Honors Project--Smith College, Northampton, Mass., 2010. / Includes bibliographical references (p. 84-85).

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Systems of Order: The satirical novels of Evelyn Waugh is a study of Evelyn Waugh’s satire. It offers a contextual reading of eleven works by Waugh, presenting revisionist readings of familiar novels and according attention to previously neglected works. It aims to sketch out the main features of Waugh’s satire, including Waugh’s lexis and the use of certain key images and motifs. Comparative analysis of Waugh’s satirical novels with works by contemporary writers such as Clough Williams-Ellis, Wyndham Lewis, Stella Gibbons and T.S. Eliot brings into sharp relief the techniques and targets of Waugh’s satire. ¶ This thesis argues that despite Waugh’s tongue-in-cheek denial of satire’s efficacy in a complacent modern world, he did indeed write satire of a peculiarly twentieth century kind. Waugh’s apparently anarchic novels reflect, behind the detached insouciance of their narrators, the moral standards which the novels ostensibly claim are absent in the modern world. ¶ In Waugh’s writing, satire is effected through the creation of systems of literary order. The structure and patterning of his novels, and his masterful use of the rhetorical techniques of satire, mete out punishment on a formal level. Waugh’s satirical novels dramatize the tension between truth, order and civilization, and their oppositions, disorder and barbarism. Systems of Order suggests that from the very first, Waugh’s satiric project aimed toward the repudiation of modern disorder.

Thesis--Université de Rennes II, 1975. / Includes indexes. Includes bibliographical references (p. 379-399).

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Terry Pratchett, author of the best-selling Discworld series, and winner of multiple literary awards, writes satirical fantasy for adults and children. The academic community has been slow to accept Pratchett's work as worthy of notice. Factors that contribute to this reticence include writing fantasy, writing for children, a high volume of work, and popularity in general society. This thesis will provide a comparison between Pratchett's work and that of Evelyn Waugh by focusing on their academic satire, shedding new light on Pratchett's work from a literary perspective, thus lending greater value to his Discworld series as a collection of novels with measurable literary value to the academic community.

This dissertation corrects the notion that fiction written in the late 1920s through the early 1940s fails to achieve the mastery and innovation of high modernism. It posits late modernism as a literary dispensation that instead pushes beyond high modernism's narrative innovations in order to fully express individuals' lived experience in the era between world wars. This dissertation claims novels by Elizabeth Bowen, Evelyn Waugh, and Samuel Beckett, as exemplars of a late modernism characterized by invocation and redeployment of conventionalized narrative forms in service of fresh explorations of the dislocation, inauthenticity, and alienation that characterize this era. By deforming and repurposing formal conventions, these writers construct entirely new forms whose disfigured likenesses to the genres they manipulate reveals a critical orientation to the canon. These writers' reconfigurations of forms--including the bildungsroman, the epistolary novel, and autobiography--furthermore reveal the extent to which such conventionalized genres coerce and prescribe a unified and autonomous subjectivity. By dismantling these genres from within, Bowen, Waugh, and Beckett reveal their mechanics to be instrumental in coercing into being a notion of the subject that is both limiting and delimited. These authors also invoke popular forms--including the Gothic aesthetic, imperial adventure narrative, and detective fiction--to reveal that non-canonical texts, too, participate in the process by which narrative inevitably posits consciousness as its premise. I draw upon Tyrus Miller's conception of late modernism to explicate how these authors' various engagements with established forms simultaneously perform immanent critique and narrative innovation. This dissertation also endorses David Lloyd's assertion that canonical narrative forms are instrumental in producing subjectivity within text and thereby act as a coercive exemplar for readers. I invoke several critics' engagements with conventional genres' narrative mechanics to explicate this process. By examining closely the admixture of narrative forms that churns beneath the surfaces of these texts, I aim to pinpoint how the deformation of conventionalized forms can yield a fresh and distinctly late modernist vision of selfhood.

This study is an examination of the protagonists in Evelyn Waugh's Decline and Fall, A Handful of Dust, and Brideshead Revisited. The purpose of this study is to show how each novel displays the same type of character progressing towards heroism. This type of heroism is explained by using Carol Pearson's The Hero Within: Six Archetypes We Live By. Using Pearson's archetypes to discuss these protagonists gives one a better understanding of the characters and their development as they move towards self-knowledge. The introduction explains the term hero and gives a brief review of Pearson's book. Chapters two, three and four are each devoted to one of the specified novels and contain an examination of how the protagonist progresses through Pearson's archetypes. Chapter five is the conclusion, which summarizes this study and states the usefulness of archetypes in understanding the development of a character, as well as the importance of taking the heroic journey.

Children in modernist literature have been largely ignored in critical study; an odd oversight, since children in Victorian and contemporary literature have been sources of rich material for literary critics. In novels published from 1930 until 1934, Wyndham Lewis, Virginia Woolf, and Evelyn Waugh address the relationships between children/childhood and nostalgia in The Apes of God (Lewis), The Waves (Woolf), and A Handful of Dust (Waugh). Their complicated and often conflicting depictions of childhood and desire for the past reveal children's overlooked importance in British modernism, as well as a lack of singularity in the manifestations of children and nostalgia that is crucial to contemporary understandings of both terms.

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