Malvinas Myths, Falklands Fictions: Cultural Responses to War from Both Sides of the Atlantic Laura Linford Williams
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Malvinas Myths, Falklands Fictions: Cultural Responses to War from Both Sides of the Atlantic Laura Linford Williams Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES MALVINAS MYTHS, FALKLANDS FICTIONS: CULTURAL RESPONSES TO WAR FROM BOTH SIDES OF THE ATLANTIC By LAURA LINFORD WILLIAMS A Dissertation submitted to the Interdisciplinary Program in the Humanities in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2005 Copyright © 2005 Laura Linford Williams All Rights Reserved The members of the Committee approve the dissertation of Laura Linford Williams defended on March 25, 2005. Jean Graham-Jones Professor Directing Dissertation Dale A. Olsen Outside Committee Member William J. Cloonan Humanities Representative Juan C. Galeano Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS LIST OF FIGURES iv ABSTRACT v INTRODUCTION 1 1. THE MAKING OF FALKLANDS AND MALVINAS MYTHS 32 2. MYTH PERPETUATORS 87 3. DEMYTHOLOGIZERS 131 4. COUNTERMYTHOLOGIZERS 188 5. THE ONES THAT GOT AWAY: AMBIGUOUS TEXTS 262 CONCLUSION 321 APPENDIX 343 BIBLIOGRAPHY 347 BIOGRAPHICAL SKETCH 367 iii LIST OF FIGURES 1. The Thatcher Years, by John Springs 189 2. The Iron Woman Victorious, by Raymond Briggs 233 iv ABSTRACT The Falklands/Malvinas War of 1982 brought two previously friendly nations into armed conflict – not only over the possession of a few small islands, but also over moral principles and national honor. Both Argentina and the United Kingdom had attached symbolic and mythic significations to the islands and to the struggle for their possession. These myths, closely tied to issues of national identity and pride, influenced national leaders and ordinary citizens alike to advocate what was seen on both sides as a just and necessary war for sovereignty and national dignity. This dissertation uses Roland Barthes’s definition of myth as a constructed and superimposed signification, as well as Hayden White’s theory that history and literature share similar plot structures, to examine how Britain’s and Argentina’s nationalist myths were developed and applied to the Falklands/Malvinas dispute. While governmental speeches, media reports, and polemic essays play a supportive role, my analysis centers on Falklands/Malvinas myths as they appear in artistic texts, including poetry, novels, short stories, theater, film, music, and visual arts. I compare many British and Argentinean texts that reiterate, endorse, question, or undermine nationalist myths in various ways, focusing the most detailed attention on ten central texts. Argentinean poetry from the anthology Nuestros poetas y las Malvinas (1983) and television playwright Ian Curteis’s The Falklands Play (1987) are examined as “myth-perpetuators” that endorse or reiterate nationalist myths. Griselda Gambaro’s Del sol naciente (1984) and Steven Berkoff’s Sink the Belgrano! (1986) are discussed as “demythologizing” theater works that question and undermine official myths. The satirical novels Las Islas (1998), by Carlos Gamerro, and Swansong (1986), by Richard Francis, function as “countermythologizers,” or texts that deploy their own myths to subvert and replace official myths. Finally both book and film versions of Los chicos de la guerra (1982, 1983) and Tumbledown (1988) are presented as ambiguous works that have escaped categorization and been assigned multiple interpretations. Although the v official Falklands/Malvinas myths continue to endure, they have faced stronger questioning and opposition from competing viewpoints and myths in post-war years. vi INTRODUCTION The Falklands/Malvinas conflict of 1982 was a relatively short war over a seemingly insignificant bit of property in the South Atlantic.1 However, for the combatant nations, there was much more at stake than whose flag would fly over a few inhospitable islands. Each side attached its own symbolic and mythic significance to the islands and to the struggle for their possession. These myths, or fictions, closely tied to issues of national identity and pride, influenced decisions to fight on the part of national leaders, as well as decisions to support those leaders on the part of their compatriots. The Falklands/Malvinas myths continue to inform attitudes toward the conflict and what it means; they have found their way into the media, and also into picture books, films, poetry, novels and short stories, music, and memoirs from artists, journalists, and soldiers on both sides of the conflict. Some cultural responses, what I term “myhtologizers” or “myth-perpetuators,” endorse and perpetuate nationalistic myths, while others seek to label them as myths and dismantle them. I call those texts that challenge, question, or deconstruct official myths “demythologizers.” Some texts deal with the myths in more ambiguous ways, allowing some to slip through their texts unnoticed while challenging others, or by ignoring them completely. Other texts set up their own myths about the war that work to question or dismantle official myths – these works are “countermythologizers.” Through examining how some of the Falklands/Malvinas myths were developed and how specific British and Argentine artistic texts respond to them, I demonstrate that, in spite of vast cultural and historical differences between Britain and Argentina, their respective sets of myths follow similar patterns. My definition of “myth” is taken largely from the writings of Roland Barthes. In his article “Myth Today” (1972), he discusses how a myth pushes aside or “alienates” the meaning associated with a particular signifier, leaving an empty form ready to receive a new concept. This in turn results in a mythologized signification that distorts the 1 meaning without completely erasing it. In other words, the mythologizers in question attempt to push aside whatever signified that the islands might have had, and replace it with the concept of their choosing. The same occurs with other elements of the conflict, from the soldiers, equipment and weapons, to the respective national leaders, and to the war itself. Because these mythic significations are intentionally imposed, and because they create an altered version of reality, I also refer to them as “fictions.” I have borrowed this term from Kevin Foster, who uses it as a synonym for myth in the Barthesian sense, and also from Nicolás Shumway, who gives the name “guiding fictions” to the national identity myths he discusses in his book The Invention of Argentina (1991). These fictions, or myths, are constructed ideas about national history and identity, which tend to influence present attitudes and actions. I will elaborate further on my definitions of myth and fiction, as well as provide a list of specific myths associated with the Falklands/Malvinas, in the methodology section of this Introduction. As has just been noted, scholars from both Britain and Argentina have studied nationalist myths. A number of British scholars have also examined how Britain’s nationalist myths were applied specifically to the 1982 conflict. Kevin Foster explains why such a study is valuable. In his book Fighting Fictions (1999), he writes that Falklands War myths have set a dangerous precedent by making it seem that going to war can actually have a healthy effect on society. He suggests that his book can help readers to recognize the discursive strategies used by the government and the media to create these harmful illusions, and to resist them, thus helping prevent future destruction by warfare in the name of the public good (156). Foster’s demythologizing project is just one of several on both sides of the conflict. These texts explore different myths in various manifestations, through a number of viewpoints and methodologies. A synthesis of their discoveries, which I provide in this Introduction and amplify in Chapter One, will serve to create a more complete picture of the Falklands/Malvinas myths and how they have been generated and interpreted. I cannot say whether this will actually enable readers to recognize and resist war-promoting myths that emerge now or in the future. Nevertheless, this dissertation should give a clear picture of how the artistic intelligentsia, as well as some of the participants, would weigh the benefits in view of the sacrifices of the Falklands/Malvinas War. Readers both British and Argentinean might be surprised to 2 see the similarities between their respective myths about the islands and the war. A greater understanding of both their own mythic constructions, as well as those of the other side, might help them to see through the fictional and emotional buildup, and find more mutually acceptable solutions to their still-unresolved dispute. I hope that this dissertation at least provides the beginnings of this greater understanding. I will begin with a brief history of the dispute. Knowing these events will enhance the reader’s understanding of both the primary and the secondary texts discussed in this dissertation. A summary of these texts is provided after the historical background. Next I discuss my methodology in more depth, followed by a brief sketch of how the dissertation is organized. I conclude this Introduction by listing and briefly explaining the major Falklands