Abstract not available

Abstract not available

Abstract not available

Abstract not available

Abstract not available

De 1950 a 1980 el trafico tur(')istico mundial ha aumentado un cuarenta y cinco por ciento. Durante el mismo per(')iodo Espana ha logrado un aumento en el turismo receptor de un cuatrocientos por ciento. Un pa(')is como Espana de treinta y ocho millones de habitantes se encuentra visitado anualmente por una cifra igual a la de su poblacion total. Los cient(')ificos sociales han demostrado que el turismo se complica en relacion directa con el numero de visitantes, lo cual define a Espana como un pa(')is en crisis por el extremado numero de turistas extranjeros. En la novela espanola de postguerra el turismo surge como tema problematico y como documento cr(')itico de la pol(')itica tur(')istica franquista. El sistema autoritario de Franco y la censura gubernamental llevan al turismo a formar parte de la tematica novel(')istica espanola contemporanea. Diez novelas del "boom" tur(')istico espanol son introducidas y analizadas para demostrar la tendencia cr(')itica documental. Cinco de estas obras son discutidas en el segundo cap(')itulo como novelas del "boom" tur(')istico extranjero, y las cinco restantes son presentadas en el tercer cap(')itulo bajo el rotulo de novelas del "boom" tur(')istico nacional. Las diez novelas quedan interrelacionadas a traves de una perspectiva generica. El "genero" de la novela del "boom" tur(')istico espanol se define principalmente por una actitud cr(')itica en contra del turismo, y por cumplir con los cuatro requisitos necessarios. (1) El haber sido escrita despues de la Guerra Civil, (2) que la accion haya ocurrido en una playa economicamente desarrollada, (3) que el tiempo transcurrido sea, o incluya, el verano, y (4) que mas de la mitad de la novela describa el turismo masivo en Espana. Ademas de estos cuatro requisitos las novelas tur(')isticas comparten varias tendencias que explican el nuevo fenomeno del turismo en Espana. La novela del "boom" tur(')istico espanol, a pesar de no haber producido grandes obras de arte ha creado importantes novelas documentales que hasta ahora han sido ignoradas como una manifestacion de la rebelion del pueblo espanol en contra de la pol(')itica tur(')istica del gobierno.

English novelists who have written about their experience of the Second World War have worked in the shadow of those who wrote about the First World War. As a generation they grew up feeling that the earlier war had exposed the inadequacy of late-Victorian and Edwardian civilization, and that therefore their own generation had a special responsibility to avoid repeating the mistakes of the past. The occurrence of the Second World War, though expected, was, then, a mark of failure. Moreover, for writers it imposed the burden of creating a literature comparable in strength to that produced by those who had fought in the earlier war. English novels about the Second World War have not, however, concentrated on the experience of battle. Rather, they have been about English society and twentieth-century history and have showed the effects of these on the moral and intellectual growth of a group of characters. The acquisition and use of power has been an important theme in both novels about the war and also in those written afterwards and concerned with the questions about evil which it raised. Studies of the work of George Orwell, Evelyn Waugh, Anthony Powell, and C. P. Snow, all of whom wrote before and after the war, show the variety in their treatment of it, yet each locates its sources in human personality. Orwell suspected that the love of power and its corollary, the love of powerlessness, were becoming endemic and that totalitarianism and war were the inevitable results. Waugh found the Christian belief in a fallen world sufficient explanation for the horrors of the twentieth century as well as a guide for behavior. Powell's image of life as a dance to the music of time accepts war as a phase of history, while Snow suggests that destructiveness is an inherent human quality against which constant efforts must be made. These and other writers publishing after the war used realist techniques or other popular forms, hoping to make their commentaries on war available to as large an audience as possible.

Christina Stead is a modernist whose life and art are profoundly informed by socialism. Chapter I describes the intellectual context into which Stead fits: the debates about art and partisanship which occupied leftwing intellectuals in Europe in the thirties. Georg Lukacs' theories about totality and mediation are compared to the counter-arguments of Bertold Brecht and Walter Benjamin, especially Benjamin's project: a critical practice informed by Marxist dialectic and by sympathy toward modernist experiments like surrealism. The whole chapter discusses the relationship between ideology and realism. Chapter II is a biography. Christina Stead's childhood in Sydney, her residence in Europe from 1928 until 1937 and her encounter with Hollywood anti-communism are focal points. The method compares interviews with autobiographical fragments and with passages from Stead's novels, mainly Seven Poor Men of Sydney, The Beauties and Furies and For Love Alone. Chapter III examines The Beauties and Furies, showing how Stead's trios of lovers in Paris interweave in the political ferment of the Third Republic. Close textual study combined with historical research establishes the novel is at once realistic and surreal, featuring subtle interactions between characters that bear the stamp of both individual psychology and social class. Surreal fantasy enters the realistic text to exhibit personalities in the flux of change, and under stress. Chapter IV shows House of All Nations similarly blends realism and fantasy to expose the "money galls" of international banking, in a world rumor rules. An appendix demonstrates this long novel is very carefully plotted. In conclusion, the thesis proposes Stead's unusual effects, the changes in the subjects and the rapid shifts from one subject to another, emerge from her early education in Darwinian biology together with the marxist social theories she absorbed from reading and discussion in college and in Paris. Her vision has a double focus on the individual and the environment.

abstract: Dark Tourism explores the grief borne of losing a connection to the past. As detailed in the prologue poem, "Baucis and Philemon," the speaker's stories in Dark Tourism "have been resistant / to [their] drownings" and that refusal to stay buried has "[sent] ripples in every direction." The voices in Dark Tourism track the trajectory of these ripples by animating the past, especially through the formal work in the partial sonnet crown that acts as centerpiece to the manuscript. The sonic and rhythmic repetitions reinforce an idea central to Dark Tourism as a whole: the things we inherit from the past endure, with or without our permissions, and the speakers seek to interpret this haunting in a way that unifies past and present. / Dissertation/Thesis / M.F.A. Creative Writing 2012

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