Sans bords : distance et démocratie dans Letters from Iceland de W.H. Auden et Louis MacNeice
Letters from Iceland presents itself as a form of distantiation: it relates the burlesque summer adventures of the poets in Iceland, while the ghost of the Spanish War insists to come back on the stage. I focus more particularly on the photographs provided by Auden and MacNeice to illustrate their a...
| Published in: | Études britanniques contemporaines |
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| Main Author: | |
| Format: | Article in Journal/Newspaper |
| Language: | English French |
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Presses Universitaires de la Méditerranée
2017
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| Online Access: | https://doi.org/10.4000/ebc.3534 https://doaj.org/article/05cadf8727044ca680d230c648742623 |
| Summary: | Letters from Iceland presents itself as a form of distantiation: it relates the burlesque summer adventures of the poets in Iceland, while the ghost of the Spanish War insists to come back on the stage. I focus more particularly on the photographs provided by Auden and MacNeice to illustrate their account, and I argue that those images are in fact part of a more global aesthetic strategy enabling Auden to ‘take a position’ – not sides –regarding what is taking place in Europe. This is an idea partly suggested to me by Georges Didi-Huberman’s Quand les images prennent position (‘When Images Take a Position’), in which he deals with the aesthetics of montage in the Thirties. |
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