'Postcards from the Future: Rebecca West, Storm Jameson and the War Abroad'

这个研究项目在Rebecca West和Storm Jameson的作品中探讨了战争和旅行之间的关系，这两位女权主义者和社会主义先驱在20世纪30年代末游历了从南斯拉夫到捷克斯洛伐克的整个东欧。这两位女性都将自己的海外经历写成了詹姆逊的小说《把欧洲交给我们》（1940）和韦斯特的游记《黑羊与灰隼》（1941）等作品，这些政治化的旅行叙事对英国国内的观众起到了警示作用。通过结合最近对战时时间性的研究和30年代旅行的地形，这个研究项目询问这些旅行者以何种方式参与到即将到来的冲突中，以及出于何种政治目的。除了这些作品外，我的项目还将考虑一系列非虚构作品，这些作品对政治危机的关注为韦斯特和詹姆逊随后的旅行记录奠定了基础，包括韦斯特的心理传记《圣奥古斯丁》（1933）和詹姆逊后来的回忆录《北方之旅》（1969）。在《国外》（1979）一书中，保罗·福塞尔将旅行写作定义为两次世界大战之间的杰出类型。伯纳德·施韦泽的《路上的激进派》（2001）随后扩大了福塞尔以男性为主的视野，将丽贝卡·韦斯特对南斯拉夫的访问纳入其中。在约翰·奥尔科克和安东尼娅·杨的《黑羊和灰隼：巴尔干半岛的女性旅行》（2000年）中，女性旅行者与东南欧之间的关系也受到了特别关注。然而，韦斯特和詹姆森的旅行叙事都与过去的暴力和迫在眉睫的冲突作斗争，因此它们也可以被解读为不同形式的战争写作。从这个意义上说，它们回应了保罗·圣·阿莫尔在《紧张的未来》中进行的同样类型的分析，后者将对现任冲突的关注归因于表面上与战争无关的现代主义作品。同样，玛丽娜·麦凯（Marina MacKay）的《现代主义、战争与暴力》（2017）将政治暴力定义为一种结构原则，从早期前卫到战后英国文学都能产生共鸣。然而，尽管它们经常重叠，在两次世界大战之间，旅行和战争之间的关系仍然是一个相对未被探索的调查领域。我的项目通过关注丽贝卡·韦斯特（Rebecca West）和斯托姆·詹姆森（Storm Jameson）的著作，关注与这一主题相关的学术研究的匮乏。在这样做的过程中，我的研究也将有助于对韦斯特和詹姆逊的多产著作进行姗姗来迟的学术处理，这些著作正开始积聚势头。韦斯特和詹姆森的作品也与那个时期其他具有政治思想的旅行相呼应，比如娜奥米·米奇森的《维也纳日记》（1934）和奥登和伊舍伍德的《战争之旅》（1939）。在方法论上，我的博士项目将采用一种历史主义的方法，将韦斯特和詹姆逊与这些其他作品进行对话，同时也采用更理论化的创伤研究和空间人文学科的方法，这些方法为将战争与旅行之间的关系概念化提供了最合适的关键框架。这将为这些有影响力的作者提供新的见解，但却受到了批判性的审视，并允许在最近的历史和当代辩论的背景下分析两次世界大战之间的一些关键问题——从丧失抵押品赎回权的未来到跨文化流动。换句话说，丽贝卡·韦斯特和斯托姆·詹姆森对旅行和战争的研究在哪些方面能够启发后来对跨文化相遇和历史危机的理解？

This research project interrogates the relationship between war and travel in the writings of Rebecca West and Storm Jameson, feminist and socialist pioneers who spent the late 1930s travelling throughout Eastern Europe, from Yugoslavia to Czechoslovakia. Both women transformed their experiences abroad into works like Jameson's novel Europe to Let (1940) and West's travelogue Black Lamb and Grey Falcon (1941), politicised travel narratives which functioned as cautionary tales for British audiences at home. By combining recent studies on wartime temporality with the topography of thirties travel, this research project asks in what ways these travelogues engage with the conflict to come, and for what political purposes. Apart from these works, my project will also consider a body of nonfictional writings whose preoccupation with political crisis sets the stage for West's and Jameson's subsequent travelogues, including West's psychobiography St Augustine (1933) and Jameson's later memoir Journey from the North (1969). In Abroad (1979), Paul Fussell defined travel writing as the interwar genre par excellence. Bernard Schweizer's Radicals on the Road (2001) subsequently expanded Fussell's predominantly masculine scope to include Rebecca West's visits to Yugoslavia. The relationship between women travellers and South-Eastern Europe has also received particular attention in John Allcock and Antonia Young's Black Lambs and Grey Falcons: Women Travelling in the Balkans (2000). Insofar as they grapple with past violence and imminent conflict, however, West's and Jameson's travel narratives can also be read as distinct forms of war writing. In this sense, they respond to the same type of analysis that Paul Saint-Amour carries out in Tense Future, which ascribes a preoccupation with incumbent conflict to modernist works that are not ostensibly about war. Similarly, Marina MacKay's Modernism, War, and Violence (2017) defines political violence as a structuring principle that resonates from the early avant-gardes to the literature of post-war Britain. Yet, despite their frequent overlapping, the relationship between travel and war in the interwar years remains a relatively unexplored area of inquiry. My project attends to the scarcity of scholarly engagement with this subject by focusing on Rebecca West's and Storm Jameson's writings. In doing so, my research will also contribute to the long-overdue scholarly treatment of West's and Jameson's prolific work that is beginning to gather momentum. West's and Jameson's writings also chime with other politically-minded journeys of the period, such as Naomi Mitchison's Vienna Diary (1934) and Auden and Isherwood's Journey to a War (1939). Methodologically, then, my doctoral project will adopt a historicist approach that places West and Jameson in conversation with these other works, whilst also deploying the more theoretically-informed approaches of trauma studies and spatial humanities, which provide the most appropriate critical framework for conceptualising the relationship between war and travel at the centre of this study. This will afford new insight into these influential yet critically under-examined authors, and allow analysis of some of the critical issues of the interwar-from foreclosed futurity to transcultural mobility-in the context of recent history and contemporary debates. In other words, in what ways can Rebecca West's and Storm Jameson's engagement with travel and war illuminate subsequent understandings of transcultural encounters and historical crisis?