Please use this identifier to cite or link to this item: http://buratest.brunel.ac.uk/handle/2438/13250
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dc.contributor.authorWilkin, P-
dc.date.accessioned2016-09-29T12:13:08Z-
dc.date.available2017-
dc.date.available2016-09-29T12:13:08Z-
dc.date.issued2016-
dc.identifier.citationEnglish Studies, 97(7): pp.746-762, (2016)en_US
dc.identifier.issn0013-838X-
dc.identifier.urihttp://www.tandfonline.com/doi/full/10.1080/0013838X.2016.1198119-
dc.identifier.urihttp://bura.brunel.ac.uk/handle/2438/13250-
dc.description.abstractThis article introduces Waugh’s tory anarchism and its relevance to his work and religion. It proceeds by examining the ways in which Waugh represented anarchy in his work, specifically drawing out his ideas on the threats to moral order raised by the spread of nihilism, barbarism and materialism. Waugh’s position towards these themes is complex and often contradictory and runs throughout his life and work, from his rebellious schooldays through to his final novel, The Ordeal of Gilbert Pinfold. In Pinfold Waugh laid bare all manner of personal demons in a bold and imaginative mixture of autobiography, fantasy and confession. What we are left with in his work is an original and powerful conservative critique of the nature of modernity, in all its horrors, which as Waugh/Pinfold said, included, ‘plastics, Picasso, sunbathing and jazz.’en_US
dc.language.isoenen_US
dc.publisherTaylor & Francis (Routledge)en_US
dc.subjectTory anarchismen_US
dc.subjectSatireen_US
dc.subjectPoliticsen_US
dc.subjectChaosen_US
dc.subjectOrderen_US
dc.subjectReligionen_US
dc.subjectCatholicismen_US
dc.subjectModernityen_US
dc.titleThe Temptation of Evelyn Waugh: Portrait of the Artist as Tory Anarchisten_US
dc.typeArticleen_US
dc.identifier.doihttp://dx.doi.org/10.1080/0013838X.2016.119811-
dc.relation.isPartOfEnglish Studies-
pubs.publication-statusAccepted-
Appears in Collections:Dept of Social Sciences Media and Communications Research Papers

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