- 21 Volume 10 • 2015 10 • Volume

- The Lord of the Volume 10 Medietid 2.0 Medietid English Harvest, 1939 and 1938, Academic Quarter. , 1940

Rupert Brooke: “The Old Vicarage, Grantchester”, 1912 “The Old Vicarage, Rupert Brooke: Jennings: The Farm, Humphrey in WINTER”, 1948 Cuneo: “BRITAIN Terence from “The Scouring of the Shire” J.R.R. Tolkien: Rings, 1939-1949 Side to Side, 1962 Crack’d from Agatha Christie: The Mirror Spring Offensive The samples are:

ern, rural and pastoral England with close-knit communities centred and pastoral England with close-knit communities centred ern, rural number of samples will be A analysed on to the iden- village green. tify the cultural meaning of the icon in the light of the theories of Angus Calder (cul- Augé (places), Svetlana Boym (nostalgia), Marc tural history) and Paul Kingsnorth (sociology). Based on analyses of these samples the article finally suggests a cultural, semiotic defini- tion of icons. • • • • • Deep England as an icon arose during the Second World War as a War during the Second World Deep England as an icon arose long unifying concept of everything English. This however, icon has, also is it but patriotic, only not is significance its and roots, historical south fictitious a in materialized is icon The modernity. to reaction a Abstract is associate professor at the Institute of Communication, Aal at the Institute is associate professor are Among his publications University. borg (ed., 2009), (2009) with Jane Kristensen, Marvellous Fantasy (ed., 2012) and arti- Frygtens manifestationer Monstrologi marketing, media, the analysis, cultural of fields the within cles Editor of museology and literature.

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Deep England Deep Volume 10 Jørgen Riber Christensen Jørgen 1968/1975 . 2009. Real England. The Battle against the Bland Real England. The Shell Guide Essex, #Deep England, #village, # nostalgia, #modernity, #icon #village, # nostalgia, #modernity, #Deep England, Norman Scarfe: Paul Kingsnorth: Small Mercies Midsomer Murder: new imagology” by Anthony W. Johnson, which he describes as “a Anthony W. new imagology” by truly interdisciplinary field” (Johnson 2005, 50). In conclusion, the and insecure an between process semiotic a how suggest will article non-stable social reality and its textual can representations create a cultural icon. Here the term occlusion will be used to characterize of icons. of the production this semiotic process tural meaning of renditions of English society of the nature of of society of the nature of English tural meaning of renditions article to seek to in WINTER”. It is the intention of the “BRITAIN and pastoral Eng a rural of explain why a semiotical construction had on the village green centred land with close-knit communities become and possibly remains as an icon of English identity? The article will combine cultural history and sociological theories with a sample of different types of texts in the one hundred years from 1912 to today to find a pattern in the development of the icon of empiri The 182). 1991, (Calder England Deep called been has what and as such, over several media and genres, cal material stretches “a of the article is consistent with the method called the approach building with a dangling painted pub sign on its front. In the fore a ground, hunter with his two spaniels and his bag of rabbitsthree is talking to the on squire horseback and in riding and dress boots. the locals and a In couple the on background, a cycling holiday en joy their pewter tankards of pipes beer, and cigarettes in the clear winter sunshine in front of the pub. The sense of community is by the stressed building in the poster being a public house, not a private one. All are in friendly conversation. At the bottom of the a in WINTER”. Is this really is the caption “BRITAIN poster there of 1948? The question is the entrance of Britain in the winter picture It will examine the cul question of this article. to a wider research • • • Keywords: poster Association Cuneo A from of1948 for by the Terence Travel depicts a scene in a village Board and Holidays the British Tourist street outside the pub the Flying Swan, an old slightly crooked quarter

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Deep England Deep Volume 10 Jørgen Riber Christensen Jørgen (1973/1975) Raymond Williams has (1973/1975) Raymond Williams Real England The Battle against the Bland The Country and the City More recently, Paul Kingsnorth has travelled all over England to Paul Kingsnorth has travelled recently, More There is nothing new in associating the English countryside withcountryside English the associating in new nothing is There bind a community together and to shape a national identity or Eng or identity national a shape to and together community a bind lishness. Seven chapters in ruralof loss the about statistics and stories case contains each (2008) pubs, canals, main street shops, non-industrial farming, local mar is result and villages. Kingsnorth concludes that the kets, orchards, character and “re drained of The local places are loss of identity. placed by things which would be familiar anywhere.” (Kingsnorth 2008/2009, 6), and he sees his book as being “about promoting and always belonged to the past. goes Williams back in a selection of Crabbe, Bewick, Eliot, (Hardy, centuries the through history literary Langland) to illustrate how the coun More, Goldsmith, Massinger, to societal changes. The life have always fallen victim try and rural result is that country life and culture have always been something that has passed away and is no more, and destination Williams’ is the of Garden Eden, as the first loss of the many to come (Williams 1973/1975, 18-22). document the disappearance and loss of the parts of English culture, necessary to economy and trade that are landscape, nature, society, about those hedges blows / An English unofficial rose”. Obviously, Obviously, rose”. unofficial English An / blows hedges those about the poet’s homesickness is connected to distance, but in the final “yet” and “still” and its often words of the stanza with repetitions hisinto enters time tea?”, for still honey there is “And line quoted is a sense of fore there far away, concern. Grantchester is not only and vanish will it that and permanence no has place the that boding be lost, and the poet’s wish for time to stand still may not be ful to three?” clock at ten filled “Stands the Church loss. In documented how rural life has always been disappearing and has Deep England: An Icon of a Perpetually Vanishing World Vanishing An Icon of a Perpetually Deep England: depictions through which seems to run sense of loss and longing, A of Deep England, can already be found in Rupert Brooke’s poem (Brooke Grantchester” 1912 “The Old Vicarage, written in May “there”. and “here” around poem is structured 1918/2010, 91). The old vicarage and he is longing for the (“here”), The poet is in Berlin in even nature Whereas (“there”). Cambridgeshire in Grantchester, Germany is characterized by discipline and order “Here tulips “Unkempt free: pastorally is nature English told”, are they as bloom quarter

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Deep England Deep Spring Offensive Spring The Farm The Heart of Eng An Unrecorded Vic An Unrecorded Volume 10 Jørgen Riber Christensen Jørgen (aka The Myth of the Blitz Spring Offensive is expanded with sequences about the importance (1939) and from 1935, Ivor Brown decries the new suburbs for their uni – 1940) the subject is purely rural. These films share some of the of some share films These rural. purely is subject the 1940) – In the three short films by Humphrey Jennings Rural life, the country or the countryside have found their con or the countryside have found Rural life, the country spring day and of the wheat harvest at Sawston in Cambridgeshire. Cambridgeshire. in Sawston at harvest wheat the of and day spring Spring Offensive English Harvest tory a Clopton through in farm Anglia an East life in of footage same ing sequences are a combination of an agricultural labourer work ing with a scythe to open the way for the new technology of the state by changed being is life farming words, other In binder. reaper Agricultural of the War and control or governmental interference Committees and by gyro industrial tillers technology, and tractors to plough up and drain grassland for wartime food production. this change is em (Christensen 2013, 115-135) of Jennings Typical shown are committees agricultural the because continuity in bedded of food production in the war economy and about the new War Agricultural Committees and an evacuee Theboy from Holloway. Constable-like shots of farm life with pastoral harmony between animals, people, the land, the seasons and the slow tempo of coun try life culminate in a picnic scene, in which the womenfolk carry pitchers with home-brewed beer and refreshments to the harvest tradi and static this disturb however, agents, Two lunch-break. ers’ tional farm life of Deep England. The voice-over in asks, “What will war mean to the countrymen?”, and the harvest turally, Deep England is demarcated to this area: “There was a was a “There to this area: England is demarcated Deep turally, Green and Pleasant heartland, ‘Deep England’, which stretched Kipling’s from Lincolnshire, to Tennyson’s Wessex Hardy’s from Sussex to Elgar’sIt included those Worcestershire… areas of the sub by invaded been not had that London around Counties Home urban development. Parts of Kent, for ‘deeper’instance, were than (Calder 1991, 182). anywhere.” defending cultural distinctiveness” (9). Already in Already distinctiveness” (9). defending cultural land is street “What strikes one as so oppressive formity and anonymity: in all but name” (68). of exact similarity after street concept of Deep England, in the expression centrated and iconic which was coined by Angus Calder in history of the image pre Angus Calder examines the intellectual Geographically and cul sented of Britain in wartime propaganda. quarter

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Deep England Deep Volume 10 Jørgen Riber Christensen Jørgen may be read as an elegy for this . The present and the past tense are and the past tense are . The present The Lord of the Rings The Lord of the Rings England, and of the Shire” the chapter “The Scouring world. Most prominently, an agent of Saruman, through of the Shire illustrates the destruction 1939-1949/1974, vol. 3, 249). modernity and industrialism (Tolkien The critique of modernity and the lament of the loss of a world of chivalry based on and farm-production neat ar orchards, gardens, tisans is a regressive critique. No solutions are offered apart from Isles together with the elves. escape to the Western The social consensus that was sought after in the war years and that The social consensus praised by Jennings was found here. Middle or Deep England? The Scouring of the Shire: The temporal insecurity in Rupert Brooke’s “The Old Vicarage, in Grantchester” with its questions of “yet” and “still” is repeated the “Prologue Concerning Hobbits, and other matters” in J.R.R. Tolkien’s Shire the of world this that is effect the that so indiscriminately used in itself 1939-1949/1974, vol. 1, 13). The Shire is out of time (Tolkien is as close as one may get to Deep England, but this is a lost Deep culture in the war effort was of importance. The Second World War World Second The importance. of was effort war the in culture to the countryside as an eco empowerment had caused a renewed nomically crucial part of the war effort with its need to feed the value of the English countryside and population. The propaganda as agriculture described by Jennings in his films had this economic factor as one of its causes together with the cultural causes. The continuity with its organic cultural cause was that the countryside could become a patriotic icon that could unity the whole of Britain in Calder the mentions, war. “Jennings’s troubled obsession with finding some interior essence of Britain” (Calder 1991, 181), and he found in the icon Deep England. was that this essence concludes to consist of the local farmers themselves, and the reaper binder canbinder reaper the and themselves, farmers local the of consist to not operate unless the edges of the field have been shorn by the traditional scythe. These three wartime propaganda films pro Minis the of Division Film the and Unit Film ducedCrown The for try of Information are part of Humphrey Jennings’ attempt to “to find thereal character of England” (Aldgate and Richards 2007, 226). In this effort,rural life with its blend of modernity and conti War the context of Second World nuity plays a central part, and in propaganda film production, therole of the countryside and agri quarter

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Deep England Deep Volume 10 Jørgen Riber Christensen Jørgen The Lord of the Rings A discussion A of nostalgia may clarify the distinction between The epic strife between orcs and hobbits in Middle Earth does not does Earth Middle in hobbits and orcs between strife epic The structive in the sense that it in its negotiation with the past makesstructive anduse notof justit seeksto todefine the in present a critical way, indoes. Seen nostalgia as restorative in the present past the recreate as loss pure is present the of conception England’s Middle light, this in the elegiac aspects of expressed Deep England becomes a tool of dealing with the present. Most uses the icon of British propaganda War clearly seen, Second World Deep England as an antithesis to fascism. Deep and Middle England. Nostalgia can be defined as longing motivated by loss of the original object of desire and by its spatial and temporal displacement, as already seen in Rupert Brooke’s poem. Svetlana Boym (Boym 2001, XVIII) has distinguished be toapplied be can distinction this and nostalgia, of kinds two tween Deep and Middle England. Restorative nostalgia concentrates on the imagined past and seeks to rebuild it. This kind of nostalgia is and it is anti- characteristic of nationalist movements and revivals, modern. Reflective nostalgia concentrates on the longingabout for process the ongoing an is it such as and it, of loss the and past lost the presents relationship to the past. Reflective nostalgia is con Deep England and Middle England are related ideological concepts, ideological related England are and Middle England Deep but there are decisive differences. Deep England is consensus seek defensive. Deep Eng is aggressively Middle England ing, whereas Middle England is a whereas land is an alternative to modernity, an of ideal the is England Deep of habitat The modernity. to reaction unchanged rural village with gardens, whereas the habitat of Mid dle England is the suburb with gardens centres. Middle England is Deep political concept, whereas an as exclusive as it is a defensive, power function has inherent England with its inclusive and unifying to be iconic of a whole nation’s self-image. belong to peaceful Deep England. It has been suggested that the Deep. and deeply conservative than Middle England is more Shire of Middle England” Charlie Lee-Potter roots real In the article “The (2004, 25) asks: obsessed “Scared of with modernity, tidy houses, they call the lower orders orcs (or is it oiks?). What do the Hobbits England is a politico-socio you of?” The concept of Middle remind majority of middle-class andlogical one and it connotes a postulated views (Moran 2005). class people with right-wing lower-middle quarter

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Deep England Deep Rutland Shell Guide Essex, , 1973: “To perpetu , 1973: “To Volume 10 , 1963, written by W.G. W.G. by written 1963, , Jørgen Riber Christensen Jørgen Rutland its writer Norman Scarfe is cautiously Essex The Shell Guides contain a paradoxical mixture of the modernity mixture The Shell Guides contain a paradoxical the old in the new. He quotes from the policy statement of the policy statement He quotes from the old in the new. Areas Residential for Guide Design Council’s County ate the unique building character of the County and to re-establish local identity…” (Scarfe 1968/1975, 7), and he praises a number of restoration projects, before he concludes that the tide seems to be turning. Nevertheless, after two pages about modern Essex in the essay of the book is about historical sub seventies, the introductory jects, and it includes a stanza by John Betjeman: the ancient village cannot be completely harmonious. A closer in A the ancient village cannot be completely harmonious. a turn that this guide was spection however, of this guide reveals, The attitude of the series to modernity. point in the general ing series, the in before published guide Hoskins modern had a conservationist standpoint, and it regarded are England. There development as detrimental to authentic, rural echoes of “The Tolkien’s Scouring of the Shire” in worst blot on the landscape is not indeed buildings at all, but the hideous poles and wires of the electricity board.” (Hoskins 1963, 8) In the 1975-edition of optimistic as he describes how public planning has sought to retain secluded, village, which could not be reached by train. A guide typ guide A train. by reached be not could which village, secluded, and some essays dealing withically contained a map, a gazetteer illustrated was guide Each county. its to pertaining subjects specific photographs. number of black and white with a large toplaces unspoilt ideal of the hand other the on and the motorcar of cover photo of the The drive to or drive through. the in the historic village Stepping from 1968/1975, shows the street the open entering the village from point of view of a driver as he is walking in the is a solitary pedestrian precariously and there road, of the modern car and The meeting middle of the village street. Shell Guides: Anthropological Places and Non-places Anthropological Places Shell Guides: 1934 from published were county a covering each Guides Shell The no and Company, Oil Shell the by financed was series The 1984. to target The Piper. John and Betjeman John were editors general table group was the new middle-class suburban motorists, a fast grow licencedmillions two were there 1933 By customers. of number ing 58). The (Heathcote 2011, million cars in Britain and in 1938 three a mode of travelling that was motoring on the guides advocated possibly and unspoilt rural, and arriving at an authentic open road quarter

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Deep England Deep Volume 10 Jørgen Riber Christensen Jørgen . The places that are iconic, and iconic, that are . The places Essex presents an England of the past. 101 photos an England of the past. 101 presents Non-Places An Introduction to Supermodernity Non-Places An Introduction Essex , are what Augé calls anthropological places. These places. These calls anthropological Augé what , are Essex The deepest Essex few explore The deepest Essex thatch is sunk in flowers steepest Where sycamore And out of elm and towers. (8) Rise flinty fifteenth-century The eternal and iconic Englishness that the Shell Guides docu The eternal and iconic Englishness whichhavewe as also Guides, Shell the of content main the provide seen in mem social history, local especially embody architecture and places Augé gives as examples provincial ory and communal identity. townhalls. (Augétown and churches war memorials, with centres majority of the places presented 1992/2008, 42-43, 53-54). The large and in this sense of the word, anthropological in the Shell Guides are con The England. Deep of quality iconic the embody they places, as They certainly did not have the iconic cultural significance of the authentic places written about with enthusiasm in the guides. This Augé. by Marc kind of places has been called non-places ment is severely disturbed by the non-places, which Augé Marc writes about in his their without social and historical memory and These non-places are service stations, motorways, lay function is transit. Examples are andparks caravan parks, leisure centres, shopping out-of-town bys, airports (Augé 1992/2008, xxii, 28, 64). It is the kind of places be rated by Norman Scarfe in lustrations show people, and almost ironically, considering it is a ironically, almost people, and lustrations show have cars in them. On p. 133 of photos Shell Guide, only three world of transit. It has the caption is a photo of the modern there EAST MERSEA, and most of the space of the photo is taken up by closely parked caravans. Only in the far background, the silhouette of historic buildings can be glimpsed. This photo illustrates the par the of the guides to introduce adox of the Shell Guides. The desire new car-owning, suburban, often educated middle classes to the Deep England and Englishness,heritage and landscape of authentic and the guides’ invitation to their readers to go there, helped create without any social-semiotic meaning. a new kind of places that were A survey A of the subjects of the 122 illustrations in all in the guide indicates that also have historical subjects, primarily architecture, 15 photos show the of the il Ten primarily nature. timeless, modern world, and six are quarter

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Deep England Deep Small Mercies Volume 10 Midsomer Murders, Jørgen Riber Christensen Jørgen The Mirror Crack’d from . The television series are being lost at an alarming rate. One ex Midsomer Murders is set Apart in a Midsomer. fictional English county, Real England : “One had to face the fact: St Mary Mead was : “One had to face the fact: St Mary The iconic Deep England village of St. Mary Mead has been re This is never more obvious than in the episode vil model actual an to down scaled been has village the where 2009 part as used was Beaconsfield in Village Model Bekonscot The lage. of the criminal plot. The body of a local young man is found dead in this model village, which is the chief tourist attraction of Little “the village” may some in the episode, In conversations Worthy. to the village and it may sometimes refer to the real times refer model village, thus stressing the unreality of both. The episode’s born as pastiche in somer Murders the character setting shares a spectacular high crime rate, this from with always picturesque are England. The villages istics of Deep well-trimmed hedges, and stable of ingredients each episode are to the institutions of traditional English villages that according Kingston’s In show. flower and fete village the is ample village flower show is the for so backdrop murders, that the series’ of Deep England and its community is negated. reconstruction there. still is it but pastiche, merely is England Deep of icon the Here reality of the motor car and its landscape demolishing accessories of the motor car and its landscape reality social- of lack their by defined are which non-places, of form the in semiotic content, the icon became Even threatened. into a retreat a Deep of representation fictional A enough. always not was fiction Agatha Christie’s England St village Mary is Mead. Miss Marple’s village was also being changed by modernity in the shape of the to referred estate, appropriately state with a new housing welfare as “The Development” by the villagers in Side to Side 8-10) place it has been.” (Christie 1962/1984, cept of the Shell Guides themselves as motorists’ handbooks docu of a rural of Deep England with its manifestation ments that the icon a of attraction tourist a becoming to way its on is time outside world fictitious nature. Mary Mead to Midsomer: St. From Deep England as Pastiche English countryside in generalThe icon of Deep England and the was celebrated in the Shell Guides, but as the icon met with the quarter

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Deep England Deep Volume 10 Jørgen Riber Christensen Jørgen is filmed in real locations, and as and locations, real in filmed is Midsomer Murders As in the case of Humphrey Jennings’ films from the late 1930s, and villages of Deep England have had semiotic content trans Eng of Deep signifiers The signifier. the to ferredsignified the from genres textual different by article this in exemplified been have land post Cuneo’s films, documentary Jennings’ poem, Brooke’s as such fantasy Scarfe’s novel, tourist Christie’s Tolkien’s crime story, er, TV-series. Midsomer the and tract, sociological Kingsnorth’s guide, theto refer and share they but years, 100 a span cases textual These never was that England Deep of concept the namely signified, same Deep England and the Semiotic Creation of an Icon Deep England and the Semiotic Dur semiotically. explained be may England Deep of iconicity The thehas England Deep that demonstrated been has it article, the ing vanished or a fast-vanishing world. characteristics of an already all is England Deep of significance the Yet real. not is England Deep for this fact. In 1939, H.J. Massingham pointed out that the stronger the “that meant, had town the and country the between rupture the country really is regarded by the enormous majority as a pictur of the (Massingham 1939, 6) This reduction esque playground.” the semiotic of reduction a also is country to an aesthetic concept power of it as a signified. As an icon, the nearly vanished country sode are a conglomerate of different locations from England,but vil Midsomer specific a form they that so together edited are these (Smith 2009). countryside lage and its surrounding where but locations, rural English, real in shot been has Midsomer char local authentic real, with documentary were films Jennings’ as tension the is It actors. well-known with fiction is Midsomer acters, between fictitious plots and thereal locations in which Midsomer, in a cultural icon. This that results a semiotic sign structure create in the conclusion of the article. will be described semiotic process variation of the village flower show is a silly boat race. When DCI Barnaby surveys this traditional communal celebration, he re Tom see, Jones, marks: you “You look think at you this. were You’d in some kind of rural paradise, but how wrong you’d be!” Midsomer is As an icon, Midsomer icon of Deep England. is pastiche of the both unreal and real, and this middle semiotic position appears from the production notes in the Extra Features on the episode’s DVD. The series the locations of each epi However, such, it is tied to English reality. quarter

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Mythologies Deep England Deep Volume 10 Jørgen Riber Christensen Jørgen Based on this mechanism it is suggested here that this may be a it is a formless, unstable, nebulous condensation, whose unity and disproportion The (119) function.” its to due all above are coherence of description Barthes’ in included is signifier and signified between myth. He writes that generally a signified can have several signifi ers, and “In myth… the concept can spread over a very large ex Inpanse theof samesignifier.” way as myths can have many signi fiers, myth is unstable and changeable: “they can come into being, (120) alter disintegrate, disappear completely.” is a metalanguage as it is employed to speak about the first-order process, and myth has “a double function: it points out and it noti fies, it makes us understand something and it imposes it on us.” (117) The initial distance mentioned above about cultural icons be tween the signified and the signifier where the sign contains more significance than the signified entailed can now be reformulated as the “significance” of Barthian myth. The “significance” of the myth sec a and first-order a systems, semiological two through created is the in signified (the concept” “the that out points Barthes ond-order. second-order process) is elusive: “One must firmly stress this open character of the concept; it is not at all an abstract, purified essence; tains a much larger amount of signification than what the signified initially warranted. The Saussurean ideas of signified signifier, and sign were elaborated by Roland Barthes in his semiological system. In (1957/1972), who added a second-order the myth was made up solelythis, an overall new term or function, semiotically of a sign (the original combination of signifier and sig nified in the first-order semiological system) that became the new Thissignifier. new signifier then combined with a new signified to This new sign Barthes 115). a new sign. (Barthes 1957/1972, create called “signification” Barthes (117). gave the name “the concept” to process second-order The process. second-order this in signified the a real and stable place, but always vanishing. All the different tex this in some we have seen of which of Deep England, tual forms is far out of meaning of English identity that potent with article, are existence of Deep England. with the actual proportion is a sign a cultural icon icons. Semiotically, general trait of cultural where the signifier has achieved mythical proportions, and this achievement is based on the lack of balance between signifier and Asignified. sign can become a cultural icon when it as a sign con quarter

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Deep England Deep (2006) also stresses (2006) also stresses Volume 10 Jørgen Riber Christensen Jørgen US Icons and Iconicity Kenyan G. Tomaselli and David Scott (2009) also approach their David Scott (2009) also approach and Kenyan G. Tomaselli The lack of balance between signifier and signified as suggested and hegemonic mechanism of cultural icons to create consensus consensus create to icons of cultural hegemonic mechanism and through social and historical processes of changing signification has been demonstrated in this article. A relatively large sample of different versions of the icon of Deep England allreflect changing signi the to refer all they conditions, yet social and history culture, fied of the first-orderprocess, Deep England. By doing so they “anchor the sliding of signification”, and they “freeze the social Deep of that the icon so forms”, into hegemonic indetermination the second-order mythical process) of Deep England has had in this mythical process) the second-order period. Each “concept” coming and going, but the initial signified remaining.in quite It the possible is process first-order therefore to a regard cultural icon in the light of Barthes’ system of cultural se miotics to understand its changeable nature In better. this connec Hölbling’s W. tion, Walter how signification is an element of cultural icons: “icons constitute freeze to signification, of sliding the anchor and focus to attempt an the social indetermination into hegemonic forms, and to foster so cial cohesion by placing consensus over conflict. They are in short, a central element in the manufacturing of consent.” (9) This social precise precise about this lacking balance, and we can term it “occlusion”. There is a semiotic passage between the original signified (e.g. the idea of Deep England), and its iconic signifier (e.g. the samples in is thoroughfare the and meandering, is passage this but article), this partially and obstructed Scott by As put occlusion. Tomaselli it “In invisible with filled be can object and icon between gap the way this successive glazes or laminateslayers of semiotic function that, like “succes These (19) object.” the occlude and highlight both glass, of ways different in England Deep of icon the coated have glazes” sive the article, and we have years of samples in one hundred through seen how many different signifiers the “concept” (the signified in definition of icons through semiotics. Initially they point out the to mod of icons, and then they proceed nature iconic (i.e. mimetic) to deceitful be can “Icons icons: of function representational this ify (18) their object.” occlude as much as represent the extent that they elab been now has icons cultural of characteristic a as article this in orated with Barthes’ semiotic process of creating a myth, and with more be now can we definition Scott’s and Tomaselli of addition the quarter

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The European The European Deep England Deep (1939), . Wien: LIT Verlag LIT Verlag . Wien: Volume 10 Jørgen Riber Christensen Jørgen New York: Basic Books. York: New . Cambridge: The Olean Britain Can Take It Britain Can Take . London: Pimlico. . London: Jonathan Cape. . London: Faber and Faber. English Harvest English . London: B.T. Batsford Ltd. Batsford . London: B.T. Real England The Battle against the Real England The Battle against the (1938), The Mirror Crack’d from Side to Side Mythologies Collected Poems US Icons and Iconicity Non-Places An Introduction to Supermoder Non-Places An Introduction The Shell County Guides 1934-1984 The Future of Nostalgia. of Nostalgia. The Future The Farm The The Myth of the Blitz , 14.1. Shell Guide Rutland The Heart of England (1940). London: The Crown Film Unit. (1940). London: The Crown . London: Portobello Books. . London: Verso. Terminus: The End in Literature, Media and Culture The End in Literature, Terminus: Offensive English Messenger Bland Russell Graham and Robert W. Rix. Aalborg: Aalborg University Aalborg Aalborg: Rix. W. Robert and Graham Russell Press. London: Fontana. cm by 54.6 cm, poster for Association the of Travel UK of Great Britain and N Ireland. Libri Publishing. don, Oxfordshire: GmbH nity der Press. Timothy for Diary a and Village Silent The Jennings’s Humphrey in don: I.B. Tauris. Hoskins, W.G. 1963. Hoskins, W.G. Humphrey. Jennings, a New Imagology. 2005. Notes Towards A.W. Johnson, Kingsnorth, Paul. 2008/2009. Christie, Agatha. 1962/1984. lithograph, 63.5 1948. “Britain in winter”, coloured Cuneo, Terence. Heathcote, David. 2011. 2006. Hölbling, W. Walter Augé, Marc. 1992/2008. Augé, Marc. Barthes, Roland. 1957/1972. Boym, Svetlana. 2001. Rupert. 1918/2010. Brooke, 1935. Ivor. Brown, Angus. 1991. Calder, Christensen, 2013. Jørgen Riber. ‘It was a time for saying goodbye’: England contains consensus. The article has demonstrated how dif consensus. The article has demonstrated England contains have years during a period of one hundred kinds of texts ferent icon of English Deep England as an used an almost non-existing national identity. ness and English References 2007. Richards. and Jeffrey Aldgate, Tony quarter

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kvarter akademisk , - - 34 New . Har . DVD.

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