Scourfield, David
(2018)
Classical in/stabilities: Virginia Woolf,
Ford Madox Ford, and the Great War.
Classical Receptions Journal, 10 (4).
pp. 435-457.
ISSN 1759-5134
Abstract
Widely felt as a chasm in history, the First World War raised in an acute form profound
questions concerning the relationship of the post-War present to the past. In the
cultural renegotiation that ensued, the place not only of the classical past but of
Classics itself as an element of that culture came under scrutiny. If, in the words of
H.D., ‘the old order was dead’, and heroic models had failed, what value could still
attach to Classics? Confronting this question, modernist writers in Britain and
elsewhere proposed a variety of answers. In this article, I examine how Classics is
represented and exploited in works by two major modernist authors which look back
at and seek to articulate a response to the War: Virginia Woolf’s Jacob’s Room
(1922) and Ford Madox Ford’s Parade’s End (1924–8). In both cases, I argue,
Classics is at the same time associated with a world of outdated structures, values,
and beliefs, and employed as an instrument of the cultural critique which enables
that judgement. Thus renewed, and offering itself in these texts to constructive,
forward-looking appropriations, Classics demonstrates an adaptive stability that to
some in November 1918 might have seemed pure illusion.
| Item Type: |
Article
|
| Keywords: |
Classics; Virginia Woolf; Jacob’s Room (1922); Ford Madox Ford; Parade’s End (1924–8); First World War |
| Academic Unit: |
Faculty of Arts,Celtic Studies and Philosophy > Ancient Classics |
| Item ID: |
11143 |
| Identification Number: |
https://doi.org/10.1093/crj/cly011 |
| Depositing User: |
Professor David Scourfield
|
| Date Deposited: |
08 Oct 2019 14:21 |
| Journal or Publication Title: |
Classical Receptions Journal |
| Publisher: |
Oxford University Press (OUP) |
| Refereed: |
Yes |
| URI: |
|
| Use Licence: |
This item is available under a Creative Commons Attribution Non Commercial Share Alike Licence (CC BY-NC-SA). Details of this licence are available
here |
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