British Reception Research Articles

The Myth of Stalin and the Death of Hitler: André Bazin and The Fall of Berlin’s Transnational Travels

This essay explores aspects of the transnational and transhistorical impact of The Fall of Berlin (Padenie Berlina, Mikheil Chiaureli, 1949). Although the film is late Stalinist propaganda, and an outstanding manifestation of the Stalin personality cult, it cannot be reduced to those descriptors. It has had an ongoing impact upon viewers within different cultural contexts who do not necessarily subscribe to its politics. André Bazin’s seminal, frequently translated and reprinted essay ‘The Myth of Stalin in the Soviet Cinema’ (‘Le cinéma soviétique et le mythe de Staline’, 1950), is the most famous and frequently quoted piece of writing on Stalin personality cult films, but it is not the final word on them. It needs to be understood within the specific context of French film culture during the immediate postwar period. This essay therefore highlights the cultural specificity of ‘The Myth of Stalin in the Soviet Cinema’ by contrasting the debates within which Bazin’s essay was enmeshed with the equally culturally specific British reception of The Fall of Berlin in the early 1950s, exemplified by leading film critics and historians such as Dilys Powell, Fred Madjalany and Hugh Trevor-Roper.

‘Peace-Loving Countries, Unite!’ British Reception of Soviet Declarations on ‘Collective Security’ at the Turn of 1934

Soviet-German relations were very conducive for both countries after the Rapallo Treaty was concluded in 1922. There were some signs of difficulties during the Great Depression but they did not influence the willingness of Berlin and Moscow to cooperate. After Adolf Hitler came to power, however, the deterioration of bilateral relations of the two countries became apparent. Finally, at the turn of 1934, a wave of official Soviet declarations on starting cooperation with the ‘peace-loving’ capitalist countries against the aggressor within the framework of the collective security system took place. The article’s aim is to explain whether or not the British Cabinet took notice of these speeches and what attention it paid them. It is important to determine how the British diplomats interpreted these declarations and what was the justification for their viewpoints. Previously, London had tried to separate Germany from the USSR. Hence, the question as to the British government’s understanding of the new situation arised as do the potential steps taken on the international scene once German-Soviet cooperation ceased to exist at the end of 1933. The deterioration of Soviet-German relations had the potential to influence British diplomacy, which was devoted to the idea of collective security.

Susan Stebbing on Logical Positivism and Communication

In this paper, I look at Susan Stebbing’s articles and reviews that critically engage logical positivism. These appeared before the publication of A. J. Ayer’s Language, Truth and Logic and helped shape the early British reception of logical positivism. I highlight Stebbing’s adoption of G. E. Moore’s tripartite distinction between knowing a proposition, understanding it, and giving an analysis of it and, in light of this distinction, her focus on whether the principle of verifiability can ground a plausible account of communication. Stebbing thinks not, and I reconstruct her reasons, as well as her own account of communication. In doing this, I relate her criticisms to her rejection of methodological solipsism and her dissatisfaction with the logical positivist treatment of statements about other minds and the past. I also argue that Stebbing’s work provides a bridge to later criticisms of logical positivism by ordinary language philosophers. Foregrounding Stebbing’s engagement with logical positivism, especially her focus on communication, paints a fuller picture of how the logical positivists came to be part of analytic philosophy despite having different concerns than many of the British philosophers engaging their work.

Taking Pragmatism Seriously Enough: Toward a Deeper Understanding of the British Debate over Pragmatism, ca. 1900-1910.

Classical pragmatism has often been branded as being primarily a new theory of truth. Using F.C.S. Schiller's response to an article written by F.H. Bradley, I show that, in fact, a certain theory of thought is the essential point of pragmatism according to Schiller as well as John Dewey and William James. I go on to argue that without taking this theory of thought into account we cannot properly understand the British reception of classical pragmatism in the early 1900s. I illustrate the significance of this contention by criticizing the responses to pragmatism given by Bertrand Russell and G.E. Moore.

The Bastille as a transnational symbol of despotism: translations and editions of Remarques historiques et anecdotes sur le château de la Bastille (1774–98)

ABSTRACT The fall of the Bastille on 14 July 1789 remains the single most emblematic episode in the history of the French Revolution. The infamous fortress had already functioned as an important political symbol well before 1789, however. From the beginning of the eighteenth century, a ‘black legend’ was constructed around the building, propelled by the publication of a succession of (real or fictitious) memoirs by ex-prisoners. The growth of the Bastille myth was favoured by political circumstances (dissatisfaction with absolutism) and a cultural climate (sensibility towards fear and imprisonment; Enlightenment calls for humanity, transparency and reason). No Bastille memoir became more influential than Joseph Marie Brossays du Perray’s Remarques historiques et anecdotes sur le château de la Bastille (1774). Besides being a hit in France, the pamphlet had a huge international career. Its English and German translations contributed to turning the Bastille into a transnational symbol of despotism. The meanings and interpretations of that symbol shifted both in France and abroad on the rhythm of historical events. The various French editions and English translations of Remarques historiques allow us to follow that process closely. Three temporalities in the pamphlet’s history can be distinguished which mark the Bastille’s construction as a political symbol in France and in Britain in the last quarter of the eighteenth century. The British reception of the Bastille, which revolved around the idealized British Constitution, shows that transnational exchanges can nevertheless be conducive to the reinforcement of national frames of reference.

British Reception of L.N. Tolstoy’s Works in the Threshold of “Russian Boom” of the 1910s

Foreign literature usually enters the field of the other culture obeying certain rules, including readers’ willingness, due to various reasons (political, social, psychological, etc.) to receive just these or those components. Such fragmentation, more or less, is overcome by the efforts of translators, commentators, researchers, critics; if the interest in the other culture is strong enough, the reader sees a relatively coherent picture, though not necessarily it is absolutely true. For many years Russian literature, first regarded as semi-barbarous and then considered to be high, was such an area of exotic interest for the English-speaking readers. Having entered the British range of reading, Leo Tolstoy became one of the cult foreign figures in the United Kingdom. Tolstoy’s reception included several layers: he was read as a bright representative of a foreign culture mainly known through stereotypes, as a great heir of the tradition of the European novel, as a progressive social activist whose creative work achieved the special meaning in the course of the political struggle, as the personified rebuff to the French naturalism and as an earnest religious philosopher leading the others by his example. Selective reception, namely, what caught the eye of the English-speaking auditory first of all, helps us reveal the specifics of the reading of Tolstoy’s works in Britain.

The Cambridge Companion to Eighteenth-Century Thought, ed. Frans De Bruyn

<i>The Cambridge Companion to Eighteenth-Century Thought</i>, ed. Frans De Bruyn

“The Regeneration of Society”: Thomas Ernest Hulme and the Early British Reception of Georges Sorel

The article examines T. E. Hulme's reading of Georges Sorel as a politically transversal thinker of moral renewal. It argues that, by distancing Sorel from syndicalism and by reading him as a thinker of moral absolutes, this interpretation constituted an act of resignification. This is shown by contrasting Hulme's reading with the dominant patterns of the British reception of Sorel. What emerges is the striking, and self-aware, originality of Hulme's positions. This originality, we argue, was made possible by the European scope of Hulme's intellectual horizon, which gave him the resources to read Sorel differently. Finally, we ask why Hulme read Sorel in this way. We suggest that Hulme was working through a contradiction between his relativistic philosophical education and an increasing need for political commitment. Sorel's ethics of commitment grounded in myth were a way to move from Bergsonian openness to a metaphysics capable of conceptualizing moral and political absolutes.

John Cournos - Fedor Sologub’s Translator into English and the Role Played by Zinaida Vengerova

Fedor Sologub entered British literary consciousness only after the onset of WWI. The British-Russian war alliance was auspicious for the translation of Russian literature, bringing about what John Cournos termed a “Russian Boom.” In 1915 alone, two translated collections of Sologub’s short stories appeared. This paper examines the British reception of Sologub, with a focus on John Cournos (1881-1966), one of Sologub’s earliest and most prolific translators, and the role played by Zinaida Vengerova (1867-1941) as mediator between translator and author. In her correspondence with Sologub, Vengerova promotes Cournos as translator. A more pressing concern for Vengerova was to convince Sologub to make Cournos his “authorized” translator. This paper also argues that the reception of Sologub in Britain must be contextualized in terms of war propaganda. Politically, the British government prioritized the promotion of brotherly feeling between the two allies and a positive opinion of Russia. Prior to the war alliance, the British public held a negative opinion of tsarist Russia, of its government and culture. The controversial nature of Sologub’s writing complicated his critical reception.

Review essay: Between the Material and the Ephemeral

Review essay: Between the Material and the Ephemeral

McAteer , Cathy Translating Great Russian Literature: The Penguin Russian Classics (review)

REVIEWS 749 In summary, this is a fresh, well written and thoroughly researched study, full of original insights, that offers a comprehensive and holistic picture of Shestov’s philosophical heritage. It both does justice to Shestov’s thought in historical perspective, and convincingly highlights its contemporary relevance. School of Humanities, Language and Global Studies O. Tabachnikova University of Central Lancashire McAteer, Cathy. Translating Great Russian Literature: The Penguin Russian Classics. BASEES/ Routledge Series on Russian and East European Studies, 140. Routledge, London and New York, 2021. xxx + 166 pp. Illustrations. Notes. References. Appendices. Index. £120.00; open access e-book. The early history of the British reception of Russian literature is well known. Following the sporadic appearance of translations in the late eighteenth and early nineteenth centuries, the Crimean War generated more sustained interest, and by the end of the century, publishers had recognized there was a definite market for Russian literature. Some developed close partnerships with particular translators. Heinemann’s collaboration with Constance Garnett from 1892 to 1920 is justly renowned for bringing the work of Turgenev, Dostoevskii and Chekhov into the British canon of foreign literature, though Vizetelly’s earlier publication of Frederick Whishaw’s translations and Constable’s and Oxford University Press’s associations with Stephen Graham and Aylmer and Louise Maude respectively, were also important. Graham edited ‘Constable’s Russian Library’, for example, one of several series of Russian writing in English that appeared during the First World War, as publishers capitalized on the wartime alliance with Russia. In Translating Great Russian Literature, Cathy McAteer examines Russian literature’s place in a later, more familiar series, probably in fact the bestknown book series in British publishing: Penguin Classics. As Constable, Hodder and Stoughton, and Maunsel had responded to a market for Russian literature created by the First World War, so during the Second World War, Penguin began to investigate a market that had become more sympathetic to the Soviet Union. In their main list, they published books on recent Soviet history, politics and society, and in 1945 the company founded the Penguin Russian Review ‘to contribute to the initiation of the stranger to Russia into the spirit of the Russian people as it is embodied in their history and literature, their arts and sciences, their philosophy, their aspiration, and their economic life’. ‘No other post-war nation qualified for similar Penguin Review treatment’, McAteer notes (p. 3). But the Review cost more to produce than it earned and SEER, 99, 4, OCTOBER 2021 750 was discontinued in 1948 after four issues. For McAteer, though, the openly idealistic aims of the postwar Review go some way towards explaining the high profile of Russian literature in the new Penguin Classics series, launched in 1946. The first version of the series under the general editorship of E. V. Rieu, the so-called ‘medallion’ series (1950–62), included sixteen translations from Russian literature, more than any other modern literature bar French — twice as many as from Italian, and five times as many as from Spanish. McAteer’s monograph, packed with interesting detail, is a timely contribution to Russian studies, translation studies and book history. As she makes clear in her introduction and conclusion, she is particularly interested in expanding the methodology of translation studies by bringing approaches derived from Pierre Bourdieu’s literary sociology to bear on archival research into publishers’, translators’ and authors’ archives, and comparative textual analysis of translations and their source texts. Her avowed aim is to recover how the approach of individual translations was produced not only by their translators, but by a network of individuals over time. This brings much of interest to light. The impact of Rieu’s powerfully domesticating approach to translation and his conception of ‘the Penguin public’ is particularly striking. Writing to Elisaveta Fen about her translation of Ivanov, he remarks, ‘I still contend that the best way to get the characters across is to make them say everything they have to say in the most English way, however foreign the sentiment may be to us’ (p. 21). The fact that Rieu’s ‘principle of equivalent effect’ was cited as a source of Eugene Nida’s ‘principles of correspondence’ in 1964...

‘The Pressing Question of the Hour’: Fr. Vincent McNabb O.P. &amp; the Reception of Rerum Novarum

AbstractA study of the British reception history of Rerum Novarum between 1891 and 1919 shows the key role of Fr. Vincent McNabb OP in popularising in the Catholic press what would become the predominant interpretation of the encyclical, switching its perceived emphasis away from the defence of private property to the advocacy of an urgent redistribution of property unjustly withheld from the impoverished working classes

Intimacies of Violence in the Settler Colony: Economies of Dispossession around the Pacific Rim, by Penelope Edmonds and Amanda Nettelbeck

Reviewed by: Intimacies of Violence in the Settler Colony: Economies of Dispossession around the Pacific Rim ed. by Penelope Edmonds and Amanda Nettelbeck Philip Steer (bio) Intimacies of Violence in the Settler Colony: Economies of Dispossession around the Pacific Rim, edited by Penelope Edmonds and Amanda Nettelbeck; pp. xi + 285. Cham, Switzerland: Palgrave Macmillan, 2018, $119.99, $99.99 paper, $79.99 ebook. The growth of comparative scholarship on settler colonialism has been accompanied by methodological divergences over questions of scale and approach. On the one hand, there is what might be called the gargantuan-economic approach of British World scholarship. This is exemplified by James Belich's Replenishing the Earth: The Settler Revolution and the Rise of the Anglo-World, 1783–1939 (2009), which offers a broad-brush model of "explosive colonization" as an explanation of settler expansionism in both the British Empire and the U. S. ([Oxford University Press, 2009] 182). On the other hand, there is the socialnetwork approach of the new imperial history. Associated especially with the work of Antoinette Burton, this approach focuses on transnational webs of culture, gender, and reproduction. Penelope Edmonds and Amanda Nettelbeck place their collection of essays, Intimacies of Violence in the Settler Colony: Economies of Dispossession around the Pacific Rim, squarely in the latter camp, as part of the effort to "move beyond" the British World [End Page 281] men's club and its whiff of imperial nostalgia (6). As they point out, such approaches have overlooked "the crucial forces of gender, reproduction, and biopolitics that were centrally constitutive of settler colonialism" (14). Instead, their lucid introduction makes the case for a more granular view of the settler frontier, hinging on the concept of "moral economy" as a means of understanding the complexity and messiness of cross-cultural violence and intimacy as foundational to settler states (4). This framework enables a rich and varied series of interventions in a collection structured around three "economies" with considerable overlap: the moral economies of cross-cultural pastoral labor, the emotional economies of cross-cultural domesticity and intimacy, and the economies of colonial knowledge circulation and exchange. As is often the case with edited collections, however, the individual essays strain at the conceptual framework meant to encompass and unify them. In this case, the subtitle's promise of looking "around the Pacific Rim" is somewhat misleading. The Pacific Rim turns out to be virtually synonymous with Australia, and includes the bits of it that face the Indian Ocean; there is some engagement with New Zealand, but Hawai'i and the Pacific coast of North America are notably absent. Is the Pacific Rim even a valid concept in the context of settler colonialism in the long nineteenth century? It is hard to know, because not a single essay employs the term, and it is absent from the index. Even the commitment to the settler colony is brought a little into question by the end, for the final essay awkwardly focuses on the British reception of Arctic explorers' news. These are by no means fatal flaws, and the sheer breadth and complexity of the settler empire make it fiendishly difficult to neatly demarcate the borders of any project. But the strengths of this collection lie less in its insights into processes of transnational exchange and more in the local stories it tells of the particular bodies brought into contact by Empire. The editors stress their goal of asking "what forms of Indigenous agency might be recovered" from the history of emerging settler economies (9). Yet while all of the contributors focus on aspects of cross-cultural encounter and interaction, and many have undertaken deep archival labor, in general Intimacies of Violence still approaches these questions from the perspective of what white people did and felt. Two essays stand out, however, for their galvanizing accounts of the complexities of frontier intimacy. Victoria K. Haskins offers a stunning reconstruction of two white women's experiences of Indigenous "captivity" in colonial Queensland in the 1830s and '40s, counterpoising the "toxic parable" of Eliza Fraser's sensational account of ill treatment with the little-known tale of Barbara Thompson (154). Haskins's painstaking attention to fragmented linguistic and anthropological sources...

Encounters with Tadeusz Różewicz 1990–2014

This essay contains recollections of the working relationship between Tadeusz Różewicz and two of his British translators between 1990 and his death in 2014. It includes quotations from their correspondence. The essay is particularly focused on the fi rst London production of Kartoteka, over forty years after its Warsaw premiere, and on the British reception of Różewicz’s late works recycling and Mother Departs.

“Forces for peace because of the magic in them”: Processes of Anglo-Soviet musical exchange c.1959-1974

Musical histories of the Cold War frequently emphasise the impact of American musical tours to socialist countries and the ‘weaponisation’ of modernist music, supposedly representative of the cultural freedom exclusive to the capitalist West, against the strict confines of Socialist Realism. This narrative, however, denies the vast output of classical music from the USSR and the brilliance of Soviet classical musicians, who consistently dominated international music competitions.&amp;nbsp; &amp;nbsp;This paper explores the British reception of visiting Soviet classical musicians to the UK from a multi-layered perspective. Starting with an analysis of the ways Anglo-Soviet musical exchanges were carried out through official government agreements, it goes beyond the traditional political focus to highlight the hitherto neglected role of British impresarios Victor and Lilian Hochhauser in coordinating Anglo-Soviet musical exchanges, and their fundamental importance to the success of such performances in Britain. It also examines interactions between Soviet and British musicians, and the relevance of these relationships to cultural diplomacy more broadly. The final section explores how Soviet music was presented to British audiences in programme notes and received in the broadsheet press.&amp;nbsp;

Arthur Symons: Poet, Critic, Vagabond, edited by Elisa Bizzotto and Stefano Evangelista

Reviewed by: Arthur Symons: Poet, Critic, Vagabond ed. by Elisa Bizzotto and Stefano Evangelista Dennis Denisoff (bio) Arthur Symons: Poet, Critic, Vagabond, edited by Elisa Bizzotto and Stefano Evangelista; pp. x + 198. London: Legenda, 2018, $99.99, $12.50 paper. Arthur Symons’s image of himself as a vagabond reflected his cosmopolitanism, his work as a travel writer, and his critical engagement with authors and artists from various nations. His attraction to vagabondage is perhaps most profoundly reflected, however, in his Decadent poetics, which are characterized by a transient impressionism that often hovers on some threshold between current reality and an otherworldly space or time. Consider his depiction in the poem “White Heliotrope” of two lovers in the early morning: And you half dressed and half awake, Your slant eyes strangely watching me, And I, who watch you drowsily,With eyes that, having slept not, ache; (l.9–12) The perspective here itself seems to wander cross-directionally, emotionally uncertain, or, as Symons puts it, “slant” (London Nights [Leonard Smithers, 1896], 49). As in this poem, Symons’s vagabondage situates affective engagement at the heart of his modernist poetics, a subject also central to this important and potentially groundbreaking essay collection. Arising out of a symposium organized by Elisa Bizzotto and Stefano Evangelista at the Università Iuav di Venezia in September 2015, the publication gives Symons the meticulous attention that such a pivotal cultural figure deserves. One of the most insightful aspects of Arthur Symons: Poet, Critic, Vagabond is its analysis of the wandering obliqueness of his Decadent perspective as it reflects his philosophical commitment to freedom of expression, experience, and lifestyle. Primarily through his work The Symbolist Movement in Literature (1899), Symons contributed perhaps more than any other individual to the transition of Decadence and symbolism into the British high modernism of authors such as T. S. Eliot, James Joyce, and W. B. Yeats. He has, nevertheless, remained a peripheral figure in the study of these movements. Fueled by the surge of recent methodological innovations in Decadence studies, Bizzotto and Evangelista’s volume offers a useful reminder of Symons’s influence on the international, multi-pathed history of Decadence. At the start of the 1890s, Symons saw Decadence as a reflection of a broad cultural zeitgeist, but in The Symbolist Movement he describes it as a “straying aside from the main road of literature” ([William Heinemann, 1899], 8). As Arthur Symons: Poet, Critic, Vagabond suggests, the act of “straying aside” effectively captures the author’s own vagabond-age and slant poetics. It also happens to reflect what, in the past ten years, has given [End Page 686] Decadence much of its fresh vitality through scholarly approaches in queer studies, global and colonialist studies, and eco-studies, among others. The first of the collection’s three thematic sections, “Artistic Connections,” addresses the potentialities and limits of ekphrasis. Jane Desmarais analyzes the musicality that Symons located in Aubrey Beardsley’s drawings. As she demonstrates, Symons was invested in the inter-artistic, but was also keenly sensitive to the limits of comparisons across the arts. Lene Østermark-Johansen similarly teases out the nuances and limits of ekphrasis in her discussion of Symons’s correlations of sculpture and dance. John Stokes’s analysis of Symons’s works on drama brings sensitivity to his interests in dance, symbolist drama, and music-hall aesthetics, while also exploring his theories of ekphrasis and his influence on dramatic theory through Edward Gordon Craig. Particularly fascinating is Stokes’s closing consideration of mysticism in modernist drama through “the puppet cult,” in which puppets function as points of transience between different realms of being or states of awareness (50). These pieces are followed by a section on “International Mediations,” with essays on the multi-directional migrations among cultures, influences by and on Symons, as well as his at times problematic representation of non-European cultures and societies. Evangelista uses translation theory to address Symons’s connections to the Italian decadent Gabriele D’Annunzio. Specifically, Evangelista explores the impact that Symons’s investment in French culture and D’Annunzio’s translation into French had on the British reception of the author. These trinational translations are further complicated when they evoke...

Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829–57

In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore Gibbons’s key status in Francis Chantrey’s contemporaneous Woodcocks (c. 1829-34) for Holkham Hall, which employed Gibbons’s idiom to emphasize Chantrey’s related status as a paradigmatic British sportsman and sculptor. The article then examines how these characterizations of Gibbons took hold at the mid-century Great Exhibitions and at the Victoria and Albert Museum, before concluding with a close reading of an obscure, but deeply revealing 1857 meditation on Chantrey’s Woodcocks, and on Gibbons before him, that reveals the complex attitudes the Victorians had in relation to the spectacle of dead animals.

Architecture and Faux-nationalism: reflections on a remark made by the British architectural historian Gavin Stamp about the German-American architect Ludwig Mies van der Rohe

ABSTRACT This is a short ‘think-piece’, it was prompted by my visit to the RIBA exhibition Mies van der Rohe & James Stirling: Circling the Square, where I came across a letter, dated 1985, from the architectural historian Gavin Stamp to Margaret Thatcher. Stamp was concerned about an architectural proposal for a site in the City of London by the Avant-garde, modernist architect Ludwig Mies van der Rohe. As a long-term observer of the British reception of Mies, the contents and circumstances of the letter got me thinking.

1870년대 헨리 제임스의 영국 수용과 주간지 『런던』 - W. E. 헨리 써클의 개성주의, 『프랑스 시인과 소설가들』과 ‘미국’ 소설-

본 연구는 1870년대 후반 영국의 비평 주간지로 그 존재가 잊혀진 『런던』(London, 1877-79)이 미국 소설가인 헨리 제임스(Henry James)를 누구보다 앞서 수용하고 그의 작품 세계에 영향을 끼친 과정을 탐구한다. 이 연구는 19세기 영미문학 생산에서 정기간행물이라는 매체와 이를 둘러 싼 담론 생산자들의 실천이 ‘문학’ 생산 과정에서 가지는 중요성을 널리 알리려는 연구의 일환으로, 『런던』이 독특한 이데올로기적, 미학적 실천을 통해 이후 영국 문학장이 자율적 가치를 지닌 영역으로 형성되는 과정에 큰 기여를 했다는 사실에 주목한다. ‘대항유미주의’(counter-aestheticism)적 입장이 그것이다. 제임스가 『런던』의 편집자 윌리엄 어니스트 헨리(William Ernest Henley)가 이끄는 비평가 그룹과 조우한 과정은 이들이 프랑스 문학과 소설 장르에 대한 전문성을 주장함으로써 직업적 저자 및 비평가로 정체성을 확립한 하나의 새로운 문필가 세대였음을 보여준다. 제임스의 비평집 『프랑스 시인과 소설가들』(1878)은 이 사실을 드러내는 중요한 증거로, 본 논문은 특히 제임스가 투르게네프와 발자크를 둘러싸고 헨리의 젠더 이분법적 소설관과 대립하며 자신의 리얼리즘론을 발전시켰다는 사실을 밝힌다. 결론적으로, 제임스는 기대주이자 통제의 대상이었던 ‘미국’ 소설가로서 『런던』비평가 그룹과의 경쟁 속에서 그의 초기 대표 소설들을 생산했음이 드러날 것이다.

Was the Left’s Thunder Stolen? Soviet Short Films on British Wartime Screens

Following the Nazi invasion of the Soviet Union in June 1941, the United Kingdom witnessed a dramatic surge in support of and interest in its new Soviet ally against the Nazis. The British government began to help the Soviets, but was widely perceived to be doing too little. The Ministry of Information attempted to counter this impression, showing the government’s support for Russia, while at the same time trying to ensure that this support remained under governmental control and did not fall into the hands of British Communists. While scholarship has devoted a great deal of attention to the diplomatic dimension of Anglo-Soviet wartime relations, there has been little written about issues of culture and propaganda, which played a crucial role; likewise studies of cinema in wartime Britain have paid scant attention to the British wartime reception of Soviet film. During the first years of the Anglo-Soviet alliance, however, short films in particular proved an especially important medium for the communication of the British government’s complex policy on Soviet Russia: it was attractive with audiences for its combination of immediacy with authenticity, but also attractive to governments as a reliable transmission belt for a carefully calibrated message. As such, analysis of shorts with specific analysis of the key films: Salute to the Soviet, 100 Million Women enables us to reassess the claim that the Ministry of Information really succeeded in stealing the thunder of the Left, and reconsider the effects this policy had on British society.