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

这个研究项目询问丽贝卡·韦斯特和风暴詹姆森的著作中战争和旅行之间的关系，他们是女权主义者和社会主义先驱，他们在20世纪30年代末穿越东欧，从南斯拉夫到捷克斯洛伐克。两位女性都将自己的海外经历转化为作品，如詹姆森的小说《让欧洲》（1940）和韦斯特的游记《黑羔羊和灰鹰》（1941），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三十年代旅行的地形，这个研究项目询问这些旅行记录以何种方式与即将到来的冲突进行接触，以及出于何种政治目的。除了这些作品，我的项目还将考虑一个非虚构的作品，其对政治危机的关注为韦斯特和詹姆森随后的游记奠定了基础，包括韦斯特的心理传记圣奥古斯丁（1933年）和詹姆森后来的回忆录北方之旅（1969年）。在《海外》（1979）中，保罗·福塞尔将旅行写作定义为两次世界大战之间的最佳体裁。伯纳德·施韦策（Bernard Schweizer）的《路上的激进分子》（Radicals on the Road）（2001）随后扩大了福塞尔以男性为主的范围，将丽贝卡·韦斯特（Rebecca West）对南斯拉夫的访问也包括在内。在John Allcock和Antonia Young的《黑羔羊和灰隼：在巴尔干旅行的妇女》（2000年）中，女旅行者与东南欧之间的关系也受到特别关注。然而，尽管他们努力应对过去的暴力和迫在眉睫的冲突，韦斯特和詹姆森的旅行叙事也可以被解读为战争写作的不同形式。从这个意义上说，他们回应了保罗·圣阿穆尔在《紧张的未来》中进行的同一类型的分析，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》（Modernism，War，and Violence，2017）将政治暴力定义为一种结构原则，从早期的先锋派到战后英国的文学都能产生共鸣。然而，尽管两者经常重叠，但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探索的研究领域。我的项目涉及到这个问题的学术参与的稀缺性，重点是丽贝卡韦斯特和风暴詹姆森的著作。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作品进行早该进行的学术处理，这一工作正在开始积聚势头。韦斯特和詹姆森的作品也与这一时期的其他政治思想之旅相吻合，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，然后，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，同时还部署了创伤研究和空间人文学的更有理论依据的方法，这为概念化战争和旅行之间的关系提供了最合适的关键框架。这将提供新的洞察力，这些有影响力的，但严重不足的作者，并允许分析的一些关键问题之间的战争-从取消抵押品赎回权的未来跨文化的流动性-在最近的历史和当代辩论的背景下。换句话说，丽贝卡·韦斯特和斯托姆·詹姆森对旅行和战争的参与如何能够照亮后来对跨文化遭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?