Academic literature on the topic 'World War, 1939-1945 – Poetry'
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Journal articles on the topic "World War, 1939-1945 – Poetry"
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Subanti, Gregorius. "The War, Postwar and Postmodern British Poets: Themes and Styles." Indonesian Journal of English Language Studies (IJELS) 4, no. 1 (October 29, 2018): 39–49. http://dx.doi.org/10.24071/ijels.v4i1.1633.
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British literature, especially poetry has experienced different phases and showed the unique faces from the early periods to what called modernity era. The multi-facetted poetry is inflected by the dynamic atmospheres faced by Britain as results of the responses of poetic artists to the ups and downs of British history, especially the industrial changes and the brutality of World War I and II. Poets responded the political, social and cultural waves with their own unique styles and moods. The traumatic Wars and their casualties were not the sole themes during the war or post war era poetry, some poets reacted the issues of their own ways. This paper will discuss the reaction of some British poets to the wars. The discussion sections will be parted into the general responses, and also the analysis of two post war poets namely Adrian Henry and James Berry to represent their era of 1960 and 1980. This study reveals some findings that the poets experienced WWI and WWII responded the wars in such dramatic and gloomy ways as they are closely affected by the effects of 1915-1945 wars. Adrian Henry lived in the era post-modern, 1960s, the effect should have recovered. His poetic style speaks itself. James Berry, a Black immigrant poet, voices his root, past experiences and hope for a new life. Despite the style and theme, they all flourish British poetry with their own uniqueness.Keywords: British poetry, postwar, postmodern, Adrian Henri, James Berry
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Buckridge, Patrick. "Colin Bingham, the Telegraph and poetic modernism in Brisbane between the wars." Queensland Review 23, no. 2 (December 2016): 151–63. http://dx.doi.org/10.1017/qre.2016.26.
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AbstractBrisbane has sometimes been represented as a bulwark of literary traditionalism against the advances of poetic modernism in the southern capitals during the first half of the twentieth century. But as William Hatherell showed in The Third Metropolis, modernism had a brief but intense flourishing in the northern city during and immediately after World War II. This article traces the reception and practice of poetic modernism in Brisbane even earlier than that, in the period between the wars, both in the form of a vigorous critical debate over ‘modernistic poetry’ in the Courier-Mail and elsewhere, and also in the composition and publication of a significant quantity of self-consciously modernist poetry in Brisbane's evening daily, the Telegraph, with the active encouragement of the paper's literary editor, Colin Bingham, from 1930 to 1939.
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Shoham, Reuven. "Kovner vs. Kovner: “A Parting from the South” vs. “Combat Page”." AJS Review 22, no. 2 (November 1997): 223–42. http://dx.doi.org/10.1017/s0364009400009600.
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The poet Abba Kovner was a partisan and freedom fighter during World War II (1942–1945), made aliyah in 1945, and published his first long poem, ‘Ad lo ’or (“Until There Was No Light”), in 1947. At the outbreak of the Israeli War of Independence he fought on the Egyptian front (1947–48), serving as a cultural officer, or politruk in the Giv'ati Brigade. Preda me-ha-darom (“A Parting from the South”), his second long poem and one of the pivotal works by a modern Hebrew poet, was written against the background of the War of Independence. However, critics have not yet been able to find a fitting place for it in the canon of Hebrew poetry and culture, although several serious attempts have been made. The present study does not refer to every aspect of this complex poem but focuses on one particular point. I contend that “A Parting from the South” implies an attempt by the visionary speaker of the poem to compel the young country, soon after the war, to part from the world of death, from cultic memories of the dead and guilt feelings toward them (the dead in the 1948 war in Israel and the dead in the ghettos of Nazi Europe in World War II). Abba Kovner tries to detach himself, and his readers, from death, to liberate them from the old perspectives.
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Finkin, Jordan, and Nokhum Minkoff. "On the Edge." Hebrew Union College Annual 92 (December 1, 2021): 225–81. http://dx.doi.org/10.15650/hebruniocollannu.92.6.
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Nokhum Borukh Minkov (1893–1958) was born to a modern-thinking family in Warsaw. Though his mother was much more comfortable in Yiddish, his Russified father forbade Yiddish in the home. Minkov came to the U.S. just before the outbreak of World War I, first to San Francisco, where he wanted to study medicine, and then to New York, where he ended up at NYU Law School. There he befriended Yankev Glatshteyn, also a law student, and fell in with the Yiddish literary crowd. In those early days he could often be seen in the cafes doggedly studying Yiddish, pestering his soon-to-be-fellow poets about vocabulary and points of grammar. Though he would ultimately author five books of poetry, he is today noted and remembered primarily for his later works of literary critical scholarship, including studies of Elye Bokher and Glikl Hamel, as well as Classic Yiddish Poets (1939), Six Yiddish Critics (1954), and his three-volume masterwork Pioneers of Yiddish Poetry in America (1956)
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Subiotto, Namita, and Biserka Bobnar. "MUTUAL TRANSLATION OF SLOVENIAN AND MACEDONIAN CHILDREN'S POETRY." Philological Studies 19, no. 1 (2021): 128–43. http://dx.doi.org/10.17072/1857-6060-2021-19-1-128-143.
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The paper presents the mutual translation of Slovenian and Macedonian children’s poetry from the end of the Second World War to the present day. The first part of the paper presents data on book translations of Slovenian children’s poetry into Macedonian and Macedonian children’s poetry into Slovene in two stages: the first one shows translations in the period between 1945 and 1990, when Slovenia and Macedonia were part of the common state of Yugoslavia, and the second one shows translations publishedafter independence, i.e., between 1991 and 2020. The proportion of mutual translations of Slovenian and Macedonian children’spoetry comparedto translations of children’sprose and drama is also shown. In the second part, the rare book translations of Slovenian children'spoetry into Macedonian and Macedonian into Slovenian published after 2000 are analysed using a functional approach. The analysis seeks to show whether the translated text matches the illustrations, whether the form and sound of the poems are preserved, and what the transfer of the vocabulary is like. The conclusion suggests possibilities for more active interculturalmediationin this field.
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Sokolov, Oleg A. "Unsheathing Poet’s Sword Again: The Crusades in Arabic Anticolonial Poetry before 1948." Vestnik of Saint Petersburg University. Asian and African Studies 14, no. 2 (2022): 335–51. http://dx.doi.org/10.21638/spbu13.2022.211.
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Both Arab and Western scholars agree that, starting in the mid-20th century, the correlation of Western Europeans with the Crusaders and the extrapolation of the term “Crusade” to modern military conflicts have become an integral part of modern Arab political discourse, and are also widely reflected in Arab culture. The existence of works examining references to the theme of the Crusades in Arab social thought, politics, and culture of the second half of the 20th century contrasts with the almost complete absence of specialized studies devoted to the analysis of references to this historical era in Arab culture in the 19th century and first half of the 20th. An analysis of references to the era of the Crusades in the work of Arab poets before 1948 shows that, already in the period of the Arab Revival, this topic occupied an important place in the imagery of anti-colonial poetry, and not only in Egypt, Syria, and Palestine, historically attacked by the Crusaders, but also in other regions of the Arab world. If, before World War I, Arab poets only praised the commanders of the past who defeated the Crusaders, then afterwards the theme of the Crusades was also used to liken the European colonialists to the “medieval Franks”. The authors of the poems containing images from the era of the Crusades were, among others, the participants of the Arab Uprising of 1936–1939 and the Arab-Israeli War of 1947–1949, who set their goal with the help of poetry to mobilize the masses for the struggle.
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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.
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The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.
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Doiar, Larуsa. "Ukrainian book prints 1945—1946: reflections on the events of the military disaster." Вісник Книжкової палати, no. 4 (April 28, 2021): 41–50. http://dx.doi.org/10.36273/2076-9555.2021.4(297).41-50.
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The presented article raises the problem of the Second World War in the context of the events that took place on its main direction — the Eastern Front, where, without exaggeration, the fate of all mankind was decided. The racial doctrine of Hitler's Nazism left no chance for the physical existence of most peoples, who were treated by it as inferior and those who could only be in slavery. Thus, on May 9, 1945, perpetuated not only the victory of one military bloc over another, but also the right of the human community to its diversity and life in conditions of racial and national equality, tolerance, and humanism. This article is devoted to the problem of covering the events of the war in book prints published in the Ukrainian SSR shortly after its end. The purpose of the presented research was to conduct a content analysis of previously unused and now forgotten books of 1945—1946 editions published in the USSR and devoted to the war of 1941—1945. The study involved literature of various genres, publishing volumes and purpose, namely: official documents (state and party), scientific works, memoirs (memoirs, memoirs), epistolary, fiction and poetry. Realizing this goal, the author worked on book prints published in several publishers of the Ukrainian SSR at that time, in particular, the Ukrainian State Publishing House (State Publishing House of Ukraine), the Ukrainian Publishing House of Political Literature (Political Publishing House of Ukraine), the State Publishing House of Fiction (Lithuania), the publishing house of Odessa State University named after I. Mechnikov, the publishing house of the Dnipropetrovsk regional committee of the Communist Party of the Bolsheviks of Ukraine. Based on this work, the author came to the conclusion that the printing press of the first postwar years laid a solid foundation of a huge literary community, which for many decades determined the public attitude to the events of the Great Patriotic War.
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Mulligan, Joseph. "Mediating Andean Modernity: The Literary Oracular in Muerte por el tacto by Jaime Saenz." Bolivian Studies Journal 26 (December 10, 2021): 83–106. http://dx.doi.org/10.5195/bsj.2021.252.
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Upon his return from Berlin in 1939, Jaime Saenz started working in La Paz for intelligence agencies and public relations offices of Bolivia and the United States, which led to correspondent positions with Reuters and McGraw-Hill World News. His trajectory into Cold War Bolivian state nobility seemed all but guaranteed. However, on the brink of this breakout moment, he renounced his job —and professionalism altogether— committing himself to a life of literature and alcoholism as his marriage unraveled. In response to repeated interventions, he justified his every loss with a further indictment of the precautious, which was an outgrowth of his belief in the existence of a higher truth that was both accessible and impervious to analytical reason. In this article, I ask how Saenz’s poetry from the 1950s metabolized the rhetoric of indictment which it had inherited from the Tellurism of the Chaco generation. How might Muerte por el tacto (1957) be symptomatic of a broader aim of restoring to modern poetry its oracular legitimacy? On what grounds did Saenz indict precautious defenders of historical culture? And how did such an indictment mediate “national energy” (Tamayo) as it came into language through the nativist discourse of the land? Paying focal attention to regimes of revelation in Saenz’s early poetry and the historical conditions of its production, this article updates a discussion among Transatlanticists about the legitimization of irrationalism in 20th-century poetics and politics by assessing the socio-symbolic value of the oracular in the regionalist discourse of modernism.
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L’vova, Irina V. "The Image of Russia in Beat Culture." Imagologiya i komparativistika, no. 16 (2021): 207–24. http://dx.doi.org/10.17223/24099554/16/13.
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The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.
Dissertations / Theses on the topic "World War, 1939-1945 – Poetry"
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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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Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.
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This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.
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Edford, Rachel Lynn 1979. "“The Step of Iron Feet”: Formal Movements in American World War II Poetry." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11981.
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x, 237 p.We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier's battlefront and the civilian's homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront--widespread isolationist and anti-Semitic attitudes, America's late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American "Double V Campaign" to fight fascism overseas and racism at home--were just some of the volatile conditions poets in the US grappled with during WWII. In their poems, war shapes and threatens the identities of civilians and soldiers, women and men, African Americans and Jews, and verse form itself becomes a weapon against war's assault on identity. Charles Reznikoff, Muriel Rukeyser, Gwendolyn Brooks, and Richard Wilbur mobilize and challenge the authority of traditional poetic forms to defend the self against social, political, and physical assaults. The objective, free-verse testimony form of Reznikoff's long poem Holocaust (1975) registers his mistrust of lyric subjectivity and of the musical effects of traditional poetry. In Rukeyser's free-verse and traditional-verse forms, personal experiences and public history collide to create a unifying poetry during wartime. Brooks, like Rukeyser, posits poetry's ability to protect soldiers and civilians from war's threat to their identities. In Brooks's poems, however, only traditionally formal poems can withstand the war's destruction. Wilbur also employs conventional forms to control war's disorder. The individual speakers in his poems avoid becoming nameless war casualties by grounding themselves in military and literary history. Through a series of historically informed close readings, this dissertation illuminates a neglected period in the history of American poetry and argues that mid-century formalism challenges--not retreats from--twentieth-century atrocities.
Committee in charge: Karen Jackson Ford, Chairperson; John Gage, Member; Paul Peppis, Member; Cecilia Enjuto Rangel, Outside Member
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Lebrun, Florence. "Vie des revues françaises entre 1939 et 1953 : Poésie et critique poétique." Thesis, Cergy-Pontoise, 2016. http://www.theses.fr/2016CERG0847.
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Au cours de la Seconde Guerre mondiale se produit un phénomène éditorial sans précédent : alors que le contexte y est peu favorable, d’innombrables revues francophones sont créées, aussi bien en France métropolitaine que dans les colonies et à l’étranger, à l’instar de Fontaine, Poésie, Confluences, L’Arbalète, Cahiers de Poésie, Les Lettres françaises et bien d’autres encore. Elles viennent s’adjoindre aux périodiques qui existaient avant 1939 et qui ont réussi à se maintenir, afin de souligner la grandeur intellectuelle du pays. Ensemble, ils reprennent à leur compte la mission de La Nouvelle Revue Française, qui se trouve peu à peu dénaturée du fait de ses positions politiques avant d’être interdite : s’ils publient les textes d’écrivains reconnus, ils s’attachent aussi à lancer de jeunes auteurs qui, sans eux, n’auraient pu atteindre la notoriété qui a été la leur. Ainsi, jusqu’en 1953, date à laquelle La N.R.F. obtient l’autorisation de reparaître, ils contribuent à dessiner le paysage littéraire de la seconde moitié du XXe siècle.Les revues publiées entre 1939 et 1953 apparaissent comme la condition même de l’émergence de la poésie durant cette période. Elles contribuent à replacer ce genre au centre de toutes les attentions et favorisent son renouvellement. Elles font ainsi découvrir à leurs lecteurs les poèmes d’écrivains comme Olivier Larronde, Adrian Miatlev ou encore un certain Noël Mathieu, qui deviendra bientôt le fameux Pierre Emmanuel. Elles diffusent leurs textes aux côtés de ceux d’auteurs reconnus comme Paul Éluard ou Aragon, dont l’œuvre est alors en pleine mutation, et remettent sur le devant de la scène des écrivains du passé.Aux côtés des poèmes eux-mêmes se déploie dans les revues un important discours critique, dans lequel les chroniqueurs s’interrogent en profondeur sur les évolutions de la poésie. S’ils dessinent ses lignes de force, évoquant tour à tour un néo-classicisme, un renouvellement du lyrisme et une poésie tantôt engagée, tantôt matérialiste, tantôt spiritualiste, ils s’interrogent aussi sur leur mission et engagent de ce fait la critique dans une dimension autoréflexive. Leurs articles et chroniques, dont la fonction première est de contribuer au rayonnement de la poésie, apparaissent ainsi comme le berceau dans lequel s’éveille, peu à peu, la Nouvelle Critique, qui connaîtra son plein essor après 1953 et rayonnera durant toute la seconde moitié du XXe siècleThe editorial scene during World War II was a witness to an unprecedented phenomenon. Beating the odds, a great number of French-speaking magazines were created, whether it be in Metropolitan France, in colonies or abroad. Among them : Fontaine, Poésie, Confluences, L’Arbalète, Cahiers de Poésie, Les Lettres françaises, and many more. These just add to the list of periodicals that predate 1939 and managed to stay afloat in order to underline the country’s intellectual greatness. Together - and in their own way - they upheld the mission of La Nouvelle Revue Française, whose nature was slowly altered because of its political views, before being shut down altogether. Not only did they publish renowned authors’ works, but they helped launch the careers of young authors who would not have been known otherwise. Hence, they contributed to the French literary landscape until 1953 - when La N.R.F. magazine was authorized to be published again.Without these magazines published between 1939 and 1953, poetry would have been completely forgotten during that era. Not only did they help make this genre the centre of attention and allowed its renewal but, thanks to them, readers discovered writers such as Olivier Larronde, Adrian Miatlev and Noël Mathieu – the latter would soon become the famous Pierre Emmanuel. Their work is published along those already renowned by Paul Éluard and Aragon – whose work was undergoing changes at the time – and they published long forgotten writers.Alongside these poems, criticism could be found in the columns of these magazines, in which chroniclers raise fundamental questions about the evolution of poetry. Pointing out main tendencies, they wrote about a newly found lyricism of a politically committed, materialistic or spiritualist poetry, but also about their own mission, which led to self-criticism. Their articles and chronicles whose prime goal was to help the prestige of poetry, slowly gave birth to the New Criticism, which knew full bloom after 1953 and shone throughout the second half of the twentieth century
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Lynch, Éadaoín. "'This may be my war after all' : the non-combatant poetry of W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith." Thesis, University of St Andrews, 2018. http://hdl.handle.net/10023/16566.
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This research aims to illuminate how and why war challenges the limits of poetic representation, through an analysis of non-combatant poetry of the Second World War. It is motivated by the question: how can one portray, represent, or talk about war? Literature on war poetry tends to concentrate on the combatant poets of the First World War, or their influence, while literature on the Second World War tends to focus on prose as the only expression of literary war experience. With a historicist approach, this thesis advances our understanding of both the Second World War, and our inherited notions of 'war poetry,' by parsing its historiography, and investigating the role critical appraisals have played in marginalising this area of poetic response. This thesis examines four poets as case studies in this field of research-W.H. Auden, Louis MacNeice, Dylan Thomas, and Stevie Smith-and evaluates them on both their individual explorations of poetic tone, faith systems, linguistic innovations, subversive performativity, and their collective trajectory towards a commitment to represent the war in their poetry. The findings from this research illustrate how too many critical appraisals have minimised or misrepresented Second World War poetry, and how the poets responded with a self-reflexivity that bespoke a deeper concern with how war is remembered and represented. The significance of these findings is breaking down the notion of objective fact in poetic representations of war, which are ineluctably subjective texts. These findings also offer insight into the 'failure' of poetry to represent war as a necessary part of war representation and prompt a rethinking of who has the 'right' experience-or simply the right-to talk about war.
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Anderson, Pamela R. "Grabbing the Beast by the Throat: Poems of Resistance—Czechoslovakia 1938-1945." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334328092.
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Abrahams, Paul Richard Adolphe. "Haute-Savoie at war, 1939-1945." Thesis, University of Cambridge, 1992. https://www.repository.cam.ac.uk/handle/1810/251528.
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Shepard, Steven B. "ABDA : unsuccessful band of brothers /." Fort Leavenworth, KS: U.S. Army Command and General Staff College, 2003. http://cgsc.cdmhost.com/u?/p4013coll2,115.
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Choi, Cho-hong. "Hong Kong in the context of the Pacific War : an American perspective /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20906845.
Full textBooks on the topic "World War, 1939-1945 – Poetry"
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1948-, Haughton Hugh, ed. Second World War poems. London: Faber and Faber, 2004.
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1952-, Kunert Andrzej Krzysztof, ed. Poezje zebrane: Wrzesień 1939, maj 1945. Łomianki: Wyd. LTW, 2006.
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1924-, Shapiro Harvey, ed. Poets of World War II. New York: Library of America, 2003.
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Eberhart, Dee R. Relics of war: World War II poems. Harrisburg, Or. (PO Box 436, Harrisburg, 97446): Saurus Press, 2000.
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1940-, Graham Desmond, ed. Poetry of the Second World War: An international anthology. London: Chatto & Windus, 1995.
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Of love and War: New & selected poems. London: Robson, 2002.
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Brecht, Bertolt. War primer. London: Libris, 1997.
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Scannell, Vernon. Of love and war: New and selected poems. London: Robson, 2002.
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From the line: Scottish war poetry 1914-1945. Glasgow: Association for Scottish Literary Studies, 2014.
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Piette, Adam. Imagination at war: British fiction and poetry, 1939-1945. London: Papermac, 1995.
Find full textBook chapters on the topic "World War, 1939-1945 – Poetry"
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Douglas, Roy. "Japan, 1939-41." In The World War 1939–1945, 111–26. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-10.
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Douglas, Roy. "Atlantic partnership, 1939-41." In The World War 1939–1945, 97–110. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-9.
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Douglas, Roy. "Inter-Allied relations, 1945." In The World War 1939–1945, 250–60. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-21.
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Douglas, Roy. "The road to war." In The World War 1939–1945, 1–6. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-1.
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Douglas, Roy. "The arrival of war." In The World War 1939–1945, 7–19. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-2.
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Douglas, Roy. "The war in 1943." In The World War 1939–1945, 166–79. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-15.
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Douglas, Roy. "War and the changing world." In The World War 1939–1945, 147–55. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-13.
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Douglas, Roy. "The Soviet Union, 1939-41." In The World War 1939–1945, 80–96. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-8.
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Douglas, Roy. "The German war in 1942." In The World War 1939–1945, 137–46. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-12.
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Douglas, Roy. "The Far East, 1941-2." In The World War 1939–1945, 127–36. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003187998-11.
Full textConference papers on the topic "World War, 1939-1945 – Poetry"
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Isupov, V. "Birth Rate and Marriage in Wartime Conditions (Rear Population of the RSFSR), 1939-1945." In XIII Ural Demographic Forum. GLOBAL CHALLENGES TO DEMOGRAPHIC DEVELOPMENT. Institute of Economics of the Ural Branch of RAS, 2022. http://dx.doi.org/10.17059/udf-2022-1-10.
Full textAbstract:
Historical demography in Russia as a scientific field is experiencing rapid growth. Since the late 1980s, numerous works have been published on various issues of demographic history. Considerable attention is now being paid to the demographic aspects of the World War II. While the issue of human losses in the USSR is of great interest, much less attention is drawn to the problem of population reproduction in 1939-1945. Simultaneously, reproduction processes underwent such a significant distortion during the war years that they should be taken into account when determining the scale of the demographic catastrophe that shook Russia. The main purpose of this article is to identify the leading trends and features of marriage and birth rate of the Russian population during the World War II.