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The internationality of the expressionist avant-garde, which has been frequently underestimated by scholars, is above all evidenced by the extensive body of translations of the socalled expressionist decade (1910-1920). During First World War translation became a strategic medium for pacifist writers to mark their distance from prescribed patriotism. This phenomenon is perhaps best described as ›clandestine authorship‹. It characterises also one of the most productive translators among the Expressionists, Alfred Henschke, known as Klabund (1890-1928), and his anthology of Chinese war songs, Dumpfe Trommel und berauschtes Gong (Muffled Drum and Intoxicated Gong, 1915). The aim of the present paper is to examine exemplarily this anthology and to show how Klabund in the disguise of his translator role distances himself from his earlier war-affirmative poetry. The following paper thus provides a contribution to the study of expressionist translation during World War I, to the internationality of the German avant-garde and to the changing attitude of German intellectuals from war enthusiasm to war criticism. [ABSTRACT FROM AUTHOR]

Owen's rejection of Horace's dulce et decorum est pro patria mori as 'the old lie' prompts for me two questions: 1) Who exactly does Owen think lied? And is he justified in thinking this? 2) To what extent does Owen's rejection of Horace's words also amount to a critique of the classical tradition more generally, on the grounds that classical conceptions of war and heroism have proved utterly inadequate to the task of articulating the horrors of twentieth-century trench warfare? I argue that Owen's main target is a number of poets, including Jessie Pope and Henry Newbolt, who recruited sanitized receptions of the classics to exhort young men to lay down their lives for their country. However, it is not clear that any of these, or Horace himself, is actually lying. Owen as a keen student of Roman and Greek culture employed classical themes in various poems. Although classical literature offered rich and nuanced conceptions of warfare, its emphasis on the supererogatory and named individual heroes meant that new conceptions of heroism needed to be developed in World War I to cope with the conditions of often anonymous industrialized trench warfare, in which even doing one's duty could seem heroic. [ABSTRACT FROM AUTHOR]

Modernist poet H.D.'s experimental translation of Euripides' Iphigenia in Aulis (1916), published during WWI, shows H.D. pursuing this project to explore how wartime can provide opportunity for women to achieve extraordinary cultural authority in positions not generally afforded women, such as those of direct witness, storyteller and news-bringer, and heroic sacrificial victim. This translation project both registered and fostered the emergence of H.D.'s feminist queer thought about how 'New Women' of her time might come of age differently from women of generations past — through new narratives, new varieties of authority, and new forms of maturity. Finally, the essay complicates received ideas about H.D.'s 'pacifist' and critical stance on war, reading her translation choices as structured by an ambivalent fascination with both wartime 'beauty' and forms of advancement made distinctively possible for women by the circumstances of war. [ABSTRACT FROM AUTHOR]

The way that the First World War would be remembered was yet to be solidified in the years immediately after the Armistice and peace treaties. Using key case studies from the years 1918 to 1930 by combatant authors Gilbert Frankau, Ernest Raymond, C.E. Montague, R.C. Sherriff and Richard Aldington, this article charts the development of the complex relationship between the dominant heroic mode and emergent modern disenchantment. Theories of social remembering provide a valuable framework for understanding the social processes by which disenchantment became a, if not the, widely-held memory of the conflict, reaching acceptance in the War Books Boom that followed the dual successes of Erich Maria Remarque’s Im Westen Nichts Neues, first serialized on the tenth anniversary of the armistice, and Sherriff's Journey's End, first performed the following month. [ABSTRACT FROM AUTHOR]

In 1915, the Spanish journalist Juan Pujol visited the Italian front. His reports appeared inABC, and were later incorporated in his bookIn Galitzia and the Isonzo(1916). A few months later, the Spanish writer Ramón Pérez de Ayala visited the same territories. His reports appeared inEl Imparcial(Madrid) andLa Prensa(Buenos Aires), and were later published in his bookHerman in Chains(1917). The poetics evident in the reports of both writers were clearly different, not only for ideological reasons (Juan Pujol supported the Central Empires; Pérez de Ayala favored the Allies), but also for discursive reasons: the reflexive and digressive culturalism of Pérez de Ayala, for example, contrasted vividly with the direct narrative of Juan Pujol. However, since both writers shared some stereotypes about war and used a common repertoire of rhetorical and stylistic strategies, there are significant similarities between their texts. [ABSTRACT FROM PUBLISHER]

Copyright of Pursuit of History is the property of Selcuk University, Faculty of Arts & Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism of the German poetry of the First World War is presented. It states that the time of First World War was the period for the explosive avant-garde movement of Expressionism in Germany. It also mentions that it was time when art was seen in revolt against authority and domination.

The article focuses on literary myths related to the memoirs of the First World War regarding the Italian front. Topics discussed include the disastrous impact of the First World War of 1914-1918 on Europe; the relationship between history and literature; and research conducted on war in the book "The Beauty and the Sorrow" by author Peter Englund.

The article looks at the day-to-day operations of a Young Men's Christian Association (YMCA) lending library for troops of the British Army of Occupation as revealed in author Ernest William Hornung's memoir and unpublished papers. Topics discussed include Hornung's operation of a First World War soldiers' library, the cultural, religious and personal motivations that impelled Hornung to volunteer for war service, and the literary war model of literary historian and author Paul Fussell.

Australian readers consumed with great interest the fruits of the war books boom that began in Europe in the late 1920s. But it was not until the early 1930s that returned soldiers in Australia began to consider the war in memoir and fiction. This article examines the nature of Australian writing about the Great War during the 1930s and seeks to explain why the conflict produced little work of enduring interest or literary merit. It argues that literary representations of the war, which gave emphasis to its tragic and traumatic elements, were overwhelmed by those remembering a war that challenged but did not defeat its Australian participants. The article traces the reason for the triumph of what can be called ‘middlebrow’ representations of the Great War to the nationalist boon delivered by the experience of war to a colonial settler society of uncertain status. In prosecuting this argument, the article challenges the transnational emphasis of contemporary scholarship about literary modernism and seeks to reassert the significance of the nation-state as a category of analysis. [ABSTRACT FROM PUBLISHER]

Mass death in World War One had significant costs on the home front, including disruption of marriage and bereavement practices. Home front novels, women's fiction written with an aim of depicting this disruption as well as supporting the war effort, provide a lens through which to examine discursive attempts to reconcile personal love and loss with nationalist imperatives to suppress grief and make willing sacrifices for the good of the nation. Authors failed to achieve a consistent, clear prescription for their readers: their attention to personal pain and the war's effects on broad sections of society made adherence to collective ideologies, including nationalism and socialism, difficult to maintain. [ABSTRACT FROM PUBLISHER]

Copyright of Canadian Military History is the property of Wilfrid Laurier University, Laurier Center for Military, Strategic & Disarmament Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The position of Serbian women writers regarding the First World War is a specific issue and one that has largely been left unexamined. There are several reasons for this; some of them are political, some are literary. First, the war had a distinctive character in Serbia - it was considered as the final stage in the process of Serbian national liberation, which culminated, or at the least, was intended to culminate, in the creation of a new, multinational state - making it extremely difficult to draw direct comparisons between Serbian women's engagement in the war and that of other nations'. Second, Serbian women writers' arrival on the literary scene in the pre-war years had a decisive influence on their writing, limiting them to genres, themes, and forms, traditionally linked to "feminine" values. It cannot be easily assessed to what extent the experience of War shaped their subsequent literary choices, and generalizations should, if possible, be avoided. However, by examining individual cases, we can maybe arrive at a better understanding of the multifaceted reality of World War I. This paper attempts to do so by examining the involvement of Serbia's most distinguished pre-war poetess, Danica Marković, in the 1917 uprising against the Bulgarian authorities, and the account of this experience in her poem "Twelve thousand" and her testimony "Impressions from the Toplica uprising". [ABSTRACT FROM AUTHOR]

The article examines the writings of medical personnel from the First World War, and their participation as witnesses and healers of disease. It cites the nervous breakdowns prevalent in nurses on active service during the time. It analyzes the traumatic experiences of personnel through psychiatric and psychological approaches. It presents definitions for experiences presented in narratives of the personnel's emotional responses to war events.

Copyright of Moenia: Revista Lucense de Lingüística & Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article looks at the song cycle Ludlow and Teme, written by Ivor Gurney in 1919. Gurney set poems from A.E. Housman's A Shropshire Lad (1896), which were popular with many composers in the early twentieth century. However, Gurney's recent war experience and his own war poetry tell a very different story from Housman's pre-war poetic versions of the military. The article examines the complex relationship between the songs and their texts. It looks at how Gurney, a poet and composer, uses Housman's words to write songs that both embrace and attack the military, exploring in music the same themes with which his own war poems are concerned. [ABSTRACT FROM AUTHOR]

The article discusses the impact of World War I on the publication of the German travel guides generally known as Baedekers, focusing particularly on the popularity of Baedekers' outside of Germany. Scottish brothers James and Findlay Muirhead published the English-language Baedekers prior to the war, but created their own guidebooks after the war to sell to customers living in Allied countries. The author also considers the physical effect of the war on Europe's landscapes and how changes to landmarks and destruction of property had an impact on the accuracy of guidebooks.

This article aims to contribute to the literature on World War I in Palestine while studying the experience of the inhabitants of Jerusalem during the war. By focusing on a city and its residents, this article offers an analysis of the war from a dimension and lens yet to be explored in the history of Palestine. More specifically, the article will use relief networks in order to analyze not only the ways people experienced the war, but also as a way of exposing inter-communal dynamics between the different communities living in this mixed urban center. [ABSTRACT FROM AUTHOR]

In contrast to most literature on the First World War, which holds that fallen soldiers in the Great War were buried as equal comrades, this article seeks to show that some of the fallen were accorded more prestige than others. This will be explored by analysing the fate of some of the most famous German and French 'knights of the sky'. Their death and, most of all, their funeral ceremonies show to what extent they were exploited for political and propaganda purposes, communicated by the print media. The funeral ceremonies will be analysed with regard to a 'new political history' or 'history of politics', and it will also be discussed how the air war in the First World War was perceived in a transnational perspective and in what manner the 'knights of the sky' were communicatively produced. Overall, the funeral ceremonies for the fallen fighter pilots followed a more or less determined ritual that, as a communicative action, was meant to send manifold messages to the public sphere, which were not limited to the aviator's own nation but directed to the whole world, so that these ceremonies can be described as transnational media events. These examples show which rituals and symbolic practices politics can draw on in order to visualise power and leadership through political communication. [ABSTRACT FROM AUTHOR]

The article presents an exploration into the military service of the Canadian World War I soldier Dick McQuade, his personal notes and depicted history in the regimental history book "The 4th Canadian Mounted Rifles, 1914-1919," by S. G. Bennett, and discussion of wartime historiography and propaganda. Details are given highlighting McQuade's marginalia in his copy of the regimental history and discussion is provided evaluating the accuracy of his notes and claims concerning his military career as well as the thematic depictions of courage and their implications of his historiography of the war.

Elizabeth Bowen's A World of Love (1954) and 'The Demon Lover' (1945) share an uncustomary usage of Gothic conventions: the Anglo-Irish writer invests the Gothic genre with new meaning for the war-torn Irish and the post-World Wars generation by skewing Gothic conventions, reflecting a new Gothic for a new age - one that has seen the effects of two catastrophic wars and not only dead soldiers, but dead-in-life survivors. In A World of Love, Bowen uses not a ghost that haunts the attic, but a nearly forgotten dead World War I soldier; not a male power of place and a fleeing female, but a female power of place and a displaced male; and not a lonely, menacing castle, but a dilapidated farm. In both the novel and the short story, the dead-in-life survivors must remember in order to successfully exorcise the war and the dead soldiers of war, thereby revitalizing themselves. Those who cannot remember are doomed to the past. This article examines the twist on the Gothic novel and its statement about the possibly disastrous effects of forgetting and of remembering incorrectly - anxieties shared by other twentieth-century Irish writers in terms of their eroding cultural identity and past. [ABSTRACT FROM AUTHOR]

The article argues that the notion of warfare as a sublime endeavor does not originate in World War I literature but goes back to the 18th century. Alongside the debate on world peace, there existed a discourse, evidenced in texts by Immanuel Kant, Wilhelm von Humboldt, Friedrich Schlegel and many others, which considered war a moral and culturally productive institution and lavished praise on its ennobling features. Finally, the article also examines the intimate link between war and the concept of the sublime, as well as the theme of the books "Hermannsschlacht" and "Penthesilea," by Heinrich von Kleist.

The article presents an exploration into physical descriptions and topography of World War I, highlighting the illustration of an expansive field of nothingness, or total chaotic destruction, and applies them to the analysis of the modernist literary movement. An extended definition of modernism is given within the metaphor of its removal of earlier defined elements without definite equivalent replacements.

Despite the scholarly attention given to the treatment of Germans in Great Britain during the First World War, there are only sparse details in this historical literature about how those of German origin working specifically in higher education were treated. This article considers Professors of German of German origin in British higher education, focusing on the hitherto little-reported case of Karl Wichmann (better known as a minor German/English lexicographer), who was employed as Professor of German at the University of Birmingham from 1907 to 1917. It considers the circumstances leading to Wichmann's resignation in March 1917 and discusses the known details of what happened to him thereafter. [ABSTRACT FROM AUTHOR]

The article reports on children's literature during World War I. It also underlines how the war is represented and influenced by cultural beliefs, current research into war studies, and shifts in the representation of the war. It is noted that children's literature during World War I is a literary retelling of the war based on texts and cultural shifts rather than on historical point of view.

The article underlines how foreigners were depicted in children's literature during World War I. It is noted that during the war children were perceived as a group who had to be unified and persuaded of the merits of the war. Children's literature during this period were essentially different from those written for the adult population. Books written for children in the period showed social attitudes to prepare children for war.

Scholars have long considered Heinrich Wölfflin a pioneer in ‘Baroque studies’. Surprisingly little attention has been paid, however, to typological patterns and their importance for revising a classic-biased historiography. Reassessing the ‘invention’ of ‘Baroque’ literature and civilization in German literary criticism before, during and immediately after the First World War involves 1) outlining the interdisciplinary conditions and impulses that mark the beginning of ‘Baroque studies’ (before 1900), 2) examining closely the structure of typological approaches (1900–1933), and 3) discussing the problems of ‘Baroque form’ and ‘style’, as well as their anthropological derivatives. Early-twentieth-century critics furthered the invention of a ‘Baroque man’ to describe and to legitimize themselves. [ABSTRACT FROM AUTHOR]

Despite a growing body of detailed studies of key aspects of the Great War, there remains a dominant image of the war as a major tragedy in which the idealism of a generation of young men was exploited by their incompetent and callous elders and out of which there emerged a profound disillusionment and rejection of past values. Such an interpretation rests on the evidence of a small, and untypical, number of ‘soldier-writers’. By exploring the contemporaneous writings of a relatively unknown figure, Patrick MacGill, this article offers an alternative perspective that recognises both the well-known horrors of the Great War but also the persistence of certain ‘heroic’ values that have been misleadingly obscured by the well-known retrospective accounts of the war. Résumé: Malgré de nombreuses études détaillées sur la grande guerre, une image domine qui présente le conflit comme le tombeau des idéalismes et dont ne sortiraient que la désillusion et le rejet des valeurs du passé. Bien des éléments de cette interprétation dépendent des écrits de quelques auteurs atypiques. Une lecture de Patrick MacGill permet de voir en son contexte la persistance des valeurs héroïques de la grande guerre souvent minimisées par la suite. [ABSTRACT FROM AUTHOR]

The article points some ways in which literature by women shaped depictions of First World War traumas into regimented patterns. Fictionalized portrayals such as "Return of the Soldiers," by Rebecca West, "William: An Englishman," by Cicely Hamilton, and "Testament of Youth" by Vera Brittain provoked the War Books Controversy and influenced a broad spectrum of readers. Pat Barker redefined the traumatized soldiers through her book "Regeneration."

The article focuses on antitourism in literature by Willa Cather. The author argues that the book "One of Ours," by Cather is one of many World War I novels which classify characters by their touristic positioning. According to the author, the tourist soldier is seen as incapable of understanding the "real" reason for American intervention while the traveller can comprehend the defence of culture behind the war. The experience of the character Claude, a soldier in the war, are presented. The writers Anna Robeson Burr, Clara E. Laughlin, and Mary Hastings Bradley are mentioned.

The article discusses the role of recreation and play in Willa Cather's "One of Ours." The book is imbued with the language of recreation, first in Nebraska and later in World War I, which the soldiers treat as an extended holiday or camping trip. The character Claude is eventually elevated by his wartime recreation, which leads him to reestablish his sense of self. The author describes how a week-long trip into the wilderness was becoming the recommended treatment for modern malaise. Cather's own experience in recreation is discussed.

The article discusses Willa Cather's disillusionment with war, as portrayed in her novel "The Professor's House." The titular professor, Godfrey St. Peter, is troubled by the death of his protegée, Tom Outland, in World War I, and by Outland's decision to go to war in the first place. The professor comes to realize that war is meaningless as well as inevitable, but is redeemed by his acceptance of humanistic obligation. The experience of the characters is compared with that of the character Claude from the book "One of Ours," by Cather.

The article considers the place of the fictitious Outland engine, discovered by the character Tom Outland in Willa Cather's "The Professor's House." According to the author, the engine was left undescribed, but is credited with revolutionizing aviation during World War I. The article claims that the Outland engine is based on the Liberty engine, developed by J. G. Vincent and E. J. Hall and which enjoyed great renown due to a marketing push, but which did not work as well as advertised by the U.S. government.

The article discusses the role of Jewish characters in the book "A Son at the Front" by Edith Wharton and the book "The Professor's House," by Willa Cather. According to the author, in both works the Jewish character is presented in anti-Semitic stereotype as the antithesis of the self-sacrifice required of World War I soldiers. Cather's ambivalence about this sacrifice, however, makes for a more nuanced and sympathetic response to her Jewish character. A brief history of rhetoric against Jews in the U.S. is presented.

The article argues that Willa Cather's novel "One of Ours" exposes a masculinity and a fear of the independent "new woman," as manifested through the form of the character Enid, wife of the character Claude. The author suggests that the necessities of World War I that make Enid a nurse, driver, and home economist also make her an "unnatural woman" who refuses to consummate her marriage. Cather casts Enid as the cause of Claude's suffering, and only redeems her hero's masculinity by giving him a heroic battlefield death.

This article looks at the influence of war on literature by Willa Cather during the years between World War I and World War II. The author argues that World War I affected Willa Cather for the rest of her life and that she saw the conflict as a major schism in history. Although Cather did not allow the war to overtly affect her writing, with the exception of the war novel "One of Ours," she perceived herself as living in a sort of second half of history, as did many of the authors and artists of her generation, T. S. Eliot and Katherine Anne Porter among them.

The article discusses Willa Cather's source material for the book "One of Ours," which is set during the Spanish-American War. According to the author, the novel was motivated by the death of Cather's cousin, Grosvenor P. Cather, in World War I. Both Grosvenor and Cather were inspired by the letters of three local men who fought in the Spanish-American War: Oley Iverson, H. C. Gress, and Bruce Payne. Excerpts of the letters are presented. The character Claude Wheeler, who is based on Cather's cousin, is discussed.

The article examines cowards and notions of cowardice as expressed in the novel "Voyage au Bout de la Nuit," by Louis-Fernand Céline. The depiction of trauma in French literature in the wake of the First World War is discussed. The author surmises that Céline sees a relationship between cowardice and fetishistic fascination and language.

The article presents the author's reflections on his favorite literary wars in modern literature. Among the topics discussed are the Spanish Civil War, World War I and the Abraham Lincoln Brigade, author Ernest Hemingway's "The Killers" and "For Whom the Bell Tolls," and André Malraux's "The Temptation of the West," "The Conquerors," and "Man's Fate."

The author outlines the development of the Cambridge English literature course - the English Tripos -- from its origins at the time of the First World War down to the late 1960s, when The Cambridge Quarterly was founded. He describes those features of the course which make it a 'discipline', and argues that the large increase in the number of those wishing to study English at university level has made it difficult to sustain them. He suggests that the study of English literature might be better served in this country if it were offered not so much as a single honours course, but as part of a more general degree similar to those found in American liberal arts colleges. [ABSTRACT FROM AUTHOR]

Examines the experiential reality of the body and the connections between touch, trauma and literary form. Precision of detail in the nurses' writings about their personal experiences during the First World War; Interest in the senses, towards a physical understanding of past literatures and cultures; Concept of psychic trauma, in reaction to the contemporary shell-shock theorists who sought physical and neurobiological causes for the high rate of breakdown among the combatants.

This paper examines a variety of literature written by German women during or shortly after World War I. In doing so, the paper considers some of the difficulties—linguistic, ideological, and social, for instance—which women writers had to contend with when writing about something traditionally perceived as male. In addition, the paper explores the ways in which German women's literature of World War I provides insight into a crisis in both male and female subjectivity. [ABSTRACT FROM AUTHOR]

This article argues that Max Plowman, the only member of the armed forces to be court-martialled for refusing to return to the Front in the 1914–19 War, has been oddly neglected. Consideration both of his case and of his Memoir, A Subaltern on the Somme, however, can illuminate the partly parallel case of Siegfried Sassoon, and lead to a reappraisal of the orthodox account of the literature of the First World War. [ABSTRACT FROM PUBLISHER]

The article focuses on the war poems of Siegfried Sassoon. Sassoon speak on behalf of his peers who fought and died in the First World War, even though twenty-seven years had passed since the war ended. His ardent pacifism during the war led him to denounce England's continued involvement in a conflict he deemed unjust and he saw those killed in battle as sacrificed unjustly. Their ghosts seem to have haunted Sassoon and caused him to regret mightily the cause of their deaths. Sassoon conceives of these ghosts as scarred, eyeless figures deformed by the hell of battle.

This article presents literary criticism of Katherine Mansfield's books. Through ritual encounters with death in her stories, Mansfield is able to transform the mundane into something sacred. Mansfield presents The Great War and the violent death that came with it in many of her post 1915 stories.

The article focuses on the relationship between poetry and soldiers. The contemporary poetry in the United States continues to draw on war for its themes, figures, and forms, poets and soldiers tend to perceive themselves at a pronounced remove. The relationship of poetry with wars is still very much alive at the beginning of the twenty-first century, because there was no shortage of wars about which to write, yet the once intertwined existence of soldier and poet, which perhaps reached its apex in the composite soldier-poet of World War I has been replaced by diffidence, curiosity, and even distrust.