The first reference to literary and cultural representations of war in 20th-century English & US literature and film. Coving the two World Wars, the Spanish Civil War, the Cold War, the Vietnam War, the Troubles in Northern Ireland and the War on Terror, this Companion reveals the influence of modern wars on the imagination.These newly researched and innovative essays connect 'high' literary studies to the engagement of film and theatre with warfare, extensively cover the literary and cultural evaluation of the technologies of war and open the literary field to genre fiction. Divided into 5 sections: * 20th-Century Wars and Their Literatures* Bodies, Behaviours, Cultures* The Cultural Impact of the Technologies of Modern War* The Spaces of Modern War* Genres of War CultureKey Features* All-new original essays commissioned from major critics and cultural historians* Reflects the way war studies are currently being taught and researched: in the volume's approach, structure and breadth of coverage* For sor scholars: core arguments and detailed research topics* For students: Historically grounded topic- and genre-based essays, useful for studying the modern period and war modules
The first reference book to deal so fully and incisively with the cultural representations of war in 20th-century English and US literature and film. The volume covers the two World Wars as well as specific conflicts that generated literary and imaginativ
Sacrifice and Modern War Literature is the first book to explore how writers from the early nineteenth century to the present have addressed the intimacy of sacrifice and war. It has been common for critics to argue that after the First World War many of the cultural and religious values associated with sacrifice have been increasingly rejected by writers and others. However, this volume shows that literature has continued to address how different conceptions of sacrifice have been invoked in times of war to convert losses into gains or ideals. While those conceptions have sometimes been rooted in a secular rationalism that values lost lives in terms of political or national victories, spiritual and religious conceptions of sacrifice are also still in evidence, as with the 'martyrdom operations' of jihadis fighting against the 'war on terror'. Each chapter presents fresh insights into the literature of a particular conflict and the contributions explore major war writers including Wordsworth, Kipling, Ford Madox Ford, and Elizabeth Bowen, as well as lesser known authors such as Dora Sigerson, Richard Aldington, Thomas Kinsella, and Nadeem Aslam. The volume covers multiple genres including novels, poetry (particularly elegy and lyric), memoirs, and some films. The contributions address a rich array of topics related to wartime sacrifice including scapegoating, martyrdom, religious faith, tragedy, heroism, altruism, 'bare life', atonement, and redemption.
A new exploration of literary and artistic responses to WW1 from 1914 to the presentThis authoritative reference work examines literary and artistic responses to the wars upheavals across a wide range of media and genres, from poetry to pamphlets, sculpture to television documentary, and requiems to war reporting. Rather than looking at particular forms of artistic expression in isolation and focusing only on the war and inter-war period, the 26 essays collected in this volume approach artistic responses to the war from a wide variety of angles and, where appropriate, pursue their inquiry into the present day. In 6 sections, covering Literature, the Visual Arts, Music, Periodicals and Journalism, Film and Broadcasting, and Publishing and Material Culture, a wide range of original chapters from experts across literature and the arts examine what means and approaches were employed to respond to the shock of war as well as asking such key questions as how and why literary and artistic responses to the war have changed over time, and how far later works of art are responses not only to the war itself, but to earlier cultural production.Key FeaturesOffers new insights into the breadth and depth of artistic responses to WWIEstablishes links and parallels across a wide range of different media and genresEmphasises the development of responses in different fields from 1914 to the present
This volume considers the major themes, texts and authors of Scottish literature of the twentieth and, so far, twenty-first century. It identifies the contexts and impulses that led Scottish writers to adopt their creative literary strategies. Moving beyond traditional classifications, it draws on the most recent critical approaches to open up new perspectives on Scottish literature since 1900. The volume's innovative thematic structure ensures that the most important texts or authors are seen from different perspectives whether in the context of empire, renaissance, war and post-war, literary genre, generation, and resistance. In order to provide thorough coverage, these thematic chapters are complemented by chronological 'Arcade' chapters, which outline the contexts of the literature of the period by decades, and by 'Overview' chapters which trace developments across the century in theatre, language and Gaelic literature. Taken together, the chapters provide a thorough and thought-provoking account of the century's literature.
'I am inclined to think that we want new forms . . . as well as thoughts', confessed Elizabeth Barrett to Robert Browning in 1845. The Oxford Handbook of Victorian Poetry provides a closely-read appreciation of the vibrancy and variety of Victorian poetic forms, and attends to poems as both shaped and shaping forces. The volume is divided into four main sections. The first section on 'Form' looks at a few central innovations and engagements—'Rhythm', 'Beat', 'Address', 'Rhyme', 'Diction', 'Syntax', and 'Story'. The second section, 'Literary Landscapes', examines the traditions and writers (from classical times to the present day) that influence and take their bearings from Victorian poets. The third section provides 'Readings' of twenty-three poets by concentrating on particular poems or collections of poems, offering focused, nuanced engagements with the pleasures and challenges offered by particular styles of thinking and writing. The final section, 'The Place of Poetry', conceives and explores 'place' in a range of ways in order to situate Victorian poetry within broader contexts and discussions: the places in which poems were encountered; the poetic representation and embodiment of various sites and spaces; the location of the 'Victorian' alongside other territories and nationalities; and debates about the place - and displacement - of poetry in Victorian society. This Handbook is designed to be not only an essential resource for those interested in Victorian poetry and poetics, but also a landmark publication—provocative, seminal volume that will offer a lasting contribution to future studies in the area.
Night Watches, Mine Eyes Have Seen, Tunnel Trench, Post Mortem, Oh What A Lovely War, The Accrington Pals, Sea and Land and Sky
Author: Mark Rawlinson
Pubpsher: Bloomsbury Publishing
The First World War (1914–1918) marked a turning point in modern history and culture and its literary legacy is vast: poetry, fiction and memoirs abound. But the drama of the period is rarely recognised, with only a handful of plays commonly associated with the war. First World War Plays draws together canonical and lesser-known plays from the First World War to the end of the twentieth century, tracing the ways in which dramatists have engaged with and resisted World War I in their works. Spanning almost a century of conflict, this anthology explores the changing cultural attitudes to warfare, including the significance of the war over time, interwar pacifism, and historical revisionism. The collection includes writing by combatants, as well as playwrights addressing historical events and national memory, by both men and women, and by writers from Great Britain and the United States. Plays from the period, like Night Watches by Allan Monkhouse (1916), Mine Eyes Have Seen by Alice Dunbar-Nelson (1918) and Tunnel Trench by Hubert Griffith (1924), are joined with reflections on the war in Post Mortem by Noël Coward (1930, performed 1944) and Oh What A Lovely War by Joan Littlewood's Theatre Workshop (1963) as well as later works The Accrington Pals by Peter Whelan (1982) and Sea and Land and Sky by Abigail Docherty (2010). Accompanied by a general introduction by editor, Dr Mark Rawlinson.
An imaginatively constructed new literary history of the twentieth century.This companion with a difference sets a controversial new agenda for literary -historical analysis. Far from the usual forced march through the decades, genres and national literatures, this reference work for the new century cuts across familiar categories, focusing instead on literary 'hot spots': Freud's Vienna and Conrad's Congo in 1899, Chicago and London in 1912, the Somme in July 1916, Dublin, London and Harlem in 1922, and so on, down to Bradford and Berlin in 1989 (the fatwa against Salman Rushdie, the new digital media), Stockholm in 1993 (Toni Morrison's Nobel Prize) and September 11, 2001.
Provides critical overviews of the main writers and key themes of Anglophone Jewish fictionThis collection of essays represents a new departure for, and a potentially (re)defining moment in, literary Jewish Studies. It is the first volume to bring together essays covering a wide range of American, British, South African, Canadian and Australian Jewish fiction. Moreover, it complicates all these terms, emphasising the porousness between different national traditions and moving beyond traditional definitions of Jewishness. For the sake of structural clarity, the volume is divided into three parts American Jewish Fiction British Jewish Fiction and International and Transnational Anglophone Jewish Fiction but many of the essays cross over these boundaries and speak to each other implicitly, as well as, on occasion, explicitly. Extending and redefining the canon of modern Jewish fiction, the volume juxtaposes major authors with more marginal figures, revising and recuperating individual reputations, rediscovering forgotten and discovering new work, and in the process remapping the whole terrain. This volume opens windows onto vistas that previously had been obscured and opens doors for the next generation of studies that could not proceed without a wide-ranging, visionary empiricism grounding their work. The Edinburgh Companion is a paradigm-changing event, and nothing in Jewish literary studies that follows can fail to pay close attention to it. Key Features:Highlights the rich diversity of the field and identifies its key themes, including immigration, the Diaspora, the Holocaust, Judaism, assimilation, antisemitism and ZionismAnalyses the main trends in Anglophone Jewish fiction and situates them in historical contextDiscusses the place of Anglophone Jewish fiction in relation to critical debates concerning transatlanticism and transnationalism; ethnicity and identity politics; postcolonial studies, feminist studies and Jewish Studies. With a preface by Mark Shechner, the volume contains 28 essays by contributors including Vicki Aarons (Trinity University, Texas), Debra Shostak (Wooster College, Ohio), Ira Nadel (University of British Columbia), Efraim Sicher (Ben-Gurion University, Phyllis Lassner (Northwestern University), Sue Vice (University of Sheffield), Lori Harrison-Kahan (Boston College), Ruth Gilbert (University of Winchester), Beate Neumeier (University of Cologne) andSandra Singer (University of Guelph).David Brauner is Professor of Contemporary Literature at The University of Reading.Axel Sta er is Reader in Comparative Literature at the University of Kent, Canterbury.
This volume explores Eliot's many-sided engagements with painting, sculpture, architecture, music, drama, music hall and cinema, recorded sound and dance, drawing on newly available sources, archival material, and interart connections.