« You don’t want to bring all that up » : logique de l’excavation dans Loving de Henry Green (1945)
Henry Green’s novel, Loving, takes place in Ireland during the Second World War, in a country house whose owners and servants are English. Kinalty Castle, deserted by men but crowded by a multitude of objects, functions as London’s double as well as its counterpoint. Even though it is far away from...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/ebc, |
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| Fformat: | Article ou chapitre numérique |
| Iaith: | Français |
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Études britanniques contemporaines
2019
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| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:ebc_7120 |
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openedition |
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openedition-oai:revues.org:ebc_7120 https://doi.org/10.4000/ebc.7120 urn:doi:10.4000/ebc.7120 fr https://journals.openedition.org/ebc/7120 2019-06-17T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/fe98 https://creativecommons.org/licenses/by-nc-nd/4.0/ « You don’t want to bring all that up » : logique de l’excavation dans Loving de Henry Green (1945) Études britanniques contemporaines Presses universitaires de la Méditerranée info:eu-repo/semantics/reference/issn/2271-5444 info:eu-repo/semantics/reference/issn/1168-4917 URI:https://journals.openedition.org/ebc Blayac, Ariane Henry Green’s novel, Loving, takes place in Ireland during the Second World War, in a country house whose owners and servants are English. Kinalty Castle, deserted by men but crowded by a multitude of objects, functions as London’s double as well as its counterpoint. Even though it is far away from the blitz, its inmates reintroduce in the mansion the very dangers they were protected from. Henry Green uses this setting to deal with notions of responsibility and guilt, commitment and withdrawal. Indeed, the characters bury their feelings of guilt in Kinalty Castle but everything that has been hidden and kept secret surfaces, is unburied or excavated : from stolen objects to unsaid words, and even carcasses of dead animals. The circulation of objects and corpses questions the partition between neutral country and country at war as it contaminates the mansion, but also the people living in it, their language as well as the narrator’s. L’intrigue de Loving se déroule dans un château irlandais dont les propriétaires et les serviteurs sont cependant anglais. L’intérieur du château, labyrinthe saturé d’objets, fonctionne à la fois comme espace scénique et envers du décor de la guerre, l’Irlande s’opposant à l’Angleterre et plus précisément à Londres. Green articule autour de ce décor paradoxal une réflexion sur la guerre, la responsabilité et le sentiment de culpabilité. Le décor irlandais / envers du décor de la guerre met en place non pas un mouvement de révélation ou de dévoilement qui irait du décor à l’envers du décor, mais une logique de l’excavation: tout ce qui a été enfoui remonte à la surface, des objets cachés aux vérités refoulées, en passant par des corps morts enterrés. La circulation d’objets et de corps remet en cause le cloisonnement entre pays neutre et pays en guerre, contaminant l’espace du château mais également la langue créée pour l’occasion. |
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OpenEdition Journal |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| description |
Henry Green’s novel, Loving, takes place in Ireland during the Second World War, in a country house whose owners and servants are English. Kinalty Castle, deserted by men but crowded by a multitude of objects, functions as London’s double as well as its counterpoint. Even though it is far away from the blitz, its inmates reintroduce in the mansion the very dangers they were protected from. Henry Green uses this setting to deal with notions of responsibility and guilt, commitment and withdrawal. Indeed, the characters bury their feelings of guilt in Kinalty Castle but everything that has been hidden and kept secret surfaces, is unburied or excavated : from stolen objects to unsaid words, and even carcasses of dead animals. The circulation of objects and corpses questions the partition between neutral country and country at war as it contaminates the mansion, but also the people living in it, their language as well as the narrator’s. |
| author |
Blayac, Ariane |
| spellingShingle |
Blayac, Ariane « You don’t want to bring all that up » : logique de l’excavation dans Loving de Henry Green (1945) |
| author_facet |
Blayac, Ariane |
| author_sort |
Blayac, Ariane |
| title |
« You don’t want to bring all that up » : logique de l’excavation dans Loving de Henry Green (1945) |
| title_short |
« You don’t want to bring all that up » : logique de l’excavation dans Loving de Henry Green (1945) |
| title_full |
« You don’t want to bring all that up » : logique de l’excavation dans Loving de Henry Green (1945) |
| title_fullStr |
« You don’t want to bring all that up » : logique de l’excavation dans Loving de Henry Green (1945) |
| title_full_unstemmed |
« You don’t want to bring all that up » : logique de l’excavation dans Loving de Henry Green (1945) |
| title_sort |
« you don’t want to bring all that up » : logique de l’excavation dans loving de henry green (1945) |
| publisher |
Études britanniques contemporaines |
| publishDate |
2019 |
| container_title |
URI:https://journals.openedition.org/ebc |
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https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/ebc.7120 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/ebc/7120 |
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