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Writers in British Intelligence: The Secret State and the Public Sphere

英国情报作家：秘密国家与公共领域

基本信息

批准号：
AH/V001000/1
负责人：
Jago Morrison
金额：
$ 43.02万
依托单位：
Brunel University London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2021
资助国家：
英国
起止时间：
2021 至无数据
项目状态：
未结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FV001000%2F1
关键词：
Writers British Intelligence Secret State

项目摘要

Intelligence work is characterised by secrecy and, as such, is often assumed to be detached from the public sphere. Popular images of the spy from 007's 'license to kill' onwards tend to reinforce this separation, portraying intelligence as something outside the law, exempt from public oversight. As this project will show, this is far from being the case. Despite the cloak of official secrecy, British intelligence has always had to be mindful of political opinion, and writers have often found themselves acting as intermediaries between the secret state and the people. The aim of this research is to explore this interaction, looking at five writers in particular. Our work will be divided into four strands:1) In the 1900s the idea of having a state 'secret police' was widely regarded as un-British by government. It took a mass campaign of 'citizen spies' spearheaded by the novelist William Le Queux to change this posture. For the first time, we will examine Le Queux's campaign and the responses it elicited from officials in detail. In so doing we will ask: how could a work of fiction achieve sufficient political momentum to force the establishment of Britain's first state intelligence service?2) Dennis Wheatley's and John Masterman's involvement with intelligence in WW2 is well known. However, the way their imaginative skills as novelists were used strategically, to 'game' adverse scenarios and to sell complex fictional intelligence to the Abwehr, has never been closely analysed. 25 years after the end of the war, both writers broke official silence by publishing their stories: the effect of these revelations on the public reputation of British intelligence has also, never been properly assessed. In doing so, we aim to develop a new understanding of the complex role these writers played in the history of British intelligence.3) In 1963, a serving MI6 officer emerged from nowhere to become the most successful spy writer in history. His scathing account of the intelligence 'circus' would shape the popular image of the agencies for a generation. The early 1960s were an intensely turbulent period for the politics of intelligence in Britain: for the first time, we will assess the impact of Le Carré's 'New Realism' within this febrile media climate. As arguably the most influential intervention made by any spy writer, what does it reveal about the changing relationship between British intelligence and the public sphere in this era of exposure?4) In 1992, as the first publicly acknowledged Director of MI5, Stella Rimington became the new face of 'openness' in British intelligence. All of her writing, both fictional and non-fictional, is concerned with negotiating a fresh, democratic image for the agencies. Almost none of it, however, has met with serious scrutiny. As we will show, during her tenure Rimington oversaw a major revolution in intelligence gathering methods, in many ways threatening the democratic rights and freedoms she claimed to defend. On this, her writing is almost completely silent. As such, we will ask whether Rimington's project is ultimately more about concealment than openness, obscuring the real evolution of intelligence work in the 90s and beyond.A key aim of this project is to engage both academic and non-academic audiences, encouraging further enquiry into the role of writers in intelligence. To stimulate cross-disciplinary dialogue between Literary and Intelligence studies, our programme includes a symposium in which leading scholars from each discipline will be brought together, leading to a ground-breaking collection of essays. Our public engagement strategy includes a major author event, as well as an innovative online exhibition on the Google Arts & Culture Platform. Our blog 'Writers in Intelligence' will provide a space for ongoing debate and dialogue between intelligence specialists, critics and members of the public.

情报工作的特点是保密，因此，往往被认为与公共领域无关。从007的“杀人执照”开始，间谍的流行形象往往会加强这种分离，将情报描绘成法律之外的东西，免受公众监督。正如本项目将显示的那样，情况远非如此。尽管披着官方保密的外衣，英国情报机构始终不得不注意政治观点，作家们经常发现自己充当着秘密国家和人民之间的中间人。本研究的目的是探索这种互动，特别是五位作家。我们的工作将分为四个方面：1）在20世纪初，政府普遍认为拥有国家“秘密警察”的想法是不符合英国的。小说家威廉·勒沃库克斯（William Le Bronx）带头发起了一场大规模的“公民间谍”运动，改变了这种态势。我们将第一次详细研究勒庞的竞选活动及其从官员那里得到的回应。在这样做的时候，我们会问：一部虚构的作品如何能获得足够的政治动力，迫使英国建立第一个国家情报机构？2)丹尼斯惠特利和约翰马斯特曼在二战中参与情报工作是众所周知的。然而，他们作为小说家的想象力技能如何被战略性地使用，以“游戏”不利的场景，并将复杂的虚构情报出售给阿勃维尔，从未被仔细分析过。战争结束25年后，两位作家都通过发表他们的故事打破了官方的沉默：这些揭露对英国情报机构公众声誉的影响也从未得到过适当的评估。在这样做的过程中，我们的目标是对这些作家在英国情报史上所扮演的复杂角色有一个新的理解。3）1963年，一位在军情六处服役的军官突然成为历史上最成功的间谍作家。他对情报“马戏团”的严厉描述将塑造情报机构一代人的流行形象。20世纪60年代初是英国情报政治的一个激烈动荡时期：我们将第一次评估勒卡雷的“新现实主义”在这种狂热的媒体气候中的影响。作为可以说是任何间谍作家所做的最有影响力的干预，它揭示了英国情报和公共领域之间的关系在这个曝光时代的变化是什么？4)1992年，作为第一位公开承认的军情五处处长，斯特拉·里明顿成为英国情报部门“开放”的新面孔。她所有的作品，无论是虚构的还是非虚构的，都是关于为这些机构争取一个新的、民主的形象。然而，几乎没有一个是经过认真审查的。正如我们将展示的那样，在她任职期间，里明顿监督了情报收集方法的重大革命，在许多方面威胁到她声称要捍卫的民主权利和自由。在这一点上，她的写作几乎完全沉默。因此，我们会问Rimington的项目最终是否更多的是关于隐藏而不是开放，掩盖了90年代及以后情报工作的真实的演变。该项目的一个关键目标是吸引学术和非学术观众，鼓励进一步探究作家在情报中的作用。为了促进文学和情报研究之间的跨学科对话，我们的计划包括一个研讨会，其中来自每个学科的领先学者将聚集在一起，导致开创性的论文集。我们的公众参与战略包括一个主要的作者活动，以及在谷歌艺术与文化平台上的一个创新的在线展览。我们的博客“情报作家”将为情报专家、评论家和公众之间的持续辩论和对话提供一个空间。