Rethinking Relationality: E.M. Forster’s Commitment to Democracy
This paper explores Forster’s reticent ‘two cheers for democracy’, not as an inconsistent mischievous provocation, but as the sign of a lifelong engagement with the very concept of democracy. In Howards End, music offers a tentative commons, while democratic failure is relocated in real estate and l...
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| Τόπος έκδοσης: | URI:https://journals.openedition.org/ebc, |
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| Κύριος συγγραφέας: | |
| Μορφή: | Article ou chapitre numérique |
| Γλώσσα: | Anglais |
| Έκδοση: |
Études britanniques contemporaines
2019
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| Θέματα: | |
| Διαθέσιμο Online: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:ebc_7637 |
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openedition |
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openedition-oai:revues.org:ebc_7637 https://doi.org/10.4000/ebc.7637 urn:doi:10.4000/ebc.7637 en https://journals.openedition.org/ebc/7637 2019-11-26T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/fe9x https://creativecommons.org/licenses/by-nc-nd/4.0/ Rethinking Relationality: E.M. Forster’s Commitment to Democracy 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 Lanone, Catherine vulnérabilité écologie commun démocratie pastorale fascisme Forster (E. M.) Howards End spectacle historique années trente vulnerability democracy pastoral common ecological fascism Forstern (E.M.) Howards End pageant thirties This paper explores Forster’s reticent ‘two cheers for democracy’, not as an inconsistent mischievous provocation, but as the sign of a lifelong engagement with the very concept of democracy. In Howards End, music offers a tentative commons, while democratic failure is relocated in real estate and lack of insurance. In the 1930’s, Forster’s pageants campaign for environmental preservation, while his essays and broadcasts during the war posit culture as a weapon against fascism. While the National Gallery concerts offer a democratic locus of togetherness during the war, Forster is helplessly torn by post-war reconstruction and the New Town of Stevenage, materializing the contradictions of his ideal of democracy with painful clarity. Alors que dans ses émissions de la BBC, E. M. Forster avait pourfendu le fascisme, il n’accorda en 1951 qu’un double et non un triple hourrah à la démocratie. Cet article s’attache à définir cette réticence, non comme un détail mais comme le symptôme d’une réflexion de longue haleine interrogeant le concept-même de démocratie. Dès 1910 par exemple, Howards End explore le bien commun, en faisant du concert un lieu exposant le partage culturel potentiel, mais aussi les failles de la démocratie, la précarité, et le contrôle de l’immobilier permettant de coloniser ville et campagne. Dans les années 1930, Forster se tourna vers la mise en scène d’une communauté, appelant à préserver le non-humain et lire les paradigmes historiques. La guerre, si elle suscita la hantise de la contamination fasciste, sembla offrir simultanément un renouveau du commun, qu’il s’agisse de la radio ou des concerts rituels de la National Gallery. Mais lorsqu’après le Blitz une ville nouvelle vint s’implanter dans des lieux qui lui étaient chers, Forster se trouva déchiré entre ses deux conceptions de la démocratie. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
vulnérabilité écologie commun démocratie pastorale fascisme Forster (E. M.) Howards End spectacle historique années trente vulnerability democracy pastoral common ecological fascism Forstern (E.M.) Howards End pageant thirties |
| spellingShingle |
vulnérabilité écologie commun démocratie pastorale fascisme Forster (E. M.) Howards End spectacle historique années trente vulnerability democracy pastoral common ecological fascism Forstern (E.M.) Howards End pageant thirties Lanone, Catherine Rethinking Relationality: E.M. Forster’s Commitment to Democracy |
| description |
This paper explores Forster’s reticent ‘two cheers for democracy’, not as an inconsistent mischievous provocation, but as the sign of a lifelong engagement with the very concept of democracy. In Howards End, music offers a tentative commons, while democratic failure is relocated in real estate and lack of insurance. In the 1930’s, Forster’s pageants campaign for environmental preservation, while his essays and broadcasts during the war posit culture as a weapon against fascism. While the National Gallery concerts offer a democratic locus of togetherness during the war, Forster is helplessly torn by post-war reconstruction and the New Town of Stevenage, materializing the contradictions of his ideal of democracy with painful clarity. |
| author |
Lanone, Catherine |
| author_facet |
Lanone, Catherine |
| author_sort |
Lanone, Catherine |
| title |
Rethinking Relationality: E.M. Forster’s Commitment to Democracy |
| title_short |
Rethinking Relationality: E.M. Forster’s Commitment to Democracy |
| title_full |
Rethinking Relationality: E.M. Forster’s Commitment to Democracy |
| title_fullStr |
Rethinking Relationality: E.M. Forster’s Commitment to Democracy |
| title_full_unstemmed |
Rethinking Relationality: E.M. Forster’s Commitment to Democracy |
| title_sort |
rethinking relationality: e.m. forster’s commitment to democracy |
| publisher |
Études britanniques contemporaines |
| publishDate |
2019 |
| container_title |
URI:https://journals.openedition.org/ebc |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/ebc.7637 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/ebc/7637 |
| _version_ |
1877294168193105920 |