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"We're in the front line": The Blitz...

Miller, Kristine Anne.

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"We're in the front line": The Blitz on identity in British literature of the second world war.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	"We're in the front line": The Blitz on identity in British literature of the second world war./
作者:	Miller, Kristine Anne.
面頁冊數:	227 p.
附註:	Chair: Tobin Siebers.
Contained By:	Dissertation Abstracts International56-08A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9542915

"We're in the front line": The Blitz on identity in British literature of the second world war.
Miller, Kristine Anne.

"We're in the front line": The Blitz on identity in British literature of the second world war. - 227 p.

Chair: Tobin Siebers.

Thesis (Ph.D.)--University of Michigan, 1995.

The dissertation explores literary representations of political identity in relation to the British experience of the Second World War. As Allied soldiers traveled to distant battlefields and Axis bombers flew into England, the distance between the British home front and front line collapsed: soldiers and civilians alike lived in the line of fire. The collapse of the fronts dramatically shifted the relationship between private and public life. The fiction of Elizabeth Bowen (The Heat of the Day), Evelyn Waugh (Brideshead Revisited), Rosamond Lehmann (The Echoing Grove), Henry Green (Back), Graham Greene (The Ministry of Fear), and Nicholas Blake (Minute for Murder) traces the transformation of the private and public realms through the everyday ontology of three major wartime anxieties: shelter, wounds, and spying.Subjects--Topical Terms:

1018076
History, European.

"We're in the front line": The Blitz on identity in British literature of the second world war.
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245 1 0 $a "We're in the front line": The Blitz on identity in British literature of the second world war.
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500 $a Chair: Tobin Siebers.
500 $a Source: Dissertation Abstracts International, Volume: 56-08, Section: A, page: 3139.
502 $a Thesis (Ph.D.)--University of Michigan, 1995.
520 $a The dissertation explores literary representations of political identity in relation to the British experience of the Second World War. As Allied soldiers traveled to distant battlefields and Axis bombers flew into England, the distance between the British home front and front line collapsed: soldiers and civilians alike lived in the line of fire. The collapse of the fronts dramatically shifted the relationship between private and public life. The fiction of Elizabeth Bowen (The Heat of the Day), Evelyn Waugh (Brideshead Revisited), Rosamond Lehmann (The Echoing Grove), Henry Green (Back), Graham Greene (The Ministry of Fear), and Nicholas Blake (Minute for Murder) traces the transformation of the private and public realms through the everyday ontology of three major wartime anxieties: shelter, wounds, and spying.
520 $a Whereas Hannah Arendt maintains that the caretaking of the household guarantees the freedom for political expression, I argue that the threats of bombed shelters, wounded bodies, and enemy spies forced violence into the domestic space, reconfiguring the private household as a site for explicit political expression. The public battlefield, by contrast, came to resemble a household--complete with latrines, mess halls, and barracks--where soldiers defended British political autonomy from the onslaught of the Axis powers. As conventional boundaries between the feminine domestic space and the masculine political arena broke down, soldiers assumed caretaking duties that allowed civilians greater political responsibility.
520 $a The wartime conflation of personal life and politics thus fostered the breakdown of conventional gender stereotypes. As male soldiers struggled to incorporate vulnerability into their conceptions of masculine identity, female civilians asserted political agency as an essential element of feminine identity. My contention here is not simply that war reversed the roles of domestic caretaker and political actor; instead, the war merged the two roles, obliterating the inadequate distinctions that often govern peacetime political thinking. The dissertation examines the way that fiction figures wartime violence as potentially productive: because the crisis of war makes obvious a crisis of gender equality, writers can employ representations of the war to challenge and revise conventional gender roles.
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