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An Anti-Imperial Mythology

The Radical Vision of Howards End

Charles Campbell

in an anti-imperialist mythology of England. Notes 1 E. M. Forster, Howards End (London: Penguin Books, 2012), 46. Subsequent references to this novel are to this edition and are given in parentheses in the text. 2 Lionel Trilling

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'IMAGINE, IF YOU CAN'

Love, Time and the Impossibility of Utopia in E. M. Forster's 'The Machine Stops'

Paul March-Russell

In 1909, E. M. Forster published his only work of science fiction, the dystopian fable, 'The Machine Stops'. The story portrays a futuristic world-state that exists underground, and in which the inhabitants lead separate lives united only by the Machine, a gigantic technological network that supplies all the citizens' needs. The narrative focuses upon Kuno, who disobeys the Machine and ventures aboveground, and his estranged mother, Vashti. Taking as its cue David Ayers' recent discussion of A Passage to India (1924), the following analysis argues that the reconciliation between Vashti and Kuno, once the Machine has stopped, describes a transgressive notion of love that is also related to the need for imagination within an otherwise rationalised existence. In other words, while the social setting of Forster's story is dystopian, the narrative retains a residual utopian element.

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'Not Yet . . . Not There'

Breaking the Bonds of Marriage in E.M. Forster's A Passage to India

Alison Sainsbury

E.M. Forster’s A Passage to India is carefully wrought, formally balanced, stylistically elegant, and maddeningly, deliberately opaque where one wishes most for clarity. The novel recounts what seem to be two only marginally related narratives – the story of Fielding and Aziz and the story of Adela and Ronny. The question, ‘whether or no it is possible to be friends with an Englishman’, the subject of the novel’s first conversation, and which presages the story of Fielding and Aziz, continues long after the story of Adela and Ronny – until, in fact, the book’s closing lines.1 Yet in spite of the novel’s carefully self-conscious structure, it is not at all clear why the answer to this framing thematic question, whether or not Indian and English men can be friends, should be explored in the context of the most conventional of all the conventions of the Anglo-Indian domestic novel: a young girl’s coming to India in order to marry.2 Nor is it clear why friendship between Indian and English men should turn on Aziz’s excursion with Mrs Moore and Adela to the Marabar Caves, although what happens there, and the aftermath, determines the course of friendship between Fielding and Aziz. Why, we might ask, do women emerge at the centre of a question about men? Why is the barrier separating Indian and English men posed in terms of English women’s response to India?

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Editorial

Shakespeare and the Modern Novel

Graham Holderness

Shakespeare's temporal and spatial manipulations ultimately uphold. In an additional article, also on the modern novel though not concerned with Shakespeare, Charles Campbell argues that E. M. Forster's Howards End crafts an ‘anti-imperialist mythology’ by

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Walking with the Goat-God

Gothic Ecology in Algernon Blackwood’s Pan’s Garden: A Volume of Nature Stories

Michelle Poland

vision of evil that invokes power through ‘Panic’ terror. 17 E.M. Forster and Blackwood have written stories where Pan motivates the plot in a double fashion, invoking both terror and wonder. In Forster’s ‘The Story of a Panic’ (1904), 18 Pan is the

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Nigel Rapport

://www.independent.co.uk/news/world/europe/joan-of-arc-mixed-race-role-racist-abuse-orleans-france-mathilde-edey-gamassou-a8225421.html . Rapport , N. ( 1993 ), Diverse World-Views in an English Village ( Edinburgh : Edinburgh University Press ). Rapport , N. ( 1994 ), The Prose and the Passion: Anthropology, Literature and the Writing of E. M. Forster

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Toward a Naturalized Aesthetics of Film Music

An Interdisciplinary Exploration of Intramusical and Extramusical Meaning

Timothy Justus

Intramusical and Extramusical Meaning In Howards End (1910), E.M. Forster beautifully captured an essential question in the cognitive science of music. Early in the story, the Schlegel siblings attend a performance of Beethoven's Fifth

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Ontological Opportunism

Reanimating the Inanimate in Physics and Science Communication at CERN

Anne Dippel

's the fuel running the experiments flowing through them, and in practice I'm given the feeling of being caught in a gigantic experimental system, or the digestive tract of a cyborg creature out of E. M. Forster's novel The Machine Stops ( 2013 [1909