Sara Haslam
- Published in print:
- 2009
- Published Online:
- July 2012
- ISBN:
- 9780719060557
- eISBN:
- 9781781700099
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719060557.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and ...
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This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and Joseph Conrad, editor of the English Review and author of The Good Soldier, he shaped the development of literary modernism. But, as the grandson of Ford Madox Brown and son of a German music critic, he also manifested formative links with mainland European culture and the visual arts. In Ford there is the chance to explore continuity in artistic life at the turn of the last century, as well as the more commonly identified pattern of crisis in the time. The argument throughout the book is that modernism possesses more than one face. Setting Ford in his cultural and historical context, the opening chapter debates the concept of fragmentation in modernism; later chapters discuss the notion of the personal narrative, and war writing. Ford's literary technique is studied comparatively and plot summaries of his major books (The Good Soldier and Parade's End) are provided, as is a brief biography.Less
This book is about Ford Madox Ford, a hero of the modernist literary revolution. Ford is a fascinating and fundamental figure of the time; not only because, as a friend and critic of Ezra Pound and Joseph Conrad, editor of the English Review and author of The Good Soldier, he shaped the development of literary modernism. But, as the grandson of Ford Madox Brown and son of a German music critic, he also manifested formative links with mainland European culture and the visual arts. In Ford there is the chance to explore continuity in artistic life at the turn of the last century, as well as the more commonly identified pattern of crisis in the time. The argument throughout the book is that modernism possesses more than one face. Setting Ford in his cultural and historical context, the opening chapter debates the concept of fragmentation in modernism; later chapters discuss the notion of the personal narrative, and war writing. Ford's literary technique is studied comparatively and plot summaries of his major books (The Good Soldier and Parade's End) are provided, as is a brief biography.
Rainer Rother
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780813175416
- eISBN:
- 9780813175447
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813175416.003.0016
- Subject:
- History, Military History
Rainer Rother’s brief chapter introduces part 3, “The Culture of Remembrance of the First World War.” It touches on how different countries have―or have not―commemorated the war, from the period of ...
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Rainer Rother’s brief chapter introduces part 3, “The Culture of Remembrance of the First World War.” It touches on how different countries have―or have not―commemorated the war, from the period of the conflict to the present, adducing some reasons to account for the variations.Less
Rainer Rother’s brief chapter introduces part 3, “The Culture of Remembrance of the First World War.” It touches on how different countries have―or have not―commemorated the war, from the period of the conflict to the present, adducing some reasons to account for the variations.
Robert L. McLaughlin and Sally E. Parry
- Published in print:
- 2021
- Published Online:
- September 2021
- ISBN:
- 9780813180946
- eISBN:
- 9780813181028
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813180946.001.0001
- Subject:
- Film, Television and Radio, Film
The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality ...
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The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. Productions such as Watch on the Rhine (1941), The Moon is Down (1942), Tomorrow the World (1943), and A Bell for Adano (1944) encouraged public discussion of the war's impact on daily life and raised critical questions about the conflict well before other forms of popular media. American drama of the 1940s is frequently overlooked, but the plays performed during this eventful decade provide a picture of the rich and complex experience of living in the United States during the war years. McLaughlin and Parry's work fills a significant gap in the history of theater and popular culture, showing that American society was more divided and less idealistic than the received histories of the WWII home front and the entertainment industry recognize.Less
The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. Productions such as Watch on the Rhine (1941), The Moon is Down (1942), Tomorrow the World (1943), and A Bell for Adano (1944) encouraged public discussion of the war's impact on daily life and raised critical questions about the conflict well before other forms of popular media. American drama of the 1940s is frequently overlooked, but the plays performed during this eventful decade provide a picture of the rich and complex experience of living in the United States during the war years. McLaughlin and Parry's work fills a significant gap in the history of theater and popular culture, showing that American society was more divided and less idealistic than the received histories of the WWII home front and the entertainment industry recognize.
Joseph Oldham
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781784994150
- eISBN:
- 9781526128379
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784994150.001.0001
- Subject:
- Film, Television and Radio, Television
Paranoid Visions provides an extensive historical account of the spy and conspiracy genres in British television drama, tracing a lineage from 1960s Cold War series, through 1980s paranoid conspiracy ...
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Paranoid Visions provides an extensive historical account of the spy and conspiracy genres in British television drama, tracing a lineage from 1960s Cold War series, through 1980s paranoid conspiracy dramas, to contemporary ‘war on terror’ thrillers. It argues that the on-screen depictions of intelligence services can interpreted as metaphors for the production cultures that created the programmes, meditating on the roles and responsibilities of public institutions whose trade is information and ideas. It incorporates close analyses of classic series including Callan, The Sandbaggers, Edge of Darkness, A Very British Coup, Spooks and the BBC adaptation of John Le Carré’s Tinker Tailor Soldier Spy, supported by new archival research. The account is positioned against aesthetic, institutional and technological shifts in British television drama as it transitioned from its traditional public service principles to the more commercial priorities of the multi-channel era, in particular examining the growth of long-form serial narratives in ‘quality’ television. It is also mapped closely to the real history of British intelligence through consideration of how such programmes responded to key scandals and exposés and counterblast campaigns of transparency and openness. Finally, it also situates these dramas against key issues in the history of British culture and national identity, including discourses of class politics, Cold War culture, the heritage industry, terrorism past and present, the decline of the social-democratic consensus, the growth of personal computing and the ascendance of the free market economy.Less
Paranoid Visions provides an extensive historical account of the spy and conspiracy genres in British television drama, tracing a lineage from 1960s Cold War series, through 1980s paranoid conspiracy dramas, to contemporary ‘war on terror’ thrillers. It argues that the on-screen depictions of intelligence services can interpreted as metaphors for the production cultures that created the programmes, meditating on the roles and responsibilities of public institutions whose trade is information and ideas. It incorporates close analyses of classic series including Callan, The Sandbaggers, Edge of Darkness, A Very British Coup, Spooks and the BBC adaptation of John Le Carré’s Tinker Tailor Soldier Spy, supported by new archival research. The account is positioned against aesthetic, institutional and technological shifts in British television drama as it transitioned from its traditional public service principles to the more commercial priorities of the multi-channel era, in particular examining the growth of long-form serial narratives in ‘quality’ television. It is also mapped closely to the real history of British intelligence through consideration of how such programmes responded to key scandals and exposés and counterblast campaigns of transparency and openness. Finally, it also situates these dramas against key issues in the history of British culture and national identity, including discourses of class politics, Cold War culture, the heritage industry, terrorism past and present, the decline of the social-democratic consensus, the growth of personal computing and the ascendance of the free market economy.
Avner Ben-Amos
- Published in print:
- 2000
- Published Online:
- October 2011
- ISBN:
- 9780198203285
- eISBN:
- 9780191675836
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198203285.003.0008
- Subject:
- History, European Modern History
Until around 1900, most of the military state funerals in France were given, accordingly, to republican high ranking army officers who had distinguished themselves in the 1870 war, some of whom ...
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Until around 1900, most of the military state funerals in France were given, accordingly, to republican high ranking army officers who had distinguished themselves in the 1870 war, some of whom served afterwards as governors of Paris. All of the funerals of the republican war heroes, with the exception of Denfert-Rochereau, were Catholic ceremonies, celebrated with full military pomp at the Invalides, culminating there in the church of Saint-Louis. The republican speakers in these ceremonies tended to concentrate on the patriotism and the military exploits of the dead heroes, and to mention their republicanism only in passing, thus giving the ceremony a national character. This chapter looks at the state funerals of French soldiers and colonizers, including revolutionary heroes such as Marceau, Lazare Carnot, La Tour d'Auvergne, Jean Baudin, and Rouget de Lisle, and colonizers like Admiral Courbet, Paul Bert, and Marshal Lyautey. It discusses the question of war commemoration after the 1870 war. The dual transfer of the remains of Léon Gambetta and of an Unknown Soldier to the Panthéon is also considered.Less
Until around 1900, most of the military state funerals in France were given, accordingly, to republican high ranking army officers who had distinguished themselves in the 1870 war, some of whom served afterwards as governors of Paris. All of the funerals of the republican war heroes, with the exception of Denfert-Rochereau, were Catholic ceremonies, celebrated with full military pomp at the Invalides, culminating there in the church of Saint-Louis. The republican speakers in these ceremonies tended to concentrate on the patriotism and the military exploits of the dead heroes, and to mention their republicanism only in passing, thus giving the ceremony a national character. This chapter looks at the state funerals of French soldiers and colonizers, including revolutionary heroes such as Marceau, Lazare Carnot, La Tour d'Auvergne, Jean Baudin, and Rouget de Lisle, and colonizers like Admiral Courbet, Paul Bert, and Marshal Lyautey. It discusses the question of war commemoration after the 1870 war. The dual transfer of the remains of Léon Gambetta and of an Unknown Soldier to the Panthéon is also considered.
Yan Xu
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780813176741
- eISBN:
- 9780813176772
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813176741.001.0001
- Subject:
- History, Asian History
Yan Xu’s book The Soldier Image and State-Building in Modern China, 1924–1945 focuses on the connection between soldiers, urban publics, and party governments of wartime China in an effort to provide ...
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Yan Xu’s book The Soldier Image and State-Building in Modern China, 1924–1945 focuses on the connection between soldiers, urban publics, and party governments of wartime China in an effort to provide a nuanced analysis of the complicated state-society relations. Xu structured this work in a way that united the chapters through the multiple soldier figures in China and the imagery cast upon them due to wars. Xu scrutinizes how political, social, and literary perspectives influenced the rhetoric and ideal of the soldier figure. Xu’s book works chronologically from the initial start-up of the prestigious Whampoa Military Academy in the 1920s, to the issue and revision of compulsory conscription laws in the 1930s, to the urban intellectuals and professionals serving and writing about the soldiers during the Second Sino-Japanese War, to the students conscripted into the army during the later years of the war. Xu integrates the party struggles into the analysis of wartime China by devoting the last chapter to the creation of the soldier image by the Chinese Communists. Xu highlights how crucial the construction of the discourse on the soldier image was to the state-building processes for both Chinese Nationalists and Communists. The Soldier Image and State-Building in Modern China, 1924–1945, fosters insight into the 1920s-40s of modern China that uncovers how war operates as a cultural event rather than simply one utilized for political strategy.Less
Yan Xu’s book The Soldier Image and State-Building in Modern China, 1924–1945 focuses on the connection between soldiers, urban publics, and party governments of wartime China in an effort to provide a nuanced analysis of the complicated state-society relations. Xu structured this work in a way that united the chapters through the multiple soldier figures in China and the imagery cast upon them due to wars. Xu scrutinizes how political, social, and literary perspectives influenced the rhetoric and ideal of the soldier figure. Xu’s book works chronologically from the initial start-up of the prestigious Whampoa Military Academy in the 1920s, to the issue and revision of compulsory conscription laws in the 1930s, to the urban intellectuals and professionals serving and writing about the soldiers during the Second Sino-Japanese War, to the students conscripted into the army during the later years of the war. Xu integrates the party struggles into the analysis of wartime China by devoting the last chapter to the creation of the soldier image by the Chinese Communists. Xu highlights how crucial the construction of the discourse on the soldier image was to the state-building processes for both Chinese Nationalists and Communists. The Soldier Image and State-Building in Modern China, 1924–1945, fosters insight into the 1920s-40s of modern China that uncovers how war operates as a cultural event rather than simply one utilized for political strategy.
Todd W. Reeser
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780226307008
- eISBN:
- 9780226307145
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226307145.003.0006
- Subject:
- Literature, 16th-century and Renaissance Literature
This chapter focuses on the sixteenth-century reception of Alcibiades’s seduction speech in the Symposium. Erasmus is aware of the issue of homoerotics, particularly in The Handbook of the Christian ...
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This chapter focuses on the sixteenth-century reception of Alcibiades’s seduction speech in the Symposium. Erasmus is aware of the issue of homoerotics, particularly in The Handbook of the Christian Soldier and in the Adages, as he evokes homoeroticism to discount it. Erasmus’s attempts to establish hermeneutic closure in his version of the Silenic image, and expunge Socratic eros. His religious approach contrasts sharply with François Rabelais’s famous Silenus Box in the prologue to Gargantua, for which Erasmus’s adage is assumed to have served as textual model. Rabelais mocks Erasmus’s straightened-out version of the image through comic means, suggesting that the reading out of Socratic sexuality should itself be mocked as an anti-historical hermeneutic approach. In this sense, the French writer directly distinguishes himself from other Renaissance translations of Plato, including Ficino whom he knew directly, and may be commenting on through the medium of fiction.Less
This chapter focuses on the sixteenth-century reception of Alcibiades’s seduction speech in the Symposium. Erasmus is aware of the issue of homoerotics, particularly in The Handbook of the Christian Soldier and in the Adages, as he evokes homoeroticism to discount it. Erasmus’s attempts to establish hermeneutic closure in his version of the Silenic image, and expunge Socratic eros. His religious approach contrasts sharply with François Rabelais’s famous Silenus Box in the prologue to Gargantua, for which Erasmus’s adage is assumed to have served as textual model. Rabelais mocks Erasmus’s straightened-out version of the image through comic means, suggesting that the reading out of Socratic sexuality should itself be mocked as an anti-historical hermeneutic approach. In this sense, the French writer directly distinguishes himself from other Renaissance translations of Plato, including Ficino whom he knew directly, and may be commenting on through the medium of fiction.
Juliette Pattinson, Arthur McIvor, and Linsey Robb
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9781526100696
- eISBN:
- 9781526120830
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781526100696.001.0001
- Subject:
- History, Military History
This book focuses on working class civilian men who as a result of working in reserved occupations were exempt from enlistment in the armed forces. It utilises fifty six newly conducted oral history ...
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This book focuses on working class civilian men who as a result of working in reserved occupations were exempt from enlistment in the armed forces. It utilises fifty six newly conducted oral history interviews as well as autobiographies, visual sources and existing archived interviews to explore how they articulated their wartime experiences and how they positioned themselves in relation to the hegemonic discourse of military masculinity. It considers the range of masculine identities circulating amongst civilian male workers during the war and investigates the extent to which reserved workers draw upon these identities when recalling their wartime selves. It argues that the Second World War was capable of challenging civilian masculinities, positioning the civilian man below that of the ‘soldier hero’ while, simultaneously, reinforcing them by bolstering the capacity to provide and to earn high wages, both of which were key markers of masculinity.Less
This book focuses on working class civilian men who as a result of working in reserved occupations were exempt from enlistment in the armed forces. It utilises fifty six newly conducted oral history interviews as well as autobiographies, visual sources and existing archived interviews to explore how they articulated their wartime experiences and how they positioned themselves in relation to the hegemonic discourse of military masculinity. It considers the range of masculine identities circulating amongst civilian male workers during the war and investigates the extent to which reserved workers draw upon these identities when recalling their wartime selves. It argues that the Second World War was capable of challenging civilian masculinities, positioning the civilian man below that of the ‘soldier hero’ while, simultaneously, reinforcing them by bolstering the capacity to provide and to earn high wages, both of which were key markers of masculinity.
Rainer Rother
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780813175416
- eISBN:
- 9780813175447
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813175416.003.0019
- Subject:
- History, Military History
Rainer Rother traces the symbolic meaning of the Unknown Soldier of the First World War. Describing national ceremonies of the interment of the Unknown Soldier, primarily those of Britain and France, ...
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Rainer Rother traces the symbolic meaning of the Unknown Soldier of the First World War. Describing national ceremonies of the interment of the Unknown Soldier, primarily those of Britain and France, the chapter explores the significance of the Unknown Soldier in terms of his connection to the ethnographic concept of ritual, particularly rites of passage.Less
Rainer Rother traces the symbolic meaning of the Unknown Soldier of the First World War. Describing national ceremonies of the interment of the Unknown Soldier, primarily those of Britain and France, the chapter explores the significance of the Unknown Soldier in terms of his connection to the ethnographic concept of ritual, particularly rites of passage.
Charlotte Jones
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9780748694266
- eISBN:
- 9781474412391
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694266.003.0009
- Subject:
- Literature, Criticism/Theory
This chapter examines Ford’s Parade’s End in comparison to Rebecca’s West’s earlier novella, The Return of the Soldier, exploring the different ways in which their respective protagonists ‘work ...
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This chapter examines Ford’s Parade’s End in comparison to Rebecca’s West’s earlier novella, The Return of the Soldier, exploring the different ways in which their respective protagonists ‘work through’ the psychological and emotional legacy of war. Opening with an initial survey of contemporary responses to the newly-emergent condition ‘shell shock’ – medical definitions, military classifications and the emerging field of psychoanalysis as theorised by Freud and W. H. R. Rivers – the chapter goes on to discuss Ford and West’s engagement with these discourses in their fiction as both attempt to imagine the possibilities for the reintegration of the mind after the return from war. It concludes by exploring the ways in which this paradigm of psychological trauma contributes to the authors’ literary modernism.Less
This chapter examines Ford’s Parade’s End in comparison to Rebecca’s West’s earlier novella, The Return of the Soldier, exploring the different ways in which their respective protagonists ‘work through’ the psychological and emotional legacy of war. Opening with an initial survey of contemporary responses to the newly-emergent condition ‘shell shock’ – medical definitions, military classifications and the emerging field of psychoanalysis as theorised by Freud and W. H. R. Rivers – the chapter goes on to discuss Ford and West’s engagement with these discourses in their fiction as both attempt to imagine the possibilities for the reintegration of the mind after the return from war. It concludes by exploring the ways in which this paradigm of psychological trauma contributes to the authors’ literary modernism.
Joseph R. Urgo and Ann J. Abadie (eds)
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617037122
- eISBN:
- 9781604731637
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617037122.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Photographs, lumber, airplanes, hand-hewn coffins—in every William Faulkner novel and short story, worldly material abounds. This book provides a fresh understanding of the things Faulkner brought ...
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Photographs, lumber, airplanes, hand-hewn coffins—in every William Faulkner novel and short story, worldly material abounds. This book provides a fresh understanding of the things Faulkner brought from the world around him to the one he created. It surveys his representation of terrain and concludes, contrary to established criticism, that to Faulkner, Yoknapatawpha was not a microcosm of the South but a very particular and quite specifically located place. The book works with literary theory, philosophy, the history of woodworking and furniture-making, and social and intellectual history to explore how Light in August is tied intimately to the region’s logging and woodworking industries. Other chapters in the book include Kevin Railey’s on the consumer goods that appear in Flags in the Dust. Miles Orvell discusses the Confederate Soldier monuments installed in small towns throughout the South and how such monuments enter Faulkner’s work. Katherine Henninger analyzes Faulkner’s fictional representation of photographs and the function of photography within his fiction, particularly in The Sound and the Fury, Light in August, and Absalom, Absalom!Less
Photographs, lumber, airplanes, hand-hewn coffins—in every William Faulkner novel and short story, worldly material abounds. This book provides a fresh understanding of the things Faulkner brought from the world around him to the one he created. It surveys his representation of terrain and concludes, contrary to established criticism, that to Faulkner, Yoknapatawpha was not a microcosm of the South but a very particular and quite specifically located place. The book works with literary theory, philosophy, the history of woodworking and furniture-making, and social and intellectual history to explore how Light in August is tied intimately to the region’s logging and woodworking industries. Other chapters in the book include Kevin Railey’s on the consumer goods that appear in Flags in the Dust. Miles Orvell discusses the Confederate Soldier monuments installed in small towns throughout the South and how such monuments enter Faulkner’s work. Katherine Henninger analyzes Faulkner’s fictional representation of photographs and the function of photography within his fiction, particularly in The Sound and the Fury, Light in August, and Absalom, Absalom!
Ian Scott
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496831095
- eISBN:
- 9781496831149
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496831095.003.0005
- Subject:
- Film, Television and Radio, Film
The chapter examines the way the Cold War has been historicized in the mode of films like Tinker Tailor Soldier Spy and Bridge of Spies but also how in other texts it has increasingly been filtered ...
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The chapter examines the way the Cold War has been historicized in the mode of films like Tinker Tailor Soldier Spy and Bridge of Spies but also how in other texts it has increasingly been filtered through the lens of nostalgic pop-culture referents. The locations are not simply backdrops but active signifiers, the characters less archetypes than reassembled studies in cinematic RPGs, the soundtracks no longer sombre diegesis but more a mix-tape of your favorite hit songs. This chapter, therefore, argues that, over the course of the 2010s, from Tinker Tailor to Atomic Blonde, art as the unconscious face of politics has never been more important. Reminiscence has thus shifted from a mode of nimble historical furnishings to one that contains a jumble of ideological contradictions designed to accentuate–and critique–the reassembled Cold War mentality of the Trump-Putin age.Less
The chapter examines the way the Cold War has been historicized in the mode of films like Tinker Tailor Soldier Spy and Bridge of Spies but also how in other texts it has increasingly been filtered through the lens of nostalgic pop-culture referents. The locations are not simply backdrops but active signifiers, the characters less archetypes than reassembled studies in cinematic RPGs, the soundtracks no longer sombre diegesis but more a mix-tape of your favorite hit songs. This chapter, therefore, argues that, over the course of the 2010s, from Tinker Tailor to Atomic Blonde, art as the unconscious face of politics has never been more important. Reminiscence has thus shifted from a mode of nimble historical furnishings to one that contains a jumble of ideological contradictions designed to accentuate–and critique–the reassembled Cold War mentality of the Trump-Putin age.
Christian Jimenez
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496831095
- eISBN:
- 9781496831149
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496831095.003.0010
- Subject:
- Film, Television and Radio, Film
The chapter focuses on the issue of “moral equivalence” (invented by neoconservatives during the Cold War), which attempts to discredit virtually any criticism of U.S. policy, foreign or domestic, in ...
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The chapter focuses on the issue of “moral equivalence” (invented by neoconservatives during the Cold War), which attempts to discredit virtually any criticism of U.S. policy, foreign or domestic, in novels, films, and books, to show how it continues to be utilized today. The chapter compares Bridge of Spies and Tinker Tailor Soldier Spy and argues that, far from equating the West and Russia, these films try, repetitiously, to suggest that there is no equivalence whatsoever between these entities, for Russia is continuously framed as some bestial “Other” without freedom and normality against the essential healthiness, even the life–through the use of bright colors–of Western countries. The chapter showcases how the films attempt to contain criticism to only a few selected areas and disallow any other, perhaps genuinely difficult, criticisms of world politics, as represented in the Cold War cinema.Less
The chapter focuses on the issue of “moral equivalence” (invented by neoconservatives during the Cold War), which attempts to discredit virtually any criticism of U.S. policy, foreign or domestic, in novels, films, and books, to show how it continues to be utilized today. The chapter compares Bridge of Spies and Tinker Tailor Soldier Spy and argues that, far from equating the West and Russia, these films try, repetitiously, to suggest that there is no equivalence whatsoever between these entities, for Russia is continuously framed as some bestial “Other” without freedom and normality against the essential healthiness, even the life–through the use of bright colors–of Western countries. The chapter showcases how the films attempt to contain criticism to only a few selected areas and disallow any other, perhaps genuinely difficult, criticisms of world politics, as represented in the Cold War cinema.
Earl J. Hess
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781469643427
- eISBN:
- 9781469643441
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469643427.001.0001
- Subject:
- History, Military History
As William T. Sherman’s Union troops began their campaign for Atlanta in the spring of 1864, they encountered Confederate forces employing field fortifications located to take advantage of rugged ...
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As William T. Sherman’s Union troops began their campaign for Atlanta in the spring of 1864, they encountered Confederate forces employing field fortifications located to take advantage of rugged terrain. While the Confederate Army of Tennessee consistently acted on the defensive, digging eighteen lines of earthworks from May to September, the Federals used fieldworks both defensively and offensively. With 160,000 troops engaged on both sides and hundreds of miles of trenches dug, fortifications became a defining factor in the Atlanta campaign battles. These engagements took place on topography ranging from Appalachian foothills to the clay fields of Georgia’s piedmont. This book examines how commanders adapted their operations to the physical environment, how the environment in turn affected their movements, and how Civil War armies altered the terrain through the science of field fortification. It also illuminates the impact of fighting and living in ditches for four months on the everyday lives of both Union and Confederate soldiers. The Atlanta campaign represents one of the best examples of a prolonged Union invasion deep into southern territory, and it marked another important transition in the conduct of war from open field battles to fighting from improvised field fortifications.Less
As William T. Sherman’s Union troops began their campaign for Atlanta in the spring of 1864, they encountered Confederate forces employing field fortifications located to take advantage of rugged terrain. While the Confederate Army of Tennessee consistently acted on the defensive, digging eighteen lines of earthworks from May to September, the Federals used fieldworks both defensively and offensively. With 160,000 troops engaged on both sides and hundreds of miles of trenches dug, fortifications became a defining factor in the Atlanta campaign battles. These engagements took place on topography ranging from Appalachian foothills to the clay fields of Georgia’s piedmont. This book examines how commanders adapted their operations to the physical environment, how the environment in turn affected their movements, and how Civil War armies altered the terrain through the science of field fortification. It also illuminates the impact of fighting and living in ditches for four months on the everyday lives of both Union and Confederate soldiers. The Atlanta campaign represents one of the best examples of a prolonged Union invasion deep into southern territory, and it marked another important transition in the conduct of war from open field battles to fighting from improvised field fortifications.
M. Keith Harris
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781469625331
- eISBN:
- 9781469625355
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469625331.003.0007
- Subject:
- History, American History: Civil War
M. Keith Harris examines morale among Confederate soldiers in the trenches around Petersburg. Despite common perceptions among later historians that the siege marked the beginning of an inevitable ...
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M. Keith Harris examines morale among Confederate soldiers in the trenches around Petersburg. Despite common perceptions among later historians that the siege marked the beginning of an inevitable slide toward Appomattox, Harris shows that many Rebels remained quite upbeat through the summer. Reading forward in evidence from 1864, rather than backward with full knowledge of the war’s outcome, reveals surprising optimism in Confederate accounts. Harris concedes a degree of war weariness but identifies countervailing forces that bolstered morale. Among these were a belief that soldiers in the Army of Northern Virginia, under Lee’s leadership, could hold off the enemy at Petersburg, that Confederate armies in Georgia and the Shenandoah Valley could win victories, and that Union military failures could undo Lincoln and his party in November.Less
M. Keith Harris examines morale among Confederate soldiers in the trenches around Petersburg. Despite common perceptions among later historians that the siege marked the beginning of an inevitable slide toward Appomattox, Harris shows that many Rebels remained quite upbeat through the summer. Reading forward in evidence from 1864, rather than backward with full knowledge of the war’s outcome, reveals surprising optimism in Confederate accounts. Harris concedes a degree of war weariness but identifies countervailing forces that bolstered morale. Among these were a belief that soldiers in the Army of Northern Virginia, under Lee’s leadership, could hold off the enemy at Petersburg, that Confederate armies in Georgia and the Shenandoah Valley could win victories, and that Union military failures could undo Lincoln and his party in November.
Kim A. Munson
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9781496828118
- eISBN:
- 9781496828064
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496828118.003.0038
- Subject:
- Literature, Comics Studies
This chapter includes a 2017 interview conducted by art historian Kim A. Munson with the award-winning cartoonist Carol Tyler about Pages and Progress, an exhibition in Cincinnati, Ohio based ...
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This chapter includes a 2017 interview conducted by art historian Kim A. Munson with the award-winning cartoonist Carol Tyler about Pages and Progress, an exhibition in Cincinnati, Ohio based on Soldier’s Heart: The Campaign to Understand My WWII Veteran Father: A Daughter’s Memoir, the 2015 compilation of Tyler’s You’ll Never Know graphic novel trilogy (Fantagraphics). This chapter discusses narrative in comics, the audience response, and her exhibit design strategy utilizing a clothesline, paintings, hand-made props, toys, tools, and family memorabilia. This chapter contains a comparison between Pages and a different, more emotional exhibit featuring the "impossible trident” and thorns. Images: 3 exhibition photos.Less
This chapter includes a 2017 interview conducted by art historian Kim A. Munson with the award-winning cartoonist Carol Tyler about Pages and Progress, an exhibition in Cincinnati, Ohio based on Soldier’s Heart: The Campaign to Understand My WWII Veteran Father: A Daughter’s Memoir, the 2015 compilation of Tyler’s You’ll Never Know graphic novel trilogy (Fantagraphics). This chapter discusses narrative in comics, the audience response, and her exhibit design strategy utilizing a clothesline, paintings, hand-made props, toys, tools, and family memorabilia. This chapter contains a comparison between Pages and a different, more emotional exhibit featuring the "impossible trident” and thorns. Images: 3 exhibition photos.
Gwynne Tuell Potts
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780813178677
- eISBN:
- 9780813178707
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813178677.003.0013
- Subject:
- History, American History: early to 18th Century
John and Ann Rogers Clark, along with their youngest children, joined their second son, George Rogers, in Louisville early in 1785. The Clark’s eldest son and daughter remained in Virginia with their ...
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John and Ann Rogers Clark, along with their youngest children, joined their second son, George Rogers, in Louisville early in 1785. The Clark’s eldest son and daughter remained in Virginia with their spouses, and two sons had not survived the Revolution.Settled in a massive log house, the Clarks soon hosted the marriages of two daughters: Elizabeth, to Colonel Richard Clough Anderson, and Lucy, to Major William Croghan. Youngest daughter, Fannie, followed with the first of her three weddings, but youngest son, William, would postpone marriage until his return from Mr. Jefferson’s expedition. George Rogersnever married. William spent much of his young manhood mediating his brother’s financial and legal entanglements, often spending his own income to resolve the differences. As a consequence, he sold the home he had inherited from his parents and moved with George Rogers across the Ohio, to the Indiana Territory land Virginia had provided its general as payment for the American Revolution.Less
John and Ann Rogers Clark, along with their youngest children, joined their second son, George Rogers, in Louisville early in 1785. The Clark’s eldest son and daughter remained in Virginia with their spouses, and two sons had not survived the Revolution.Settled in a massive log house, the Clarks soon hosted the marriages of two daughters: Elizabeth, to Colonel Richard Clough Anderson, and Lucy, to Major William Croghan. Youngest daughter, Fannie, followed with the first of her three weddings, but youngest son, William, would postpone marriage until his return from Mr. Jefferson’s expedition. George Rogersnever married. William spent much of his young manhood mediating his brother’s financial and legal entanglements, often spending his own income to resolve the differences. As a consequence, he sold the home he had inherited from his parents and moved with George Rogers across the Ohio, to the Indiana Territory land Virginia had provided its general as payment for the American Revolution.
Kathleen M. German
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812353
- eISBN:
- 9781496812391
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812353.003.0005
- Subject:
- Film, Television and Radio, Film
The Negro Soldier was produced and distributed in 1943 by the Signal Corps to generate African American support for the war. It was highly successful in unifying both black and white Americans in the ...
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The Negro Soldier was produced and distributed in 1943 by the Signal Corps to generate African American support for the war. It was highly successful in unifying both black and white Americans in the common cause of victory. This chapter examines the film itself, the central narrative strategy of conversion it invoked, and the impact of the film on its immediate audiences.Less
The Negro Soldier was produced and distributed in 1943 by the Signal Corps to generate African American support for the war. It was highly successful in unifying both black and white Americans in the common cause of victory. This chapter examines the film itself, the central narrative strategy of conversion it invoked, and the impact of the film on its immediate audiences.
Ian Christie
- Published in print:
- 2019
- Published Online:
- September 2020
- ISBN:
- 9780226105628
- eISBN:
- 9780226610115
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226610115.003.0003
- Subject:
- History, British and Irish Modern History
Paul was launched on a hectic nightly round of screenings at London’s music halls by the success of his projector, yet urgently needed to make new films to enhance the programmes. The Alhambra ...
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Paul was launched on a hectic nightly round of screenings at London’s music halls by the success of his projector, yet urgently needed to make new films to enhance the programmes. The Alhambra manager suggested filming a comic scene on the roof of the theatre, and the resulting Soldier’s Courtship became an immediate success, with one of its actors, Ellen Daws, becoming Paul’s wife a year later. In June, Paul travelled to Epsom to film the Derby, and managed to show his film the following night at the Alhambra, where it was appreciatively encored. Soon the Prince of Wales, owner of the winning horse, came to see it. Magicians also played an important part in popularising the new entertainment, with David Devant presenting it at the Egyptian Hall and at the Henry Wood Promenade concerts, while Carl Hertz took Paul’s projector and films on a world tour. Paul was also active showing programmes around Britain, starting in Brighton, where he would inspire local filmmakers. In September, he sent Henry Short on a tour of Spain and Portugal, which yielded an impressive programme, and led to another expedition to Egypt.Less
Paul was launched on a hectic nightly round of screenings at London’s music halls by the success of his projector, yet urgently needed to make new films to enhance the programmes. The Alhambra manager suggested filming a comic scene on the roof of the theatre, and the resulting Soldier’s Courtship became an immediate success, with one of its actors, Ellen Daws, becoming Paul’s wife a year later. In June, Paul travelled to Epsom to film the Derby, and managed to show his film the following night at the Alhambra, where it was appreciatively encored. Soon the Prince of Wales, owner of the winning horse, came to see it. Magicians also played an important part in popularising the new entertainment, with David Devant presenting it at the Egyptian Hall and at the Henry Wood Promenade concerts, while Carl Hertz took Paul’s projector and films on a world tour. Paul was also active showing programmes around Britain, starting in Brighton, where he would inspire local filmmakers. In September, he sent Henry Short on a tour of Spain and Portugal, which yielded an impressive programme, and led to another expedition to Egypt.
Jan Bryant
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474456944
- eISBN:
- 9781474476867
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474456944.003.0016
- Subject:
- Philosophy, Aesthetics
As introduction to the four essays on contemporary practice, this chapter opens with some examples of political despondency at the turn of the century. Two films from the 1960s, Soy Cuba and Winter ...
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As introduction to the four essays on contemporary practice, this chapter opens with some examples of political despondency at the turn of the century. Two films from the 1960s, Soy Cuba and Winter Soldier, are closely examined as a way to understand the hopefulness for a renewed future that must have inspired their making. From a contemporary perspective, hope has faded with the unfolding of history and the intensification of class inequality. While this seems to support an ‘end of history’ thesis, it is the point where Andrew Benjamin’s structuring of hope in the present becomes a potent retort. The chapter concludes with a consideration of how political-aesthetics is informed this century by a renewed interest in materials and their effects, while also considering the materialist approaches of Marx, Walter Benjamin, and Elizabeth Grosz. A materialist approach means that focus on the sensate realm determines that a portion of any interpretation of artwork will include a subjective dimension. [154]Less
As introduction to the four essays on contemporary practice, this chapter opens with some examples of political despondency at the turn of the century. Two films from the 1960s, Soy Cuba and Winter Soldier, are closely examined as a way to understand the hopefulness for a renewed future that must have inspired their making. From a contemporary perspective, hope has faded with the unfolding of history and the intensification of class inequality. While this seems to support an ‘end of history’ thesis, it is the point where Andrew Benjamin’s structuring of hope in the present becomes a potent retort. The chapter concludes with a consideration of how political-aesthetics is informed this century by a renewed interest in materials and their effects, while also considering the materialist approaches of Marx, Walter Benjamin, and Elizabeth Grosz. A materialist approach means that focus on the sensate realm determines that a portion of any interpretation of artwork will include a subjective dimension. [154]
