The poems in A Rat-Shaped Tear consider wide-ranging ideas of otherness using character and voice. Through misdirection, understatement and unexpected imagery I confront ideas of animal and female otherness in playful ways as a means of subverting traditional impressions of both. The othering effects of grief are also examined in poems that reflect on bereavement and mortality. Human-animal interaction is used to further explore the effects of death and disappointment, though overtones of cartoonish extravagance, dark humour and the surreal temper the more serious themes of loss, disillusionment and loneliness that recur within the collection. In the accompanying thesis, I focus on the work of three poets - D.H Lawrence, Marianne Moore and Elizabeth Bishop - each of whom confront animal otherness in their work. Through close examinations of their individual works, I explore the differences in approach to human-animal interaction, and the ways in which these poets draw meaning from animal otherness. It is suggested that although they engage with the concept using varied poetic techniques, they are drawn together by the intimations of spiritual transcendence that permeate each of their animal poetics.

Commitments to cosmopolitanism and indigenism complicate the Modernist literature of the Third World. This study investigates the rhetorical and aesthetic responses of Third World "little magazines"--short-running, self-financed cultural magazines--to these two notions. These little magazine evolved with the daily newspaper as a tool favored by avant-garde movements for critiquing the social structures that produced it and for codifying their aesthetic and political principles. Comparing the Stridentist little magazine Horizonte (1926-1927) to D. H. Lawrence's novel The Plumed Serpent (1925), I argue that the Mexican Revolution created a climate of nationalism that reoriented the Stridentist movement away from a version of cosmopolitanism influenced by European modernist movements and toward a deeper interest in the Mexican folk and indigenous culture. Following form there, I consider the concept of cosmopolitanism in the Cuban novelist Alejo Carpentier's El Reino de este mundo (1949) in comparison to two Haitian magazines: La Revue Indigène (1927-1928) and Les Griots (1938-1940). Here I find that, while Carpentier stages a relatively global critique of primitivism as a false cosmopolitanism, the magazines La Revue Indigène and Les Griots reflect a turn from such a cosmopolitanism that values the primitive for its own sake toward a cultural nationalism invested in the real and imagined recuperation of Haiti's African origins through the study of folklore, Vodou, the Kreyòl language and poetic images of Africa. Finally, I compare Futurist F. T. Marinetti's Mafarka le futuriste: roman africain (1909) to the Egyptian literary magazine Al-Kātib Al-Miṣrī (1945-1948) in order to demonstrate the distance between Egyptian modernity in the European imagination and the self-conceived notions of Egyptian modernity. In Al-Kātib Al-Miṣrī, I find that these writers value cosmopolitanism, arguing that it is in fact indigenous to Egyptian culture itself and constructing their notion of Egyptian modernity around the maintenance of continuity with this indigenous cosmopolitanism. My examinations of these magazines suggests that, though the European avant-gardes and Third World literary Modernists may wield the little magazine similarly against hegemonic cultures, their purposes are divided over the roles cosmopolitanism and indigeneity play in the formation of national culture. / text

After a period during which Storm Jameson’s restricted literary identity has been that of the politically engaged woman writer, critical interest in the intellectual and stylistic complexities of her work is now reviving. Yet Jameson’s background in early English modernism and the manner in which it enriches her writing continues to pass unnoticed. This thesis uncovers new evidence of Jameson’s immersion in the early English modernisms of Alfred Orage’s Leeds Arts Club and New Age journal and of Dora Marsden’s journals, the New Freewoman and the Egoist, as an avant-garde student before the Great War. Drawing analogies with the post-colonial notions of ‘Manichean delirium’ and of ‘writing back to the centre’, this thesis argues that, subsequently – as a provincial socialist woman writer struggling to make her way at the predominantly male and elitist cultural centre – Jameson developed a vexed outsider-insider relation to English modernism which she expressed during the 1920s in a series of intertextual novels critiquing the contemporary cultural scene. It examines each of these novels chronologically, beginning with Jameson’s critique of the early modernisms of Orage, Marsden and associated writers in her first two novels, before moving on to her engagement, in turn, with the work of D. H. Lawrence, Virginia Woolf and Wyndham Lewis. Employing a socially oriented model of intertextuality, this thesis reads each novel synchronically as a sceptical and often witty probing of some of the polarised, and frequently contradictory, positions taken within the modernist debate. It also interprets the 1920s fiction diachronically as a developmental journey towards what Jennifer Birkett terms the ‘stylised realism’ of the 1930s and 40s, in which William James’s Pragmatism plays a central role, allowing Jameson to assimilate those intellectual and stylistic elements within English modernism that she values before leaving the rest behind.

The essay examines the concept of revolt in D.H. Lawrence's novel Lady Chatterley's Lover through an analysis of its portrayal of society, oppression, and violence, as well as love, tenderness, and the body. Sigmund Freud's essay Civilization and Its Discontents is used as a theoretical framework.

D.H. Lawrence’s novel Sons and Lovers, written in 1913 is an autobiographical novel that captures the Morel’s disharmonious family situation. Critics have many times looked at Mr. Morel and his behavior to offer an explanation for the disharmony. However, by applying a historical and socioeconomic, gender and psychoanalytical perspective to an analysis of Mrs. Morel this analysis will focus on her many actions and behavior in an attempt to offer another explanation for the disharmony in the narrative. The analysis will mainly focus on her relationship with her sons, especially Paul. The conclusion of the analysis shows that Mrs. Morel through her over attached relationship with Paul led to three main consequences: his mental downfall, his incapability to have normal relationships, and the collapse of his individuality.

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In his bildungsroman Sons and Lovers, published in 1913, D. H. Lawrence portrays the disharmonious life conditions of the coal-mining communities in England at the end of the nineteenth and the beginning of the twentieth century. While the main focus of the novel is the mother’s excessive love towards one of the sons, the reader also encounters the father of the family, Walter Morel. Mr. Morel is perceived as a brutal, vain and ignorant man. The readership might imply this description to be accurate in terms of Morel’s behavior. However, this essay argues that there are underlying reasons for his extreme attitudes and actions. Thus, the aim of this essay is to identify and explain the underlying reasons as to why Mr. Morel behaves in such a neurotic way in the presence of his family. The close reading of the novel and the use of Freudian psychoanalysis illustrated with the help of the Neurotic Fear Principle, provide evidence that there is a correlation between Mr. Morel’s attitude and the social and economic conditions in the coal-mining community. Consequently, this essay presents Morel as the embodiment of the severe consequences of industrialism, and how deeply they impact his relationship to his family.