DOCSLIB.ORG

American Melancholia in Modernist Narratives of the First World War Michael Von Cannon Louisiana State University and Agricultural and Mechanical College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
American Melancholia in Modernist Narratives of the First World War Michael Von Cannon Louisiana State University and Agricultural and Mechanical College Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 The aD rkest Nation: American Melancholia in Modernist Narratives of the First World War Michael Von Cannon Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Von Cannon, Michael, "The aD rkest Nation: American Melancholia in Modernist Narratives of the First World War" (2016). LSU Doctoral Dissertations. 3298. https://digitalcommons.lsu.edu/gradschool_dissertations/3298 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE DARKEST NATION: AMERICAN MELANCHOLIA IN MODERNIST NARRATIVES OF THE FIRST WORLD WAR A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Michael Von Cannon B.A., Palm Beach Atlantic University, 2006 M.A., University of York, 2009 August 2016 “One may also speak of melancholy states or nations.” - Jonathan Flatley, Affective Mapping: Melancholia and the Politics of Modernism ii ACKNOWLEDGMENTS Although in this dissertation I propose the idea of melancholy nationalism in American modernist war writing, the project could not have developed into what it is without a drastically different community composed of scholars, friends, and family members. First and foremost, I owe a debt of gratitude to my committee members—Jerry Kennedy, Carl Freedman, Elsie Michie, and Nick Erickson—who generously and enthusiastically provided insightful comments and suggestions on various chapter drafts. I also want to extend thanks to many other colleagues who have read or heard portions of this project or who have otherwise made time to discuss it with me. These include Dustin Anderson, William Boelhower, Mark Cirino, Kirk Curnutt, Suzanne del Gizzo, Madoka Kishi, Phil Maciak, and Joseph Wingenbach. As well, I am grateful to Michael Bibler and my fellow graduate students who took part in his publication and professionalization course: Stacey Amo, Christie Cognevich, Megan Feifer, Cristina Rosell, and Logan Wiedenfeld. Additionally, this project has been supported by dissertation fellowships, travel grants, and research grants provided through the generosity of Louisiana State University, the Hemingway Society, the Modernist Studies Association, and the John F. Kennedy Library Foundation. Lastly, without the love and support of my wife, Jordan Von Cannon, and our one- year-old son, this project would never have become what it is today. iii TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………..............iii ABSTRACT……………………………………………………………………………………….v CHAPTER 1. INTRODUCTION………………………………………………………………………...1 2. DEAD CENTER: THE IRONY OF NEUTRALITY IN WILLA CATHER’S ONE OF OURS………………………………….……………………………………….24 3. FORGETTEN RACE: NICK ADAMS’S MECHANIZED WAR……….……………...60 4. BORDERLINE ROMANCE: THE INCEST PLOT IN H.D.’S KORA AND KA AND F. SCOTT FITZGERALD’S TENDER IS THE NIGHT……………………..…..102 5. MARTIAL FUTURES: GERTRUDE STEIN AND THE GEOGRAPHICAL HISTORY OF WAR……………………………………………………………….…...136 CONCLUSION…………………………………………………………..……………………..177 BIBLIOGRAPHY……………………………………..………………………………………..186 VITA…………………………………………………………………..………………………..198 iv ABSTRACT My dissertation, entitled The Darkest Nation: American Melancholia in Modernist Narratives of the First World War, re-conceptualizes U.S. modernism by attending to how the historical event of WWI inaugurated melancholia, or sustained grief, as the cornerstone of a new form of nationalism. Scholars have focused either on how consolatory mourning bolstered patriotism or how melancholia led to the demise of such an imagined community and to the growth of cosmopolitanism. I consider, however, an American modernist commitment to the nation of loss expressed, surprisingly enough, in narratives about noncombatants. For a country that entered the military conflict near its end, noncombatancy (in the form of political neutrality and survivor’s guilt) shapes the literary contours of America’s melancholy wartime and postwar identity. In proposing a revised understanding of nationalism, I examine canonical modernist novels such as Willa Cather’s One of Ours and F. Scott Fitzgerald’s Tender is the Night and understudied works including H.D.’s story Kora and Ka, Ernest Hemingway’s story sequence In Our Time, and Gertrude Stein’s book The Geographical History of America. Overall, the project traces a pivotal shift in narratives about nationalist melancholia by exploring the complexities and even contradictions of noncombatancy. Initially a strategy of political neutrality adapted by modernists into a mode of narrative irony incompatible with mourning, by the end of the project it becomes a way for modernists to describe how the nation actually leads the charge to initiate senseless world wars solely to rekindle its citizens’—and writers’—patriotism. Whether through prewar neutrality that forestalls consolatory mourning or through postwar peace that remains ever forestalled, modernist American literature develops a dark, melancholy brand of nationalist sentiment formed at moments when character identity becomes most untenable, warfare most irreparable, and postwar future most unfathomable. v INTRODUCTION More than a century since the outbreak of the First World War and on the threshold of the armistice anniversary, the WWI Centennial Commission is making plans for a new memorial to be built in Washington D.C., just steps from the White House, in honor of the country’s virtuous mission and the soldiers who died to fulfill it. The architect Joe Weishaar and sculptor Sabin Howard have proposed a monument park composed of green spaces, statues, and 137-foot long ornamental walls. Each cubic foot of these walls will represent one of the American soldiers killed in battle during the war. As the centerpiece of the memorial, an 81-foot long “Wall of Remembrance” will feature 23 relief sculptures of combat scenes alongside quotes from politicians such as President Woodrow Wilson and writers including Ernest Hemingway. Entitled “The Weight of Sacrifice,” the memorial “is a space for freedom built upon the great weight of sacrifice. The allegorical idea that public space and public freedom are hard won through the great sacrifice of countless individuals in the pursuit of liberty provides the original design concept for this project” (Weishaar and Howard). The proposal echoes platitudes—home of the free because of the brave; if not for us, you would all be speaking German—but those by no means make the memorial insignificant. Especially in the shadow of an ever-growing cynicism about the country’s participation in the seemingly never-ending “war on terror,” the designers have altered the idea of WWI to fit present circumstances. Although the War in Afghanistan and the War in Iraq have officially ended, they have contributed to the now ongoing Iraqi Civil War against the newly formed ISIS, more recent terrorist attacks against Syrian refugees and the citizens of both Paris and Brussels, and a resignation that we live in the shadow of wartime without end. Rather than symbolize WWI as a war to end all wars, Howard and Weishaar suggest that honorable and just wars needed to be waged in the early twentieth century just as they do today. 1 In The Darkest Nation: American Melancholia in Modernist Narratives of the First World War, I argue that many modernist writers, including some of those whose quotes will be etched into the “Wall of Remembrance,” constructed a literary war memorialization quite at odds with the national sculpture that will be under construction starting in 2017. The memorial misses a key aspect of the country’s engagement in the war. The U.S. spent most of the war as a neutral party or noncombatant nation, not a belligerent. Rather than suffering a staggering number of casualties like the other countries, it only entered the war near the end, after a drawn-out, nearly four-year period of neutrality. Even when Wilson finally declared war on Germany in the spring of 1917, many individuals who enlisted and trained for combat never actually made it over to the front lines. I contend that, rather than a series of combat images, the cultural memory of American involvement could, more often than not, be illustrated through its lack thereof. Noncombatancy, however, does not signal a complete turning away from national memorialization; rather, I argue that it signals a profound shift away from any consolation about the country’s mission that actually bolsters nationalism in modernist narratives. Before outlining the concept of melancholy nationalism as it unfolded in modernist war writing, let me first turn to modernism itself. Of the terms that compose the subtitle to this project, modernism will be the least radically revised, which does not mean that it will not be redefined in the ensuing pages. No reader will, I think, be caught off-guard by the list of authors discussed: Willa Cather, H.D., F. Scott Fitzgerald, William Faulkner, Ernest Hemingway, and Gertrude Stein; nor will they be struck by the way I attribute
Load more

Recommended publications
  • Communication and Culture Dissertation
    “THIS IS FOR FIGHTING, THIS IS FOR FUN”: POPULAR HOLLYWOOD COMBAT (WAR) FILMS FROM THE FIRST GULF WAR TO THE PRESENT (1990-2015) by Andrea Marie Schofield Master of Arts, University of Western Ontario, London, Ontario, 2009 Master of Arts, University of Toronto, Toronto, Ontario, 2008 Honours Bachelor of Arts, University of Western Ontario, London, Ontario, 2007 A dissertation presented to Ryerson University and York University in partial fulfillment of the requirements for the degree of Doctorate of Philosophy in the Program of Communication and Culture Toronto, Ontario, Canada, 2016 © Andrea Schofield 2016 Author’s Declaration for Electronic Submission of a Dissertation: I hereby declare that I am the sole author of this dissertation. This is a true copy of the dissertation, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this dissertation to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this dissertation by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my dissertation may be made electronically available to the public. ii Abstract: “This is for Fighting, This is for Fun”: Popular Hollywood Combat (War) Films from the First Gulf War to the Present (1990-2015) Andrea Marie Schofield Doctor of Philosophy in Communication and Culture, 2016 Ryerson University and York University Hollywood has been making war movies since it began making movies. Widely credited as the first ‘Blockbuster,’ and one of the first films to establish Hollywood narrative techniques and conventions, D.W.
    [Show full text]
  • Torrey Peters Has Written the Trans Novel Your Book Club Needs to Read Now P.14
    Featuring 329 Industry-First Reviews of Fiction, Nonfiction, Children'sand YA books KIRKUSVOL. LXXXIX, NO. 1 | 1 JANUARY 2021 REVIEWS Torrey Peters has written the trans novel your book club needs to read now p.14 Also in the issue: Lindsay & Lexie Kite, Jeff Mack, Ilyasah Shabazz & Tiffany D. Jackson from the editor’s desk: New Year’s Reading Resolutions Chairman BY TOM BEER HERBERT SIMON President & Publisher MARC WINKELMAN John Paraskevas As a new year begins, many people commit to strict diets or exercise regimes # Chief Executive Officer or vow to save more money. Book nerd that I am, I like to formulate a series MEG LABORDE KUEHN of “reading resolutions”—goals to help me refocus and improve my reading [email protected] Editor-in-Chief experience in the months to come. TOM BEER Sometimes I don’t accomplish all that I hoped—I really ought to have [email protected] Vice President of Marketing read more literature in translation last year, though I’m glad to have encoun- SARAH KALINA [email protected] tered Elena Ferrante’s The Lying Life of Adults (translated by Ann Goldstein) Managing/Nonfiction Editor and Juan Pablo Villalobos’ I Don’t Expect Anyone To Believe Me (translated by ERIC LIEBETRAU Daniel Hahn)—but that isn’t exactly the point. [email protected] Fiction Editor Sometimes, too, new resolutions form over the course of the year. Like LAURIE MUCHNICK many Americans, I sought out more work by Black writers in 2020; as a result, [email protected] Tom Beer Young Readers’ Editor books by Claudia Rankine, Les and Tamara Payne, Raven Leilani, Deesha VICKY SMITH [email protected] Philyaw, and Randall Kenan were among my favorites of the year.
    [Show full text]
  • Global Wars and Writing Warrior Culture: Disclosure Interviews Anthony Swofford
    disClosure: A Journal of Social Theory Volume 13 Pangaea Article 8 4-15-2004 Global Wars and Writing Warrior Culture: disClosure interviews Anthony Swofford Anna Froula University of Kentucky Danny Mayer University of Kentucky Jonathan Vincent University of Kentucky Keith Woodward University of Arizona DOI: https://doi.org/10.13023/disclosure.13.08 Follow this and additional works at: https://uknowledge.uky.edu/disclosure Part of the English Language and Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License. Recommended Citation Froula, Anna; Mayer, Danny; Vincent, Jonathan; and Woodward, Keith (2004) "Global Wars and Writing Warrior Culture: disClosure interviews Anthony Swofford," disClosure: A Journal of Social Theory: Vol. 13 , Article 8. DOI: https://doi.org/10.13023/disclosure.13.08 Available at: https://uknowledge.uky.edu/disclosure/vol13/iss1/8 This Article is brought to you for free and open access by disClosure: A Journal of Social Theory. Questions about the journal can be sent to [email protected] Durlabh Singh nr a Froula, Danny Mayer, Jonathan Vincent, and Sonnet Two ei h Woodward h bal Wars and Writing Warrior Culture: i ~ Closure interviews Anthony Swofford Would not I carry my rugged pride Anthony Swofford is Assistant Professor of When element to element will mingle and reside English at Saint Mary's College of California. In perfumed consummati on of interstellar space J li fi r t book, Jarhead: A Marine 's Chronicle of In a new planet cast out of Brahama's rage the Gulf War and Other Ball/es, is a memoir For ever wishing my nibbled pen could trace detailing his experiences as a marine sniper dur­ A line of haughty verse to silence the deadly state ing and after the first Gul f War.
    [Show full text]
  • On War Alex Vernon
    On War Alex Vernon Can William Golding’s The Lord of the Flies (1954) be considered war literature? It does not take place on a battlefield or a wartime home front. There are no soldiers, veterans, or their loved ones. There are not even any adults. Whether the novel is more informed by Golding’s time living in cramped quarters as a British seaman during the World War II or by his years in a claustrophobic classroom teaching restless boys is unstated. Golding’s novel, about boys stranded on an island whose efforts at peaceful social organization collapse, is a popular classroom text be- cause of, among other reasons, its provocative hobbesian argument about humans as base, warring creatures. At its wonderfully teachable and devastating finale, when the boys are saved from their natural sav- agery by mature adults (representative of nurturing civilization), in the form of a warship, no less, a teacher might write and underline “irony” on the board. Thus, Golding seems to weigh in on the topic Azar Gat calls “the first and most commonly asked question when people pon- der the enigma of war,” the question of the connection between war and human nature. Throughout the ages, historians, philosophers, an- thropologists, scientists, psychologists, politicians, theologians, public intellectuals, and military leaders have wrestled with the connection between war and human nature, as have poets, memoirists, diarists, dramatists, letter writers, fiction writers, journalists, filmmakers, blog- gers, and video-game makers. Whether or not video games, with their open-ended story lines, will one day be recognized alongside such texts as the Iliad (c.
    [Show full text]
  • The Desert of Experience: Jarhead and the Geography of the Persian Gulf War Geoffrey A
    124.5 ] The Desert of Experience: Jarhead and the Geography of the Persian Gulf War geoffrey a. wright “[T]here is no getting out of the land. No stopping. The desert is everywhere. The mirage is everywhere. I am still in the desert.” —Anthony Swofford,Jarhead Introduction EPICtIONS OF tHE PERSIAN GULF WAR IN CONtEMPORARY AMER- ican combat narratives differ dramatically from public dis- Dcourse surrounding the war. Media coverage of the war has been widely documented for its preoccupation with emergent mil- itary technologies. During the war, the Pentagon teamed up with cable networks to inundate the American public with spectacles of Stealth bombers, Scud missiles, Patriot missiles, Tomahawk missiles, and smart bombs in action. The highly censored media coverage ob- scured the region’s geography and erased the suffering of combatants as well as civilians.1 In contrast, the literature and film on the war emphasize the hu- man rather than the technological dimension of the fighting. Veterans and veteran correspondents employ a language of sensory experience to tell their stories about infantry life and combat, stories abounding with the minutiae of training, sleeping, eating, patrolling, and fight- ing. These deeply personal experiences are anchored to the landscape in numerous and peculiar ways.2 This essay sets forth a geographic semiotics of Persian Gulf War combat narratives, which entails the GEOFFREY A. WRIGHt is assistant pro- fessor of En glish at Samford University, study of an array of geographically oriented codes for making mean- where he teaches interdisciplinary film- ing out of wartime experience. The topography of the war zone, not and- literature studies.
    [Show full text]
  • Jarhead Potential Implications for the Australian Labour Market
    Jarhead and Deskilling and the Military: Potential Implications for the Australian Labour Market Author Townsend, Keith, B. Charles, Michael Published 2008 Journal Title Australian Bulletin of Labour Copyright Statement © 2008 Australian Bulletin of Labour. The attached file is reproduced here in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/20328 Link to published version http://www.thefreelibrary.com/Australian+Bulletin+of+Labour-p2332 Griffith Research Online https://research-repository.griffith.edu.au 64 ABL Vol 34 No 1 2008 Contributed Article Jarhead and Deskilling in the Military: Potential Implications for the Australian Labour Market Keith Townsend* and Michael B. Charles** Abstract This paper uses a popular culture medium to examine the notion of deskilling in one particular sector, viz., the military. Jarhead was released to cinemas in 2005 and follows the experiences of United States Marine, Anthony Swofford, in the fi rst Gulf War of the early 1990s. We witness the central character undergo intensive training to become one of the Marine’s highly skilled employees – a sniper. We observe Swofford and his colleagues’ increasing frustrations with their inability to ‘ply their trade’. While the sniper was a highly skilled, indeed élite, fi ghter in earlier confl icts, technological developments have left this skilled artisan as a bystander in modern set-piece warfare. This paper adds to our understanding of the tensions between traditional skilled occupations and technological development, in addition to the tensions between military skills and non-military employment.
    [Show full text]
  • Jarhead by Anthony Swofford
    The Wayback Machine - https://web.archive.org/web/20131017020648/http://www.indigocafe.com/columns/article.php?c=62 Member List | Your Shopping Bag | Your Account Welcome, Guest! (sign in) *** WE ARE CLOSED. THANK YOU FOR YOUR PATRONAGE. *** Become an Affiliate Suggest A Book Gift Certificates Jenn's Blog: A Bookseller's Tale Frequent Buyer Card About us Help Book Review Jarhead Advertisement A Marine's Chronicle of the Gulf War and Other Battles by Anthony Swofford Reviewer: Geoff Wisner, Staff Reviewer Posted: October 31, 2005 Jarhead will soon be released as a Major Motion Picture. Previews for the film, which looked pretty good, prompted me to pick up the memoir that it's based on. After serving in the Marine Corps as a scout and sniper, Anthony Swofford attended the University of Iowa Writers' Workshop, and his book shows some of the marks of the writing- school graduate: present tense, terse sentences, startling word choices (the night sky in the Mojave Desert is “wracked with stars”), and epiphanies that are sometimes too laboriously worked up. At times Swofford wants you know he's a tough Marine, and at others that he's a sensitive literary guy. Digging foxholes in the sand reminds him of Kobo Abe's The Woman in the Dunes. Still, inconsistency and self-consciousness are understandable in the memoir of a young man: especially when that young man was sent, like so many, to do battle in alien lands when he was barely out of high school. Swofford's insecurities make his story absorbing, and he doesn't spare himself when describing a bar brawl after a friend's funeral, or having his mother iron a Marine Corps decal onto his T-shirt when he was a boy, or what it feels like to piss on yourself when you experience your first rocket attack.
    [Show full text]
  • Burning the Little Candle: an Anthology of Writing from the Faculty Staff of American River College's Creative Writing Program Online
    aCGoL (Mobile pdf) Burning the Little Candle: An Anthology of Writing from the Faculty Staff of American River College's Creative Writing Program Online [aCGoL.ebook] Burning the Little Candle: An Anthology of Writing from the Faculty Staff of American River College's Creative Writing Program Pdf Free Lois Ann Abraham, Traci Gourdine, Shane Lipscomb, Christian Kiefer, Aaron Bradford, Michael Spurgeon, Michael Angelone, Harold Schneider, Jason Sinclair Long ebooks | Download PDF | *ePub | DOC | audiobook Download Now Free Download Here Download eBook #1902030 in eBooks 2013-04-01 2013-04-01File Name: B00C9PQ56C | File size: 28.Mb Lois Ann Abraham, Traci Gourdine, Shane Lipscomb, Christian Kiefer, Aaron Bradford, Michael Spurgeon, Michael Angelone, Harold Schneider, Jason Sinclair Long : Burning the Little Candle: An Anthology of Writing from the Faculty Staff of American River College's Creative Writing Program before purchasing it in order to gage whether or not it would be worth my time, and all praised Burning the Little Candle: An Anthology of Writing from the Faculty Staff of American River College's Creative Writing Program: 3 of 3 people found the following review helpful. Interesting mixBy Red C RexThis is an eclectic mix of poetry and prose from the faculty and staff at American River College. It's hard to believe there is this much talent at a community college in Sacramento. Great stuff. To an outside observer, north Sacramento, California might seem an unlikely place for a creative writing mecca. The fact that American River College is a state-funded, public education community college might make it seem even more unlikely.
    [Show full text]
  • Farrar, Straus & Giroux International Rights Guide
    FARRAR, STRAUS & GIROUX INTERNATIONAL RIGHTS GUIDE FRANKFURT BOOK FAIR 2016 Devon Mazzone Director, Subsidiary Rights [email protected] 18 West 18th Street, New York, NY 10011 (212) 206-5301 Amber Hoover Foreign Rights Manager [email protected] 18 West 18th Street, New York, NY 10011 (212) 206-5304 2 FICTION Farrar, Straus and Giroux FSG Originals MCD/FSG Sarah Crichton Books 3 Baldwin, Rosecrans THE LAST KID LEFT A Novel Fiction, June 2017 (manuscript available) MCD/FSG Nineteen-year-old Nick Toussaint Jr. is driving drunk through New Jersey on his way to Mexico. The dead bodies of Toussaint’s doctor and his wife lie in the backseat. When Nick crashes the car, police chief Martin Krug becomes involved in the case. Despite an easy murder confession from Nick, something doesn’t quite add up for the soon-to-be retired Krug. An itch he can’t help but scratch. Nick is extradited to his hometown of Claymore, New Hampshire—a New England beach town full of colorful characters, bed-and-breakfasts, and outlet malls—where the local scandal rocks the residents. Meanwhile his girlfriend, sixteen-year-old Emily Portis, rallies behind her boyfriend, her protector. THE LAST KID LEFT charts the evolution of their relationship and of Emily’s own coming of age, in the face of tragedy and justice. Rosecrans Baldwin is the author of Paris, I Love You but You’re Bringing Me Down and You Lost Me There. He has written for GQ, The New York Times, the Los Angeles Times, and The Guardian.
    [Show full text]
  • Hugo House Announces 2019–2020 Hugo Literary Series Lineup
    August 12, 2019 Contact: Katie Prince Marketing Director [email protected] Hugo House announces 2019–2020 Hugo Literary Series Lineup SEATTLE, WA—Hugo House announces the writers appearing for the 2019–2020 season of Hugo Literary Series, which will feature new work from Jayne Anne Phillips, Juan Felipe Herrera, Anthony Swofford, Karen Russell, Mira Jacob, Kiese Laymon, and others. The Hugo Literary Series presents new work on a theme, commissioned by Hugo House, from established and emerging writers and a local musician or band. Though most writers are initially hesitant by the perceived constraint of a prompt, they are encouraged to work without a sense of obligation, censorship, or stylistic frame. Free from the usual channels of an editor, publisher, or reviewer affirming the work before it’s presented, the writers and musicians take risks, resulting in dynamic, one-time-only performances. The series kicks off on September 27, 2019, with “The Great Divide,” featuring bestselling novelist and short story writer Jayne Anne Phillips; Indian-American graphic memoirist Mira Jacob, author of The Sleepwalker’s Guide to Dancing; and local writer Ruth Joffre, author of the short story collection Night Beast, with new disco dreamcore songs from eclectic musician Sarah Paul Ocampo. “Taking LiBerties” follows on November 22, 2019, featuring former US Poet Laureate Juan Felipe Herrera, author of more than a dozen collections of poetry; bestselling novelist of The Good Thief, Hannah Tinti; and Seattle fiction writer Richard Chiem, author of King of Joy; with new music from blues-based singer-songwriter and former Hugo House writer-in-residence Amber Flame.
    [Show full text]
  • The Depiction of the Elements of Slavery in Toni
    THE INFLUENCE OF THE WAR’S OPPRESSION ON THE LIFE OF A MARINE AND A WAR PHOTOGRAPHER: A COMPARATIVE STUDY OF ANTHONY SWOFFORD’S JARHEAD AND SCOTT ANDERSON’S TRIAGE. AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By MITA SEPTIANA Student Number: 024214094 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2006 THE INFLUENCE OF THE WAR’S OPPRESSION ON THE LIFE OF A MARINE AND A WAR PHOTOGRAPHER: A COMPARATIVE STUDY OF ANTHONY SWOFFORD’S JARHEAD AND SCOTT ANDERSON’S TRIAGE. AN UNDERGRADUATE THESIS Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra in English Letters By MITA SEPTIANA Student Number: 024214094 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2006 i A Sarjana Sastra Undergraduate Thesis THE INFLUENCE OF THE WAR’S OPPRESSION ON THE LIFE OF A MARINE AND A WAR PHOTOGRAPHER: A COMPARATIVE STUDY OF ANTHONY SWOFFORD’S JARHEAD AND SCOTT ANDERSON’S TRIAGE. By MITA SEPTIANA Student Number: 024214094 Approved by Dra . Sri Mulyani, M.A. December 15, 2006 Advisor P. Sarwoto, S.S., M.A. December 15, 2006 Co-Advisor ii A Sarjana Sastra Undergraduate Thesis THE INFLUENCE OF THE WAR’S OPPRESSION ON THE LIFE OF A MARINE AND A WAR PHOTOGRAPHER: A COMPARATIVE STUDY OF ANTHONY SWOFFORD’S JARHEAD AND SCOTT ANDERSON’S TRIAGE. By MITA SEPTIANA Student Number: 024214094 Defended before the Board of Examiners on January 22, 2007 and Declared Acceptable BOARD OF EXAMINERS Name Signature Chairman : Dr.
    [Show full text]
  • *28-31 Greatidea-Split.Indd
    TM The Feature Film Memoir and the making of by Kate McCallum Jarhead is an irreverent and true account of a war that was antiseptically packaged a decade ago and is laced with dark wit, hon- daptations of books are a major staple est inquisition and episodes that are surreal of the film industry. The art of adapt- and poignant, tragic and absurd. A ing a story from the more internalized Bill Broyles grew up in Texas, attended literary style of a novel to the external visual Rice University and Oxford University, language of film is a talent and skill not all worked in the civil rights movement, and screenwriters are able to master. Veteran finished out the 60s as a Marine infantry scribe William Broyles Jr. shares the process lieutenant in Vietnam. Before working full- behind bringing Marine Anthony Swofford’s time as a writer, he was editor-in-chief of gripping and visceral memoir, Jarhead, to Texas Monthly and Newsweek magazines. He the big screen. wrote the book Brothers in Arms and was Jake Gyllenhaal (The Day After Tomorrow, the co-creator of the television series China Moonlight Mile), Jamie Foxx (Ray, Collateral) Screenwriter William Broyles Jr. Beach, both of which drew upon his experi- and Peter Sarsgaard (Kinsey, Boys Don’t ences in Vietnam. Cry) star in Universal Pictures’ version of 100-pound rucksack on his back through Broyles wrote the original screenplay Swofford’s recollections of his disorient- Middle Eastern deserts with no cover from for Cast Away and co-authored five other ing firsthand experiences in Desert Storm.
    [Show full text]