Anglikānis Itālijā - Katolis Anglijā: Reliģiskās Identitātes, Citādais Un Kultūru Hierarhijas Edvarda Forstera Un Ivlina Vo Daiļradē: Anglican in Italy - Catholics in England: Religious Identities, the Other and Cultural Hierachies in the Works of E. M. Forster and Evelyn Waugh.
The article "Anglican in Italy - Catholics in England: Religious Identities, the Other and Cultural Hierachies in the Works of E. M. Forster and Evelyn Waugh" deals with the analysis of various literary works by two British authors - E. M. Forster and Evelyn Waugh. The article is an attemp...
| Published in: | Cel̜š |
|---|---|
| Main Author: | |
| Format: | Electronic Article |
| Language: | Latvian |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
LU Akadēmiskais apgāds
2013
|
| In: |
Cel̜š
|
| Further subjects: | B
FORSTER, E. M. (Edward Morgan), 1879-1970
B REMOTENESS (Personality trait) B Imperialism B Religious Identity B Catholic Church B WAUGH, Evelyn, 1903-1966 |
| Online Access: |
Volltext (kostenfrei) |
| Summary: | The article "Anglican in Italy - Catholics in England: Religious Identities, the Other and Cultural Hierachies in the Works of E. M. Forster and Evelyn Waugh" deals with the analysis of various literary works by two British authors - E. M. Forster and Evelyn Waugh. The article is an attempt to reflect on the phenomenon of the religious Other in the works by E. M. Forster and Evelyn Waugh. The religious Other takes the shape of the Roman Catholic both within the empire (in Great Britain) and outside the imperial space, in the South of Europe, in Italy (small towns in Toscana region). The author of the article attempted to clarify whether the overseas imperial discourse of the cultural dominance of the British over the colonized regions and population had been extended to the Other White, the inhabitants of Southern Europe which in many ways differed from the industrial regions of the North, including the first industrial nation, the British Empire. The South as rural, less developed, less cultivated, both emotionally and physically cruel - all these characteristics, usually applicable to the "to be-cultivated" population, had been used during travels and encounters with the Italians. According to the theses by Chakrabarty, the Other in the colonization discourse is usually created using the tools of modernity as superior to the native or colonized culture. The superiority of the colonizer is the superiority shaped by technological progress which represents development and illustrates the intellectual. Did British tourists and other visitors extend these forms of national superiority to other Europeans, using the ideas of colonialism? The answers were searched for in the novel "Where Angels Fear to Tread" (1905) by Forster, Waugh's most popular novel "Brideshead Revisited" (1945) and his earlier travel essay "Labels" (1930). The novel by Forster "Where Angels Fear to Tread" depicts British citizens and their communities abroad, in various European regions. Italy as a space of European Medieval and Renaissance arts, became the space which transformed some of the characters. The idea of the British identity was closely linked to the combination of religious and economic identities of the British nation. Anglicanism, defined as a socio-cultural frame for the identity of an industrial nation, turns into the proof of the fall of the imperial discourse. The state church of Great Britain depicted in satirical manner, is the source of British aloofness, cultural incompetence, peevishness, haughtiness and cultural arrogance represented by Harriett Herriton. Italy as an artistic space and cultural heritage is replaced by Italy inhabited by the uncultivated men and the sweating prima donna, who are rural, not clean and trespass the personal space of the British. At the same time the South gets its superiority back by opening emotions and even love in the British travelers, who discover that Italians dominate over their self-control by publicly revealing their emotions. British religious identity is confronted with everyday religion in the South which combines deep devotion and pagan sensuality unacceptable for Anglican tourists. Roman Catholics in Britain are treated as the Other in the novel by Waugh. Catholics continue to carry within their everyday life the sense of being sufferers and chosen to be the suspicious Other - this status shaped by the state religious politics continues to appear within the family in which Roman Catholicism is both social and deep individual identity. When Charles Ryder, a young artist with a traditional Anglican middle class background, enters the family of Catholic aristocrats, he is astonished to find religion in various everyday issues of the family and sees it as a caprice of aristocracy. Later he acknowledged the power of spiritual practices in the identity of his lover Julia and his friend Sabastian. There are still debates going on in the scientific analysis whether the novel ends with the conversion of the agnostic Charles into Catholicism. The author of this article does not support this version as to his mind there are no sufficient evidences in the texts that would support the fact of conversion. Rather it is the nostalgia of one's own youth gone which shapes the novel and Roman Catholicism is the background for the cultural encounters with the Other of the late imperial period. Both authors open up the frame of the religious identities and fill it with the content of everyday cultural dialogue, as well as stereotypes and chauvinistic theses expressed by the British abroad and within the empire. Catholicism is treated as a socio-cultural basis for the Other becoming the negative Other. Both novelists turn the cultural dominance of Anglicans upside down by confronting British culture with alternative ways of public communication, gender roles and religious practices. The Other gets its cultural victory over Anglicanism as the British middle class "comfortable" set of values, by "upgrading" exactly the negative characteristics previously used by the British to depict the South and to formulate British cultural dominance over the "pre-modern" Other. |
|---|---|
| Contains: | Enthalten in: Cel̜š
|