Time was Away: Masculinity, Sexuality and Travel in late British Neo-Romantic Art, Illustration and Design 1940- 55

大卫艾伦梅洛尔的《失乐园》（1987）和马尔科姆约克的《场所精神》（1988）都认为新浪漫主义艺术家在战争年代对“天堂般的英国”进行了民族主义和个人主义的探索，这种探索在战后逐渐消失。随着对英国艺术的研究变得更加成熟，并开始接受酷儿研究和后殖民方法，是时候重新评估了。近年来，亚历山德拉·哈里斯（Alexandra Harris）在整个现代主义（2010年）中追踪了浪漫主义的影响，西蒙·福克纳（Simon Faulkner）研究了约翰·明顿（John Minton）在牙买加的非殖民化场景（2006年），西蒙·马丁（Simon Martin）首次在明顿的作品中探索了性（2017年）。参与这场运动的许多艺术家都是同性恋者，但性并不是学术界关注的焦点;本项目将对此进行调查。与此同时，直到现在，学者们还没有专门关注第二代新浪漫主义艺术家，他们在封闭的博物馆和画廊的世界中开始了他们的职业生涯，并转向了包括文学出版在内的其他生产方式，例如约翰莱曼的出版社，企鹅新写作和地平线杂志。我将首次探讨这些跨学科的网络是如何成为酷儿群体表达的富有成效的空间的。1945年后，这些酷儿艺术家在海外寻找逃避的空间时，发现自己被民族和殖民力量所纠缠。贾斯比尔·普阿尔（Jasbir Puar）关于同性恋民族主义的著作表明，近几十年来，酷儿运动和酷儿身份是如何与西方民族主义和新殖民主义串通一气的，而希拉姆·佩雷斯（Hiram Perez）的著作则通过追溯同性恋民族主义的根源，将其历史化到世纪。然而，没有学者考虑过这两个时刻之间发生的转变：没有人问过，在战后的时刻，酷儿是如何与英国民族及其帝国主义焦虑纠缠在一起的，也是如何在英国民族及其帝国主义焦虑之外的，例如，在1951年的英国节上，有些人认为这是新浪漫主义的最后一次展示。这个项目将在英国的性和民族认同的历史上的一个过渡时刻回家。我将应用这些理论框架，既落在传统艺术媒体的内部和外部的主要来源，包括书籍插图，戏剧设计和文学。我的研究将建议战后艺术如何以强有力的新方式进行情境化和展示，更准确地反映在研究不足的时期全球政治变化中的合作模式和共同的创造性努力。

David Alan Mellor's 'A Paradise Lost' (1987) and Malcolm Yorke's 'The Spirit of Place' (1988) characterise Neo-Romantic artists as being on a nationalistic and individualistic quest for a 'paradisiac Britain' in the wartime years, which gradually petered out post-war.As the study of British Art has become more established and has begun to embrace queer studies and postcolonial methodologies, it is time for a reassessment. In recent years Alexandra Harris has traced the influence of Romanticism throughout Modernism (2010), Simon Faulkner has investigated John Minton's scenes of Jamaica in terms of decolonisation (2006), and Simon Martin has explored sexuality in Minton's work for the first time (2017). Many of the artists involved in the movement were queer, but sexuality has not been a focus for scholarship; this project will interrogate this. At the same time, until now, scholars have not specifically focused on second generation Neo-Romantic artists, who began their careers in a world of closed museums and galleries and turned to alternative means of production including literary publishing, for example John Lehmann's publishing house, Penguin New Writing and Horizon magazine. I will explore for the first time how these interdisciplinary networks were productive spaces for the expression of queer communities.In looking abroad for a space of escape after 1945, these queer artists found themselves entangled in national and colonial forces. Jasbir Puar's work on homonationalism has shown how the queer movement and queer identities have been complicit with western nationalisms and neo-colonialism in recent decades, and Hiram Perez's work has begun to historicise homonationalism by tracing its roots back to the nineteenth century. However, no scholarship has considered the shifts that occur between these two moments: no-one has asked how queerness was both entangled with, and outside of, the British nation and its imperial anxieties in the post-war moment, which were present, for example, at the 1951 Festival of Britain, seen by some as the last showcase for Neo-Romanticism. This project will home in on a transitional moment in the history of sexuality and national identity in Britain.I will apply these theoretical frameworks to primary sources which fall both inside and outside of traditional art media, embracing book illustration, theatre design, and literature. My research will suggest how post-war art might be contextualised and exhibited in powerful new ways, more accurately reflecting patterns of collaboration and shared creative endeavour amid shifting global politics in an under-researched period.