the blitz. Chapter Three takes up the significance of the culture racket to Evelyn Waugh's novels and travel writing of the 1930s; noise assumes a disruptive, if highly comedic, value in his works, an ambiguity that expresses what it means to be modern. Chapter Four examines Waugh's penchant for satirizing the phoneyness of contemporary culture---its political vacillations---especially in Put Out More Flags, set during the Second World War. Chapter Five considers Orwell's engagement with the emerging social and political formations amongst working, racial, and warring classes in the 1930s. Documenting noise in his reportage, Orwell sounds alarms to alert readers to the mounting social and political crises in his realist novels of the decade. Chapter Six argues that Orwell's final two novels of the 1940s, Animal Farm and Nineteen Eighty-Four, represent the politics of noise in as much as they announce the noise of politics in totalitarian futures. Noise demarcates the insidiousness of propaganda as it screeches from telescreens, the keynote in Big Brother's ideological symphony of domination. Noise, throughout Orwell's writing, signifies the struggle for power. In its widest ramifications, noise provides an interpretive paradigm through which to read Bowen's, Waugh's, and Orwell's fiction and non-fiction, as well as modernist texts generally.

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This dissertation examines sensation in twentieth-century narratives of London and argues that vulnerability is a constitutive experience of the post-imperial city. Sensations of vulnerability in London arise because of the built environment of the city: its status as an imperial center and a global capital create important intersections of local, national, and global concerns which render the city itself vulnerable. I chart the trajectory of vulnerability as an affective history of London that is documented in cultural texts ranging from fiction and film to political debates and legal materials. Since the sensational experiences of the present partly arise from the materials of the past embedded in the landscape, affective histories create new ways of understanding history as a spatial experience. The narrated sensations of the city make vulnerability legible as a persistent feature of twentieth-century London life. I begin with a modernist, imperial London, in Virginia Woolf's Mrs. Dalloway and in Parliamentary debates from the same year (1925). Ambivalence about London's dual status as a local site and as a national and international capital is a response to London's vulnerable position at the end of the Great War. Next, I turn to World War Two London and Elizabeth Bowen's The Heat of the Day. I discuss intimacy as an important national feature in narratives of London during the crisis of this war. National narratives about intimacy constructed by Winston Churchill and heard on BBC radio respond directly to London's defensive vulnerability. My third chapter concerns Margaret Thatcher's 1980s London and the crucial role autonomy plays in constructing London as an invulnerable, international financial and civic capital. Alan Hollinghurst's The Swimming-Pool Library documents Londoners' attempts to make sense of their autonomy in a postimperial capital. My final chapter examines sensations of social and political belonging in contemporary London through reading Stephen Frears's Dirty Pretty Things alongside legal documents about immigration. I contend that reading cultural texts affectively creates counter-histories of the city that accommodate a deeper range of experiences than do traditional histories and offers to literary studies a new way of understanding the relationship between official and unofficial histories. / text

ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class. / Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature

From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.