Modernism is a popular topic for diverse kinds of scholarship and theories, yet the possibilities of its contribution to education have been neglected. This thesis is an attempt to illustrate modernism's utility in forming a theory of education through examining the thoughts of two prominent modernists, Virginia Woolf and E.M. Forster. In reviewing both their fiction and nonfiction, we not only gain valuable insight into and contextualization of modernism, we are also introduced to possible (theoretical) solutions to problems that continue to plague our classrooms. By evaluating modernist themes of form, narration, becoming a reader and a critic, and time, I hope to illustrate modernism's capacity to contribute to the educational conversation in unique and valuable ways. As we channel the values Woolf and Forster lived by and demonstrated in their writing into an adaptable educational theory, we will be able to produce generations of better readers, better thinkers, better learners, and ultimately better individuals.

<p>In the novel, Forster seems to observe the English Empire from a critical point of view rather than a nostalgic one. The theme of the book is the relationship of the Indians and the English; an attempt at understanding the country India and the Indians.</p>

In the novel, Forster seems to observe the English Empire from a critical point of view rather than a nostalgic one. The theme of the book is the relationship of the Indians and the English; an attempt at understanding the country India and the Indians.

Under 1900-talet publicerades två romaner som skilldrade homoerotiska relationer under den Edwardianska perioden delvis utspelade i universitetsmiljö, Brideshead Revisited av Evenlyn Waugh och Maurice av E.M Forster. Men trots likheter i handling och karaktärsarketyper har de båda romanerna djupt skillda perspektiv på den miljö och de ideologiska system romanerna båda skilldrar. Genom en närläsning av romanerna som utgår från kattegorierna klass, kön, sexualitet och intersektionen mellan dem framgår verkens ideologiska skillnader tydligt. Waugh skilldrar en miljö han sörjer har försvunnit och inte kan återkomma, en tydlig överklassmiljö, där de aristokrater som lever i den är de enda som kan förstå värdet av konst och kultur. På grund av detta blir den arbetarklass som vardagen på godset Brideshead är beroende av i en form av tystnadens politik helt avhumaniserad, och ses som funktioner snarare än subjekt. Det finns inte heller plats att ifrågasätta de möjligheter kvinnan har i systemet, utan fokus lägs istället på att visa hur den moderna borgarklassen bör förvalta arvet från aristokratin. I Forsters roman kritiseras istället samma system och genom karaktären Maurice roll som både förtryckare och förtryckt öppnar romanens ideologi för en diskusion om intersektionalitet. Här väljer den moderna borgarmannen att avsäga sig sin roll i systemet snarare än att förvalta det. / During the 20th century two novels depiciting homoerotic relationships in an Edwardian university setting were published, Brideshead Revisited by Evelyn Waigh and Maurice by E.M Forster. But despite the similarities in plot and characters the two novels show two very diferent perspectives on the idological systems they depict. Through reading the novels through the lenses of gender, class, sexuality and the intersection between them it is evident that the ideology at the heart of the novels differ greatly. Waught depicts a time and place which he mourns the loss of, where the aristocrats who live in it are the only ones who can understand art and culture, but are doomed in the modern world. With this worldview the servants who are responible for the day to day opperations of the countryhouse Brideshead are dehumanised in a politic of silence, where they are seen as functions, as opposed to subjects. Nor is there space to question the role of women in this system, as focus is on showing how the modern urban man must keep the aristocratic worldview alive. The same system which is upheld and tressured in Waughs novel is criticized in Forsters, and thoguht the roll of Maurice as booth oppressed and opressor the idology of the novel opens for a conversation about intersectionality. Here the same man who upholds the aristocratic system in Brideshead choses to reject it.

Wie sehr offene, kreativ-metaphorische, vielleicht sogar alogische, stärker an Analogierelationen orientierte und weniger von ›männlicher Ratio‹ und festgefügten Vorannahmen ausgehende Denkansätze benötigt werden, um Aussagen über unsere Wirklichkeit machen zu können, ist längst kein Geheimnis mehr: Wolfdietrich Schmied-Kowarzik argumentiert unter Bezugnahme auf Hegel, die Wirklichkeit sei »nicht von den denkenden Zugriffen der wissenschaftlichen Rationalität her zu erfassen, sondern nur dort, wo der Mensch das Scheitern seiner rationalen Zugriffe an sich selbst erfährt und sie radikal aufgibt«. Gilles Deleuze fordert, »das Undenkbare zu denken, dasjenige, was zu denken gibt, was wiederkehrt, insistiert, ohne jemals in einem bestimmten Gedanken ausgeschöpft werden zu können: das Virtuelle.«:I N H A L T Gudrun Loster-Schneider »Laßt uns einen Nationalkarakter behaupten«. Einleitende Bemerkungen zum Thema ›Nation und Geschlecht‹ . . . . . . . . . . . . . . . . . . . . . . . 9 Gabriele Birken-Silverman Sprachliche Gefährdung der französischen Nation? Zur Debatte der Feminisierung der NOMINA AGENTIS . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Gudrun Loster-Schneider Von Amphibien und Zwittern, Mannweibern und Mauleseln. Nationalkulturelle und sexuelle Hybridität in Heinrich von Kleists »Die Verlobung in St. Domingo« . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Inge Wild »O, Deutschland, meine ferne Liebe«. Exil, Eros und Gender in Gedichten Heinrich Heines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Gaby Pailer (Vancouver) Der Staatsdiener, der Staatsfeind und die gute Tochter. Gender und Nation in Gabriele Reuters »Aus guter Familie« (1895) . . . . . . . . . . . 101 Stefan Horlacher Viralität, oder: Vom kolonialen zum kolonisierten Körper in E.M. Forsters »A Passage to India« and beyond . . . . . . . . . . . . . . . . 121 Hans-Peter Ecker (Bamberg) Überleben in einem Land, das ein Weib ist. Geschlechtsideologische Imaginationen des ›Deutschen‹ bei Thea von Harbou und Fritz Lang 155 Meinhard Winkgens ›Weiße‹ Identitätspolitik und die Apartheid: Zur Funktionalisierung von race und gender in Doris Lessings »The Grass is Singing« . . . . . 171 Dagmar Burkhart Weiblicher Kannibalismus als Chiffre. Zu Slavenka Drakulićs Roman »Göttlicher Hunger« . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

From W.H. Auden’s The Age of Anxiety to Sigmund Freud’s Civilization and Its Discontents, modernists have frequently attested to the anxiety permeating members of modern civilisation. While critics have treated anxiety as a consequence of the historical circumstances of the modernist period—two World Wars and the disintegration of European empires—my aim is to view anxiety in both a psychoanalytical and political light and investigate modernist anxiety as a narrative ploy that diagnoses the modern condition. Defining modernist anxiety as feelings of fear and alienation that reveal the uncanny relation between self and ideological state apparatuses which themselves suffer from trauma, perversion, and neurosis—I focus on the works of four key modernist writers—Sigmund Freud, Virginia Woolf, E.M. Forster, and Gertrude Stein. These authors have repeatedly constructed the mind as an open system, making the psyche one of the sites most vulnerable to the power of colonial ideology but also the modernist space par excellence to narrate the building and falling of empire. While the first part of my dissertation investigates the neurosis of post-war London in Woolf’s Mrs. Dalloway, the second part of my thesis discusses the perverse demands of the colonial system in Forster’s A Passage to India and Woolf’s The Waves, arguing that Woolf and Forster extend Freud’s understanding of repetition compulsion by demonstrating that the colonial system derives a “perverse” pleasure from repeating its own impossible demands. The concluding section of my dissertation discusses Woolf and Stein’s queer primitivism as the antidote to anxiety and the transcendence of perversity. My dissertation revives Freud’s role in the modernist project: Freud not only provides avant-garde writers with a theory of consciousness, but his construction of the fragmented psyche—a construction which had come to dominate modernist renditions of internality by the early-twentieth century—functions as a political stratagem for an imperial critique. / Thesis (Ph.D, English) -- Queen's University, 2013-03-11 16:48:57.865

This thesis investigates the interaction between the categories of the middlebrow and feminism in the novels of E.M. Delafield (1890-1943). Selecting works for detailed scrutiny from the full range of Delafield's published fiction, I evaluate the expression of feminist meaning in a cultural form that often evinces both formal and social conservatism. I build on Nicola Humble's construction of the feminine middlebrow, a category of interwar twentieth century writing concerned with women's lives, sometimes disruptive in terms of content, but traditional in form. I also develop notions of the middlebrow as hybrid and mutable to support my argument for the establishment of a category of the feminist middlebrow: texts that articulate feminist meaning while retaining palatability, in terms of both form and content, for a large and politically mainstream audience. I argue that Delafield makes use of various constructions of ambiguity within her fiction to assert, and often simultaneously obscure, her feminist meaning. These ambiguous forms include the extensive use of irony, elision of the boundaries between author and protagonist, use of comedy to distract from disruptive meaning, developing marginal characters to carry feminist ideas, and a complex representation of female subjectivity and interiority. Delafield's use of ambiguity allows her to continue to advance feminist arguments, sometimes radical in their implications, without disturbing readerly pleasure in her middlebrow texts; it allows her to speak to a number of potential audiences, those engaged with feminism, those sympathetic to its aims, and those antipathetic, and to create fiction that remains palatable to all those audiences. This privileging of the reader, I argue, creates an intersubjective and democratic approach in which readers articulate feminist meaning in texts, and which plays a crucial part in constructing the category of the feminist middlebrow.

This essay provides some insight into how the representation of masculinity, homosocial bonds and homosexuality in two novels has changed during the last century. The essay analyzes the novels, Maurice (E.M Forster) and Dream Boy (Jim Grimsley). The main focus lies on how Maurice and Dream Boy handle certain topics; social behavior in private and public among the male protagonists and the role of the father figure. The essay points out similarities and differences between how each topic is being handled in the respective novels. The main theoretical concept focuses on masculinity, homosocial bonds and the perception of homosexuality and how it is constructed in the two novels. The representations of masculinity seem to change over time only to take the same shape as before. The same kinds of masculinities are represented in both Maurice and Dream Boy. The fact that young men have learned that their bodies can be used as instruments of power makes it difficult for them to allow intimacy within homophobic cultures which might threaten their male identities and therefore influence the way their homosocial bonds.

This thesis examines the representation of Italy and Italians in Henry James’ Daisy Miller and E.M. Forster’s Where Angels Fear to Tread. In a close reading of the two novels, with the use of the theory of the Triangle of Representation and the concept of Imperialist nostalgia, recurring themes in connection to the Grand Tour have been found. While both novels have already been studied in connection to the concepts of freedom, family, and homosexuality, not much has been written about the novels in connection to the Grand Tour studies and representation. Divided into three sections, this paper first defines representation and Christopher Prendergast’s Triangle of Representation, both in close connection to the concept of the gaze. Then, it gives a short historical context of the Grand Tour, to give the reader the necessary background for understanding both of the analysed novels. It then continues explaining the idea of nostalgia and, more specifically, Renato Ronaldo’s concept of Imperialist nostalgia. Finally, the paper analyses the two novels in detail in connection to the mentioned theory, connecting the two authors to the Grand Tour and their experiences in Italy.

A study of the interrelationship of E.M. Fosters ideas as presented in his five novels, his two volumes of collected essays, and his treatise on the novel.