Academic literature on the topic 'Military education – fiction'

Simulation-based education has become an integral part of education and training in high-risk professions and disciplines such as aviation, aerospace, military, nuclear power plants, medicine and healthcare. In the last decade, medical simulation has globally emerged as a powerful instructional technique across various specialties and disciplines. Despite its increasing popularity and various advantages, simulation-based medical education (SBME) poses a unique challenge, that is, realism. This is where the concept of fiction contract or suspension of disbelief comes into the picture. In this article we provide an overview of fiction contract in SBME including how can it be effectively addressed during training.

In this field note article, I discuss my in-progress historical novel about privateering in the 17th century to demonstrate how adult education feminist theories of situated learning have influenced my fiction-based research. I introduce situated learning in gendered communities of practice, explain women’s experiences in (para)military organizations, and describe fiction-based research. I then compare theoretical concepts and quotations with excerpts from my fiction to explore feminist situated learning adult education theories, women in non-traditional roles, fiction-based research, and how women’s lives from the 17th century connect to those in the 21st. I conclude with a discussion of how adult educators can use fiction to engage with theory in their own teaching and research. In ways similar to Watson (2016), who argues that “fiction offers sociologists a medium for doing sociological work” (p. 434), in this article, I explore how fiction can offer adult educators a medium for doing pedagogical work.

The given article is the first study of the Armenian children’s literature on the military theme, presented in the Armenian children’s and youth periodicals of Tiflis in 1914–1918. The similarities and differences between the children’s literature on these topics and the artistic reflection of the war in the magazines “Aghbyur” (“Source”) and “Hasker” (“Spikes”) are revealed. In the course of the analysis it has been disclosed that during World War I, military topics did not become dominant from a quantitative point of view, but materials of different genres and formats on the military topic were published in each issue of the magazines. Of the 258 pieces of fiction published in the Armenian children’s magazines “Aghbyur” and “Hasker”, 78 pieces (29.4 %) were on the topic of war. Along with this, we analyzed three chronotopic positions associated with the continuum of the surrounding reality: the Armenian environment, the environment of the Russian Empire and the foreign environment. The content and ideological emphases of the published works on the military theme were aimed at developing patriotic and humanistic feelings in children. However, the genocide of the Armenian population of the Ottoman Empire has left a mark on the nature of the perception of patriotism: the preservation of the historical homeland of the Armenian people in the memory of the new generation and the hope of returning back to their native lands.

Military people have long occupied a very special honorable and responsible place in society. To form a system of values of future officers is becoming an urgent task of professional military education. The article examines the domestic literary sources, which accumulate and present the psychological features of the merits of the officer in Russian fiction. The object of the work is the images of officers in the XVΙΙΙ century Russian literature, which are the artistic precursors of images of military intellectuals in Russian literature of the XΙX century. The subject of the article ‒ psychological features of the designated artistic images of a military mens. The main methodological approaches were systemic, cultural-historical and literary psychologism. Theoretical, general logical and empirical methods are used as methods. It is noted that the psychological representation of the features inherent in the military intelligentsia in the literature is carried out in several basic forms: 1) a direct representation of characters "from the inside", that is, through artistic cognition of the inner world of the actors, expressed through internal speech, images of memory and imagination); 2) an indirect form, i.e. psychological analysis "from the outside", expressed in the psychological interpretation by the writer of expressive features of speech, speech behavior, mimic and others means of external manifestation of the psyche); 3) in a summative-denoting form ‒ with the help of naming, extremely brief designation of those processes that take place in the inner world. The main scientific results of the article include the identification of psychological traits of intelligence officer in Russian fiction, as well as their social functions. The article consists of two parts, here is presented the second part of the work.

As part of the development of international military cooperation and the expansion of intercultural communication in the military sphere, there is an increasing need for specialists who are able to provide high-quality linguistic support for military activities. The importance of improving the quality of training of military personnel and military education is indicated in the Military Doctrine of the Russian Federation. The article is based on the scientific ideas of E. M. Vereshchagin and V.G. Kostomarov, who are rightfully considered the founders of linguistic and regional studies. In the context of the professional language training of military translators, the linguistic and regional aspects of the formation of the educational professional language discourse of military translators are considered. The study of the features of the translation of linguistic and cultural realities involves familiarization with the organizational structure of the country's armed forces of the foreign language being studied, the system of manning the armed forces, the order of service, military ranks, insignia and distinctions. Educational professional military linguistic discourse also includes linguistic and cultural realities associated with the designation of weapons systems and military equipment of the country's armed forces of the foreign language being studied. Translation of military slang, which also reflects the peculiarities of the culture of the country of the target language, presents a significant difficulty. The linguistic units of military slang are not only widely used in the oral speech of military personnel, but are also found in the texts of military journalism, fiction and military documents.

For a long time, military people have occupied a very special honorable and responsible place in society. To form a system of values of future officers is becoming an urgent task of professional military education, despite the fact that the most appropriate values and ideals of humanism and social responsibility is the system of values and meanings of the military intelligentsia. The article examines the domestic literary sources, which accumulate and present the psychological features of intelligence officer in Russian fiction. The object of the work is the images of the officers in the XVIII century Russian literature, which are the artistic precursors of images of military intellectuals in Russian literature of the XΙX century. The subject of the article ‒ psychological features of the designated artistic images of a military intellectual. The main methodological approaches are systemic, cultural-historical and literary psychologism. Theoretical, general logical and empirical methods are used as methods. It is noted that the psychological representation of the features inherent in the military intelligentsia in the literature is carried out in several basic forms: 1) a direct representation of characters "from the inside", that is, through artistic cognition of the inner world of the actors, expressed through internal speech, images of memory and imagination); 2) an indirect form, i.e. psychological analysis "from the outside", expressed in the psychological interpretation by the writer of expressive features of speech, speech behavior, mimic and others means of external manifestation of the psyche); 3) in a summative-denoting form ‒ with the help of naming, extremely brief designation of those processes that take place in the inner world. The main scientific results of the article include the identification of psychological traits of intelligence officer in Russian fiction, as well as their social functions. The article consists of two parts, in this case the first part of the work is presented.

This paper examines the setting construction in the ethnographic fiction of Orang-Orang Oetimu by Felix K. Nesi. Analytical descriptive methods, oral tradition, narratology, and setting theory were used to answer questions about: colonial and decolonial settings, socio-educational, ethnographic, and military violence setting. The results depict that the colonial and decolonial grounds left scars on the nation, which experienced previous neglect and alienation in their land. This long-experienced trauma affects massive social, education, and military violence behaviors. In addition, colonial and decolonial history also intersects with ethnographic, mainly traditional beliefs about local history and myths about “sifon,” which is a tradition of having sex after circumcision. Unpredictable and irreversible patterns of colonial, decolonial, and ethnographic settings are also shockingly strengthening the plot, proofing that the well-constructed set produces quality and innovative story, narrative, and narrating.

Terminological stylistics is one of the most relevant areas of linguistics in the 21st century. The subject of the study, according to A. Kryzhanovska, is “using multidisciplinary terminology in its definitive sense, the author’s creating the necessary and special words on models of the real terms, introducing redefined terminology in the arsenal of artistic means.” In modern Ukrainian linguistics, as you know, there are no comprehensive studies on using the terms in styles unusual for them, including the belles-lettres. Today, in Ukrainian terminology, there are only a small number of works that deal exclusively with some aspects of the functioning of special words in journalistic and belles-lettres styles that are specific to this type of vocabulary. The article continues the cycle of publications in the field of studying the specific functioning of military terminology in the writings of the writers from different countries of the world. The investigation is aimed at studying the peculiarities of the structural-component organisation of the military terms in the language of the work by W. Scott “Ivanhoe”, in particular, the word terms and phrase terms have been analysed. The authors of the study present the main problematic ideas existing at the present stage in the circle of narrow specialists, which are terminology. The relevance of the paper, first of all, is due to the lack of comprehensive studies on the peculiarities of using the military terms in the works by Walter Scott and the need for linguistic analysis of the texts, in particular the novel “Ivanhoe”, which is a pearl of world literature. The paper gives the main thoughts on defining the concepts “word term”, “phrase term”. The authors’ classification of the military terms which Walter Scott successfully introduced in his fiction work is represented on the basis of the generally accepted in modern Ukrainian linguistics. The military terms of the above mentioned work are analysed, and the specifics of their use is defined, their structural-component organisation in the prose work of the prominent writer Walter Scott is determined. The investigators in their article define the main characteristics of the military terms that function in the analysed fiction work, present these units determine their grammatical categories and structure. The word term and phrase terms, which include military terms, which are introduced into the language of the text by the author, are investigated. The function of this vocabulary taking into account the subject area, the ideological content, the purpose of the work, the creative idea of the author is determined. The quantitative characteristics of the military terminological units of Walter Scott’s novel “Ivanhoe” have confirmed the opinion of most linguists regarding the benefits of the multi-component terms over the word terms. This phenomenon is due to the fact that such units, which have a large number of components, allow describing in more detail, describing the concept of a particular industry, in particular military affairs. Introducing such multicomponent terms is absolutely justified in fiction texts, because the author must take into account the fact that the reader of his work may not only be a person who has special military training, but also be a representative of another profession, or the reader does not have any specialty, education, etc. This can complicate the reader’s understanding of the work, so the true artist takes on such multicomponent terms in his text to create the most vivid and understandable image.

The metaphor of the cidade partida (fragmented or broken city), which has been used to characterize Rio de Janeiro's darker aspect—its stark inequality, its class conflicts and violence—is not new but has gained, in the last couple of decades, widespread circulation. Since the end of the military dictatorship in 1985, when formal democratic practices such as free speech and open elec–tions were reestablished, it has become more obvious than ever that equal citizenship rights for all, de facto rather than on paper, are still an elusive ideal in Rio and in Brazil as a whole (as in many other places). The neoliberal economic policies of recent decades, with curtailed social spending and privatization of state-owned property, have increased poverty in Rio significantly. The arrival of the large-scale commercialization of cocaine since the late 1970s has deepened urban divisions and intensified violence. The retail end of the drug business often takes place in poor neighborhoods, or favelas. But the violence that prevails in Rio is not limited to warring drug factions or their conflicts with the police. It also inheres in unemployment and inadequate education and health care for the poor, as well as in severely flawed security, judiciary, and penal systems. All in all, the urban experience is fraught with violence and the fear of violence for all residents—though here too there is inequality, since this violence and fear affect some segments of the population far more than others.

Education system S.D. Sheremetev was formed according to the established pattern adopted in noble families in the 40s and 50s. XIX century. It included education in basic disciplines, primarily in the humanities, as well as military training. Exceptional attention was paid to studying foreign languages with their native speakers, this made it possible to master them perfectly. Education involved, first of all, honing discipline and behavior that was normative for the noble class. A mandatory component of personality development was church education, which included regular attendance at church services and observance of church sacraments. From childhood, aesthetic tastes and ideas about beauty were instilled. However, this aspect of upbringing was uneven. If the closest attention was paid to reading fiction and musical classes (at least introductory), then painting, architecture, and theater were left to the discretion of families, and not all parents considered it necessary to introduce their children to these types of art. The most important area of education was class socialization, which involved teaching children from a very early age to behavior that was normative among the nobility and compliance with certain rules that were considered standard. All this instead made it possible to form, approximately in the middle of the second decade of life, a rather integral personality, an example of which was Count S.D. Sheremetev.

More than 2.6 million troops have deployed in support of the wars in Iraq and Afghanistan. Still, surveys reveal that more than half feel “disconnected” from their civilian counterparts, and this feeling persists despite ongoing efforts, in the academy and elsewhere, to help returning veterans overcome physical and mental wounds, seek an education, and find meaningful ways to contribute to society after taking off the uniform. This dissertation argues that Iraq and Afghanistan War veterans struggle with reassimilation because they lack healthy, complete models of veteran identity to draw upon in their postwar lives, a problem they’re working through collectively in literature and artwork. The war veteran—returning home transformed by the harsh realities of military training and service, having seen humanity at its extremes, and interacting with a society apathetic toward his or her experiences—should engage in the act of storytelling. This act of sharing experiences and crafting-self subverts stereotypes. Storytelling, whether in a book read by millions, or in a single conversation with a close family member, should instruct civilians on the topic of human resiliency; it should instruct veterans on the topic of homecoming. But typically, veterans do not tell stories. Civilians create barriers to storytelling in the form of hollow platitudes—“thank you for your service” or “I can never understand what you’ve been through”—disconnected from the meaning of wartime service itself. The dissonance between veteran and civilian only becomes more complicated when one considers the implicit demands and expectations attached to patriotism. These often well-intentioned gestures and government programs fail to convey a message of appreciation because they refuse to convey a message of acceptance; the exceptional treatment of veterans by larger society implies also that they are insufficient, broken, or incomplete. So, many veterans chose conformity and silence, adopting one of two identities available to them: the forever pitied “Wounded Warrior” or the superficially praised “Hero.” These identities are not complete. They’re not even identities as much as they are collections of rumors, misrepresentations, and expectations of conformity. Once an individual veteran begins unconsciously performing the “Wounded Warrior” or “Hero” character, the number of potential outcomes available in that individual’s life is severely diminished. Society reinforces a feeling among veterans that they are “different.” This shared experience has resulted in commiseration, camaraderie, and also the proliferation of veterans’ creative communities. As storytellers, the members of these communities are restoring meaning to veteran-civilian discourse by privileging the nuanced experiences of the individual over stereotypes and emotionless rhetoric. They are instructing on the topics of war and homecoming, producing fictional and nonfictional representations of the veteran capable of competing with stereotypes, capable of reassimilation. The Introduction establishes the existence of veteran culture, deconstructs notions of there being a single or binary set of veteran identities, and critiques the social and cultural rhetoric used to maintain symbolic boundaries between veterans and civilians. It begins by establishing an approach rooted in interdisciplinary literary theory, taking veteran identity as its topic of consideration and the American unconscious as the text it seeks to examine, asking readers to suspend belief in patriotic rhetoric long enough to critically examine veteran identity as an apparatus used to sell war to each generation of new recruits. Patriotism, beyond the well-meaning gestures and entitlements afforded to veterans, also results in feelings of “difference,” in the veteran feeling apart from larger society. The inescapability of veteran “difference” is a trait which sets it apart from other cultures, and it is one bolstered by inaccurate and, at times, offensive portrayals of veterans in mass media and Hollywood films such as The Manchurian Candidate (1962), First Blood (1982), or Taxi Driver (1976). To understand this inescapability the chapter engages with theories of race, discussing the Korean War veteran in Home (2012) and other works by Toni Morrison to directly and indirectly explore descriptions of “difference” by African Americans and “others” not in positions of power. From there, the chapter traces veteran identity back to the Italian renaissance, arguing that modern notions of veteran identity are founded upon fears of returning veterans causing chaos and disorder. At the same time, writers such as Sebastian Junger, who are intimately familiar with veteran culture, repeatedly emphasize the camaraderie and “tribal” bonds found among members of the military, and instead of creating symbolic categories in which veterans might exist exceptionally as “Heroes,” or pitied as “Wounded Warriors,” the chapter argues that the altruistic nature which leads recruits to war, their capabilities as leaders and educators, and the need of larger society for examples of human resiliency are more appropriate starting points for establishing veteran identity. The Introduction is followed by an independent “Example” section, a brief examination of a student veteran named “Bingo,” one who demonstrates an ability to challenge, even employ veteran stereotypes to maintain his right to self-definition. Bingo’s story, as told in a “spotlight” article meant to attract student veterans to a college campus, portrays the veteran as a “Wounded Warrior” who overcomes mental illness and the scars of war through education, emerging as an exceptional example—a “Hero”—that other student veterans can model by enrolling at the school. Bingo’s story sets the stage for close examinations of the “Hero” and the “Wounded Warrior” in the first and second chapters. Chapter One deconstructs notions of heroism, primarily the belief that all veterans are “Heroes.” The chapter examines military training and indoctrination, Medal of Honor award citations, and film examples such as All Quiet on the Western Front (1930), Heroes for Sale (1933), Sergeant York (1941), and Top Gun (1986) to distinguish between actual feats of heroism and “Heroes” as they are presented in patriotic rhetoric. The chapter provides the Medal of Honor citations attached to awards presented to Donald Cook, Dakota Meyer, and Kyle Carpenter, examining the postwar lives of Meyer and Carpenter, identifying attempts by media and government officials to appropriate heroism—to steal the right to self-definition possessed by these men. Among these Medal of Honor recipients one finds two types of heroism: Sacrificing Heroes give something of themselves to protect others; Attacking Heroes make a difference during battle offensively. Enduring Heroes, the third type of heroism discussed in the chapter, are a new construct. Colloquially, and for all intents and purposes, an Enduring Hero is simply a veteran who enjoys praise and few questions. Importantly, veterans enjoy the “Hero Treatment” in exchange for silence and conforming to larger narratives which obfuscate past wars and pave the way for new ones. This chapter engages with theorists of gender—such as Jack Judith Halberstam, whose Female Masculinities (1998) anticipates the agency increasingly available to women through military service; like Leo Braudy, whose From Chivalry to Terrorism (2003) traces the historical relationship between war and gender before commenting on the evolution of military masculinity—to discuss the relationship between heroism and agency, begging a question: What do veterans have to lose from the perpetuation of stereotypes? This question frames a detailed examination of William A. Wellman’s film, Heroes for Sale (1933), in the chapter’s final section. This story of stolen valor and the Great Depression depicts the homecoming of a WWI veteran separated from his heroism. The example, when combined with a deeper understanding of the intersection between veteran identity and gender, illustrates not only the impact of stolen valor in the life of a legitimate hero, but it also comments on the destructive nature of appropriation, revealing the ways in which a veteran stereotypes rob service men and women of the right to draw upon memories of military service which complete with those stereotypes. The military “Hero” occupies a moral high ground, but most conceptions of military “Heroes” are socially constructed advertisements for war. Real heroes are much rarer. And, as the Medal of Honor recipients discussed in the chapter reveal, they, too, struggle with lifelong disabilities as well as constant attempts by society to appropriate their narratives. Chapter Two traces the evolution of the modern “Wounded Warrior” from depictions of cowardice in Stephen Crane’s The Red Badge of Courage (1895), to the denigration of World War I veterans afflicted with Shell Shock, to Kevin Powers’s Iraq War novel, The Yellow Birds (2012). As with “Heroes,” “Wounded Warriors” perform a stereotype in place of an authentic, individualized identity, and the chapter uses Walt Kowalski, the protagonist of Clint Eastwood’s film, Gran Torino (2008), as its major example. The chapter discusses “therapeutic culture,” Judith Butler’s work on identity-formation, and Eva Illouz’s examination of a culture obsessed with trauma to comment on veteran performances of victimhood. Butler’s attempts to conceive of new identities absent the influence of systems of definition rooted in the state, in particular, reveal power in the opposite of silence, begging another question: What do civilians have to gain from the perpetuation of veteran stereotypes? Largely, the chapter finds, the “Wounded Warrior” persists in the minds of civilians who fear the veteran’s capacity for violence. A broken, damaged veteran is less of a threat. The story of the “Wounded Warrior” is not one of sacrifice. The “Wounded Warrior” exists after sacrifice, beyond any measure of “honor” achieved in uniform. “Wounded Warriors” are not expected to find a cure because the wound itself is an apparatus of the state that is commodified and injected into the currency of emotional capitalism. This chapter argues that military service and a damaged psyche need not always occur together. Following the second chapter, a close examination of “The Bear That Stands,” a short story by Suzanne S. Rancourt which confronts the author’s sexual assault while serving in the Marines, offers an alternative to both the “Hero” and the “Wounded Warrior” stereotypes. Rancourt, a veteran “Storyteller,” gives testimony of that crime, intervening in social conceptions of veteran identity to include a female perspective. As with the example of Bingo, the author demonstrates an innate ability to recognize and challenge the stereotypes discussed in the first and second chapters. This “Example” sets the stage for a more detailed examination of “Veteran Storytellers” and their communities in the final chapter. Chapter Three looks for examples of veteran “difference,” patriotism, the “Wounded Warrior,” and the “Hero” in nonfiction, fiction, and artwork emerging from the creative arts community, Military Experience and the Arts, an organization which provides workshops, writing consultation, and publishing venues to veterans and their families. The chapter examines veteran “difference” in a short story by Bradley Johnson, “My Life as a Soldier in the ‘War on Terror.’” In “Cold Day in Bridgewater,” a work of short fiction by Jerad W. Alexander, a veteran must confront the inescapability of that difference as well as expectations of conformity from his bigoted, civilian bartender. The final section analyzes artwork by Tif Holmes and Giuseppe Pellicano, which deal with the problems of military sexual assault and the effects of war on the family, respectively. Together, Johnson, Alexander, Holmes, and Pellicano demonstrate skills in recognizing stereotypes, crafting postwar identities, and producing alternative representations of veteran identity which other veterans can then draw upon in their own homecomings. Presently, no unified theory of veteran identity exists. This dissertation begins that discussion, treating individual performances of veteran identity, existing historical, sociological, and psychological scholarship about veterans, and cultural representations of the wars they fight as equal parts of a single text. Further, it invites future considerations of veteran identity which build upon, challenge, or refute its claims. Conversations about veteran identity are the opposite of silence; they force awareness of war’s uncomfortable truths and homecoming’s eventual triumphs. Complicating veteran identity subverts conformity; it provides a steady stream of traits, qualities, and motivations that veterans use to craft postwar selves. The serious considerations of war and homecoming presented in this text will be useful for Iraq and Afghanistan War veterans attempting to piece together postwar identities; they will be useful to scholars hoping to facilitate homecoming for future generations of war veterans. Finally, the Afterword to the dissertation proposes a program for reassimilation capable of harnessing the veteran’s symbolic and moral authority in such a way that self-definition and homecoming might become two parts of a single act.

The purpose of the work is to describe the method of the linguoculturological field (LCF), the features of its application in RFL classes and to demonstrate its capabilities in the aspect of professionalization. The theoretical substantiation of the method is given, the principles of LCF formation in the didactic aspect are formulated and models of three linguistic and cultural fields are presented. The following research methods were used in the work: the method of controlled selection, conceptual analysis, synthesis, field modeling. The authors noted the need for the formation of non-philological specialties among foreign students along with the professional competence of linguistic and cultural competence. This approach can greatly facilitate the process of entry of foreign students into the field of professional language, and also gives them the opportunity to get acquainted with Russian culture at the same time. The latter, in turn, will contribute to the formation of communicative competence, which is necessary for successful study in Russia. It is possible to achieve the simultaneous development of these three competencies by applying the LCF method. As a result, a key concept corresponding to their professionalization develops in the minds of students. For medical students it is a "Russian doctor", for military school students it is a "Russian warrior", for music students it is a "Russian musician". The article traces the connection of linguoculturology, linguistics and professional language. The concept of the linguoculturological field, its structure and units (linguoculturemes) is given. These units are, among other things, vocabulary located at the junction of the mentioned disciplines. Three linguistic and cultural fields have been formed, each of which contains 5 lists of linguistic units: 1) frequently used words; 2) sample contexts; 3) prominent figures in the field; 4) fiction and non-fiction texts; 5) quotes and sayings. These units generally cover the center, periphery and cultural component of each simulated field. It is proposed to organize RCT training, moving from the center to the periphery of the field according to educational centers united by the corresponding cultural theme. Brief recommendations on the implementation of the training center in the thematic plan are also given.

Much like any organization’s training program, military training schools train in technical skills, values, and common tasks. In this chapter’s project management endeavor, implementing simulator training to facilitate learning is described in general terms from an Army context. This case narrative provides a general awareness of the aspects of project management that contribute to typical project risks, cost, and quality of technology-based learning projects within a military training environment. The case is presented using fictional characters as an approach to capture real-world challenges while remaining consistent with the Department of Defense’s Principles of Information policy. In carrying out the policy, the case discloses only information that does not adversely affect national security or threaten the safety or privacy of the men and women of the Department of Defense.