Thesis (Ph. D.)--Florida State University, 2006. / Advisor: William J. Cloonan, Florida State University, College of Arts and Sciences, Interdisciplinary Program in the Humanities. Title and description from dissertation home page (viewed June 7, 2006). Document formatted into pages; contains vi, 136 pages. Includes bibliographical references.

Thesis (Ph. D.)--University of Chicago, Dept. of Latin American Languages and Literatures, June 2001. / Includes bibliographical references. Also available on the Internet.

The rapid expansion of the mass press in late nineteenth and early twentieth-century France, along with the concurrent rise of an information-driven style of journalism known as reportage, coincided with a shift in literary portrayals of the press. Early to mid-nineteenth-century novels of journalism such as Balzac’s Illusions perdues consistently depict the world of journalism in intensely hostile tones, as do many later novels and works of poetry, at times with even greater vitriol. By contrast, from Baudelaire onwards, some French authors including Mallarmé, Apollinaire, and Proust took a more ambivalent approach to the press, pivoting between antipathy and enthusiasm for what became a truly massified and ubiquitous cultural phenomenon during their lifetimes. Their equivocal portrayals of the press in poetry and prose fiction epitomize their broader ambivalence towards modernity itself – a trait that distinguishes these modernist authors from their avant-garde contemporaries, who advocated a radical break with tradition and tended to be more consistently hostile or enthusiastic towards journalism. The thematic prominence of journalism in late nineteenth and early twentieth-century French literature reflects its ongoing role as what Marie-Ève Thérenty calls “the laboratory of literature,” whereby authors published poetry and prose fiction in the mass press, for which they also wrote opinion columns, criticism, and other forms of journalism that they then frequently recycled in their literary works. Belying the account of literature’s autonomization found in the work of Pierre Bourdieu, who argues that literature and the mass press had grown apart by the end of the nineteenth century, modernist poetry and prose fiction continued to appear in large-circulation, commercially oriented newspapers and magazines into the twentieth century. From the 1880s onwards, the growth of the mass press was paralleled by the emergence of a wave of little magazines known as petites revues that became the primary literary laboratory of literary modernism. These petites revues had many material links to the mass press. Authors often wrote simultaneously for both newspapers and petites revues. Many of the latter courted publicity in the former, even as they denounced those very same publications as the antithesis of true literature. And petites revues published many pieces of reportage – a style of journalism associated with the mass press. These connections to the mass press left their mark on the literary works published in petites revues, which often draw on newspaper articles and confront topical journalistic subjects. Moreover, several petites revues evolved into major publishing houses, including Éditions Gallimard, whose extensive commercial interactions with the mass press further shaped the works they published as modernist authors themselves became intimately involved in publicizing their books. Early to mid-nineteenth-century authors consistently avoid confronting their debts to journalism in their literary works. They thunder against the press but cannot live without it. Anti-journalistic thunder underlain by various kinds of dependence on the press remains a dominant feature of late nineteenth and early twentieth-century French literature and cultural criticism. By contrast, Mallarmé, Apollinaire, and Proust as well as Gide and Péguy all allude to the ambiguous position of journalism within their prose poetry, poetry, novels, and essays. These authors at once draw on journalism in their literary works and reflect on the significance of their journalistic borrowings within those works themselves. The self-conscious modernist spirit of their writing thus allows them, unlike their precursors and most of their contemporaries, to finally come to terms with the challenge posed by the mass press to literary creation.

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Dr. S.E. Gontarski, Florida State University, College of Arts and Sciences, Humanities Program. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

Thesis (Ph. D.)--University of Washington, 2008. / Vita. Includes bibliographical references (leaves 278-287).

Thesis advisor: James M. Smith / This dissertation examines individual experiences of grief and trauma in Irish writing from 1935 to 2013, focusing specifically on novels by Elizabeth Bowen, Samuel Beckett, Sebastian Barry, and Eimear McBride. It offers a feminist reclamation of personal forms of loss that fall outside the purview of documented history and that typically go overlooked in literary criticism. Examples in this study include the suffering caused by the natural death of a family member, infertility, domestic and sexual abuse, social ostracism, institutionalization, and forced adoption. Through careful close readings of Bowen’s The House in Paris (1935) and The Death of the Heart (1938), Beckett’s Molloy (1955), Barry’s The Secret Scripture (2008), and McBride’s A Girl Is a Half-Formed Thing (2013), I unpack how women’s insidious vulnerability to grief and trauma manifests in modern and contemporary Irish fiction. The works I discuss here reveal the depth and complexity of grief—making visible forms of loss and violence that society tends to ignore, working through what impedes the grieving process, and giving voice to underrepresented experiences of emotional and psychological suffering. Over three chapters, I engage with the discourses of trauma theory, Irish memory studies, and modernism and its afterlives. I draw on feminist psychiatrist Laura S. Brown’s discussion of “insidious trauma” to inform my own concept, “insidious vulnerability,” which I use to refer to the persistent threat of loss and violence that haunts marginalized groups in their daily lives. Likewise, I make reference to the American Psychiatric Association’s diagnostic definition of post-traumatic stress disorder (PTSD) to distinguish trauma from other forms of emotional and psychological distress. I contribute to Irish memory studies by extending the critical conversation beyond public historical events (like the Easter Rising of 1916)—to include private forms of grief and trauma, particularly in the lives of women. Furthermore, I focus on authors who innovate, whose novels exhibit dissatisfaction with the limitations of conventional realist narratives and who attempt new modes of representation in an effort to articulate the inexpressible and the unexpressed. Bowen and Beckett stand as representatives of late modernism (1930s-1950s), while Barry and McBride help extend literary modernist afterlives into the twenty-first century. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Orientador: Marcio Roberto Pereira / Banca: Rosane Gazolla Alves Feitosa / Banca: Regina Célia dos Santos Alves / Resumo: Álvaro Lins (1912-1970) foi um importante crítico literário do movimento modernista brasileiro que marcou o século XX pela grande influência de seus artigos e ensaios publicados nas páginas de diversos jornais. Por ter exercido ao longo de sua carreira a crítica de rodapé, Lins acabou sendo excluído do panteão literário da academia por não se ajustar às novas vertentes dos estudos críticos brasileiros: o uso do método para realizar a análise literária. Este trabalho pretendeu desmistificar a conotação de "impressionista" atribuída a ele, demostrando que possuía uma concepção ampla de métodos literários. Para tanto, foi feito um estudo aproximando os conceitos de crítica de Álvaro Lins com os conceitos de Erich Auerbach e o seu método da "explicação de textos". E para a comprovação de que Álvaro Lins foi um crítico essencial para a formação de nossa história literária modernista, objetivou-se estudar uma de suas maiores produções bibliográficas, a antologia Os mortos de sobrecasaca: obras, autores e problemas de literatura brasileira. Ensaios e estudos 1940- 1960, em que reuniu diversos artigos oriundos de seus estudos anteriores para realizar um exame da poesia, do romance, do teatro e da posição de intelectuais e críticos para o estabelecimento de um cânone que consolida vinte anos de produção literária modernista. Entende-se que o estudo da personalidade crítica de Álvaro Lins e o estudo de sua antologia são essenciais para a avaliação de um período tão prolífico de nossa história literária, o movimento modernista brasileiro / Abstract: Álvaro Lins (1912-1970) was an important literary critic of the Brazilian modernist movement that marked the twentieth century by the great influence of his articles and essays published in the pages of several newspapers. For having exercised the footnote critique throughout his career, Lins ended up being excluded from the literary pantheon of the academy for not adjusting to the new strands of Brazilian critical studies: the use of the method to perform the literary analysis. This paper aims to demystify the rating of "impressionist" attributed to him, demonstrating that he had a broad conception of literary methods. Therefore, a study was done approximating the critical concepts of Alvaro Lins with the concepts of Erich Auerbach and his method of "explication de texte". And to prove that Álvaro Lins was an essential critic for the formation of our modernist literary history, the objective was to study one of his greatest bibliographical productions, the anthology Os mortos de sobrecasaca: obras, autores e problemas de literatura brasileira. Ensaios e estudos 1940-1960, in which he collected several articles from his previous studies to carry out an examination of poetry, novel, theater and the position of intellectuals and critics for the establishment of a canon that consolidates twenty years of modernist literary production. It is understood that the study of the critical personality of Alvaro Lins and the study of his anthology are essential for the evaluation of such a prolific period of our literary history, the brazilian modernist movement / Mestre

Twentieth-century British literature bristles with words and phrases in foreign languages, fragmentary residues of conflicts between the English-language text and the national languages and cultures that surround it in this era of war and instability. This project addresses the form and function of these remnants of foreign language - what are here called "multilingual fragments" - analyzing and contextualizing them within the historical use of foreign languages in British discourses of national identity and international politics over the course of the twentieth century. Within modernist literature, phrase- and word-length fragments of translated and untranslated foreign language reveal texts' deep engagement with the political conflicts of their time on the level of the letter, enabling authors to express a variety of political ideologies, from the liberal or cosmopolitan to the reactionary or jingoistic. At the same time, these fragments' inherent contrast between foreign language and English context interlace the text with points of rupture, exposing authorial manipulations of language and disrupting any single-minded ideology to reveal ambivalence, ambiguity, and nuance. This study historicizes and expands the long-held conception of multilingualism as a central aspect of modernist commitment to formal innovation, and provides a more comprehensive context for understanding large-scale experimental works. It argues that it is specifically through the disruptive effects of small-scale multilingual fragments - traces of foreign language so slight that they are at once easily overlooked and subtly influential - that modernist texts engage in complex interventions on issues ranging from wartime xenophobia to debates over class, women's rights, immigration, and the afterlife of empire. This project's attention to word- and phrase-length fragments of multilingualism through a series of case studies reveals a more specific, historicized understanding of what Rebecca Walkowitz has influentially termed twentieth-century literature's "cosmopolitan style": first, in demonstrating the centrality of both canonical and minor, extra-canonical authors in the development of new, internationally-oriented multilingual techniques, second, in exposing the breadth of ideologies and complex political discourse that such techniques can facilitate, and finally, in demonstrating how writers use multilingual fragments to reveal the inherent hybridity of all language. This historical and wide-ranging study contributes to current critical discussions in four major fields: twentieth-century British literature, world literature, translation studies, and women's and gender studies. Contrary to past conceptions of modernist multilingualism as benignly aesthetic, exclusionarily elitist, or unilaterally liberal, it demonstrates that multilingualism can be applied in the service of a range of ideologies, and that the inherent instability of fragmentary multilingualism further complicates expressions of political allegiance or affiliation. Further, it expands our understanding of what constitutes "world literature" by making the case for fragmentary, small-scale multilingualism as a vehicle which transports the concerns of world literature - border-crossing conversation, "gaining in translation" - into texts produced in and for a national readership. Finally, it draws together the canons and concerns of world literature and women's and gender studies in order to make the case for marginalized female and homosexual figures as major innovators of multilingual usage, deliberately manipulating multilingual fragments to disrupt and protest the political status quo.

This dissertation reorients the study of British modernism towards the ocean by uncovering modernism’s engagement with a set of ideas about the historical significance of the sea that I term “maritime foundationalism.” A key component of late nineteenth- and early twentieth-century British nationalism and imperialism, maritime foundationalism held that British history and identity were fundamentally maritime and that the sea, in turn, propelled Britain’s historical development and the course of history in general. Reading works by Rudyard Kipling, Joseph Conrad, Virginia Woolf, and T. S. Eliot alongside contemporary historical, geographical, and scientific texts, I trace how British modernism developed by incorporating, modifying, and contesting this pervasive maritime-historical ideology. Even as modernist works build on notions of the sea as the foundation of the empire and conveyer of its history, they also disrupt these notions by representing the sea in more unsettling ways, as a testament to the dark sides of maritime-imperial history or an element that threatens to engulf history altogether. Each of my chapters details the literary effects of this interaction of maritime foundationalism and more melancholy conceptions of the sea’s historicity at key points in the intertwined histories of modernism and empire between the 1890s and the 1940s. “The Sea Has Many Voices” thus shows how competing constructions of the sea shape modernism’s historical imagination—the way it defines its present and situates it in relationship to the past.

This dissertation examines the role of religious experience in British modernist literature, arguing that a strain of modernist writing drew from different religious traditions to conceptualize and model ways of escaping the confines of the self. In distinctive yet strikingly similar ways, these writers draw from these traditions—orthodox and heterodox, eastern and western—not in an attempt to propound traditional theological ideas but to recapture a religious sensibility that extends beyond dogma or creed: a sensibility that can offer means of getting beyond the self’s limited, solipsistic, and myopic perspective. In response to the perceived decline of religion in late 19th- and early 20th-century British culture; the atomizing effects of industrial modernity; and a growing distrust, informed by contemporary psychology, of the limitations of the self and the self’s perspective, the works this dissertation examines achieve a frame of reference beyond the individual point of view through processes and practices I group under the term “unselfing.” Unselfing emerges in these works as a moral and broadly religious imperative, necessary to achieving authentic communion between people and, paradoxically, to achieving a more authentic relationship to the self; at the same time, these works represent unselfing as an endeavor that is necessarily asymptotic, difficult, and always incomplete. They model unselfing in and through literary form, not only conveying but also embodying processes of unselfing in their formal experimentation. Reading works by D.H. Lawrence, E.M. Forster, Dorothy Richardson, and T.S. Eliot alongside contemporary psychological, philosophical, and anthropological writings of the period, I show how a pervasive and urgent desire to use spiritual practices to escape the self shaped the development of British modernist literature. Modernist Unselfing thus challenges prevailing accounts of British modernism, according to which secular artistic innovation absorbed and attained the sacred value formerly located in religion. I argue that, on the contrary, these narrow accounts of secularization and aestheticization have obscured what much of modernist experimentation was actively attempting to capture: a desire, often ethically-minded, to forego self.