Academic literature on the topic 'War stories, English – History and criticism'
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Journal articles on the topic "War stories, English – History and criticism"
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Zhang, Yingjin. "Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. By Poshek Fu. [Stanford, CA: Stanford University Press, 2003. 288 pp. £14.95. ISBN 0804745188.]." China Quarterly 180 (December 2004): 1111–12. http://dx.doi.org/10.1017/s030574100432076x.
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Despite its short length (152 pages excluding reference matters), this pioneering study in English of “the Shanghai–Hong Kong nexus” in Chinese cinema succeeds in placing wartime Shanghai and Hong Kong cinemas in specific (albeit not always “proper” as Poshek Fu claims (p. xvi)) institutional and industrial contexts, bringing to light the “humanity” of the filmmakers, the “multiplicity of the historical situations,” and the “complexity of the cultural politics” of filmmaking and film criticism (p. xv). Most impressive of all is Fu's dedication to primary research, reading hard-to-find print materials as well as conducting interviews and watching rare films. The book's incredibly rich information (e.g. studio assets, production costs, ticket prices) will certainly interest scholars of modern Chinese history and culture, and Fu's accessible stories should attract general readers as well.After a preface outlining Fu's aims, chapter one, “Mapping Shanghai cinema under semi-occupation,” traces the rise of Zhang Shankun's Xinhua Company in Shanghai and reveals the ambiguities, contradictions and ironies of “Solitary Island cinema” between 1937 and 1941 – a cinema that defied political boundaries and thrived against odds. Chapter two, “Between nationalism and colonialism,” based on Fu's similarly-titled previous study (in The Cinema of Hong Kong: History, Arts, Identity, edited by Fu and David Desser (2000)), discusses Hong Kong's “double marginality” between “Sinocentric” nationalism and British colonialism, and critiques the “Central Plains syndrome” in Shanghai filmmakers stranded in Hong Kong in the late 1930s. Against the Chinese syndrome, Fu asserts, Cantonese films like Southern Sisters (1940) articulated “a both/and hybridity” constitutive of a new “local consciousness” or emergent identity (p. 87). Chapter three, “The struggle to entertain,” derives from Fu's previous article (“The ambiguity of entertainment: Chinese cinema in Japanese-occupied Shanghai, 1942 to 1945,” Cinema Journal, 37.1 (Fall 1997)) and argues against a binary view of either/or (e.g. resistance/collaboration, patriots/traitors). Fu depicts “occupation cinema” as a space of entertainment for the colonized to “escape from Japanese propaganda” (p. xiv), although the both/and logic also compels him to note the paradox that occupation cinema ultimately “helped normalize and naturalize the everyday violence of the occupation” (p. 131). In an epilogue, “Filming Shanghai in Hong Kong,” Fu goes through the changing political–economic situations in post-war Shanghai and Hong Kong.
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Parodi, Ella. "A critical investigation of Y7 students’ perceptions of Roman slavery as evidenced in the stories of the Cambridge Latin Course." Journal of Classics Teaching 21, no. 42 (2020): 43–54. http://dx.doi.org/10.1017/s2058631020000483.
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In an article, ‘The Slaves were Happy’: High School Latin and the Horrors of Classical Studies, Erik Robinson, a Latin teacher from a public high school in Texas, criticises how, in his experience, Classics teaching tends to avoid in-depth discussions on issues such as the brutality of war, the treatment of women and the experience of slaves (Robinson, 2017). However, texts such as the article ‘Teaching Sensitive Topics in the Secondary Classics Classroom’ (Hunt, 2016), and the book ‘From abortion to pederasty: addressing difficult topics in the Classics classroom’ (Sorkin Rabinowitz & McHardy, 2014) strongly advocate for teachers to address these difficult and sensitive topics. They argue that the historical distance between us and Greco-Roman culture and history can allow students to engage and participate in discussions that may otherwise be difficult and can provide a valuable opportunity to address uncomfortable topics in the classroom. Thus, Robinson's assertion that Classics teaching avoids these sensitive topics may not be so definitive. Regardless, Robinson claims that honest confrontations in the classroom with the ‘legacy of horror and abuse’ from the ancient world can be significantly complicated by many introductory textbooks used in Latin classes, such as the Cambridge Latin Course (CLC), one of the most widely used high school Latin textbooks in use in both America and the United Kingdom (Robinson, 2017). In particular, Robinson views the presentation of slavery within the CLC as ‘rather jocular and trivialising’ which can then hinder a reader's perspective on the realities of the violent and abusive nature of the Roman slave trade (Robinson, 2017). As far as he was concerned, the problem lay with the characterisation of the CLC's slave characters Grumio and Clemens, who, he argued, were presented there as happy beings and seemingly unfazed by their positions as slaves. There was never any hint in the book that Grumio or Clemens were unhappy with their lives or their positions as slaves, even though, as the CLC itself states in its English background section on Roman slavery, Roman law ‘did not regard slaves as human beings, but as things that could be bought or sold, treated well or badly, according to the whim of their master’ (CLC I, 1998, p. 78). One might argue, therefore, that there seems to be a disconnect between the English language information we learn about the brutality of the Roman slave trade provided in the background section of Stage 6, and what we can infer about Roman slavery from the Latin language stories involving our two ‘happy’ slaves.
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Hartman, Michelle. "“Zahra’s Uncle, or Where Are Men in Women’s War Stories?”." Journal of Arabic Literature 51, no. 1-2 (April 6, 2020): 83–107. http://dx.doi.org/10.1163/1570064x-12341401.
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Abstract Scholarship in modern Arabic literary studies has treated the literature of the Lebanese Civil War, particularly novels written by women, in some depth. One of the most important texts used in both scholarship and teaching about this war is Ḥanān al-Shaykh’s Ḥikāyat Zahrah, translated as The Story of Zahra. This article focuses specifically on the one chapter in the novel narrated from the point of view of the protagonist’s uncle in order to explore how the English translation dramatically changes a number of elements in the original text. It uses insights from translation studies to show how significant changes to the novel in translation produce a text that serves particular ideological functions in English, consistent with a horizon of expectations that constructs Arab women as oppressed and passive victims of war. The article analyzes specific translation choices—most notably the extensive editing out of words, sentences, and passages—to demonstrate how the character of Zahrah’s uncle is changed in English and depicted as an unsavory and abusive man with little background, context, or history that would help the reader to better understand the character’s actions and motivations. It also shows how cutting out elements of the uncle’s story serves to depoliticize the text in English, divesting it of its local political context and changing its meaning and function as a novel about the Lebanese Civil War. The article is grounded in postcolonial, feminist translation studies, especially those dealing with Arabic fiction, to argue that the English-language novel The Story of Zahra functions within an ideological field that recycles stereotypes and tropes about Arab women. It will propose that the translation changes here depict Arab men against Arab women, rather than in relation to them, and subordinate the analysis of politics and communal relations to a more individual and individualized story of one exceptional woman.
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de Groot, Renee. "What If the Pen Was Mightier Than the Sword? Civil War Alternate History as Social Criticism." aspeers: emerging voices in american studies 10 (2017): 55–75. http://dx.doi.org/10.54465/aspeers.10-06.
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Alternate histories about the American Civil War seem ideally set up to explore the possibilities and tensions of social criticism through art and literature. Counterfactual stories about the war easily invoke contemporary issues of inequality and exploitation, and they are part of a genre—alternate history—that has traditionally lent itself to social commentary. Yet while scholarship on alternate history has captured the presentist orientation of many alternate histories in the fantasy-nightmare dichotomy, these categories appear reductive as a reflection of the layered and intriguing forms social criticism takes in Civil War alternate history. This article examines two examples of this genre that position themselves as political statements. Frank Purdy Williams’s largely forgotten novel Hallie Marshall: A True Daughter of the South (1900) subverts major literary traditions of its time to mount a counterintuitive critique of capitalist exploitation. Kevin Willmott’s mockumentary C.S.A.: The Confederate States of America (2004) is both a scathing critique of American racism and a multilayered satire on the distortion of history in popular culture. Both works use the conventions of alternate history as conduits for critique and provocation, which makes the revelation of their ideological investments ingenious but perhaps dangerously circuitous.
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Sethi, Devika. "‘Alarmist stories and defeatist views’: Censorship and morale in India during the Second World War." War in History 26, no. 2 (November 20, 2017): 250–64. http://dx.doi.org/10.1177/0968344517702182.
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This article identifies three loci of the British colonial state’s anxiety about communication of news and views in India during the Second World War: its own officials (and their families); the press (both English language and vernacular); and the Indian public. It explores war-time dilemmas of the state with regard to censorship of both news and rumour, and it discusses the central paradox of censorship in colonial India during war-time.
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Mutasa, D. E., and W. L. Chigidi. "Black writers’ Shona novels of the liberation war in Zimbabwe: an art that tells the truth of its day." Literator 31, no. 2 (July 13, 2010): 61–82. http://dx.doi.org/10.4102/lit.v31i2.47.
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Over the years Shona fiction that portrays Zimbabwe’s liberation war has been a subject of severe criticism because of its tendency to falsify and distort history. This article attempts to provide answers to the question of why authors of Shona war fiction tended to romanticise the war of liberation. In pursuance of this objective this article looks at circumstances and conditions that prevailed at the time that most of the Shona stories about Zimbabwe’s liberation war were written. These stories were published during the first decade of Zimbabwe’s independence and it is possible to look at this time and come up with a set of interdependent cultural, economic, political and ideological conditions that helped to shape writers’ perspectives on the war. The article argues that the conditions of artistic freedom that interfaced with internalised fear, the euphoria and celebration, the dominant ideology of the time, as well as the situation of competition were responsible for shaping the consciousness of the war fiction writers. In this article views expressed in interviews by some of the writers of Shona war fiction are taken into consideration. All interviews with authors referred to in the article were carried out by the researcher.
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Dohal, Gassim H. "A TRANSLATION INTO ENGLISH OF KHALIL I. AL-FUZAI’S “EURHYTHMICS ON THE PAVEMENT OF DANGER”." International Journal of Research -GRANTHAALAYAH 8, no. 12 (January 6, 2021): 247–50. http://dx.doi.org/10.29121/granthaalayah.v8.i12.2020.2703.
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Khalil I. Al-Fuzai (1940-) is a man of letters from Saudi Arabia who published few collections of stories. In these stories he tries to introduce his characters in a simple, frank way (see Dohal 2013). One of these stories is “Eurhythmics on the Pavement of Danger.” Here he addresses the issue of journalism. I chose to translate this story for it is a good sample of how Al-Fuzai has connected between journalism and war (see other themes he addresses in Dohal, 2013, 2018 & 2019). Furthermore, it presents some aspects what has happened in 1991; this story has a part of history.
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Chukwumah, Ignatius, and Cassandra Ifeoma Nebeife. "Persecution in Igbo-Nigerian Civil-War Narratives." Matatu 49, no. 2 (December 20, 2017): 241–59. http://dx.doi.org/10.1163/18757421-04902001.
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Abstract Sociopolitical phenomena such as corruption, political instability, (domestic) violence, cultural fragmentation, and the Nigerian Civil War (1967–1970) have been central themes of Nigerian narratives. Important as these are, they tend to touch on the periphery of the major issue at stake, which is the vector of persecution underlying the Nigerian tradition in general and in modern Igbo Nigerian narratives in particular, novels and short stories written in English which capture, wholly or in part, the Igbo cosmology and experience in their discursive formations. The present study of such modern Igbo Nigerian narratives as Okpewho’s The Last Duty (1976), Iyayi’s Heroes (1986), Adichie’s Half of a Yellow Sun (2007), and other novels and short stories applies René Girard’s theory of the pharmakos (Greek for scapegoat) to this background of persecution, particularly as it subtends the condition of the Igbo in postcolonial Nigeria in the early years of independence.
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Jenkins, E. R. "English South African children’s literature and the environment." Literator 25, no. 3 (July 31, 2004): 107–24. http://dx.doi.org/10.4102/lit.v25i3.266.
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Historical studies of nature conservation and literary criticism of fiction concerned with the natural environment provide some pointers for the study of South African children’s literature in English. This kind of literature, in turn, has a contribution to make to studies of South African social history and literature. There are English-language stories, poems and picture books for children which reflect human interaction with nature in South Africa since early in the nineteenth century: from hunting, through domestication of the wilds, the development of scientific agriculture, and the changing roles of nature reserves, to modern ecological concern for the entire environment. Until late in the twentieth century the literature usually endorsed the assumption held by whites that they had exclusive ownership of the land and wildlife. In recent years English-language children’s writers and translators of indigenous folktales for children have begun to explore traditional beliefs about and practices in conservation.
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Rampelt, Jason M. "Polity and liturgy in the philosophy of John Wallis." Notes and Records: the Royal Society Journal of the History of Science 72, no. 4 (October 10, 2018): 505–25. http://dx.doi.org/10.1098/rsnr.2018.0027.
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John Wallis, a founding member of the Royal Society, theologian and churchman, participated in the leading ecclesiastical conferences in England from the beginning of the English Civil War to the Restoration. His allegiance across governments, both civil and ecclesiastical, has provoked criticism. Close investigation into his position on key church issues, however, reveals a deeper philosophical unity binding together his natural philosophy, mathematics and views on church polity and liturgy.
Dissertations / Theses on the topic "War stories, English – History and criticism"
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Boykin, Dennis Joseph. "Wartime text and context: Cyril Connolly's Horizon." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/1959.
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This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
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Boykin, Dennis Joseph. "Wartime text and context Cyril Connolly's Horizon /." University of Sydney, 2007. http://hdl.handle.net/2123/1959.
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Doctor of Philosophy (PhD)This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
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McArthur, Kathleen Maureen. "The heroic spirit in the literature of the Great War." Thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/23680.
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MacKenzie, Craig. "The oral-style South African short story in English A.W. Drayson to H.C. Bosman." Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002271.
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This study is concerned with a particular kind of short story in South African English literature - a kind of story variously called the fireside tale, tall tale, yarn, skaz narrative, frame narrative, or (the term used in this study), the 'oral-sty Ie story.' This kind of story is characterised by the use of an internal narrator (a fictional narrator or storyteller figure), the cadences of his or her speaking voice, and a 'reporting' frame narrator. Stories by A. W. Drayson, Frederick Boyle, J. Forsyth Ingram, W. C. Scully, Percy FitzPatrick, Ernest Glanville, Perceval Gibbon, Francis Carey Slater, Pauline Smith, Aegidius Jean Blignaut and Herman Charles Bosman form the principal body of primary sources examined in this study. The Bakhtinian notion of "simple" and "parodistic" skaz narratives is deployed to analyse the increasing complexity to be discerned in the works by these writers, which roughly span the 100 years from the middle of the nineteenth century to the middle of the present century. A "simple" use of the skaz narrative is evident in the early or 'ur-South African' oral-style story, represented here by Drayson, Boyle and Ingram. With Scully and FitzPatrick the form is still used 'artlessly,' although the beginnings of a greater self-consciousness can be discerned. The' Abe Pike' tales by Glanville introduce a more complex use of the fictional narrator, a process taken a step further by Gibbon in his 'Vrouw Grobelaar' tales. With the latter, in particular, the complex or "parodistic" skaz narrative makes its advent in South African literature. The oral-style stories of Slater and Smith are largely a regression to the ear lier form, although there are aspects of their stories which anticipate Bosman. With Blignaut and Bosman, however, the South African oral-style story comes into its own. In their Hottentot Ruiter and Oom Schalk Lourens characters is invested all the complexity and 'double-voicedness' that was latent, and largely dormant, in the earlier oral-style narratives. Through Blignaut, and Bosman in particular, the South African oral-style story achieves its most economical, sophisticated and successful form of expression. The study concludes by looking briefly at the use of an oral style in short stories by black South African writers and argues that their stories are not, formally speaking, to be categorised alongside those by the other~ writers examined. The oral-style story, the study concludes, achieved its apogee in Bosman's Oom Schalk Lourens sequence and went into sharp decline after Bosman's death in 1951.
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Plouffe, Bruce. "The post-war novella in German language literature : an analysis." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74297.
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This study examines the interpretive possibilities in the shorter fiction of Post-War German literature. The corpus includes works by Rolf Hochhuth, Friedrich Durrenmatt and Martin Walser. The historical framework of the theory of the novella and short story provides a basis for a discussion of genre, extended to include the coordinates of metaphor and metonymy. With the exception of one text designated as a novel, these works demonstrate interlocking and restricted motif complexes, repetitive and parallel structure and the integration of most narrative components. They project a tenor of hermetic plurality from a vehicle of abbreviated and truncated referential discourse. They use myth and intertextuality to show general principles to be extrapolated from specific contexts. Metafiction complements the theme of the subject not at one with itself. A partial resolution to the incertitude of existence, rendered according to Freud and Lacan, is offered through the emerging role of women as a stabilizing factor.
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Foley, Matt. "Haunting modernisms : appropriations of the ghostly in Eliot, Woolf, Bowen and Lawrence." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/10994.
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This thesis is an extended reading of the topos of the ghostly as it is staged in the modernist writings of T.S. Eliot, Virginia Woolf, Elizabeth Bowen and D.H. Lawrence. As I argue, their distinct appropriations of haunting are innately tied to their individual theories of the aesthetic; there are also a number of recurring motifs throughout their respective oeuvres, which time and again evoke a ghostly register. Consistently appearing in the texts I read here, most of which were published between the years 1919 and 1935, are figurations of the ghostly as a symptom of ‘ontological uncertainty’, as well as renderings of purgatorial subjectivity, and aporias of mourning. I locate my reading in response to the scholarly fields of haunting studies, mourning modernisms and Gothic modernisms. In a move common to contemporary theoretical studies of haunting, I draw also from the latter work of Jacques Derrida, a theoretical lens that facilitates my reading of a complex modernist ethics of mourning and alterity, one that often courts the ghostly, but resists what Derrida terms ‘hauntological’ work. The Derridean figure of the ethical apparition, in its status as the Absolute Other, is consistently complicated or rejected in these texts. This resistance mirrors a purgatorial mode of subjectivity that recurs in a range of guises in the modernisms I read here. In uncovering the economies that lie beneath these haunted subjectivities Jacques Lacan’s metapsychology of the subject helps also to conceptualise Bowen and Lawrence’s handling of the spectral. Bowen’s is a distinctly visual imagination, and her staging of a haunted subjectivity is elucidated by calling upon Lacan’s formulation of the gaze. Lawrence, whose work is consistently concerned with a-symbolic bodily registers, bypasses a number of the purgatorial aporias staged in the writings of Woolf, Eliot and Bowen. Viewing his appropriation of haunting through a Lacanian understanding of feminine jouissance suggests Lawrence’s welcoming of a radical ghostly other that may transcend the aporias of subjectivity, ethics and mourning that characterise these haunting modernisms.
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Bellis, Joanna Ruth. "Language, literature, and the Hundred Years War, 1337-1600." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609852.
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Dine, Philip Douglas. "French literary images of the Algerian war : an ideological analysis." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/3544.
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The Algerian war of 1954 to 1962 is generally acknowledged to have been the apogee of France's uniquely traumatic retreat from overseas empire. Yet, despite the war's rapid establishment as the focus for a vast body of literature in the broadest sense, the experience of those years is only now beginning to be acknowledged by the French nation in anything like a balanced way. The present study seeks to contribute to the continuing elucidation of this historical failure of assimilation by considering the specific role played by prose fiction in contemporary and subsequent perceptions of the relevant events. Previous research into this aspect of the Franco-Algerian relationship has tended either to approach it as a minor element in a larger conceptual whole or to attach insufficient importance to its fundamentally political nature. This thesis is conceived as an analysis of the images of the Algerian war communicated in a representative sample of French literature produced both during and after the conflict itself. The method adopted is an ideological one, with particular attention being given in each of the seven constituent chapters to the selected texts' depiction of one of the principal parties to the conflict, together with their attendant political mythologies. This reading is primarily informed by the Barthesian model of semiosis, which is drawn upon to explain the linguistic foundations of the systematic literary obfuscation of this period of colonial history. By analysing points of ideological tension in the fictional imaging of the war, we are able to identify and to evaluate examples of both artistic mystification and demystifying art. It is argued in conclusion that the former category of narrative has never ceased to predominate, thus enabling French public opinion to continue to avoid its ultimate responsibility for the war and its conduct.
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Eckstein, Simon J. "The shadow of the past : fantasy, modernism, and the aftermath of a world at war." Thesis, Swansea University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678625.
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This study constitutes a single strand of a wider argument for a thorough-going reassessment of the place of fantasy literature within the canon. In particular, it aims to redress a marked lack of critical attention paid to the distinct movement towards fantastic modes of representation in the mid-twentieth century.
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Robinson, Laura M. "Educating the reader, negotiation in nineteenth-century popular girls' stories." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0007/NQ27853.pdf.
Full textBooks on the topic "War stories, English – History and criticism"
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Lessons from Sarajevo: A war stories primer. Amherst: University of Massachusetts Press, 2013.
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Novo, Salvador. The war of the fatties and other stories from Aztec history. Austin: University of Texas Press, 1994.
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1970-, McLoughlin Catherine Mary, ed. The Cambridge companion to war writing. Cambridge: Cambridge University Press, 2009.
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Tim, Parker, and Frankland Robert, eds. When the comics went to war: Comic book war heroes. Edinburgh: Mainstream, 2009.
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Virginia Woolf and the Great War. Syracuse, N.Y: Syracuse University Press, 1999.
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Ga̧siorek, Andrzej. Post-war Britishfiction: Realism and after. London: E. Arnold, 1995.
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Andrew, Rutherford. The literature of war: Studies in heroic virtue. 2nd ed. Houndmills, Basingstoke, Hampshire: Macmillan Press, 1989.
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English fiction and drama of the Great War, 1918-39. Houndmills, Basingstoke, Hampshire: Macmillan, 1990.
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Butler, Marilyn. Jane Austen and the war of ideas. Oxford: Clarendon Press, 1987.
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Butler, Marilyn. Jane Austen and the war of ideas. Oxford: Clarendon Press, 1987.
Find full textBook chapters on the topic "War stories, English – History and criticism"
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Einhaus, Ann-Marie. "War Stories: The Short Story in the First and Second World Wars." In The Cambridge History of the English Short Story, 152–67. Cambridge University Press, 2016. http://dx.doi.org/10.1017/9781316711712.010.
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Leese, Peter. "Mobilizing Life Stories." In Migrant Representations, 63–78. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802070156.003.0005.
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Considers the origins, circumstances, and story-telling strategies of two life-story accounts at a peak moment of population movement in the twentieth century: the wake of the Second World War. This chapter gives a reading of An Irish Navvy: The Diary of an Exile (1964) by the labourer, journalist and short story writer Donall MacAmhlaigh, who as part of the Irish diaspora travelled to the English midlands from County Donegal. MacAmhlaigh’s account parallels an oral history interview with Bibi Inder Kaur (c. 2000) which recalls her experiences of forced migration during the Indian partition and the development of her own distinctive Indian feminism. One significant connection between these accounts is their form: both revolve around boat stories. Different in origin and execution, yet connected by their common moment, these two life stories highlight distinct modes of adaptation, traumatic memory, culture and gender difference as well as shared political rights activism.
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Brazil, Kevin, David Sergeant, and Tom Sperlinger. "Introduction." In Doris Lessing and the Forming of History. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474414432.003.0001.
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‘It’s a question of form’ (1993: 418). So declares frustrated writer Anna Wulf, in what remains Lessing’s most celebrated novel, The Golden Notebook. As this volume shows, the attempt to find forms which might record, model and engage historical change and all that it entails is one that persists throughout the six decades spanned by Lessing’s writing. The chapters that follow attend to the full weight of Anna’s statement: when Lessing’s writing turns towards history it is not simply a question of finding the literary form that might best represent it; rather it involves questioning the very relationship between form and history, as they are brought together afresh in each new work. These questions might be common to literary criticism, but the chronological breadth of Lessing’s career, and its sheer variety and productivity, makes them both particularly pressing and particularly enlightening in her work. As she moves from colonial Rhodesia to post-war Britain, and from war-torn Afghanistan to our posthuman future, her work employs the full panoply of techniques, modes, genres and effects that we refer to as forms: short stories, realism, serial fiction, documentary, drama, jokes, Sufi tales, reportage – and more....
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Poos, L. R. "‘It Would Be a Pity Not to Complete the History’." In Love, Hate, and the Law in Tudor England, 243–86. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192865113.003.0006.
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Abstract The stories of Roger and Ralph Rishton had a long afterlife, as they continued to be reshaped and repurposed by local antiquarians and the provincial press. The Rishton family faded from local prominence in the later Tudor and Stuart periods, owing mainly to their recusancy, which in turn was a reflection of the continuing strength of Catholic conviction in post-Reformation Lancashire and eventually caused them to lose their estates during the English Civil War. From the seventeenth to the nineteenth century, Lancashire antiquarians sought, copied, and preserved documents from gentry family histories and began to retell Rishton stories. The vast expansion of the provincial press in the Victorian and Edwardian eras created a new outlet for local history, as newspapers featured columns with revolving repertoires of stories rooted in locality, consciously engendering a sense of historical place for their readerships, and stories about Roger and Ralph were recurring chapters in east Lancashire papers. This retrospective examination of the Rishton stories’ afterlife ends with reflection upon the power of those stories and their continual repurposing, culminating in a poem from the later twentieth century exemplifying their lasting appeal.
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Thiess, Derek J. "Sport, Institution, and the Devil." In Sport and Monstrosity in Science Fiction, 140–61. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942227.003.0008.
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This chapter continues the discussion of individuality in sport, but also places the athlete in direct discussion with the institutions that organize and manage sports. Criticism of sport institutions such as the NCAA, NFL, and Olympic Committee are very popular, particularly within sociological constructivism. This chapter places this criticism in a historical context, suggesting it bears a relationship with a longer history of denigrating the athlete as idolatrous. Engaging stories and films that highlight the interaction of athletes with political, religious, and financial institutions the monstrous athlete emerges as a worthy victim caught in a kind of culture war between those who denigrate them and those who exploit them, sometimes one and the same.
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Greig, Matilda. "Before the Ink Dries." In Dead Men Telling Tales, 62–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192896025.003.0003.
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Peninsular War veterans often faced a difficult transition back into civilian society after the conflict, receiving inadequate pay and little official commemoration. This led to a common fear, expressed explicitly in their memoirs, that their stories had not been and would not be properly told. This chapter demonstrates that many soldiers-turned-authors deliberately used their autobiographies to take issue with the academic, historical record of the war. It reveals that, in Spain, the first official history of the Peninsular War was written by a group of veterans, who helped to choose the Spanish name for the conflict: la Guerra de la Independencia. It then shows how veterans’ memoirs contributed to the creation of distinct national narratives of the war in Spain, Britain, and France, examining different representations of the ‘Other’, depictions of the guerrilla war and its leaders, and praise or criticism for the regular army.
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Faragher, Megan. "The Morass of Morale." In Public Opinion Polling in Mid-Century British Literature, 174–215. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192898975.003.0006.
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The Ministry of Information (MoI) had a robust morale-research apparatus which, more often than not, failed to successfully appeal to the public in high-profile information campaigns. Cecil Day-Lewis, who worked in the Publications division of the MoI during the war, allegorized such failures through his detective fiction; in both Malice in Wonderland and Minute for Murder, he alludes to Ministry campaigns like the “Silent Column Campaign,” which failed to appropriately respond to public criticism elicited from Home Intelligence morale reports. Day-Lewis’s subtle critiques of MoI morale assessment are also mirrored in the wartime work of Elizabeth Bowen, who used her information work in Ireland to encourage the MoI to take on more sympathetic public stances towards the neutral nation during the war. While Bowen attempted to read and translate the desires of the Irish public to English officials, The Heat of the Day likewise emphasizes characters’ struggles in interpreting and mastering the desires of others. In both The Heat of the Day and in her wartime short stories, Bowen returns to early psychographic symbols of ghosts and apparitions to elucidate the precarious position of the public opinion worker during wartime. In this chapter, both Bowen and Day-Lewis remind readers that the desire to manifest interiority as material produces fear and anxiety amongst citizens who feel themselves spied upon and who see psychographics as just another means of control for governments and institutions against its citizens.
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Wilson, Mary. "“The world…seen from this angle undoubtedly looks queer”: History, Heritage, and the Queer Domesticity of Between the Acts." In Virginia Woolf and Heritage. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781942954422.003.0021.
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The paper reads Woolf’s last work as a queerly domestic novel: centered on the space of Pointz Hall and the history of England and simultaneously decentering the heterosexual romance plot and the British Army, rewriting the English home and English heritage. Woolf crafts her revision by connecting the creative work of Miss La Trobe and Isa Oliver, whose particular expressions turn the queer and queering gaze of the female outsider onto the two faces of domesticity—private and national—and demonstrate their inextricable links to each other. In Three Guineas, Woolf repeatedly describes the queerness of the vantage point available to the daughters of educated men: the view of the world seen through the filter of domesticity, queer in that it renders strange the accepted order of the patriarchal world. Woolf draws together the reluctantly domesticated Isa’s private poetry, hidden in the family accounts book, and the lesbian, quasi-foreign La Trobe’s publicly performed play about English national history to produce a queer revision of domestic inheritance on personal and national levels. Isa’s and La Trobe’s creative efforts and their domestic lives are marked with incompleteness, dissatisfaction, and failure, which suggests that a queerly domestic viewpoint cannot be an end in itself, particularly on the brink of war. But the novel also insists that women’s queering perspectives on domestic life provides a necessary counterpoint to personal and national stories of violence and patriotism.
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Wei, Shuge. "Conclusion." In News Under Fire. Hong Kong University Press, 2017. http://dx.doi.org/10.5790/hongkong/9789888390618.003.0010.
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The period between 1928 and 1941 witnessed two marked trends: the growing sympathy for China’s anti-Japanese cause in the English-language press and the development of China’s foreign propaganda system. The two processes were closely connected. Even before China became a military ally of the United States and Britain after Pearl Harbor, it had already become an emotional ally. A change in national image is always a complex process. Other elements, such as the conflict of interests between the Western powers and Japan as well as Japanese atrocities in China, may well have contributed to the shift in public opinion. Yet it is undeniable that China’s continuous propaganda efforts intensified the existing tensions between Japan and the Western powers and strongly promoted the change. History does not allow “what if” questions. Yet some hypothetical scenarios are useful in urging us toward a reevaluation of the significance of certain stories and events that are absent from current history telling. Would the United States have entered the war in 1941 without any propaganda effort from the Nationalist government? Had the United States delayed confrontation with Japan and stayed out of East Asia, could Chiang Kai-shek’s government have survived Japan’s encirclement? If the Chiang Kai-shek regime had collapsed in the early 1940s, would World War II have ended with the same result?...
Conference papers on the topic "War stories, English – History and criticism"
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Martynov, Dmitry. "LIU RENHANG AND HERBERT G. WELLS." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.30.
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Liu Renhang (1885–1938) was known as a Shanghai publicist and propagandist of Buddhism, vegetarianism and non-violence. Having been educated in Japan, he could not establish relations with Zhang Xun and Yan Xishan. He made a long journey to India and Indochina, talked with Rabindranath Tagore. In the 1920s and 1930s, Liu Renhang published over 30 books, mostly translated from Japanese and English. He published translations of L. N. Tolstoy’s short stories, books on hydrotherapy and yoga, and founded the Institute for the Cultivation of Joy in Shanghai (乐天 修养 馆). The main work of his life was Dongfang Datong Xuean in 6 juan, the creation of which was carried out in 1918–1924. The treatise was fully published in Shanghai in 1926, and was reprinted in 1991 and 2014. Its main content was to consider the classical ideals of Xiaokang and Datong, and the possibility of combining ideals with the realities of the modern world. Liu Renhang believed that the ideal of Datong Confucius and Kang Yuwei is fully compatible with Buddhist teachings. During the fifth session of the Central Election Commission of the Kuomintang of the fourth convocation (1934), he tried to announce at the meeting a petition on the introduction of the principle of Great Unity in international relations. In 1938, he created the utopian commune Datong in his native village, and tried to interest Zhou Enlai and Dong Biu with his theories. In the Dongfang Datong Xuean treatise, Liu Renhang introduced the “history of the future”, which was influenced by H. G. Wells’ globalist and Fabian ideas. Liu Renhang directly referred to his novel The War in the Air in conclusion to his own treatise. Like Wells, Liu looked with pessimism on the prospects of modern mankind, and called for the emergence of a “modern Genghis Khan”, who would ruin the world, on the ashes of which the sprout of a new Great Unity would rise.