This thesis argues for the centrality of the Howard women to their family's political fortunes by exploring key dynastic episodes, themes, and events of Henry VIII's reign from a new female perspective. The Howards were England's premier aristocratic dynasty during this period. However, existing narratives have prioritised the careers of the Howard men, notably the two Dukes of Norfolk and the Earl of Surrey. Here, the family's women are foregrounded. They are not considered in isolation, but discussed alongside their male relations in order to create a fuller, more complex dynastic picture than currently exists. Themes of rebellion, dynastic identity, matriarchy, patronage, treason and religion are woven through events of familial and national importance, allowing new conclusions to be drawn regarding the Howard women and the Howard narrative itself; the way that aristocratic dynasties operated; the activities of women within the political sphere; and the relationship between this family and the Henrician state. This thesis draws its conclusions from new archival research into the activities of five Howard women: Agnes Tylney (c. 1477-1545) and Elizabeth Stafford (c. 1497-1558), the wives of the 2nd and 3rd Dukes of Norfolk respectively; Agnes' daughters Anne, Countess of Oxford (c. 1498-1558) and Katherine, Countess of Bridgwater (d. 1554); and Elizabeth's daughter Mary, Duchess of Richmond (c. 1519-1557). These five women cover three generations and two concurrent branches of the Howard family across the entirety of Henry's reign. The thesis differs from traditional gender studies by focusing on women all from one family rather than those of particular court status or geographical location, as this facilitates exploration of the relationship between kinship networks and politics. Thus it also builds on recent scholarship emphasising the role of the family in early modern politics, and reveals the Howard women as important actors on a public, political stage.

Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-21T15:04:23Z No. of bitstreams: 1 Dissertação - Alexandre M. Aguiar.pdf: 8594585 bytes, checksum: c3945e3c68b06eb68321ddb20ca69d85 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-21T15:08:27Z (GMT) No. of bitstreams: 1 Dissertação - Alexandre M. Aguiar.pdf: 8594585 bytes, checksum: c3945e3c68b06eb68321ddb20ca69d85 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-21T15:14:08Z (GMT) No. of bitstreams: 1 Dissertação - Alexandre M. Aguiar.pdf: 8594585 bytes, checksum: c3945e3c68b06eb68321ddb20ca69d85 (MD5) / Made available in DSpace on 2015-10-21T15:14:08Z (GMT). No. of bitstreams: 1 Dissertação - Alexandre M. Aguiar.pdf: 8594585 bytes, checksum: c3945e3c68b06eb68321ddb20ca69d85 (MD5) Previous issue date: 2015-04-24 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / This master´s dissertation completes a historical-literary analysis of the novel Howards End, written by the English novelist E. M. Forster. The first chapter presents the author´s life, as well as his travels abroad and novels published. Secondly, we analyze the narrative; emphasize the facts, characters and symbolic elements described by the author. Finally, the third chapter, we compare Howards End with On Beauty by Zadie Smith, approaching the facts, characters and symbolic elements written in these works. Howards End was published in 1910 during the Eduardian time, when the Victorian era is over. There was a conflict in England during this time of intense transition between the “new” and “old”, since England has no longer control over its colonies and political and economic questions in Europe seem to increase with totalitarian regimes in German and Italy. In the narrative, there is a resistance to the new changes represented by the sisters Schlegels who are intellectual and emancipated, daughters of an English mother and a German father. On the other hand, the impositions of traditions represented by the clan Wilcox, as well as the integration of another nucleus, the Basts, originally proletarians in that society. The initial conflict begins when the matriarch of the Wilcox, for a symbolic gesture of friendship, decides to leave her old cottage house, Howards End, to the old sister (Margaret), without letting her know about this decision. The families have their paths crossed with that conflict which is the core of most parts of the novel of E. M. Forster, as he seems to suggest that personal relationships represent the only possibility to comprehension of a chaotic world. / Esta dissertação de mestrado faz uma análise histórico-literária do romance Howards End, do escritor inglês E. M. Forster. O primeiro capítulo apresenta a vida do autor, assim como suas viagens ao exterior e os romances publicados. No segundo, faremos uma análise da narrativa; enfatizando os fatos, as personagens e os elementos descritos pelo autor. Por fim, no terceiro, compararemos Howards End com On Beauty, de Zadie, e faremos uma abordagem dos fatos, das personagens, e elementos descritos nessas obras. Howards End foi publicado em 1910 durante a época Eduardiana, quando o período conhecido como Era Vitoriana se encerra. Nesse momento de intensa transição na Inglaterra havia o conflito entre o “novo” e o “velho”, já que a Inglaterra não possuía mais controle sobre suas colônias, e questões políticas e econômicas na Europa parecem surgir com a ascensão de regimes totalitários na Alemanha e Itália. Na narrativa, há a resistência ao novo representado pelas irmãs Schlegel que são intelectuais e emancipadas, filhas de mãe inglesa e pai alemão e, do outro lado, a imposição das tradições representadas pelo clã Wilcox, assim como a integração de outro núcleo, os Bast, de origem proletária e marginalizada naquela sociedade. O conflito inicial se dá quando a matriarca dos Wilcox, por um gesto simbólico de amizade, decide deixar sua velha casa de campo, Howards End para a irmã mais velha Schlegel (Margaret), sem que essa tome conhecimento da decisão. As famílias têm seus destinos entrecruzados a partir desse conflito que é o cerne de boa parte da obra de E. M. Forster, quando ele parece sugerir que as relações interpessoais representam a única possibilidade de compreensão de um mundo caótico.

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).

In this thesis I argue that understanding Forster’s effeminate male characters is central to understanding the novels that they appear in. Tibby in Howards End and Cecil in A Room with a View are often viewed as inconsequential figures that provide comic relief and inspire pity. But if, instead of keeping them at the margins, readers put Tibby and Cecil in direct contact and conflict with the dominant themes of gender identity, gendered power structures, and gender equality in these novels, these characters develop a deeper significance that details the fin de siècle’s ever-changing attitudes regarding prescribed gender roles for both men and women. Indeed, by examining Forster’s feminized male characters, one can chart the development of these roles in both the larger world and Forster’s prescription for gender evolution in his novels.

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This thesis seeks to offer an explicitly political reading of E.M. Forster's fiction, focusing on three of his novels (A Room with a View, Howards End and Maurice) and two of his short stories ("The Life to Come" and "The Other Boat"). Throughout I have used a combination of close reading techniques and elements of critical theory to show how Forster's fiction is characterised by a prolonged and ongoing analysis of the political notion of the intersection of mainstream and marginal cultures. In this regard, I argue that the majority of Forster's novels and short stories are concerned with issues surrounding characters who are somehow marginalised from mainstream power structures and who then have to rebel against the cultural centre in their personal quests for political autonomy. It is this cultural issue, I argue, that gives Forster's novels and short stories their thematic unity and continuity. In probing this theme, I hope to move beyond restrictive (and often reductive) liberal humanist styles of criticism, which tend to downplay the political implications of Forster's fiction by fore grounding only the metaphysical questions posed by his writing. However, this thesis is also informed by certain deconstructive theoretical concepts, which I have loosely drawn upon in tracing the development of this theme. In particular, I argue throughout that the oppositional quality of the novels and short stories identified by the liberal humanist critics is only truly evident in the early novels, such as A Room with a View. In the later novels, I argue, it is evident that Forster had significantly re-evaluated his understanding of the relationship between the dominant culture and its dissident, subordinate subcultural strands, and that he had begun to conceive of the interaction between the two in a vastly more fluid and pluralistic manner than has been acknowledged by earlier critics. In particular, Forster seems to apprehend in the later works the manner in which a subject can be simultaneously both at the centre and the margins of hislher respective cultural system. It is for this reason that I stress that Forster sees the relationship between mainstream and marginal cultures as an intersection rather than an opposition. I also stress throughout this thesis the fact that the mainstream/marginal theme extends beyond issues raised in the novels and short stories and includes the author himself. As a male homosexual living in a sexually repressive society, Forster was himself a marginalised member of society, and this cultural positioning must therefore be seen to infonn the themes raised in his writings. However, as a middle-class male, Forster was himself also an empowered subject, and his writing thus also reflects his own complicity in the power structures he was seeking to subvert. This is particularly evident when one considers the recurrent misogyny his novels and short stories display. In addition, Forster's particular historical positioning as an early twentieth century writer means that his novels resonate with several of the non-literary discourses so prominent in the period, such as feminism and sexology. It is when one considers the manner in which the novels actively engage with these non-literary discourses that the considerable political invective of Forster's writing becomes apparent. In the light of the issues outlined above, I interpret Forster's novels as an attempt on the author's part to vocalise the feelings, hopes and aspirations of those groups somehow marginalised from the dominant culture. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 2002.

This study discusses the extent to which Charles Sturridge's Where Angels Fear to Tread, Merchant Ivory's Howards End, and David Lean's A Passage to India have aimed at, and succeeded in, exploring the thematic concerns of E.M. Forster's novels. A brief introductory chapter explains the motivation behind this research, and the choice of critical methodologies used. It concludes with an outline of some of the problems confronting film-makers wishing to explore the concerns of novels. The first chapter, which is devoted to Where Angels Fear to Tread, reveals that while Sturridge is "faithful" to Forster's novel at a superficial level, basing most of his scenes on, and taking most of his dialogue directly from, the text, he does not explore Forster's themes. The facility with which film tells stories proves to be a treacherous trap for Sturridge. His version of Where Angels Fear to Tread is totally vacuous because he failed to develop anything beyond the story -- Forster's "tapeworm" of time (Aspects of the NoyeI41). The causality that Forster calls plot seemed beyond Sturridge's comprehension, leaving his film little more than an endless progression of "and then[s]" (Forster, Aspects 87). Characters are not given their full weight; symbols and leitmotifs are overlooked; the allegorical elements he did recognize, he failed to understand, and thus misplaced, so that the epiphanic moments of the novel are lost. There is no possibility of thematic concerns emerging from a film in which plot, characterization, symbol and rhythm are ignored. Sturridge's apparent inability to understand his source is in stark contrast to Merchant Ivory's sensitivity to Howards End, and their evident familiarity with literary criticism on the work. Chapter two explores the way in which their adaptation smooths out putative flaws in characterization and plot, and uses filmic rhythm and camera work to suggest comments made by the novel's narrator. Almost wholly successful in developing the novel's themes, Merchant Ivory's Howards End does not, however, successfully explore the spiritual dimensions of Forster's novel. Film is a medium capable of great subtlety, but its strength lies in its ability to capture the seen; the unseen tends to evade its grasp. It is in dealing with the unseen that Lean's A Passage to India misses greatness, for in virtually every other respect his version of Forster's masterpiece is superb. Chapter three explores Lean's creative and flexible approach to adaptation, his acute sensitivity to the differing demands of film and novel, and his confident technical mastery. It also explores, however, the emptiness at the heart of his film, an emptiness that is the result of his trivialization of the spiritual concerns of Forster's novel.