Female characters in novels by Virginia Woolf and E.M. Forster are studied in their relationships as wives, mothers, daughters and prospective brides. The novels selected are those where the writers are concerned with families dominated by Victorian ideals. Virginia Woolf: The Voyage Out (1915), Night and Bay (1919), Mrs Dalloway (1925), To the Lighthouse (1927). E.M. Forster: Where Angels Fear to Tread (1905), The Longest Journey (1907) , A Room with a View (1908), Howards End (1910).The socioeconomic, religious and ideological origins of the Victorian ideals are traced, esp. as they are related to the writers' family background in the tradition of English intellectual life. The central theme of the four novels by Woolf is the mother-daughter relationship which is analyzed in its components of love and resentment, often revealed in an interior monoloque. Forster's novels usually present a widowed mother with a daughter and a son. It is shown how the plot, dialogue and authorial intrusions are used to depict a liberation from the constraints of the Victorian ideals of family life. The mothers in the novels of both writers are shown to be representative of various aspects of the Victorian ideal of womanhood. The attitudes of men towards women vary from those typifying Victorian conceptions of male superiority to more modern ideals of equality and natural companionship. / digitalisering@umu

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This dissertation aims to provide an insight into English country house fiction by twentieth and twenty-first century authors, such as E.M. Forster, Evelyn Waugh, Iris Murdoch, Alan Hollinghurst, and Sarah Waters. The variety of literary depictions of the country house reflects the physical diversification of the buildings in question, from smaller variants to formerly grand residences on the brink of physical collapse. The country house is explored within the wider social and cultural contexts of the period, including contemporary architectural development. Given the exceptionally evocative and integrating properties that the influential theories of Martin Heidegger and Gaston Bachelard attribute to a house in general, it is unsurprising that the concept of the country house has inspired discussion of such a wide spectrum of topics. Its unique centring quality is echoed in the dense intertextuality prominently marking its literary representations, and enables the successful implementation of various temporal idiosyncrasies, which often set the house apart from the habitual passing of time. Within the scope of contemporary fiction, architecture and poetics of space, the country house accentuates different conceptions of dwelling. Consequently, the literary portrayals of the country house can be...

SOUZA, José Ailson Lemos. Howards end: o espaço nas narrativas literária e fílmica. 2012. 109f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2012. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-29T15:23:06Z No. of bitstreams: 1 2012_DIS_JALSOUSA.pdf: 1357376 bytes, checksum: 19239b4ce6783a5541487f122daf3642 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-24T11:18:35Z (GMT) No. of bitstreams: 1 2012_DIS_JALSOUSA.pdf: 1357376 bytes, checksum: 19239b4ce6783a5541487f122daf3642 (MD5) / Made available in DSpace on 2012-07-24T11:18:35Z (GMT). No. of bitstreams: 1 2012_DIS_JALSOUSA.pdf: 1357376 bytes, checksum: 19239b4ce6783a5541487f122daf3642 (MD5) Previous issue date: 2012 / This dissertation examines the construction of space in two narratives: the novel Howards End (1910), by E. M. Forster, and the homonymous film (1992), directed by James Ivory. Our hypothesis is that the film makes use of spatial elements to comment on the film genre itself: the heritage films; and so, it reformulates the initial discourse with which such narratives were related to. Thereby, the function of space in the film is different from that function used in the novel. It is, therefore, a translation strategy which places Ivory’s text in a dialectical relation with its own time, although it tries to recreate Edwardian period on screen. In order to demonstrate our interpretation, we firstly examined the space in the novel. We concluded that, in this text, the space has the following functions: to symbolically discuss the complexity of male and female genres, showing the arbitrary way by which this question was seen at the beginning of the 20th century, and the representation of the house as a place of refuge from the feeling of fragmentation in society; exterior places function as sceneries in which the deep changes brought by modernity are reflected. In the film, however, space is used to construct the aesthetics of display, a typical characteristic of heritage films, to modify the notions on English identity commonly related to these narratives. If, at the beginning, heritage films discourse attempted to redeem British imperialistic position, Ivory’s film deconstructs such attempt and indicates its impossibility. Our work is based on concepts from Descriptive Translation Studies, from polysystem theory by Even-Zohar (1990), Lefevere’s concept of rewriting, and on studies that deal with film narratives such as Vanoye & Goliot-Lété (1994), Aumont (1995), Silva (2007) and Gaudreault & Jost (2009) / A presente dissertação examina a construção do espaço em duas narrativas: o romance Howards End (1910), de E. M. Forster, e o filme Retorno a Howards End (1992), dirigido por James Ivory. Nossa hipótese é de que a narrativa fílmica serve-se de elementos espaciais para tecer comentários sobre o gênero ao qual pertence: os filmes de herança; e, assim, reformula a discussão inicial a que essas narrativas estavam atreladas. Desse modo, a função do espaço no filme difere daquela empregada no romance. Trata-se, portanto, de uma estratégia tradutória que coloca o texto de Ivory em diálogo com a sua época, apesar de buscar recriar o período eduardiano na tela. Para demonstrar a nossa interpretação, examinamos primeiramente o espaço no romance de Forster. Concluímos que, nesse texto, a construção do espaço apresenta as seguintes funções: discutir simbolicamente a complexidade dos gêneros masculino e feminino, o modo arbitrário com que a questão era percebida no início do século XX, e a representação da casa como local de refúgio contra o sentimento de fragmentação na sociedade; os espaços externos funcionam como cenário no qual refletem-se as profundas transformações trazidas pela modernidade no início do século passado. No filme, por outro lado, o espaço faz uso da estética da exposição, uma característica típica dos filmes de herança, para redimensionar a discussão sobre a identidade inglesa. Se, em seu início, o discurso do gênero em questão procurava resgatar o ideário imperialista britânico, o filme de Ivory desconstrói tal noção e aponta para a impossibilidade deste retorno. Nosso trabalho ampara-se em conceitos oriundos dos Estudos Descritivos de tradução, partindo da teoria dos polissistemas de Even-Zohar (1990), o conceito de reescritura de Lefevere (2007), e em estudos que enfocam a narrativa cinematográfica, como Vanoye & Goliot-Lété (1994), Aumont (1995), Silva (2007) e Gaudreault & Jost (2009).

This thesis is a study of nineteenth and twentieth century faith theology and praxis, seeking to determine a balanced, healthy faith that is both sound in theology and effective in practice, Part 1 presents a history and sources of Faith Teaching and Practices. It first looks historically at the roots of later faith teaching and practice by presenting a sampling of teachings on faith from early church fathers, reformers, mystics, and Pietists. These form the foundation for the movements of faith in the nineteenth and early twentieth centuries-the classic faith teaching, followed by the modern faith movement and leaders. Part 2 deals with the foundational issues of faith teaching and practice: the relationship of faith to the supernatural, the concept of the inheritance of the believer and the practice of claiming the promises of God, the nature of faith, and the authority of the believer and its inferences for faith praxis. Part 3 investigates seven major theological issues of faith teaching and practice: faith as a law and force, the object and source of faith, the relationship of faith and the will of God, distinguishing between a logos and a rhema word of God, the concepts of revelation and sense knowledge, the doctrine of healing in the atonement, the question of evidence of the baptism in the Holy Spirit. Part 4 examines major practical issues of faith teaching and practice about which controversy swirls: positive mental attitude and positive confession; issues of discernment in acting upon impressions, voices, revelations, and "words from the Lord;" questions of faith regarding sickness and healing, death, doctors and medicine; the relationships between sickness, suffering, healing, and sanctification; and prosperity. Part 5 reflects upon these issues and comes to final conclusions regarding: the role of hermeneutics in determining faith theology and praxis, how to handle unanswered prayers and apparent failures of faith, the seeming paradox and tension between claiming one's inheritance and dying to self, a summary of practical conclusions for exercise of healthy faith, and final conclusions and recommendations on developing a sound theology and practice of faith for the twenty-first century. / Philosophy, Practical & Systematic Theology / D.Th. (Practical Theology)

This thesis is a study of nineteenth and twentieth century faith theology and praxis, seeking to determine a balanced, healthy faith that is both sound in theology and effective in practice, Part 1 presents a history and sources of Faith Teaching and Practices. It first looks historically at the roots of later faith teaching and practice by presenting a sampling of teachings on faith from early church fathers, reformers, mystics, and Pietists. These form the foundation for the movements of faith in the nineteenth and early twentieth centuries-the classic faith teaching, followed by the modern faith movement and leaders. Part 2 deals with the foundational issues of faith teaching and practice: the relationship of faith to the supernatural, the concept of the inheritance of the believer and the practice of claiming the promises of God, the nature of faith, and the authority of the believer and its inferences for faith praxis. Part 3 investigates seven major theological issues of faith teaching and practice: faith as a law and force, the object and source of faith, the relationship of faith and the will of God, distinguishing between a logos and a rhema word of God, the concepts of revelation and sense knowledge, the doctrine of healing in the atonement, the question of evidence of the baptism in the Holy Spirit. Part 4 examines major practical issues of faith teaching and practice about which controversy swirls: positive mental attitude and positive confession; issues of discernment in acting upon impressions, voices, revelations, and "words from the Lord;" questions of faith regarding sickness and healing, death, doctors and medicine; the relationships between sickness, suffering, healing, and sanctification; and prosperity. Part 5 reflects upon these issues and comes to final conclusions regarding: the role of hermeneutics in determining faith theology and praxis, how to handle unanswered prayers and apparent failures of faith, the seeming paradox and tension between claiming one's inheritance and dying to self, a summary of practical conclusions for exercise of healthy faith, and final conclusions and recommendations on developing a sound theology and practice of faith for the twenty-first century. / Philosophy, Practical and Systematic Theology / D.Th. (Practical Theology)