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War and the MindFord Madox Ford's Parade's End, Modernism, and Psychology$
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Ashley Chantler and Rob Hawkes

Print publication date: 2015

Print ISBN-13: 9780748694266

Published to Edinburgh Scholarship Online: May 2016

DOI: 10.3366/edinburgh/9780748694266.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 05 June 2020

Composing the War and the Mind; Composing Parade’s End

Composing the War and the Mind; Composing Parade’s End

Chapter:
(p.92) Chapter 6 Composing the War and the Mind; Composing Parade’s End
Source:
War and the Mind
Author(s):

Alexandra Becquet

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748694266.003.0007

This chapter examines the intermedial structure of Parade’s End, considering it as an art composition and Ford’s approach to ‘reflect’ and ‘reflect on’ the traumatic experience of the Great War. While Impressionism is first shown as a fitting aesthetics to present the individual’s shattering experience of Armageddon through its subjective perception, the tetralogy’s sights and sounds are then studied for their translation into the text’s fabric and as they appeal to the readers’ senses and memory to immerse them into the narrative. The readers are indeed to synthesize a text stamped by the time-shift, an agent of both fragmentation and composition which relies on memory and on principles operating in music thus revealing the musical structure of Ford’s work. By means of the arts, Parade’s End exposes the trauma engendered by the war to transfer it onto its readers as the design of Ford’s intermedial composition depends on it.

Keywords:   World War One, trauma, literary Impressionism, intermediality, perception, representation, arts, memory

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