Search Results for World War I

... of the most resonant poetic responses to World War I. Recent criticism of Spectrism understandably tends to emphasize the hoax aspects of this fascinating episode in modernist history, focusing for example on the performance of identity. Yet Bynner himself stated his genuine affirmation of the anthology’s...

... a sociohistorical lens drawn from World War I nursing memoirs and medical history. Situating her behavioral antinomies within the discipline of wartime nursing demonstrates Catherine’s capability to repurpose her role as an instrument of war: through her affective labor, Catherine establishes human connections...

...). But where for Trotter modernist representations of glass nonetheless suggest utopian possibilities, 11 I read Woolf’s growing sense of glass’s contingency under the alternative anticipatory signs of another World War, not utopia. The glass in Woolf’s “A Sketch of the Past” might hold together long enough...

...Jeffrey Severs Drawing on archival sources, I argue that the 1962 Seattle World’s Fair (also known as Century 21) was an important source for Thomas Pynchon’s surreal depictions of the Raketen-Stadt in Gravity’s Rainbow . Accounts of the influence of Seattle on Pynchon have been limited to his work...

... Malina as an allegory of the process of writing itself: that is, a means of exploring the attempted expression of the pain and fragmentation of the embodied subject that resulted from the atrocities of World War II. Using Blanchot’s reflections on anguish and language, I argue that the novel—part love...

...Brooke Horvath For Home and Country: World War I Propaganda on the Home Front , by Kingsbury Celia Malone , University of Nebraska Press , 2010 . 309 pages. Copyright © Hofstra University 2011 Brooke Horvath Learning to Hate the Hun For Home and Country: World War I...

...: Women’s Narratives of the 1918 Influenza Pandemic by Jane Fisher Palgrave Macmillan, 2012. 262 pages Brian Dillon Nearly a century after an influenza epidemic began in the final months of World War I, then swiftly and viciously spread across continents, the death toll continues to defy...

... mystery at the heart of the twin intimacies that define both love and death. The masterpieces of his final work are for this reason essential, not only to the literary lineage of World War II but also to the lineage of lyric poems in the English twentieth century. In closing, I want to focus...

.... Although cultural representations of black war experiences have received considerable critical attention in recent years, 1 Rasberry’s analysis of visual and literary culture from World War I to the Korean War brings to light continuities and disjunctions that mark out the figure of the black soldier...

... poet, he has long remained in the shadowy back rooms of twentieth-century scholarship. We might recognize the name of the English artist of Welsh heritage, but few have actually read his book-length World War I poem, In Parenthesis , or seen any of his Welsh landscape watercolors, or his engravings...

... of propaganda practices from before World War I. For a broader discussion of such propaganda in France during the twentieth century, see Holman and Kelly 2000 . 18 For a discussion of the role of sex and sexuality in Beckett’s aesthetic, see Stewart 2011 . Works Cited Albanese Ralph...

... in the book. As much as I agree about Eliot’s extending a literary decadent sensibility in response to World War I as a confirming event concerning final days, I find Sherry’s attempt to identify a continuity in Eliot’s thinking about empire unconvincing. He argues that two prose pieces separated by three...

... contemporaries recognized, however, the rise of professional public relations around World War I starkly revealed the extent to which reading publics did not pre-exist such information but were manipulated and even constituted by it. Dos Passos s novel does more than merely document the increasingly...

... to a difficulty I have with Tense Future . In his desire to push the interwar mood beyond the arbitrary poles of World War I and World War II, Saint-Amour comes close to evacuating the critical usefulness of a periodizing category like the interwar. The recent interest in theories of affect has led...

... to sinner and savior in a Christian context. He also confines his dialogue with major scholars of World War I, including Paul Fussell and Jay Winter, to brief asides. On the surface, the author of Bloody Good appears to embrace the aims and methods of cultural history, an approach committed...

..., and such observations about the character of traumatic witnessing fuel many of Reichman’s analyses. What she adds to these established insights are the dual conclusions that law did not confront the onus to address widespread trauma prior to World War I and, moreover, that developments within literary form...

... related to modernism, Scheingold proposes a new species of political fiction: the novel of politi- cal estrangement. He asserts that this genre emerges first in the ashes of World War I, though it does not fully develop until the post-World War II era. In The Political Novel, Scheingold uses...

...” involving the “actual or threatened death” of oneself or others, which is followed by responses of“intense fear, helplessness, or horror” (463,467). The technological advances employed in World War I, resulting in a new mechanized killing, combined with the sheer scale of the slaughter, make World...

... legal status for women and an eroding empire lent women writers’ engagement with the body-in-space particular potency after World War I. Because English national identity relies in some part on the concept of woman as an embodiment of home, women’s increasing public role and mobility raise...

... challenge posed by post–World War I modernity. According to Spinoza’s affect theory it is actually affect or feeling that constitutes beings, bodies, capacities to act. The range of actions within our power is bound up with what we know about the relations in which we are embedded; this knowledge...