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Sylvia Townsend Warner's Modernist E...

McMahon, Rosemary.

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Sylvia Townsend Warner's Modernist Ekphrasis and Synesthesia.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Sylvia Townsend Warner's Modernist Ekphrasis and Synesthesia./
Author:	McMahon, Rosemary.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	55 p.
Notes:	Source: Masters Abstracts International, Volume: 56-06.
Contained By:	Masters Abstracts International56-06(E).
Subject:	British & Irish literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10646673
ISBN:	9780355199741

Sylvia Townsend Warner's Modernist Ekphrasis and Synesthesia.
McMahon, Rosemary.

Sylvia Townsend Warner's Modernist Ekphrasis and Synesthesia. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 55 p.

Source: Masters Abstracts International, Volume: 56-06.

Thesis (M.A.)--East Carolina University, 2017.

The presence of music and sound is crucially important in the writing of Sylvia Townsend Warner (1873-1978). A noticeably acoustic writer, music, and noise in general, are major tools Warner employed to convey the vacillation of the Modernist perspective. Examining the deployment of these tools reveals a type of musical rhetoric which is built around aural ekphrasis and literary synesthesia, and this study concentrates on this feature of three of Warner's novels and one short story: Lolly Willowes (1926), Mr. Fortune's Maggot (1927), The Corner That Held Them (1948), and "Emil" (1956). While the exact patterns of Warner's use of music and sound throughout her fiction ultimately remain ambiguous, probing them in these four works does cast light upon Warner's private and public concerns.

ISBN: 9780355199741Subjects--Topical Terms:

3284317
British & Irish literature.

Sylvia Townsend Warner's Modernist Ekphrasis and Synesthesia.
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520 $a The presence of music and sound is crucially important in the writing of Sylvia Townsend Warner (1873-1978). A noticeably acoustic writer, music, and noise in general, are major tools Warner employed to convey the vacillation of the Modernist perspective. Examining the deployment of these tools reveals a type of musical rhetoric which is built around aural ekphrasis and literary synesthesia, and this study concentrates on this feature of three of Warner's novels and one short story: Lolly Willowes (1926), Mr. Fortune's Maggot (1927), The Corner That Held Them (1948), and "Emil" (1956). While the exact patterns of Warner's use of music and sound throughout her fiction ultimately remain ambiguous, probing them in these four works does cast light upon Warner's private and public concerns.
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