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Expanding Arcadias: Pastoral myth-making in twentieth-century British fiction.

机译：扩展的阿卡迪亚斯：二十世纪英国小说中的田园神话创作。

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This dissertation re-evaluates the often undervalued pastoral genre and its claims to cultural and historical relevance in twentieth-century British literature and culture, by re-defining "Arcadianism" as a complex attitude toward the past that negotiates the intersections of pastoral with myth and nostalgia. Twentieth-century British writers often describe the nation as wavering between attachment to the past and anticipation of the future, between nostalgia and progression, an underlying tension in the texts I examine. These versions of pastoral simultaneously perpetuate and subvert the traditional ruralist myth of England as a timeless idyllic realm in which aristocrats and their hereditary country estates symbolize continuity with the past.; From around 1880 onwards, the authority of the aristocracy declined while definitions of England and Englishness expanded, growing ever more wide-ranging, complex and undefinable. Against this backdrop of social change, I establish a canon of British texts to exemplify recurrent waves of Arcadianism that well up in response to wartime experiences and to social and economic stresses, in the 1910s, 1940s-50s, and 1980s-the present. E. M. Forster's Howards End often displays ambiguity and ambivalence in elevating the English countryside to mythic planes, but the Great War gives rise to a more intensely nostalgic, compensatory and mystificatory form of Arcadianism in Rebecca West's The Return of the Soldier. World War II similarly shapes the Neo-Romantic mythifications of the countryside and of the old social order in Evelyn Waugh's Brideshead Revisited and in L. P. Hartley's The Go-Between . The increasingly confused boundaries and fluid identities of the postcolonial period inflect the contemporary revisionist resurgence of Arcadianism that we see in Japanese-born Kazuo Ishiguro's deconstructions of the Arcadian myth of England in The Remains of the Day, and in the more universal elegiac consolations of Czech-Jewish immigrant Tom Stoppard's Arcadia. Ian McEwan pushes Arcadianism toward its conceptual limits in Atonement, foregrounding the ultimate constructedness, subjectivity and illusiveness of all Arcadias in fictional memory.; The extent to which these texts endorse or critique Arcadianism thus hinges upon the historical and cultural contexts of their composition. Looking back at a backward-looking myth may also be predicting the future: further resurgences are yet to come.

机译：本文通过重新定义“ Arcadianism”作为对过去的一种复杂态度，重新审视了牧民与神话和宗教之间的交汇，从而重新评估了经常被低估的牧民类型及其对二十世纪英国文学和文化的文化和历史相关性的主张。怀旧。二十世纪的英国作家经常将这个国家描述为在对过去的依恋与对未来的期待之间，在怀旧与进步之间摇摆不定，这是我研究的文本中潜在的张力。这些版本的牧草同时延续并颠覆了英格兰传统的农村主义神话，使之成为永恒的田园诗境，贵族及其世袭的乡村庄园象征着过去的延续。从1880年左右开始，贵族的权威开始下降，而英格兰和英国的定义又扩大了，范围越来越广泛，复杂而难以界定。在这种社会变革的背景下，我建立了英国典范的典范，以举例说明在1910年代，1940年代至50年代以及1980年代到现在的战时经历以及对社会和经济压力的不断上升的阿卡迪亚主义浪潮。 E·M·福斯特（E.M.第二次世界大战在伊夫林·沃（Evelyn Waugh）的《新娘的头颅》（Brideshead Revisited）和L.哈特利（L. P.后殖民时期的边界和身份越来越混乱，这反映了现代修正主义对阿卡迪亚主义的复兴，我们在日本出生的石黑一郎（Kazuo Ishiguro）在《今日遗迹》中对英格兰的阿卡迪亚神话的解构中以及捷克人更为普遍的哀悼中看到了这种复兴。 -犹太移民汤姆·斯托帕德（Tom Stoppard）的阿卡迪亚（Arcadia）。伊恩·麦克尤恩（Ian McEwan）将《阿卡狄亚主义》推向了《赎罪》的概念极限，并提出了所有阿卡迪亚斯在虚构记忆中的最终建构性，主观性和虚幻性。因此，这些文本在多大程度上认可或批判了阿卡狄亚主义，取决于其构成的历史和文化背景。回顾过去的神话也许也预示着未来：进一步的复苏还没有到来。

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作者
Chung, Debbie Joyce.;
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作者单位

Stanford University.;

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授予单位 Stanford University.;
学科 Literature English.
学位 Ph.D.
年度 2004
页码 196 p.
总页数 196
原文格式 PDF
正文语种 eng
中图分类 I561;
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Expanding Arcadias: Pastoral myth-making in twentieth-century British fiction.

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