The fictions Malcolm Lowry wrote subsequent to Under the Volcano seem to demonstrate little of the technical expertise he manifests in the earlier work, and one of the few unanimously held findings of his critics is that in Lowry's later fictions something has gone wrong. This thesis explores the "problem" of the later fiction. It shows how Lowry, throughout his writing career, experiments with fictional form, and how each of his later works marks an intermediate point in a process of fictional evolution towards a "new form." This "new form," although never fully realized, is initially shaped in the notebooks Lowry used to record the events which he later transformed into the material of his autobiographical fictions. Lowry's "new form" is in fact a development out of the structure of his notebooks: the journal form. The journal form inherently creates opposing perspectives upon events; conflicting narrative rhythms ensue from this. The "new form" is an ideal Lowry aspires towards: it is intended to structure a new type of realism -- the means by which human beings assimilate and order what has happened to them —• and to contain, and thus make contiguous, Lowry's diverse themes, images, and oppositional narrative technique. Lowry's theoretical approach to the "new form" is discussed in the Introduction. Chronology is then reversed. Chapter I discusses "Ghostkeeper" as Lowry's reflection upon his fictional method. Chapter II approaches "Through the Panama" as Lowry's use of the journal form to unify disparate narrative voices. Chapter III examines and compares the manuscript and the printed version of Dark As the Grave Wherein My Friend Is Laid. It shows that this book is Lowry's first direct experiment with temporal inversions which are used to attempt to reconcile narrative mode with thematic action. Chapter IV demonstrates that Lowry uses an oppositional system as the fictional unifying principle for Under the Volcano, and examines the formal dimensions which Lowry only retrospectively discovers operating in this book. Each chapter focuses upon fictional form and argues that Lowry's themes and narrative techniques grow out of the form he employs. The Conclusion examines Lowry's "new form" in relation to his philosophical outlook, shows how the new form reconciles Lowry's borrowings from Ortega y Gasset and J.W. Dunne and suggests a critical approach that will elucidate the literary and philosophical function of the journal-narrative method. / Arts, Faculty of / English, Department of / Graduate

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Although the United States is considered to have one of the safest food supplies in the world, consumers have become increasingly alarmed with the subject of food safety as each crisis-related outbreak is scrutinized. With the onset of an agricultural-related food crisis, the media plays a vital role in publicizing both facts and opinions. Because of the relationship between agricultural risk communication and the media, it is essential to study the level of bias in the news reporting of these agricultural risk-associated events. The purpose of this study was to analyze the coverage and level of bias of the Salmonella outbreak associated with tomatoes in associated press (AP) newswires during a six-month period in 2008 through a descriptive content analysis. A comprehensive search yielded 57 usable articles written during a six-month period surrounding the outbreak; these articles were analyzed using the Hayakawa-Lowry News Bias categories. A total of 1,444 sentences were coded into nine categories: (a) report attributed, (b) report unattributed, (c) inference labeled, (d) inference unlabeled, (e) judgment attributed favorable, (f) judgment attributed unfavorable, (g) judgment unattributed favorable, (h) judgment unattributed favorable, and (i) other. Data indicated a significantly higher number of report sentences as compared to judgment sentences. Report sentences are considered both verifiable and factual. Thus, data indicated a low level of bias. Additionally, although journalists were objectively reporting information regarding the Salmonella outbreak, per capita tomato consumption for 2008 decreased. In the wake of a crisis, objective reporting is crucial. Journalists have an obligation to report information that is objective, factual, and verifiable. Understanding how the media tells agriculture‘s story can help bridge the gap between the industry and those reporting the issues.

Reproduction de : Thèse de doctorat : Etudes anglophones : Lyon 2 : 2005. / Titre provenant de l'écran-titre. Bibliogr. Index.

The reception of O'Hagan's Tay John and that of Lowry's Under the Volcano is compared. Although both authors were familiar with avant-garde modernist writing and art, O'Hagan buried his sophisticated allusions and presented himself, not as a well-educated lawyer, but as a "mountain man." Lowry appealed to a much wider audience.

Literary creativity and its shadow, the phenomenon popularly referred to as writer's block, have historically been accorded little attention by literary studies. In my thesis I seek to redress this oversight, illustrating my argument with reference to the creative life and works of Malcolm Lowry. I begin by arguing for a model of literary creativity that takes seriously the roles played by plans and intentions in motivating, sustaining and appropriately terminating literary creative action. I employ this model in order to provide a basis from which to clarify Lowry's own creative method. / I go on to rehearse and evaluate definitions and theories of writer's block from a variety of research paradigms. From these accounts I distill some important general features of writer's block. I argue that writer's block typically occurs as an intervention between stages of the literary creative process. / Finally, I return to detailed consideration of Lowry's creative method. I investigate three critical periods of writer's block in Lowry's later life and examine these interventions with reference to circumstantial, methodological and goal-based considerations. I conclude by drawing attention to the importance for literary studies of an accurate and comprehensive understanding of both literary creativity and writer's block.

Since its publication in 1947, Malcolm Lowry’s novel Under the Volcano has been gaining in reputation until it has come to be regarded as one of the masterworks of this century. The aim of this thesis is to consider Under the Volcano in the light of the Romantic and Symbolist tradition in which it belongs, and to provide an interpretation of the novel through an exploration of its structure, symbolism and theme. Chapter I attempts to demonstrate that an understanding of the world view which Lowry adopts in Under the Volcano - the doctrine of universal analogy, which had such a profound influence on the nineteenth-century Romantic and Symbolist writers - is essential to an appreciation of the formal design and the theme of the novel. Chapters II and III examine the implications of two of the major symbols of Under the Volcano - the wheel and the abyss — and attempt to show how these symbols function on several levels to support both the narrative sequence and the mythic framework of the novel. Some attention is paid to the metaphorical identification of the protagonist with the archetypal ‘suffering hero,’ especially in relation to the Promethean and Orphic imagery employed in the novel. Chapter IV is concerned with the tragic stature of the hero, particularly as it is revealed in the culminating scenes of the novel, and with an examination of the paradoxical resolution of the central conflict - the struggle between love and death. The Conclusion contains a brief review of some critical comments on the novel and modern literature in general, which may contribute to an appreciation and understanding of Lowry’s achievement in writing Under the Volcano. / Arts, Faculty of / English, Department of / Graduate

Although his literary reputation rests primarily on his novels, Malcolm Lowry (1909-1957) considered himself a poet, and he composed an extensive poetic canon. No reliable edition of Lowry's poetry exists; increasing critical interest in all aspects of Lowry's life and work prompted the preparation of this complete edition of his poetry, in which the poems are located, identified, dated, arranged, collated, annotated, and explicated in biographical, critical, and textual introductions. The sections of Lowry's text are chronologically arranged to reflect his artistic development, and are preceded by short essays describing the specific issues raised by those poems. The opening section—Lowry's poetic juvenilia—reflects his fascination for the sea, as does the ensuing section, The Lighthouse Invites the Storm, his first collection of poetry, a sequence of related semi-autobiographical poems, which depicts the adventures of the characters Peter Gaunt and Vigil Forget. Lowry composed most of the Lighthouse in Mexico; following it in this edition is a small group of uncollected Mexican poems. The next two sections of text—"Dollarton 1940-54: Selected Poems 1947" and "Dollarton 1940-54: Uncollected Poems"—reflect and record the experience of Lowry's sojourn on the lower mainland, and its deep effect on him. A remarkably coherent group of love poems written between 1949 and Lowry's death in 1957 follows the Dollarton texts, and the appendices contain sections of song lyrics and undated fragments. This edition provides Lowryans with ready access to the latest determinable authorial versions of, and the textual histories for, the canon's four hundred and sixty-five poems, which range in date from 1925 to 1957. / Arts, Faculty of / English, Department of / Graduate