Thesis advisor: Robert S. Lehman / This dissertation argues that literary modernism is structured by a logic of belatedness—its sense, that is, of having arrived too late. Belatedness thus perceived entails a reconsideration of late modernism, illuminated as it has been by scholars such as Jed Esty, Tyrus Miller, and C.D. Blanton. Because modernism is constituted first and foremost by its fraught relation to time, and, specifically, to the present and its representations, any discussion of late modernism must begin by interrogating the “afterlife” of this temporal predicament. Following Edward Said’s claim that modernism is a late-style phenomenon, Belated Modernism challenges the construct “late modernism” given that the notion of lateness is constitutive of modernism itself. This project necessitates a thinking beyond the generic, nationalistic, linguistic, and disciplinary distinctions that have informed most of the critical discourse on (Anglo-American) late modernism. To that end, Belated Modernism addresses a constellation of European writers whose late style emerges in modernism’s late phase: the strange parenthesis of 1939–1941, when the war had already begun but its magnitude was as yet unknowable. Focusing on the final works of Sigmund Freud (Moses and Monotheism [1939]), Walter Benjamin (“On the Concept of History” [1940]), and Virginia Woolf (Between the Acts [1941]), I argue that the singular conjunction of late style and late modernism reveals, in light of individual and world-historical ends, an intensification of the philosophical problem of belatedness that has haunted modernism since its origins. / Thesis (PhD) — Boston College, 2022. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

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This paper explores the relationality between Modernism and Postmodernism as well as between literature and theory by examining the works of two writers: master novelist William Faulkner, and high priest of Postmodernism, Jean Baudrillard. Specifically, this paper examines Faulkner's eleventh novel—the oft-neglected If I Forget Thee, Jerusalem—as a proto-postmodern text which, when examined by the light of Baudrillard's theory of simulacra and simulations, informs the transition from Modernism to Postmodernism. This paper treats each author's work as a lens through which to view the other. The result is both a re-vision of Faulkner's social philosophy and a re-examination of the epistemic break that separates Faulkner's philosophy from that of Baudrillard. / Master of Arts

This thesis examines the dissemination of T.S. Eliot's poem "The Love Song of J. Alfred Prufrock" through the twentieth century. While scholars seem interested in "Prufrock" as an influential poem, it seems there is limited scholarship on how its influence was propagated. This thesis posits that Bohemianism was the cultural milieu by which "Prufrock" gained popularity and was subsequently appropriated. This thesis looks to Virginia Woolf's The Waves (1931), Julio Cortázar's Hopscotch (1963; English translation 1966), and Jack Kerouac's Big Sur (1962) as hypertexts of "Prufrock" and as examples of how Bohemianism acted as a factor in its appropriation. This thesis finds that Bohemianism, as a culture of collaboration built on its own myth, is a powerful source of intertextuality that likely could have subsumed "Prufrock" as part of that myth. / Master of Arts / This thesis is interested in the influence of "The Love Song of J. Alfred Prufrock" on later novels of the twentieth century, focusing on Virginia Woolf's The Waves (1931), Julio Cortázar's Hopscotch (1963; English translation 1966), and Jack Kerouac's Big Sur (1962). "Prufrock" is a canonical text by T.S. Eliot and its contents (imagery, language, themes, etc.) were borrowed in later texts in a process known as appropriation. This thesis is specifically interested in why "Prufrock" was influential enough to be appropriated throughout the twentieth century and finds that the culture of Bohemianism is a possible explanation for that influence. Bohemianism describes an urban phenomenon of artists, writers, and intellectuals forming groups to discuss intellectual matters and collaborate on literary and artistic projects. This thesis finds that "Prufrock" contains qualities which appeal to Bohemian participants and as such it was taken up and appropriated as a poem by various Bohemian writers.

The thesis is to discuss how to design for our time(2005) while respecting traditional Chinese culture and philosophy. It proposes a solution to the conflict between traditional Chinese architecture and modernization patterned after the West. It is an attempt to respond to the question: how can these two different cultural and architectural issues be successfully balanced to support architectural environment in modern China? Instead of using superficial cultural symbols to represent traditional culture, the thesis explores the architectural implications of the inherent principles in Chinese philosophy, through the design of a library for the city of Nanjing. / Master of Architecture

(in English): This work focuses on the novel titled Lucía Jerez which represents the only novel written by Cuban author, heroe and so-called freedom fighter José Martí. The objective of this work was to prove that this short book rightly can be seen as a modernistic novel and even can be considered as the first one in which all of the modernistic tendencies of new aesthetics are present. Using specific examples from the original novel, I tried to show the importance of this book in the context of the history of Spanish-American literature and to demonstrate several elements of the modernistic creation. Firstly I had proceeded from my personal feelings and beliefs which I later completed by opinions of literary critics. In most cases we concided, but of course there were some points in which my view differed in comparision with a general assertion. Despite these discrepancies in the understanding of some aspects of the book, I think José Martí managed to create a unique work. Lucía Jerez contains everything that is according to theories of modernistic work and Martí also achieved to impress Hispanoamerican character to the book. Even though we can find traces of Romanticism, Lucía Jerez is inherently modernistic work because of its critical approach.