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Anglo-American Eyewitness Accounts from the Western Front

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Anglo-American Eyewitness Accounts from the Western Front War Reportage in the Liminal Zone: Anglo-American Eyewitness Accounts from the Western Front (1914 -1918) Sara Prieto García-Cañedo Departamento de Filología Inglesa War Reportage in the Liminal Zone: Anglo-American Eyewitness Accounts from the Western Front (1914-1918) Sara Prieto García-Cañedo Tesis doctoral Directora Mª Teresa Gómez Reus 2015 A Ramiro Muñoz, que nos dejó a todos tan huérfanos. A mis padres y a mi hermana. Este proyecto de tesis doctoral ha sido subvencionado por el Ministerio de Economía y Competitividad a través del programa de becas FPI 2009 (BES 2009-012060) y por el Centro de Estudios de la Mujer de la Universidad de Alicante a través de su programa de ayudas para la realización de tesis doctorales que contemplen la perspectiva de género (curso 2012-2013). Además forma parte del proyecto I+D FFI2008-01932 dirigido por la Dra. Mª Teresa Gómez Reus. RESUMEN La Primera Guerra Mundial es conocida como la guerra literaria por excelencia, debido al ingente número de cartas, diarios, poemas y relatos que inspiró. De toda la literatura que emergió de este conflicto, lo más conocido y estudiado han sido las voces de los ‘soldados- poetas’. Estos autores, entre los que se encuentran Wilfred Owen, Siegfried Sassoon o Richard Aldington, consolidaron un estilo desilusionado y cínico, fruto de una cruel y larga experiencia en las trincheras. El estilo de estos autores se ha identificado en trabajos como The Great War and Modern Memory (Fussell 1975) y A War Imagined: The First World War and English Culture (Hynes 1990) como la forma más genuina de narrar la guerra, arraigando así la creencia de que la brutalidad explícita en un texto equivale a autenticidad de experiencia y valor estético. Esta perspectiva tan restringida de la literatura de la Primera Guerra Mundial ha sido cuestionada con éxito en las dos últimas décadas por críticos como Sandra Gilbert o Jay Winter, quien nos recuerda que, además de los combatientes, hubo otros que también sufrieron los horrores del conflicto “cuyas voces también debemos escuchar” (Winter 2000: 11). Algunas críticas como Margaret Higonnet, Trudi Tate o Claire Tylee han iniciado una labor de recuperación de textos de civiles, escritos principalmente por mujeres, que se atrevieron a viajar a la zona bélica y a relatar sus impresiones con gran autoridad. El punto de mira de sus estudios ha sido el análisis de obras publicadas principalmente por enfermeras o por autoras de ficción que retrataron el conflicto después del armisticio; aunque en muchos casos han obviado los textos de testigos oculares que publicaron sus experiencias en el frente en plena contienda. Este olvido ha afectado también a los textos de civiles escritos por varones, pues la mayoría de los estudios en torno a estas obras se centran en el análisis de textos periodísticos como epítome de la propaganda durante la Primera Guerra Mundial. Sin embargo, entre 1914 y 1918 numerosos autores y periodistas viajaron al frente occidental y plasmaron su experiencia bélica en extensos relatos que trascienden el valor puramente propagandístico. Esta tesis doctoral trata, precisamente, con estos textos sobre la Gran Guerra que han sido ignorados por la crítica tradicional. La tesis analiza dieciséis obras de periodismo literario escritas por testigos oculares, británicos y norteamericanos. Se trata de autores que retrataron la guerra en el frente occidental entre el verano de 1914 y el armisticio de noviembre de 1918, y que publicaron sus reportajes durante el conflicto. Los textos estudiados son: First from the Front (Harold Ashton 1914), With the Allies (Richard i Harding Davis 1914), Fighting in Flanders (Alexander Powell 1914), The Soul of the War (Philip Gibbs 1915), Over There: War Scenes on the Western Front (Arnold Bennett 1915), France at War (Rudyard Kipling 1915), Kings, Queens and Pawns: An American Woman at the Front (Mary Roberts Rinehart 1915), A Journal of Impressions in Belgium (May Sinclair 1915), Fighting France: From Dunkerque to Belfort (Edith Wharton 1915), A Visit to Three Fronts: Glimpses of the British, Italian and French Lines (Arthur Conan Doyle 1916), With the British on the Somme (William Beach Thomas 1917), My Round of the War (Basil Clarke 1917), The Turning Point: The Battle of the Somme (Harry Perry Robinson 1917), The Glory of the Coming: What Mine Eyes Have Seen of Americans in Action in This Year of Grace and Allied Endeavor (Irvin S. Cobb 1918), “And They Thought We Wouldn’t Fight” (Floyd Gibbons 1918) y A Reporter at Armageddon: Letters from the Front and Behind the Lines of the Great War (Will Irwin 1918) Esta tesis, titulada “War Reportage in the Liminal Zone: Anglo-American Eyewitness Accounts from the Western Front (1914-1918), se propone lleva a cabo un análisis de gran alcance del periodismo literario escrito entre 1914 y 1918. Para ello, explora dieciséis obras que están situadas en una “zona liminal” desde una punto de vista físico, genérico, temporal y espacial. Se podría pensar que estos textos han sido ignorados en estudios previos sobre periodismo y literatura debido a la naturaleza “marginal” que el periodismo literario ha tenido en los estudios académicos; sin embargo, hay otras razones que deben ser tenidas en cuenta para considerar estos textos como “liminales”. En primer lugar, debido al momento y el lugar en que fueron publicadas las obras, no resulta fácil clasificarlas y categorizarlas de forma precisa. Estos textos fueron escritos durante un periodo de transición, a caballo entre dos corrientes literarias radicalmente diferentes: la tradición pre-bélica, romántica e idealista, y la cínica y desilusionada tradición modernista anglosajona, que desplazó por completo a la anterior después de la guerra. En segundo lugar, todos ellos surgen de un viaje físico y moral que se desarrolló en diversas etapas; un viaje que llevó a varios autores a alejarse de su entorno seguro y familiar y a adentrarse en el caótico frente occidental, que se había convertido en un mundo fantástico y horripilante. En este contexto, la percepción de la realidad de los autores se transformó mucho más de lo que ellos habían imaginado inicialmente. El viaje físico que les llevó a la zona bélica y las características de dicho viaje permiten agrupar los textos que resultaron de estas expediciones bajo un mismo marco teórico-antropológico. Este marco teórico se basa en las teorías sobre “liminalidad” tal y como las articuló originalmente Arnold van Gennep en Los Ritos de Paso (1909), que fueron ii más tarde desarrolladas por Victor Turner en el ensayo “Betwixt and Between: The Liminal Period in Rites de Passage” de su libro The Forest of Symbols: Aspects of Ndembu Ritual (1967) y en otros estudios que siguieron, como The Ritual Process: Structure and Anti-Structure (1969) o From Ritual to Theater: The Human Seriousness of Play (1982). Estas teorías sobre la “liminalidad” nos permiten clasificar y caracterizar los textos analizados en esta tesis de un modo que no se ha realizado nunca antes en ningún estudio acerca del periodismo durante la Primera Guerra Mundial. En su citado estudio Los Ritos de Paso, el antropólogo Arnold van Gennep propone que todos los actos de paso—individuales o colectivos—se pueden dividir en una estructura tripartita: ritos de separación, de transición y de asimilación (2004: 11). El antropólogo francés Victor Turner, partiendo de las teorías de van Gennep, explica que el primer estadio de este rito de paso implica un comportamiento simbólico que lleva al individuo o al grupo a separarse y alejarse de un aspecto concreto de la estructura social del grupo o de un conjunto de condiciones y normas culturales (1967: 94). En el contexto de la Primera Guerra Mundial esta “separación” vino marcada por el acto que llevó a las naciones implicadas a separarse del mundo de la paz para entrar en la guerra. El segundo estadio, la fase de transición o “liminal” (del Latín limen, “umbral”), se corresponde con el tiempo durante el que se prolongó el conflicto, es decir, desde el verano de 1914 hasta el otoño de 1918. En estos años, los distintos países implicados en la contienda se vieron forzados a vivir en una esfera que les resultaba extraña; además, tuvieron que superar la traumática prueba que implicaba sobrevivir en un mundo en guerra, y se vieron transformados por la terrible experiencia que supuso el conflicto para todos los países que se vieron envueltos en él. Cuando un individuo o una sociedad se adentra en este mundo extraño ve suspendida su identidad y, como resultado, experimenta una gran desorientación e incertidumbre que, a veces, resulta en una percepción del mundo nueva y transformada. Esta nueva perspectiva se consolida en la tercera fase, conocida en el campo de la liminalidad como “asimilación” o “agregación”. En esta fase, los sujetos—ya sea a nivel individual o colectivo—han consumado su rito y tienen que reincorporarse a la sociedad, habiendo experimentado algún tipo de cambio con respecto a la sociedad, el grupo, la clase social, la profesión o el género al que pertenecen (Turner 1967: 94). En el caso de la Primera Guerra Mundial, esta “asimilación” se produjo después de noviembre de 1918, cuando las diferentes comunidades involucradas en la contienda finalizaron su rito de paso y se reincorporaron a un nuevo mundo en el que tuvieron que convivir con la experiencia traumática de haber sobrevivido al conflicto. iii Durante un periodo bélico también se experimenta una fase de separación a nivel individual. Tal y como explica Eric Leed en No Man’s Land: Combat and Identity in the First World War (1979) hay dos modos de experimentar la fase de separación: el primero separa al conjunto de la sociedad de las condiciones familiares y conocidas de su vida social; el segundo es el que separa al “ciudadano-soldado” de su estado de civil para convertirlo en combatiente (2009: 16).
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