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Langton, Scott Charles. "The Works of Nakajima Atsushi "War is war and literature is literature"". Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1208532046.
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Ngo, Lập Tu McLaughlin Robert L. "Literature as allusion processing and teaching Vietnam-American war literature". Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1225141141&SrchMode=1&sid=6&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1177941823&clientId=43838.
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Thesis (Ph. D.)--Illinois State University, 2006.Title from title page screen, viewed on April 30, 2007. Dissertation Committee: Robert L. McLaughlin (chair), Ronald Strickland, Aaron Smith. Includes bibliographical references (leaves 196-207) and abstract. Also available in print.
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Swartz, Howard M. "The Soviet-Afghan War in Russian literature". Thesis, University of Oxford, 1992. https://ora.ox.ac.uk/objects/uuid:1b5cf666-d10b-4df2-9a71-967cb98d5b46.
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This thesis is an historical and literary investigation of the treatment of the 1979- 89 Soviet-Afghan War in contemporary Russian literature. The texts chosen for study include official and unofficial literature, written within the former USSR as well as abroad, and cover publicistic writing, poetry, and prose fiction. These works are described and analyzed with a two-fold purpose: to explore creative trends found in the literature of this subject, and to evaluate the extent to which the genre of Afghan War literature in Russian has changed over the past decade. In order to provide a context for this literature, the introduction describes the method of socialist realism as it applies to military themes, and the legacy of World War Two novels in Russian. The first chapter provides a brief history of Russian-Afghan relations, and an account of the ten-year intervention. The second chapter documents the dissolution of official censorship during the 1980s, revealing dissent over the Soviet military role in Afghanistan. Chapter Three discusses the evolution of the genre of publicistic writing, and documents its unprecedented frankness through revelations made in Soviet journalistic investigations. Chapter Four provides an overview of song and poetry about the conflict, beginning with magnitizdat produced by amateur songwriters, and later including works by professional poets. Chapter Five discusses novels and short stories about the war. A range of fictional works is traced, from propagandistic portrayals, both pro-and anti-Soviet, to non-ideological, personal interpretations which incorporate lyricism, satire, and fantasy. Chapter Six focuses on the works of Aleksandr Prokhanov, a writer who initially used his fiction to support the war effort, and whose oeuvre charts the disintegration of Party consensus on interpretation and depiction of the events in Afghanistan. The final three chapters treat the works of Oleg Ermakov, whose lyricism and stylistic experimentation mark a new direction for recent Russian war fiction. The analysis shows Afghan War literature to signal a radical break with recent official Soviet military writing as shaped by socialist realism. This break is evident in the frankness and subjectivity of publicistic writing, and the anti-war sentiment found in a significant minority of published songs and poems. In particular, Oleg Ermakov's prose continues the past legacy of unofficial, dissident war fiction.
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MacCallum-Stewart, Esther. "The First World War and popular literature". Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421434.
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Daw, Sarah Harriet. "Writing ecology in Cold War American literature". Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/19367.
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This thesis examines the function and presentation of “Nature” in American literature written between 1945 and 1971. It argues that the widespread presence of ecological representations of “Nature” within Cold War literature has been critically overlooked, as a result of Cold War literary criticism’s comparatively narrow concentration on the direct effects of political and ideological metanarratives on texts. It uncovers a plethora of ecological portrayals of the relationship between the human and the environment, and reveals the significance of the role played by non-Western and non-Anglocentric philosophies and spiritualties in shaping these presentations. This study is methodologically informed by the most recent developments in the field of ecocriticism, including Scott Knickerbocker’s work on ecopoetics and Timothy Morton’s explorations of the problems associated with the term “Nature”. It finds significant continuities within these ecological portrayals, which suggest that nuclear discourse had an influential effect on the presentation of “Nature” within Cold War literature. This influence is, however, heavily mediated by the role that non-Western and non-Anglocentric philosophies play in writers’ theorisations of relations of interdependence between the human and the environment. Such literary presentations challenge the understanding that the Nuclear Age represents a conquest of “Nature”. Rather, they reveal that a number of Cold War writers present human interdependence within an ecological system, capable of the annihilation of the human, and of the containment of the new nuclear threat. The thesis’s introductory chapter questions the characterisation of Silent Spring (1962) as the founding text of the modern environmental movement. It outlines this study’s intervention into the field of Cold War criticism, detailing its specific ecocritical methodology and engaging with the legacy of Transcendentalism. Chapter One looks at the work of Paul Bowles, with a primary focus on The Sheltering Sky (1949). It demonstrates the centrality of the landscape to the writer’s creative project, and reveals the substantial influence of the Sufi mysticism on Bowles’s presentation of the human’s relationship to the environment. Chapter Two focuses on the work of the New Mexican poet Peggy Pond Church. It establishes the influence of the writer’s familiarity with the Pueblo Native American worldview on her poetic portrayals of the human and the nuclear as interrelated parts within a greater ecological system. It also uncovers similar portrayals within the work of the “father of the atomic bomb”, J. Robert Oppenheimer. The third chapter analyses the effects of Chinese and Japanese literature and thought on the work of J. D. Salinger. It outlines the function of “Nature” in the work of the specific translators that Salinger names, arguing that this translated Taoism substantially informed the ecological vision present across his oeuvre. Chapter Four explores the impact of Simone Weil on the work of Mary McCarthy. It reads Birds of America (1971), demonstrating the governing influence of Weil’s concept of “force” on McCarthy’s presentation of the human as an interdependent part within a powerful ecological system.
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Rickey, Cathy Louise. "Food and food habits in wartime: Civil War to World War II". The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391699545.
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Leary, Joanna Mackenzie. "Henri Thomas : war within, war without : a study of his correspondence". Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251672.
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Jentsch-Mancor, Kerstin Silke. "The fictional representation of the occupation in Greek literature". Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365625.
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Isherwood, Ian Andrew. "The greater war : British memorial literature, 1918-1939". Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3462/.
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This thesis concerns non-fiction ‘war books’ published in the inter-war period. War books were mostly written by participants in the First World War who contributed to Britain’s memory culture afterwards through the publication of their accounts. The war books catalogue represents diversity in terms of the experiences depicted and the geographic locations represented. Though they went through distinctive periods of popularity, war books were published throughout the inter-war period, and in great numbers. The publishing industry was receptive to martial literature and encouraged its publication. The breadth of the war books catalogue challenges the cultural uniformity of an ‘age of disillusionment’ by demonstrating the different ways that the war was remembered by its participants. War books had widespread interpretative breadth on the meaning of the war to veterans/participants in the years afterwards.
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Trott, Vincent Andrew. "The First World War : history, literature and myth". Thesis, Open University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664476.
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This thesis explores the role literature played in the creation and subsequent development of the mythology of the First World War in Britain. In this thesis, the term 'mythology' is used to denote a set of dominant symbols and narratives which characterise how the past is represented and understood. Many historians consider literature to be the source of the British mythology of the First World War, but it is argued here that previous historical approaches have paid insufficient attention to the processes by which books were published, promoted and received. Drawing on Book History methodologies, this thesis therefore also examines these processes with reference to a range of literary works, whilst employing theoretical models advanced in the field of memory studies to interrogate further the relationship between literature and evolving popular attitudes to the First World War. Through a series of case studies this thesis demonstrates that publishers, hitherto overlooked by scholars in this context, played a crucial role in constructing the mythology of the First World War between 1918 and 2014. Their identification of texts, and promotional strategies, were key processes by which this mythology was developed across the twentieth century and beyond. By examining critical and popular responses to literature this thesis also problematizes the linear narrative by which the mythology of the war is often taken to have evolved. It demonstrates that myths of the war have been constructed and contested by various groups at different times, and that the evolving memories of veterans were not always in alignment with those of the wider public. In doing so it provides a powerful counterargument to the assumption that a mythology of the First World War has become hegemonic in recent decades.
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Horton, Aaron Dennis. "Catastrophe and Identity in Post-War German Literature". Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1061.
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The purpose of this study is to examine selected German literature dealing with issues of history and identity in light of the catastrophic reshaping of society after World War II and reunification. The research process will involve an examination of selected authors and their works that are most relevant to the topic. In order to provide a clear understanding not only of important literary themes but also of the appropriate historical context, attention will be devoted to providing biographical information in addition to critical literary analysis. Because this study is primarily historical in nature, context is important for determining a given author's possible motives in writing. The research will not only provide a better understanding of how history and identity have been addressed in modern German literature, identifying common and recurring themes in significant periods, but also demonstrate the value of using fiction in historical research.
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Chattarji, Subarno. "'Memories of a lost war' : a study of American poetic responses to the Vietnam War". Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297326.
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Dozier, Kimberly S. Hesse Douglas Dean. "Reading Vietnam teaching literature using historically-situated texts /". Normal, Ill. Illinois State University, 1998. http://wwwlib.umi.com/cr/ilstu/fullcit?p9914567.
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Thesis (Ph. D.)--Illinois State University, 1998.Title from title page screen, viewed July 10, 2006. Dissertation Committee: Douglas Hesse (chair), C. Anita Tarr, Charles Harris. Includes bibliographical references (leaves 232-241) and abstract. Also available in print.
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Milne-Walasek, Nicholas. "The History/Literature Problem in First World War Studies". Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35162.
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In a cultural context, the First World War has come to occupy an unusual existential point half-way between history and art. Modris Eksteins has described it as being “more a matter of art than of history;” Samuel Hynes calls it “a gap in history;” Paul Fussell has exclaimed “Oh what a literary war!” and placed it outside of the bounds of conventional history. The primary artistic mode through which the war continues to be encountered and remembered is that of literature—and yet the war is also a fact of history, an event, a happening. Because of this complex and often confounding mixture of history and literature, the joint roles of historiography and literary scholarship in understanding both the war and the literature it occasioned demand to be acknowledged. Novels, poems, and memoirs may be understood as engagements with and accounts of history as much as they may be understood as literary artifacts; the war and its culture have in turn generated an idiosyncratic poetics.
It has conventionally been argued that the dawn of the war's modern literary scholarship and historiography can be traced back to the late 1960s and early 1970s—a period which the cultural historian Jay Winter has described as the “Vietnam Generation” of scholarship. This period was marked by an emphatic turn away from the records of cultural elites and towards an oral history preserved and delivered by those who fought the war “on the ground,” so to speak. Adrian Gregory has affirmed this period's status as the originating point for the war's modern historiography, while James Campbell similarly has placed the origins of the war's literary scholarship around the same time.
I argue instead that this “turn” to the oral and the subaltern is in fact somewhat overstated, and that the fully recognizable origins of what we would consider a “modern” approach to the war can be found being developed both during the war and in its aftermath. Authors writing on the home front developed an effective language of “war writing” that then inspired the reaction of the “War Books Boom” of 1922-1939, and this boom in turn provided the tropes and concerns that have so animated modern scholarship. Through it all, from 1914 to the current era, there has been a consistent recognition of both the literariness of the war's history and the historiographical quality of its literature; this has helped shape an unbroken line of scholarship—and of literary production—from the war's earliest days to the present day.
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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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Das, S. "The sense of touch in First World War literature". Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598287.
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This thesis examines the sense of touch in the experience of the First World War and its relation to literary representation. The literature of the First World War is haunted by the sense of touch: from the horrors of the trench-mud to the "full-nerved still warm" boys of Owen, Sassoon and Nichols, to serving the body in pain that one comes across in the nurses' memoirs. Starting with archival material from the Imperial War Museum - unpublished letters, diaries and journals - I analyse how imaginative literature dwells on moments and processes of tactile contact across genres: trench poetry (Owen, Sassoon, Rosenberg), novels (Barbusse, Blunden, Jones) and nursing memoirs by women (Brittain, Bagnold, Borden). The aims of the study are three-fold. First, I examine why the sense of touch is so crucial - both in the context of horror and tenderness - to the experience of the First World War. Second, how did such tactile experience affect the subjectivities of the soldiers and the nurses? Third, why is there such an urgent need within war writings to evolve a literary language around the most intimate and the most elusive of human senses? After three weeks in the Somme, Owen writes, "I have not seen any dead. I have done worse. In the dank air, I have perceived it, and in the darkness, felt". In my thesis, I seek to relate some broad theoretical interests about the relation between touch and human subjectivity to literary questions and historical particularities; I ground my research in close textual analysis of representations of tactile contact in war writings. Section I examines the horrors of the "sucking" trench-mud and its threat to the identity of the soldiers through letters, newspaper accounts and the writings of Sassoon, Rosenberg, Blunden and Jones. Section II explores moments of tactile tenderness between soldiers, and how such moments go beyond the established categories of gender and sexuality. Chapter 3 studies the representation of the dying kiss in touch literature while Chapter 4 concentrates on Wilfred Owen. Section III considers the experience of the women-nurses, and the relation between trauma and witnessing. Chapter 5 examines why the nurses repeatedly dwell on moments of physical contact with the wounded male body while Chapter 6 focuses on three "operating-scenes".
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Rees, Jennifer. "Masculinity and sexuality in South African border war literature". Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5451.
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Thesis (MA (English))--University of Stellenbosch, 2010.ENGLISH ABSTRACT: This thesis explores masculinity and sexuality, hegemonic and “deviant” in the nation state of the old apartheid South Africa, by addressing aspects of fatherhood, boyhood and motherhood in white, predominantly Afrikaans family narratives. In doing this, I explore the ways in which the young boys in texts such as The Smell of Apples (1995), by Mark Behr, and moffie (2006), by André Carl van der Merwe, are systematically groomed to become the ideal stereotype of masculinity at the time: rugged, intelligent, successful and heterosexual. The main focus of this thesis is to explore the ideologies inherent in constructing the white, Afrikaner man, his woman and their family. This will be done with specific reference to the time frame between the early 1970s to the fall of the apartheid regime in the early 1990s, focussing on the young white boys who are sent to do military training and oftentimes, a stint on the border between Angola and the then South-West Africa, in order to keep the so-called threat of communism at bay. I explore what happens when this white-centred patriarchal hegemony is broken down, threatened or resisted when “deviance” in the form of homosexuality occurs. A second focus of this thesis is that of “deviance” in the army. I analyse “deviance” in three novels, moffie (2006) by André Carl van der Merwe, The Beautiful Screaming of Pigs (1991) by Damon Galgut and Kings of the Water (2009) by Mark Behr. These novels foreground “deviance” and I make use of them in exploring the punishment, or “consequences” of being homosexual or “deviant” in the highly masculine environs of the South African National Defence Force (SANDF) army. I also examine the muted yet, I argue, resistant voices of female characters in these novels. This thesis concludes by briefly noting the aftermath of this war, the after-effects of a white, hegemonic, conservative ruling party at the helm of a divided, war-faring country on its soldiers, who are now middle-aged men.
AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek manlikheid en seksualiteit, hegemonie en “afwykings” in die staat van ou apartheid Suid-Afrika deur te verwys na aspekte van vaderskap, seunwees en moederskap in blanke, oorwegend Afrikaanse gesinsvertellings. Eerstens sal daar ondersoek ingestel word na die wyses waarop jong seuns in tekste soos The Smell of Apples (1995) deur Mark Behr en moffie (2006) deur André Carl van der Merwe stelselmatig gekweek word tot die ideale stereotipe van manlikheid in die era: ongetem, intelligent, suksesvol en heteroseksueel. Die hoofklem van hierdie tesis is om die denkwyses onderliggend aan die konstruksie van die blanke Afrikaner man, sy vrou en hulle gesin, te verken. Dit sal bewerkstellig word deur na die tydperk vanaf die vroeë 1970s tot en met die ondergang van die apartheidsbewind in die vroeë 1990s te verwys, met spesifieke klem op jeugdige blanke seuns wat gestuur is vir militêre opleiding en dikwels ook diensplig aan die grens tussen Angola en destydse Suid-Wes Afrika om die oënskynlike kommunistiese aanslag af te weer. Daar word verken wat plaasvind wanneer hierdie blank-gesentreerde, patriargale oorwig afgebreek, bedreig of teengestaan word deur “afwykings” soos die voorkoms van homoseksualiteit. ‘n Tweede fokuspunt van hierdie tesis is die “afwykings” in die weermag. Die volgende drie “afwykingsromans” word ontleed: moffie (2006), The Beautiful Screaming of Pigs (1991) deur Damon Galgut en Kings of the Water (2009) deur Mark Behr. Hierdie romans ondervang die idee van “afwykings” en word gebruik in die ondersoek na die straf of gevolge van homoseksueel of “afwykend” wees in die uitsluitlik manlike omgewing geskep deur die SANW-opleiding. Daar word ook ondersoek ingestel na die stilgemaakte; dog, soos aangetoon word, versettende stemme van vroulike karakters in die romans. Hierdie tesis sluit af deur vlugtig te verwys na die nasleep van die oorlog en die gevolge van ’n blanke, heersende, konserwatiewe party aan die stuur van ’n verdeelde, oorlogvoerende land op sy soldate wat tans middeljarige mans is.
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Calhoun, Jamie Dawn. "Alluding to Protest: Resistance in Post War American Literature". Miami University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=miami1250023062.
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Woodcock, Nicolyn V. "MILITARIZED INTIMACIES: WAR, FAMILY, AND TRANSPACIFIC ASIAN AMERICAN LITERATURE". Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1560787736405373.
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Kane, Michael. "Modern men: literature, nationalism, war and sexuality 1880-1930 /". Berlin : [s.n.], 1996. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Hoekstra, Cathrine Anne. "Invisible Wounds: Processing Trauma in War Narratives Throughout Literature". OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1976.
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AN ABSTRACT OF THE THESIS OF CATHRINE HOEKSTRA, for the Master of Arts Degree in English, presented on May 6, 2016 at Southern Illinois University Carbondale. TITLE: INVISIBLE WOUNDS: PROCESSING TRAUMA IN WAR NARRATIVES THROUGHOUT LITERATURE MAJOR PROFESSOR: Dr. Edward Brunner Many Veterans face “invisible wounds” of war. By examining various types of war narratives in literature we can understand how these veterans cope with their invisible wounds and what others can do to help them process their trauma. This project considers types of trauma theory in addition to several short stories by Tim O’Brien and Phil Klay. Veterans of Vietnam, Iraq, and Afghanistan often face these “invisible wounds,” and these stories help us see that trauma in its complexity. War itself is a traumatic experience, but for some veterans post-traumatic-stress occurs after the war is over. It is my hope through this project we can understand the invisible wounds of war such as post-traumatic-stress disorder and traumatic brain injury while also understanding combat stress and the struggles that veterans face in their civilian life. By examining two texts of short stories from two completely different wars, we can look at trauma from different points of view. During Vietnam some veterans were faced with isolation, often times tempted with alcohol, drugs and suicide. These members of the armed forces were not welcomed home in most cases, and Tim O’Brien’s short stories let us understand just how daunting it was to be at war, and how storytelling is key to comprehending the difficulties of this war. Drawing on another kind of wartime experience is Phil Klay, who brings about the bureaucracies of Iraq and the difficulty that some Marines face when they are home trying to integrate into civilian life. Sometimes the stories are difficult, raw, and hard to comprehend, but processing trauma also allows one to improve the quality of life. By listening to these stories we are making the storyteller valued, and we are also learning about historical and cultural contexts. In my time as a Graduate Teaching Assistant, I was fortunate to work with student-veterans returning to the university after deployments. These students, all from diverse backgrounds allowed me to understand what it truly means to listen to the story and be attentive to what these students wanted and needed. By introducing war narratives, short stories, and poems in the classroom we give student-veterans an opportunity to see that writing is not only an outlet for self-expression, but also a way to let the public know what military life and deployments are like.
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Dickerson, Curtis. "Wage This War". Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1408015785.
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Hales, Barbara 1962. "War and death: A comparison of Freud's ideas with four works of German World War I literature". Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291638.
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Sigmund Freud has much to say about the subject of war and death in his later work, written after 1914. Freud explores the effect of war on the soldier, his adjustment to war, his retreat to the primitive, the development of neuroses in combat, and the soldier's reaction to death. War and death are also important subjects found in German literature of the First World War. The aim of this thesis is to briefly review Freud's ideas on the individual in war, and to juxtapose these ideas to various accounts provided by German soldiers of the First World War. The four works of German World War I Literature used in this comparison are: Im Westen Nichts Neues by Erich Maria Remarque, Feuer und Blut by Ernst Junger, Seelenleben des Soldaten an der Front by Ludwig Scholz, and Kriegsbriefe gefallener Studenten edited by Philipp Witkop.
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Hodgson, Katharine Merwinna. "Russian Soviet war poetry 1941-45". Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239076.
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Williams, Lea M. "Writing on all fronts : gender, testimony, and the literature of war /". view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3035577.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 212-234). Also available for download via the World Wide Web; free to University of Oregon users.
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Loxley, James William Stanislas. "Royalist poetry in the English Civil War". Thesis, Royal Holloway, University of London, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319509.
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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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Beckham, Rosemary Elizabeth. "War of words : liminality, revelation and representation in apocalyptic literature". Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/73693.
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The focus of this study is revelation at the limits of communication. It considers the way in which (biblical) apocalyptic literature prominently figures the interconnection between liminality, revelation, and representation. The methodology asserts an indissoluble association between theology, philosophy and literature. As such it is interdisciplinary. A preliminary theory (and theology) of liminality interweaves the theological and philosophical contributions of, amongst others, Karl Barth, Graham Ward, Jürgen Moltmann and Jacques Derrida, thereby initiating a revised perspective on the constitution of literary apocalyptic text production and interpretation. Theorising the limen begins to describe the Trinitarian economy at work in Christian apocalyptic processing of scripture. I begin with the idea that revelation (apokalypsis) is the experience of the limen itself (in a coincidence of opposites). Thus the limen (as an actively divine space) incorporates that which stands on both sides, in vertical and horizontal, linear and cyclical, spatial and temporal movements. I then propose that apocalyptic literature re-presents this complex economy in which the end is rehearsed simultaneously as limit, threshold, and rupture. Theologically, this complicates inter-relational notions of ‘apocalyptic’ and eschatology, and stimulates a debate on a metaphysics of violence in communication (between God, man and Creation). I conclude that, at the extreme limit of human understanding (where words fail), those with faith in God’s love are opened out to revelation in the apocalyptic textual performance of the liminal economy, and thus to hope and forgiveness. Stressing the importance of reading apocalyptically, I begin to demonstrate the relationship between Christian-canonical narratives and the broader western literary canon, the critical process having invited an exploration of those literary characteristics (of tone, mode and genre) shared by (biblical, modern and postmodern) texts. An important principle in the literary analyses is the association between apocalyptic text production and hermeneutics. Christopher Rowland’s description of a ‘visionary mode’ explains how this process works. Thus the preliminary theory leads into a close reading of recent Russian and American works by Mikhail Bulgakov and Thomas Pynchon. These are compared to, and worked through, Mark’s and John’s gospels and the Book of Revelation. The interpretative approach widens the often self-limiting study of apocalyptic literature, and broadens theological debate on revelation. Thus it begins to show how the rhetoric of apocalyptic makes belief compelling.
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Stocks, Claire. "Reading the unrepresentable : situating trauma in contemporary American war literature". Thesis, Keele University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409544.
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Johnson, Kathryn. "A dangerous age : adolescent agencies in inter-war British literature". Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2000/.
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This thesis explores the creative synergy between an era of cultural flux and seismic social upheaval, and a life stage conceived of as fraught, transitional and poised between progress and regress. It contends that adolescence functioned as an organising trope and a dominant paradigm of modern subjectivity in diverse British novels of the period 1918-1939. I develop a wide-ranging thematic analysis which draws established luminaries of the inter-war literary canon into dialogue with neglected mavericks and ‘middlebrow’ authors including Rosamond Lehmann, Patrick Hamilton, E.H. Young, Stevie Smith and Walter Greenwood. The theorisation of adolescence by anthropologists, psychologists, sociologists and cultural critics including G.Stanley Hall, Margaret Mead, Ruth Benedict, and Wyndham Lewis is canvassed in detail in Chapter I and provides a vital and enriching context for the close textual analyses which follow. Chapters III and V draw on original archival material to trace the evolution of distinctive adolescent agencies and visions of maturity in the striking inter-war novels of Elizabeth Bowen and Graham Greene. Julia Kristeva’s reflections on the ‘adolescent novel’ and the mechanics of abjection offer salient points of illumination and debate in each chapter. These case-studies are elaborated and contextualised by close scrutiny of the gender differentials shaping literary constructions of adolescence in this era. Chapter IV takes inspiration from the parallel drawn by social psychologist Kurt Lewin between the adolescent and the socially disempowered or oppressed ‘marginal man’. In the light of theories of masochism, it calibrates the interrogative force of novels which accentuate the failures and sufferings of male adolescent protagonists. Chapter II gauges the radical aspirations towards female self-fulfilment and definition embedded in narratives of generational conflict and alliance between women and positions the post-war ‘modern girl’ as an enabling yet also peculiarly problematic avatar of female emancipation.
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Ferris, Natalie. "'Ludic passage' : abstraction in post-war British literature, 1945-1980". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.
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This thesis traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. It is the first sustained chronological study to consider the ways in which a select number of British poets, authors and critics challenged the received views of their post-war moment in the discovery of the imaginative and idealizing potential of abstraction. At a time in which Britain became conscious of its evolving identity within an increasingly globalised context, this study accounts for the range of Continental and Transatlantic influences in order to more accurately locate the networks at play. Exploring the contributions made by individuals, such as Herbert Read, Ian Hamilton Finlay and Christine Brooke-Rose, as well as by groups of practitioners, such as the British concrete poetry movement, small press initiatives and Art & Language, this thesis offers a comprehensive account of the evolving status of abstraction across cultural, institutional and literary contexts. The discussions build a vision of an era that increasingly jettisons the predetermined critical lexicon of abstraction to generate works of a more pragmatic abstract inspiration: the spatial demands of concrete poetry, language as medium in the conceptual artwork, the absence of linear plot in the new novel.
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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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Middleton, Alexis Turley. "A true war story : reality and fiction in the American literature and film of the Vietnam War /". Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2467.pdf.
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Middleton, Alexis Turley. "A True War Story: Reality and Simulation in the American Literature and Film of the Vietnam War". BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1492.
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The Vietnam War has become an important symbol and signifier in contemporary American culture and politics. The word "Vietnam" contains many meanings and narratives, including both the real events of the American War in Vietnam and the fictional representations of that war. Because we live in a reality that is composed of both lived experience and simulacra, defined by Baudrillard as a hyperreality, fiction and simulation are capable of representing particular realities. Vietnam was shaped by simulacra of Vietnam itself as well as simulacra of previous American conflicts, especially World War II; however, the hyperreality of Vietnam differed largely from that of World War II. Francis Ford Coppola's Apocalypse Now and Tim O'Brien's The Things They Carried are highly fictionalized texts that accurately portray particular realities of Vietnam. These texts are capable of presenting truth about Vietnam through their use of specific metafictional techniques, which continually remind readers and viewers that the story being told is not reality but a story. By emphasizing the fictional elements of their narratives, Apocalypse Now and The Things They Carried point to the constructed nature of reality and empower readers to recognize the possibility of truth in different, even conflicting, narratives.
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Sparks, Benjamin J. "The War Without a Name: The Use of Propaganda in the Decolonization War of Algeria". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2921.
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The Algerian war for independence, 1954-1962, also known as the War Without a Name due to its lack of recognition as a war by the French government, remains an indelible scar on the face of France. The Algerian war represents one of the most critical moments in modern French history since the French Revolution (Le Sueur 256), putting into question the motto of the French republic, "liberté, égalité, fraternité". This thesis will show that although the French won the war militarily they lost the war of ideas, that of propaganda and persuasion. Thus, this thesis will demonstrate that propaganda by the French for the aims of maintaining a French Algeria should have played a larger role than is evident. The use of propaganda and persuasion dates from the beginning of Greek analysis of rhetoric and has been used in various environments and circumstances throughout the ages in order to persuade the masses of the opinions and ideals of the propagandist. In Algeria, the message presented by the French through propaganda did not attain the desired result: maintaining a French Algeria. The combination of the Algerian determination for independence and the ineffective propaganda by the French resulted in a humiliating loss for the French forces and the loss of territory deemed integral to French society. After over 130 years of colonial rule, and eight grueling years of revolutionary war, Algeria received its independence.
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Usbeck, Frank. "Fighting Like Indians. The "Indian Scout Syndrome" in American and German War Reports of World War II". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-195491.
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Whether invoking the noble—or the cruel—savage, the image of Native Americans has always included notions of war and fighting. Non-Natives have attributed character traits to them such as cunning, stealth, endurance, and bravery; and they have used these im ages to denounce or to idealize Native Americans. In the U.S., a prolon ged history of frontier conflict, multiplied by popular frontier myths, has resulted in a collective memory of Indians as fighters. While images of fighting Indians have entered American everyday language, Germans have had no significant collective history of American frontier settlement and conflicts with Native Americans. Nevertheless, they have acquired a number of idioms and figures of speech relating to Indian images due to the romanticized euphoria for Native themes, spurred by popular nove ls and Wild West shows.
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Milligan, Jennifer E. "French women writers of the inter-war period". Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319011.
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Masters, James Marvin. "Poetry and civil war in Lucan's Bellum Civile". Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.276516.
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Mackinnon, Jeremy E. "Speaking the unspeakable : war trauma in six contemporary novels". Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phm15821.pdf.
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Includes bibliographical references (leaves 246-258) Presents readings of six novels which depict something of the nature of war trauma. Collectively, the novels suggest that the attempt to narrativise war trauma is inherently problematic. Traces the disjunctions between narrative and war trauma which ensure that war trauma remains an elusive and private phenomonen; the gulf between private experience and public discourse haunts each of the novels.
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Lawson, C. "W.G. Sebald's Luftkrieg und Literatur : German literature and the allied bombings of German cities in World War II". Thesis, Nottingham Trent University, 2010. http://irep.ntu.ac.uk/id/eprint/109/.
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This thesis is a critical analysis of W.G. Sebald‘s Luftkrieg und Literatur (On the Natural History of Destruction) and its reception in the German media and in scholarship. Sebald‘s essay caused a public debate in 1997 over the ethical implications of a cultural memory of the Allied bombings of German cities in the Second World War. Since then, the essay has come to be understood as a foundational moment in the discourse surrounding 'German victimhood' in representations of the bombings and the expulsions of ethnic Germans from the Eastern territories. The thesis argues that Sebald‘s essay has been widely mis-read and mis-appropriated in the service of the discourse. Re-inscribing the essay into the aesthetic and philosophical framework of Sebald‘s wider prose oeuvre, from which it is frequently divorced in scholarship, it argues that the text is exemplary of Sebald‘s creation of an archive of 'natural history' with regard to the representation of past catastrophes. Situating the essay within a 20th century tradition of German thinking on history and the enlightenment that informs Sebald‘s thought, I use this thick contextualisation to argue that Sebald‘s fascination with the bombings and the ruined cities provides an intersection between his academic and aesthetic practice, offering important insights into his natural historical gaze, archival technique and preoccupation with the catastrophic history of his country of origin. With this examination of an important but often mis-understood text, the thesis aims to enrich the field of memory studies in relation to post-reunification Germany and correct an oversight in the recent history of cultural memory regarding the Nazi past. It also aims to fill a gap in the scholarship on W.G. Sebald, a writer who has increasingly been understood as one of the most significant in the recent German canon, by reinscribing Luftkrieg und Literatur into his body of work.
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Todd, Daniel. "Teaching "Spanishness": nationalist ideology in texts for children in post-war Spain". Kansas State University, 2014. http://hdl.handle.net/2097/17588.
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Master of ArtsDepartment of Modern Languages
Laura Kanost
Early in the twentieth century, children’s literature in Spain developed greatly in terms of quality and distribution thanks in large part to the appearance of new publishing houses, illustrators and authors. Additionally, increased demand brought with it new translations of many foreign texts for children. Despite these early developments, children’s literature suffered a dramatic change after the establishment of Francisco Franco’s Nationalist regime; during the post-war period many types of literature were heavily censored, while children’s literature in particular devolved into what was in large part an ideological tool. Many of the texts for children during this period either directly or indirectly propagated a conception of “Spanishness” that excluded non-Catholics, particularly Iberian Muslims and those that supported the Second Spanish Republic that the Nationalists had toppled. Much like the Reconquista fought against the Iberian Muslims centuries earlier, the Spanish Civil War was often represented as a sort of crusade against non-Catholic (and therefore “non-Spanish”) Others. Many texts for children presented the elements of this narrative by means of auto-images (images of the Nationalist conception of “Spanishness”) and hetero-images (typically images of the “Otherly” Republicans and Muslims). The contrasts formed between these two sorts of images reveal how Spanish children were taught to conceive of themselves, as well as the Others of the Nationalist narrative. The texts discussed in this report include two civics texts (Así quiero ser: El niño del nuevo estado [1943] and España nuestra: El libro de las juventudes españoles [1943]), as well as two comic books (El Guerrero del Antifaz [1943-1966] and Flechas y Pelayos [1938-1949]) that were chosen for their representativeness of the sorts of texts widely available to and read by children during the post-war period.
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Mitchell, Taylor Joy. "Cold War Playboys: Models of Masculinity in the Literature of Playboy". Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3249.
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"Cold War Playboys: Models of Masculinity in the Literature of Playboy" emphasizes the literary voices that emerged in response to the Cold War's redefinitions of space and sexuality and, thus, adds to the growing national discourse of Cold War literary and masculinity studies. I argue that the literature Playboy includes has always been a necessary feature to creating its masculinity model; however, that very literature often destabilizes the magazine's grand narrative because it presents readers with alternative models of masculinity. To make that argument, I presume five things: 1) masculinity, like femininity, is a construct; 2) the mid-century masculinity crisis should be attributed to redefinitions of space and sexuality; 3) the crisis generated a variety of masculinity models; 4) Playboy presents its own, unified model of masculinity through its editorial features; and 5) finally, that Playboy should be considered an early Cold War artifact because the space Playboy magazine represents, dually domestic and privatized, is hardly trivial--decade after decade, it has absorbed society's shifts and reflected them back to readers.
Citing biographical, historical, critical, and textual evidence, I consider how the literature of Playboy magazine responds to the construction of Cold War discourses regarding sexuality and space. In particular, I examine how Playboy contributions from Jack Kerouac, Vladimir Nabokov, and James Baldwin detail models of masculinity informed by Cold War culture. Playboy's emphasis was obviously Playmates, but fiction always appeared in its pages. As its largest component, fiction became the backbone of Playboy. Therefore, Hefner's educated, sexual male identity included, and still includes, reading a wide array of literature--from Ian Fleming to Ursula le Guin. "Cold War Playboys" asks: How did literature gain primacy in Hefner's ideal male identity? What purposes does reading this literature serve when appealing to a particular masculinity? Answering these questions allows me to explore how one mass-produced magazine and specific literary figures participated in and resisted the construction of Cold War discourses regarding space and sexuality.
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Millington, A. T. "War and the warrior : functions of Ares in literature and cult". Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1427880/.
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This dissertation presents a new interpretative synthesis of the sources relating to the cults, identities, and functions of the god Ares, focusing on the Archaic and Classic periods. An apparent dichotomy is identified: in many respects, the evidence suggests that Ares must have been a very important god throughout much of the Greek world throughout the Archaic and Classic periods (and beyond), but in other respects the evidence suggests that he was not. I argue that this dichotomy does not derive from changes in the popularity, relevance, or nature of the god, as has been proposed. Instead, I argue that the elements of Ares’ cults and representations which suggest that Ares was unpopular or unimportant derive from those which made him important and continually relevant. I argue that because Ares was identified with war, attitudes towards the god directly reflect Greek attitudes towards war. War’s importance as an element of Greek life, and the god’s power as a causal force with it, led to deep respect for Ares, reflected by widespread cult, and a place among the great Olympians. But the wild, destructive, and unpredictable nature of war, which Ares represented, meant that he was not a regular recipient of large-scale celebratory cult. Instead, war itself was conceived of as a form of cult for Ares, which he took pleasure in, despite the fact that it was not initiated on his behalf. Ares was associated with all aspects of war, and represented as a warrior archetype. I argue that the cluster of ideas and associations that Ares represented was a powerful tool which many Greek poets and artists were attracted to use in order to articulate and explore a series of interconnected ideas relating to war, violence, the nature of the warrior, and the role of the warrior within society.
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Khan, Nosheen. "Women's poetry of the First World War". Thesis, University of Warwick, 1986. http://wrap.warwick.ac.uk/66938/.
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This thesis seeks to study women's poetic response to the First World War a hitherto neglected area of the literature inspired by the war. It attempts to retrieve from oblivion the experience of the muted half of society as rendered in verse and document as far as possible the full range of the poetic impact the war made upon female sensibility. It is thematic in structure and concentrates upon the more recurrent of attitudes and beliefs which surface in women's war writings. The thematic structure was adopted to cover as wide a range as possible of the ways the historical experience could be met and interpreted in literature. This study takes into account the work of the established writers of the period as well as the amateur versifiers who made war their subject. The first chapter discusses verse which defines the nature of war as apprehended by the female consciousness. Chapter Two examines the poets' use of religious concept and image to lend meaning and purpose to an event entirely at variance with the ideals employed to explain it. The third chapter considers the exploitation of the perennial poetic subject of nature to interpret war by accommodating it into the language and thought of an apparently alien literary tradition. War as it impinged upon the consciousness of people on the Home Front is discussed in Chapter Four; it is partly concerned with revising the calumnious images of women in war time as set out by the soldier poets. Chapter Five looks into the writing of those women who wrote out of their experience of working in the various organisations which were an integral part of the machinery of warfare. War as an experience of suffering - suffering peculiar to the female - defines Chapter Six. The purpose of this study has been to suggest the variety of literary responses to the First World War by those who, at great cost, produce the primal munition of war - men - with which their destinies are inextricably ,linked. As part of a response to a particular historical event, the literary interpretation of which has conditioned modern war consciousness, women's war poetry is not without relevance for it adds a new dimension to the established canon of war literature and correspondingly a new vista to understanding the truth of war.
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Lazenby, Nicola. "Afterlives: resurrecting the South African border war". Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12031.
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Includes abstract.[W]hile the image of the SADF as a heinous perpetrator of Apartheid violence is undeniable, it is being complicated by the emergence of a range of recent cultural productions. Using Jacqui Thompson’s collection of SADF memoirs, An Unpopular War: From Afkak to Bosbefok (2006), and the revival of Anthony Akerman’s play, Somewhere on the Border (2012), this thesis explores how these cultural productions assert an alternative, individual, and humanised rendering of the SADF soldiers who experienced the Border War. The attempt to render these soldiers in an alternative light signals an anxiety regarding the way the SADF is remembered in contemporary South Africa. This anxiety resonates with broader issues of the role of “victimhood” in South Africa’s national identity in the aftermath of Apartheid.
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Whitney, Janelle L. "KAYLA WILLIAMS' LOVE MY RIFLE MORE THAN YOU AND THE NEGOTIATION OF THE FEMALE SOLDIER". Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143429148.
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Mac, Caba Seamus. "The neutral heart : Irish poetry and World War II". Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307544.
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Birch, Sarah. "Christine Brooke-Rose and post-war writing in France". Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314887.
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Chapman, James. "Official British film propaganda during the Second World War". Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308985.
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Brearton, Frances Elizabeth. "Creation from conflict : the Great War in Irish poetry". Thesis, Durham University, 1998. http://etheses.dur.ac.uk/5042/.
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This thesis explores the impact of the First World War on the imaginations of six poets - W.B. Yeats, Robert Graves, Louis MacNeice, Derek Mahon, Seamus Heaney and Michael Longley - all of whom have written in wartime: Graves in the Great War, Yeats in the Great War, the Anglo-Irish War and the Civil War, MacNeice in the Second World War, Mahon, Longley and Heaney in the Northern Ireland Troubles. The thesis locates affinities between these poets in their response to violence, and compares the ways in which they have imaginatively appropriated the images and events of the Great War to facilitate that response. Part I of this study begins by outlining the historical background to Irish participation in the Great War, and considers some of the issues involved in the Irish cultural response to the war which were engendered by the complex domestic politics in Ireland between 1914 and 1918. Chapters two to four constitute a more detailed exploration of these issues as manifested in the work of Yeats, Graves and MacNeice. In the cases of Yeats and MacNeice, their engagement with the subject of the Great War is re-evaluated in order to illuminate repressed or complex areas of Irish history and culture, and to shed new light on their influence on recent Northern Irish poetry. Consideration of Robert Graves's response to the Great War serves to illustrate the ways in which a high-profile association with the War can obscure relations to an Irish or Anglo-Irish tradition. The thesis discusses ways in which these poets have been misrepresented, and considers how far the misrepresentation can be attributed to the contrasting interpretations of the Great War in England and Ireland, and to versions of literary history based upon these interpretations. The second part of the study concentrates on contemporary Northern Irish poetry. Chapter five considers problems pertinent to Northern Ireland in relation to the subject of the Great War by looking at the ways in which remembrance of the war, politicized in order to bolster mythologies of history, reverberates in the context of the Northern Irish Troubles. The final three chapters outline the difficulties encountered by Northern Irish poets Mahon, Heaney and Longley, under pressure to respond to the Troubles, and relate these difficulties to those encountered by the Great War soldier poets. The chapters explore the extent to which the fascination of these three poets with the Great War illuminates their aesthetic strategies, revises aspects of Irish political and cultural history, offers a way of responding to the violence in Northern Ireland, and has determined critical responses to their work. The thesis is concerned with ways in which the Great War has been imagined in Irish writing. It also shows how and why those imaginings have struggled with, and revised aspects of, reductive mythologies of history and competing versions of the literary canon.