نوع مقاله : مقاله علمی پژوهشی
نویسندگان
1 دانشجوی دکتری، دانشگاه آزاد اسلامی واحد علوم و تحقیقات
2 استادیار، گروه زبان های خارجی. دانشگاه آزاد علوم تحقیقات تهران. دپارتمان زبان های خارجی
3 استادیار رشته ادبیات انگلیسی، دانشکده ادبیات و زبانهای خارجی، واحد کرج، دانشگاه ازاد اسلامی،البرز، ایران.
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
Introduction: The present paper delves into the political and fascist ideologies embedded in Wyndham Lewis’s Hitler (1931) through a descriptive and literary analysis informed by the fascist theories of Nathan Waddell and Alan Munton. Lewis, a key figure in early 20th-century modernism, presents a complex portrayal of Adolf Hitler in his novel) his alignment with fascist ideals and his early support for Adolf Hitler (, which has sparked significant debate among scholars regarding its ideological underpinnings. By examining the text through Waddell’s and Munton’s critical frameworks (The discourse of fascist literary criticism), this research seeks to unpack the ambivalence and contradictions in Lewis’s depiction of Hitler and fascism. Waddell’s analysis highlights Lewis’s conflicted fascination with fascism as both a response to and critique of the failures of liberal democracy, while Munton offers a nuanced understanding of Lewis’s engagement with authoritarianism, emphasizing the artistic and intellectual tensions in his work. Through this combined lens, the study aims to provide a comprehensive understanding of the political and literary dimensions of Hitler (1931), situating Lewis’s novel within the broader context of modernist literature and the ideological struggles of the early twentieth century.
Background of Study: Wyndham Lewis’s Hitler (1931) occupies a contentious position in literary and political discourse, as it engages with the rising tide of fascism in Europe during the early 20th century. As a modernist writer and artist, Wyndham Lewis was both fascinated and repelled by the political currents of his time, particularly the authoritarianism embodied by figures like Adolf Hitler. This ambivalence is reflected in his novel, which has been interpreted variously as an endorsement, critique, or complex exploration of fascist ideology. In this fashion, Nathan Waddell’s and Alan Munton’s fascist theories provide critical frameworks for analyzing Lewis’s work, each offering unique insights into the ways in which Hitler (1931) grapples with themes of power, authority, and individual freedom.
Methodology: This study employs a descriptive and literary analytical approach to examine the political and fascist ideologies presented in Wyndham Lewis’s Hitler (1931), utilizing the theoretical frameworks of Nathan Waddell and Alan Munton. The research begins with a close reading of Hitler (1931), identifying key themes, motifs, and narrative strategies that reflect Lewis’s engagement with fascist ideology. Waddell’s theoretical perspective is applied to assess Lewis’s complex relationship with fascism, focusing on the tension between his attraction to authoritarian order and his critical stance on its extremes. Munton’s analysis is employed to explore the artistic and ideological contradictions within the novel, highlighting how Lewis’s modernist sensibilities intersect with his political views. The methodology involves a comparative analysis of the novel’s content with Waddell’s and Munton’s interpretations, aiming to uncover how Lewis’s portrayal of Hitler and fascism contributes to broader discussions on modernism and political ideology based on the discourse of fascist literary criticism.
Conclusion: The examination of Wyndham Lewis’s Hitler (1931) through the lenses of Nathan Waddell's and Alan Munton's fascist theories has revealed a nuanced interplay between political ideology and literary expression in Lewis's work. Waddell's framework highlights Lewis's conflicted engagement with fascism, portraying his ambivalence towards authoritarianism as a response to the perceived failures of liberal democracy and his search for a new social order. Munton’s analysis further elucidates the internal contradictions within Lewis’s portrayal of Hitler, showcasing how the novel has reflected modernist concerns about power, authority, and the role of the artist in society. Together, these theoretical perspectives underscore that Hitler (1931) is not merely a political critique but a complex literary artifact that grapples with the broader discourse on modernism and fascism/literature and politics.
کلیدواژه‌ها [English]
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