British literature and culture in Second World Wartime: for the duration
British Literature and Culture in Second World Wartime excavates British late modernism's relationship to war in terms of chronophobia: a joint fear of the past and future. As a wartime between, but distinct from, those of the First World War and the Cold War, Second World wartime involves an a...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Oxford
Oxford University Press
2020
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| Ausgabe: | First edition |
| Schriftenreihe: | Oxford Mid-century studies
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Zusammenfassung: | British Literature and Culture in Second World Wartime excavates British late modernism's relationship to war in terms of chronophobia: a joint fear of the past and future. As a wartime between, but distinct from, those of the First World War and the Cold War, Second World wartime involves an anxiety that is both repetition and imaginary: both a dread of past violence unleashed anew, and that of a future violence still ungraspable. Identifying a constellation of temporalities and affects under three tropes-time capsules, time zones, and ruins-this volume contends that Second World wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. 0It offers a synoptic, wide-ranging look at writers on the home front, including Henry Green, Elizabeth Bowen, Virginia Woolf, and Rose Macaulay, through a variety of genres, such as life-writing, the novel, and the short story. It also considers an array of cultural and archival material from photographers such as Cecil Beaton, filmmakers such as Charles Crichton, and artists such as John Minton. It shows how figures harnessed or exploited their media's temporal properties to formally register0the distinctiveness of this wartime through a complex feedback between anticipation and retrospection, oftentimes fashioning the war as a memory, even while it was taking place. While offering a strong foundation for new readers of the mid-century, the book's overall theoretical focus on chronophobia will be an important intervention for those already working in the field |
| Beschreibung: | vi, 297 Seiten Illustrationen |
| ISBN: | 9780198840923 |
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| 520 | 3 | |a British Literature and Culture in Second World Wartime excavates British late modernism's relationship to war in terms of chronophobia: a joint fear of the past and future. As a wartime between, but distinct from, those of the First World War and the Cold War, Second World wartime involves an anxiety that is both repetition and imaginary: both a dread of past violence unleashed anew, and that of a future violence still ungraspable. Identifying a constellation of temporalities and affects under three tropes-time capsules, time zones, and ruins-this volume contends that Second World wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. 0It offers a synoptic, wide-ranging look at writers on the home front, including Henry Green, Elizabeth Bowen, Virginia Woolf, and Rose Macaulay, through a variety of genres, such as life-writing, the novel, and the short story. It also considers an array of cultural and archival material from photographers such as Cecil Beaton, filmmakers such as Charles Crichton, and artists such as John Minton. It shows how figures harnessed or exploited their media's temporal properties to formally register0the distinctiveness of this wartime through a complex feedback between anticipation and retrospection, oftentimes fashioning the war as a memory, even while it was taking place. While offering a strong foundation for new readers of the mid-century, the book's overall theoretical focus on chronophobia will be an important intervention for those already working in the field | |
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Datensatz im Suchindex
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| adam_text | Contents ix List ofIllustrations Introduction: Late Modernist Chronophobia PART I. BLITZ-TIME CAPSULES 1 26 1. Wartime Presentness 33 2. Psychological Blackout 55 3. Stopped Clocks 79 PART II. WAR TIME ZONES 104 4. The Neutral Hour 110 5. La France à l’heure anglaise 133 6. The Ecology of English Time 155 PART III. THE TEMPORALITY OF RUINS 179 7. The Archaeology of Ruin-Time 185 8. Children of the Ruins 211 9. The Literary Cartography of Ruins 234 Coda 257 Works Cited Index 265 285
This volume excavates British late modernism’s relationship to war in terms of chronophobia: ajointfearofthe past andfuture. Second World wartime involves an anxiety that is both repetition and imaginary: both a dread of past violence unleashed anew, and that of a future violence still ungraspable. Identifying a constellation of temporalities and affects under three tropes—time capsules, time zones, and ruins—this volume contends that Second World wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. It offers a synoptic, wide-ranging look at writers on the home front, through a variety of genres, and also considers an array of cultural and archival material from photographers and artists. While offering a strong foundation for new readers of the mid-century, the books overall theoretical focus on chronophobia will be an important intervention for those
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| adam_txt |
Contents ix List ofIllustrations Introduction: Late Modernist Chronophobia PART I. BLITZ-TIME CAPSULES 1 26 1. Wartime Presentness 33 2. Psychological Blackout 55 3. Stopped Clocks 79 PART II. WAR TIME ZONES 104 4. The Neutral Hour 110 5. La France à l’heure anglaise 133 6. The Ecology of English Time 155 PART III. THE TEMPORALITY OF RUINS 179 7. The Archaeology of Ruin-Time 185 8. Children of the Ruins 211 9. The Literary Cartography of Ruins 234 Coda 257 Works Cited Index 265 285
This volume excavates British late modernism’s relationship to war in terms of chronophobia: ajointfearofthe past andfuture. Second World wartime involves an anxiety that is both repetition and imaginary: both a dread of past violence unleashed anew, and that of a future violence still ungraspable. Identifying a constellation of temporalities and affects under three tropes—time capsules, time zones, and ruins—this volume contends that Second World wartime is a pivotal moment when wartime surpassed the boundaries of a specific state of emergency, becoming first routine and then open-ended. It offers a synoptic, wide-ranging look at writers on the home front, through a variety of genres, and also considers an array of cultural and archival material from photographers and artists. While offering a strong foundation for new readers of the mid-century, the books overall theoretical focus on chronophobia will be an important intervention for those |
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