Writers at War addresses the most immediate representations of the First World War in the prose of Ford Madox Ford, May Sinclair, Siegfried Sassoon and Mary Borden.
Writers at War addresses the most immediate representations of the First World War in the prose of Ford Madox Ford, May Sinclair, Siegfried Sassoon and Mary Borden.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Isabelle Brasme is Senior Lecturer in British Literature at the Université de Nîmes, France, and Researcher at Université Paul-Valéry Montpellier 3, France. She has published books on Ford Madox Ford, a collaborative volume on war writing and essays on Ford Madox Ford, May Sinclair, modernism and war writing. She is the Review Editor for the Cahiers Victoriens et Édouardiens.
Inhaltsangabe
Introduction 1 Ford Madox Ford's Unrelatable Narrative of War Introduction The elusive 'Muse of War' Writing as ethical imperative From ethical injunction to aesthetic reinvention Conclusion: towards Parade's End 2 'The Fantastic Dislocation of War': May Sinclair's Aporetic War Chronicle Introduction A war journal? 'The high comedy of disaster': Sinclair's carnivalesque narrative From representational crisis to an alternative mimesis Conclusion 3 Writing Oneself at War: Siegfried Sassoon's War Diaries Introduction The generic fluidity of Sassoon's war diaries Writing a myth of oneself An instance of intensely layered writing: recounting the attack on Fontaine-lès-Croisilles Conclusion 4 From the 'Bleeding Edge' of War: The Singular Voice of Mary Borden Introduction Writing in defiance of the conventional nurse figure A liminal geography of care Writing alienation Conclusion: modernism and mimesis Conclusion
Introduction
1 Ford Madox Ford's Unrelatable Narrative of War
Introduction
The elusive 'Muse of War'
Writing as ethical imperative
From ethical injunction to aesthetic reinvention
Conclusion: towards Parade's End
2 'The Fantastic Dislocation of War': May Sinclair's Aporetic War Chronicle
Introduction
A war journal?
'The high comedy of disaster': Sinclair's carnivalesque narrative
From representational crisis to an alternative mimesis
Conclusion
3 Writing Oneself at War: Siegfried Sassoon's War Diaries
Introduction
The generic fluidity of Sassoon's war diaries
Writing a myth of oneself
An instance of intensely layered writing: recounting the attack on Fontaine-lès-Croisilles
Conclusion
4 From the 'Bleeding Edge' of War: The Singular Voice of Mary Borden
Introduction
Writing in defiance of the conventional nurse figure
Introduction 1 Ford Madox Ford's Unrelatable Narrative of War Introduction The elusive 'Muse of War' Writing as ethical imperative From ethical injunction to aesthetic reinvention Conclusion: towards Parade's End 2 'The Fantastic Dislocation of War': May Sinclair's Aporetic War Chronicle Introduction A war journal? 'The high comedy of disaster': Sinclair's carnivalesque narrative From representational crisis to an alternative mimesis Conclusion 3 Writing Oneself at War: Siegfried Sassoon's War Diaries Introduction The generic fluidity of Sassoon's war diaries Writing a myth of oneself An instance of intensely layered writing: recounting the attack on Fontaine-lès-Croisilles Conclusion 4 From the 'Bleeding Edge' of War: The Singular Voice of Mary Borden Introduction Writing in defiance of the conventional nurse figure A liminal geography of care Writing alienation Conclusion: modernism and mimesis Conclusion
Introduction
1 Ford Madox Ford's Unrelatable Narrative of War
Introduction
The elusive 'Muse of War'
Writing as ethical imperative
From ethical injunction to aesthetic reinvention
Conclusion: towards Parade's End
2 'The Fantastic Dislocation of War': May Sinclair's Aporetic War Chronicle
Introduction
A war journal?
'The high comedy of disaster': Sinclair's carnivalesque narrative
From representational crisis to an alternative mimesis
Conclusion
3 Writing Oneself at War: Siegfried Sassoon's War Diaries
Introduction
The generic fluidity of Sassoon's war diaries
Writing a myth of oneself
An instance of intensely layered writing: recounting the attack on Fontaine-lès-Croisilles
Conclusion
4 From the 'Bleeding Edge' of War: The Singular Voice of Mary Borden
Introduction
Writing in defiance of the conventional nurse figure
A liminal geography of care
Writing alienation
Conclusion: modernism and mimesis
Conclusion
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