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It is generally believed that the reputation of Sir Edward Elgarexperienced a disastrous reversal of fortune after the GreatWar. This has conventionally been explained by the changingmusical tastes of the public and by a postwar reaction againstthe unappealingly Edwardian character of Elgar'smusic. Both claims, I argue, have been exaggerated. Examiningevidence from concert programmes, gramophone record sales, andBBC broadcasts, this article demonstrates that Elgar continuedto enjoy estimable popularity after 1918. The article also considersthe way in which Elgar came to be seen as an archetype of Englishnessand Edwardianism in music. With a legacy of virulentattacks on the composer's complacency and jingoism,critical attention by the 1930s had been refocused onto a perceivedrural nostalgia within Elgar's music. This atavism complementedinterwar visions of the Edwardian period as a prelapsarian goldenage. The implications of these changing perspectiveson Elgar are twofold. They can be seen to have laid the foundationsfor our mature understanding of Elgar's life andwork; and they suggest that our views of the interwar reactionagainst the past might require profound and wide-ranging revision.
*I am grateful to Professor Hugh Cunningham, Dr Peter Martland,and Dr David Turley for their comments on an earlier versionof this article. 相似文献
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JULIE GARDINER 《Oxford Journal of Archaeology》1990,9(2):119-140
Summary. This paper reviews the evidence for Neolithic flint axe production on the South Downs in the light of recent chemical analysis of axes and the author's own research involving surface flint collections. The organisation, status and chronology of the Sussex flint mines is discussed and the distribution of flint axes described. Late Neolithic/Early Bronze Age settlement is shown to concentrate on the clay-with-flints which is also a major flint source. It is argued that the production of axes from mined flint was replaced by utilisation of surface deposits in the later Neolithic and case studies are presented. 相似文献
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