首页> 外文OA文献 >'Neither beasts nor gods but men': constructions of masculinity and the image of the ordinary British solider or 'Tommy' in the First World War art of C.R.W. Nevinson (1889-1946); Eric Henri Kennington (1888-1960) and Charles Sargeant Jagger (1885-1934)
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'Neither beasts nor gods but men': constructions of masculinity and the image of the ordinary British solider or 'Tommy' in the First World War art of C.R.W. Nevinson (1889-1946); Eric Henri Kennington (1888-1960) and Charles Sargeant Jagger (1885-1934)

机译:'既不是兽也不是神,不是人':男性气质的构造和第一次世界大战C.R.W.艺术品中普通英国士兵或'汤米'的形象。内文森(1889-1946);埃里克·亨利·肯宁顿(1888-1960)和查尔斯·萨金特·贾格尔(1885-1934)

摘要

In part this thesis was inspired by a reading of Frederic Manning's novel of theudFirst World War, Her Privates We, published in 1930. In the novel's foreword Manningudsuggests that the men who did by far the most fighting and dying on the side of Britainudduring the First World War, ordinary soldiers in the ranks, had been fundamentallyudmisunderstood by those writing about the war after the end of hostilities. Manningudasserted, using the words I quote in the title of the thesis, that the men with whom heudserved in the ranks during the murderous battle of the Somme were not just soullessudkillers nor were they cattle-like victims who went to their deaths with no conception ofudwhy they fought. He remembered his comrades as ordinary men who consistentlyuddisplayed an extraordinary capacity for endurance and ingenuity amidst the mostudatrocious conditions. Manning's perception of the ordinary British soldier, or Tommy'udprompted me to explore the relatively under-researched and poorly appreciated area ofudimagery of the First World War created by British official and unofficial war artists.udThose who had fought valued tremendously the imagery of the British soldier from theudranks created by Nevinson, Kennington and Jagger. One of the principle objectives ofudthis thesis will be to uncover reasons for why this was the case. In addition, art of theudFirst World War operates in an area over which a number of disciplines overlap, suchudas art history, military history, anthropology, literary history and gender studies. Thisudthesis seeks to offer, in a manner which has not been hitherto attempted, to integrateudapproaches from the aforementioned disciplines in an attempt to enrich understandingudof how various participants reacted in the way they did to images of British combatantsudcreated by Nevinson, Kennington and Jagger. In particular, this study acknowledgesudthe advances made in the realm of Masculinity Studies over the past decade andudargues that deployment of such research can considerably enhance our appreciation ofudwhy certain images, whether they be a painting or a drawing or a piece of figurativeudsculpture, could be greeted with widespread approbation or equally comprehensiveudcondemnation. The author has been pleasantly surprised by the extent of unpublishedudmaterial there still exists concerning the three artists under investigation despite the factudthat, during their heyday, they were collectively regarded as among Britain's brightestudartistic talents. There remains far more to be said, and argued, about the imagery ofudsoldiers produced within Britain during one of the most traumatic and destructiveudepisodes in human history. This thesis does not, in itself, constitute a definitive study ofudthe careers of three fascinating and important artists during and immediately after theudFirst World War. However, it is offered in the hope that the information it contains willudspur future students of the era to further investigation in what remains an extremelyudfertile area for thought-provoking research.
机译:这篇论文在某种程度上受到了弗雷德里克·曼宁(Frederic Manning)于1930年出版的第一次世界大战小说《她的私人我们》的启发。在第一次世界大战期间的英国,在敌对行动结束之后,那些写战争的人从根本上误解了行列中的普通士兵。曼宁(Manning)用我在论文标题中引述的话说,在索姆河(Somme)惨烈的战斗中与他同等地位的那些人不仅是没有灵魂的杀手,还是像牛一样的受害者。他们的死亡没有任何构想。他记得自己的同志是普通人,他们在最残酷的环境中始终表现出非凡的耐力和创造力。曼宁(Manning)对普通英国士兵的理解,或汤米(Tommy)的观点促使我去探索由英国官方和非官方战争艺术家创造的,第一次世界大战相对未得到充分研究和赞赏的领域。 Nevinson,Kennington和Jagger创建的 uds中的英军士兵图像。本论文的主要目标之一是找出导致这种情况的原因。此外,第一次世界大战的艺术在许多学科重叠的地区运作,例如艺术史,军事史,人类学,文学史和性别研究。本研究试图以迄今未曾尝试过的方式,将上述学科的融合方法融合在一起,以期加深对不同参与者对英国战斗人员的形象所作反应的理解。内文森,肯宁顿和贾格尔。尤其是,这项研究承认 ud过去十年在男性气概研究领域取得的进步,并且 udargues认为,开展此类研究可以大大提高我们对某些图像(无论是绘画,绘画还是作品)的欣赏程度具有象征意义的雕塑作品可能会受到广泛的认可或同样全面的雕塑作品的谴责。尽管被调查的三位艺术家在其鼎盛时期被集体视为英国最杰出的 uartistic天才之一,但令他们感到惊喜的是,这三位艺术家仍未发表。关于在英国人类历史上最具创伤性和破坏性的剧情之一中产生的 udsoldiers的图像,还有更多的要说和争论。本论文本身并不构成对第一次世界大战期间及之后三位引人入胜的重要艺术家的职业的明确研究。但是,它的目的是希望它所包含的信息能够鼓励未来的那个时代的学生进一步研究仍然是一个极富生机的发人深省的领域。

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  • 年度 2003
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  • 入库时间 2022-08-20 20:23:06

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