Demonstrates how spatial and temporal dislocation were defining traits of the artistic response to the urban bombing campaigns of the Second World War. Studying a range of writers, as well as film, photography, and art, it argues that for civilian populations, aerial bombardment distorts the experience of time itself.
Demonstrates how spatial and temporal dislocation were defining traits of the artistic response to the urban bombing campaigns of the Second World War. Studying a range of writers, as well as film, photography, and art, it argues that for civilian populations, aerial bombardment distorts the experience of time itself.
Beryl Pong is a Vice-Chancellor's Fellow at the University of Sheffield.
Inhaltsangabe
Introduction: Late Modernist Chronophobia Part I: Blitz-Time Capsules 1: Wartime Presentness 2: Psychological Blackout 3: Stopped Clocks Part II: War Time Zones 4: The Neutral Hour 5: La France à l'heure Anglaise 6: The Ecology of English Time Part III: The Temporality of Ruins 7: The Archaeology of Ruin-Time 8: Children of the Ruins 9: The Literary Cartography of Ruins Coda
Introduction: Late Modernist Chronophobia Part I: Blitz-Time Capsules 1: Wartime Presentness 2: Psychological Blackout 3: Stopped Clocks Part II: War Time Zones 4: The Neutral Hour 5: La France à l'heure Anglaise 6: The Ecology of English Time Part III: The Temporality of Ruins 7: The Archaeology of Ruin-Time 8: Children of the Ruins 9: The Literary Cartography of Ruins Coda
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