Intersecting Imperialisms

2019 ◽  
Vol 4 (3) ◽  
pp. 437-457
Author(s):  
Ben Holgate

Abstract Richard Flanagan’s The Narrow Road to the Deep North (2013), which features the Thai-Burma “Death Railway” in World War Two, depicts a complex web of imperial regimes that converge and clash in the mid-twentieth century. The protagonist is an Australian soldier effectively fighting for his country’s former colonizer, Britain, which is losing its empire to Japan. I build on Laura Doyle’s concept of “inter-imperiality” to explore how the novel illuminates the historical process of imperial factors intersecting at multiple levels, from the geopolitical and economic to the personal and cultural. The novel demonstrates how inter-imperial identities challenge simple binary models of imperialism, and how so-called national literatures are produced in a world context. This is evident in Flanagan’s intertextual homage to classical Japanese author Matsuo Bashō. The novel also highlights how world literature discourse ought to take into account temporal and ethicopolitical factors (Pheng Cheah), suggesting an overlap with postcolonial studies.

Author(s):  
Sue Kennedy

Sue Kennedy considers how Marghanita Laski’s provocative novel To Bed with Grand Music addresses the fantasy of fulfillable desires through the story of a young, married woman taking advantage of everything available in the ‘lucid abnormality’ of London during World War Two. This interfeminist counter-narrative of the protagonist’s libidinal life and her failure to perform as a good mother and faithful wife deviates from the propaganda of the People’s War rendering Laski’s undermining of this ideal at a raw moment in the nation’s psyche contentious. The essay considers the representation of the actions of a young woman and questions whether she is deserving of admiration or censure for her refusal to conform to expectations of feminine conduct. It suggests that her progress is in many ways more eighteenth than mid-twentieth century in tone presenting a woman who begins by embracing her own pleasure but later engages in ‘infamous commerce’.


Author(s):  
Daishiro Nomiya

High modernity claims that the modernity project gave rise to institutional organs of modern nation states, culminating in an emergence of ultra-military states with wartime economy in the early twentieth century. It also argues that the same developmental pattern continued to dominate in the post-World War II period. This chapter examines this high-modernity thesis, employing Japan and Hiroshima as cases to be analyzed. Against the high-modernity thesis, many believe that Japan had a historical disjuncture in 1945, being ultramilitary before the end of World War II and a peaceful nation after. Examinations show that, while the modernity project controlled a large-scale historical process in Japan, it met vehement resistance, and became stranded in Hiroshima.


Author(s):  
Michael Keating

The United Kingdom was created over time without a clear plan. Creation of the state largely coincided with the creation of the Empire so that there was not a clear distinction between the two. The union preserved many of the elements of the pre-union component parts, but was kept together by the principle of unitary parliamentary sovereignty. Within the union, the distinct nationalities developed in the modern period and produced nationalist movements. Most of these aimed at devolution within the state, but some demanded separation. Management of these demands was a key task of statecraft in the nineteenth and twentieth centuries. In the post-World War Two era, the nationalities question appeared to have gone away but it returned in the 1970s. Devolution settlements at the end of the twentieth century represented a move to stabilize the union on new terms.


2016 ◽  
Vol 11 (3) ◽  
pp. 409-428
Author(s):  
Daniel Moore

This article addresses the attempts in Britain in the 1930s to integrate modernist aesthetics with the home. A number of initiatives during this period were directed towards improving both standards of living and the public's taste: arising from exposure to continental modernism (Adolf Loos, Le Corbusier) and with a fervent belief in the democratisation of the living space, innovators such as Wells Coates, Jack and Molly Pritchard, and Maxwell Fry sought to re-invent the home for the twentieth century. The results were often short-lived, and in some cases, abject failures. Yet the negotiations that these designers, architects, and visionaries made between high-minded aesthetics and the practicalities of quotidian British life reveal much about standards of taste during the 1930s. This article takes two case studies in detail: The Lawn Road Flats – the Isokon Building – in Hampstead, London, and the activities of the Design and Industries Association (DIA). In doing so, I chart the ways in which interior design developed in Britain during the decade before the outbreak of World War Two, and explore how small-scale, short-lived activities in this period laid the foundations for a flowering of new modes of living post-1945.


2019 ◽  
Vol 8 (2) ◽  
pp. 14-26
Author(s):  
Giuseppe Motta

Abstract The history of antisemitism in Romania is strictly connected to the religious and cultural framework of those territories, as well as to their political integration from the age of emancipation and independence to the establishment of a Greater Romania after World War I. This article aims to analyse the different intersections of this historical process and the continuity between the old forms of anti-judaism and their re-interpretation according to modernist dynamics during the first half of the Twentieth-Century. The Romanian case illustrates the transformation and re-adapting of old religious prejudice in new doctrines of xenophobia, nationalism and antisemitism.


Author(s):  
Olha Nikolenko

The theme of the Second World War and the Holocaust is one of the topical themes of contemporary fiction and cinema. Outstanding writers and directors of our time are turning to the embodiment of this tragic topic. They set themselves the task of comprehending the past and giving the third millennium generation spiritual experience that will help young people combat the manifestations of racism and xenophobia in the modern world. The article deals with the novel “Schindler’s Ark” by Th. Keneally, “The Children of Noah” by E.-E. Schmitt, “The Boy in the Striped Pajamas” by J. Boyne, “The Book Tief” by M. Zuzak and movies that are based on these books. In the genres of a historic novel and psychological story based on the documents, the writers revealed the complicated social processes in Europe during 1930-1940. The writers described the historic events within the life of ordinary people who lived in the terrible circumstances of the totalitarian system. The symbols playedthe main role in revealing the subject of the Holocaust in the novels and films about the Second World War and the Holocaust. Thomas Keneally continued the traditions of romantic irony and added to it some social, psychological and philosophical meanings. The irony in the novel by Thomas Keneally “Schindler’s Ark” plays an important role in the investigation of European society in the tragic period of the 20thcentury. In the novels by Thomas Keneally irony takes place on the different levels such as plot, composition, imagology, time and space, style and language. T. Keneally broadens the meaning of irony and its function in the documentary and historic novel. The irony in the novel “Schindler’s Ark” maintains some main functions: social for explaining the anti-humanistic essence of fascism, war, racial hatred, research in investigating the tragedy of the Holocaust and its consequences, psychological in revealing the psychology of people of different social class, philosophical in discussing the important issues of human life in the word, axiological dealing with the values of mercy, morality, the ability to resist violence. T. Kenealy represents different forms of irony such as the irony of the narrator, the irony of the author, the combination of controversial documentary facts, the contradiction of phenomenon and notions, the comparison of the different points of view, self-irony, irony as inner enlightenment, catharsis. In the novel “Schindler’s Ark” by T. Kenealy the author of the article analyzed the traditions of world literature such as B. Brecht within the motive of personal financial profit from the war, N. Gogol within the motive of buying and selling the dead souls. The writer represented these motives in his own way as the events took place during the real historic time, and he found the inner power in people of past century to keep their life, humanity and culture on the Earth. The irony is a unique feature of T. Keneally’s individual style and it enriched the genre of novel.


2021 ◽  
pp. 49-60
Author(s):  
L. S. Mitina

The aim of this study is to define the concept of the title museality, the selection and analysis of relevant works of the world literature both separately and as a unified group of narratives, and determining the existence of a separate literary trend. Research methodology. The author uses analysis, synthesis, abstraction, concretization and generalization of scientific sources and literary texts with features of title museality. Results. The main characteristic evidence of the concept of “title museality” is determined and a group of literary narratives is identified. These features correspond to: “The Heritage” by Siegfried Lenz (Germany), “Outside the Dog Museum” by Jonathan Carroll (USA), “The Night at the Museum” by Milan Trenc (Croatia), “Behind the Scenes at the Museum” by Kate Atkinson (Great Britain), “The Museum of Innocence” by Orhan Pamuk (Turkey), “The Museum of Abandoned Secrets” by Oksana Zabuzhko (Ukraine) and “Museum of Thieves” by Lian Tanner (Australia). We considered and analyzed the museological features of each of these texts of the novel form, belonging to the seven national literatures of the world. The general and distinctive features of the considered works are revealed and their museological properties are established as a unified group of narratives. It is argued that the title museality is a trend in world literature of the last fifty years and this trend is steadily growing. Novelty. An attempt is made to formulate a new museal­literary concept, to highlight and analyze the relevant literary works as a unified group of narratives and identify a certain trend in world literature. The practical significance. The key results of this study can be used for further research of other literary works with signs of the title museum that is reviewed, and also other national literatures of the world. They also can be used in studying of museological aspects of the literary studies or literary aspects of the museology.


Author(s):  
Lynn Abrams

This chapter focuses on a neglected facet of Scottish men’s sense of self – the expression of intimacy and emotion in the context of one man’s letters home to his wife during an extended posting abroad in World War Two. Emotional openness, vulnerability, affection, devotion, romantic love and desire - these are not qualities commonly identified in the narratives of masculinity in Scotland in the twentieth century. The war provided the backdrop for a correspondence which allowed a serving soldier to explore his emotional side, and sustain his marriage, not only by consuming narratives of love but producing them too. Through a close examination of personal correspondence this chapter argues that this correspondent encapsulated a modern masculine self that Scottish men were to practice with greater confidence in the postwar decades.


Author(s):  
Joshua Sperling ◽  
Jamie Wood

Blaise Cendrars was one of the leading experimental writers of the twentieth century. In addition to being a novelist and journalist, he was also a film-maker and explorer. Although his career spanned many decades, Cendrars is now best known for his involvement in the Parisian avant-garde just prior to and following World War I. Cendrars experimented with free verse, image and text, and unusual narrative structures that combined the historical with the biographical and imaginary as a means of capturing the experience of modernity. Immediately following the war he wrote La Fin du monde filmée par l'Ange Notre-Dame (1919), the first poem to assume the form of a screenplay. During the years of his career that followed the First World War, Cendrars turned to the novel and continued to experiment in a variety of genres including the grotesque, reportage, and historical fiction. He died in 1961 following the publication of a tetralogy of memoirs.


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