DOCSLIB.ORG

The Destiny and Representations of Facially Disfigured Soldiers During the First World War and the Interwar Period in France, Germany and Great Britain

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Destiny and Representations of Facially Disfigured Soldiers During the First World War and the Interwar Period in France, Germany and Great Britain The Destiny and Representations of Facially Disfigured Soldiers during the First World War and the Interwar Period in France, Germany and Great Britain Submitted by Marjorie Irène Suzanne Gehrhardt to the University of Exeter as a thesis for the degree of Doctor of Philosophy in French in September 2013 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 2 Abstract The frequency and seriousness of facial injuries during the First World War account for the presence of disfigured men in significant numbers in European interwar society. Physical reconstruction, psychological and social consequences had long-term consequences for experts and lay people alike. Despite the number of wounded men and the impact of disfigurement, the facially injured soldiers of the First World War have rarely been the focus of academic research. This thesis aims to bridge this gap through a careful investigation of the lives and representations of gueules cassées, as they came to be known in France. It examines the experience and perceptions of facial disfigurement from the moment of the injury and throughout the years following, thereby setting the parameters for a study of the real and the mediated presence of disfigured veterans in interwar society. The chronological frame of this study begins in 1914 and ends in 1939, since the perception and representations of facial disfigurement were of particular significance during the First World War and its aftermath. Using a comparative approach to explore the experience and representations of disfigurement, this study investigates the presence of facially injured combatants and veterans in 1920s and 1930s society. With an interdisciplinary perspective, literary and artistic depictions as well as historical documents are examined in order to complement contemporary descriptions with the voices of the men themselves. This study sheds new light on the history of wounded soldiers of the First World War through in-depth analysis of original documents from France, Germany and Great Britain. This thesis provides the first detailed comparative study of British, French and German disfigured men. It emphasises the at times paradoxical situation of veterans who sought to lead ordinary lives but also became symbols of the war. All five chapters highlight the visibility of facially injured men and explore different responses to their presence whilst also interrogating their role and image in wartime and interwar societies. As such it aims to make a contribution to the cultural history of the First World War and its aftermath. 3 4 Acknowledgements I am very grateful to all those who have supported me in the writing of this thesis. Particular thanks go to my supervisor Dr Ulrike Zitzlsperger, who has guided and encouraged me in my academic work since I started my Master’s degree, and who has always found the time and the words to help me in my PhD. Thank you also to Dr David Houston Jones for his feedback and support. I am grateful to the College of Humanities for providing me with funding and giving me the opportunity to teach within the Department of Modern Languages. EdmissionUK and the Association for the Study of Modern and Contemporary France have also generously supported my participation in a conference and one of my research trips. Many people have facilitated my research work, especially with archives that were sometimes difficult to locate and access. I am particularly grateful to Madame Garric and Capitaine Tabbagh at the Val-de-Grâce, Andrew Bamji and Brian Morgan at the Gillies archives, Sarah Pearson and Sam Alberti at the Royal College of Surgeons, Olivier Roussel from the Association des Gueules Cassées, and staff members at the British Red Cross Archives, the Centre de Recherches de l’Historial de la Grande Guerre, the Landeshauptstadt Düsseldorf Stadtarchiv and the Hauptstaatsarchiv Stuttgart. The fruitful exchanges I have had with several researchers have helped me in my research and I would like to thank in particular Prof Christian Auer, Dr Nicolas Beaupré, Dr Suzannah Biernoff, Dr Sophie Delaporte, Prof Allison Fell, Dr Stéphane Garcia, Dr Martin Hurcombe, Dr Frances Mossops, Dr Anne Rasmussen and Dr Fiona Reid. Many thanks go also to Biddy Stevens and her daughter, for sharing with me memories of their father and grandfather, wounded during the First World War. I am grateful to my colleagues for being a stimulating and encouraging team. Thank you especially to Zoë, Lucie, Laurie, Damien and Isaure. Thanks must also go to all my friends and family for being understanding of the demands of writing a thesis, and for showing an interest in my work. Thank you to Carole, Fanny and Marie-Emilie for keeping in contact despite the distance. Dani, Shona, Liane, Ameera, David and Mike kindly made time to proof-read for me, and their comments were very helpful. Thanks also go to Postgraduate Fellowship members, including Rachel, David and Joe, to Friends International 5 team members and students, and to people at Pinhoe Road Baptist Church for their warm welcome and their supportive attitude. I would like to express my gratitude to Louise, Simon and Rosemary for their help with academic matters, but also their encouragement on a daily basis during the time when I had the privilege to live with them. I am especially grateful to David for his thoughtfulness, his understanding and his encouragement. Finally, I would like to thank my family, in particular Sabine, Jean-Marc and Anne-Catherine, for their unconditional emotional and financial support. 6 Contents Abstract 3 Acknowledgements 5 List of illustrations 11 Introduction 21 Facial injuries in the First World War: traditional attitudes and new developments 22 Facial injuries: quantitative and qualitative aspects 23 The development of plastic surgery of the face 26 State of research 29 Medical History 30 Social and Art History 33 Body culture and disability studies 36 Gender studies 43 Research questions and methodology 46 Cultural history and remembrance of the First World War 47 Human embodiments of memory 52 Memory and wounds 56 Chapter 1: Facially Injured Soldiers in Hospital 63 Treating facially injured soldiers 64 The re-appropriation of the self 64 A holistic endeavour 67 The art of maxillofacial surgery 70 Healing and hiding 74 A re-creation of the family sphere 83 Nurses and female staff: lovers and mothers 84 Male staff: a fraternal relationship 94 The surgeon: a multi-faceted figure 97 A paternal figure 98 A heroic figure 101 Conclusion 107 7 Chapter 2: Economic and social reintegration 109 Professional reintegration 110 Training in hospitals 110 The challenges of returning into civilian employment 116 The family sphere 121 Parents and children 122 Romantic relationships 126 Social reintegration 131 Spaces of contact, wartime and civilian identities 131 Marginal figures 136 Normalising depictions 148 Conclusion 153 Chapter 3: The Association des Gueules Cassées: Shaping a New Identity 155 Individual and collective dimensions 156 ‘Esprit de corps’ amongst gueules cassées 156 The creation of the Union des Blessés de la Face 161 The role of individual leaders 164 The work of the Union des Blessés de la Face 172 Meeting the veterans’ practical needs 172 A family structure 178 The Maison des Gueules Cassées: a home for facially disfigured veterans 180 Shaping the collective image of gueules cassées 188 The image promoted by the UBF 188 Publicising gueules cassées 199 A political body 203 Conclusion 215 Chapter 4: Visual Representations of Facially Injured Soldiers 219 Photography 221 Official photographs 223 Medical photographs 233 Use of photographs representing facially injured soldiers 237 8 Medical drawings 245 A double purpose 245 Case studies 247 Dissemination and responses 252 Gueules cassées in ‘conventional’ visual arts 254 The integration of gueules cassées into visual narratives of physical and social reconstruction 254 Images of difficult interaction 259 Conclusion 269 Chapter 5: Facially Injured Soldiers in Interwar Literature 271 The facially injured soldier: a marginal figure in interwar literature? 272 Chronological and international differences: marketing gueules cassées 272 Putting loss and pain into print 273 Prefaces 275 The literary treatment of the figure of the facially injured soldier 278 Representing the indescribable: depictions of facially injured soldiers in literature 279 A realistic setting 279 The presence of a ‘mediator’ 281 Literary descriptions of the injured face 285 The man in the mirror: the psychological consequences of facial disfigurement 289 Coping with facial injuries 292 Facing the world 295 The rejection of other people 295 Responses of strangers 297 Friendships 302 Facially injured men and their families 304 Love and romantic relationships 306 Conclusion 308 Conclusion 311 Bibliography 317 9 10 List of illustrations The illustrations listed below are mostly out of copyright; for those under copyright, written permission has been sought. Figure 1 64 Photograph of Musketier L., German soldier, in Erich Lexer, Wiederherstellungs-Chirurgie (Leipzig: Johann Ambrosius Barth, 1920), p. 339 Figure 2 64 Photograph of Private Moss, British
Load more

Recommended publications
  • Beginnings and Endings in Films, Film and Film Studies
    Beginnings and Endings in Films, Film and Film Studies Beginnings and Endings in Films, Film and Film Studies, University of Warwick, 13th June 2008 A report by Martin Zeller, University of York, UK This conference, organised by Tom Hughes and James MacDowell (both of University of Warwick), examined the beginnings and endings of individual films and structures of beginnings and endings in films more generally, as well as notions of beginning and ending in film studies as a discipline. With such a wide remit it is not surprising that links between the various presentations were sometimes difficult to establish. However, the wide variety of approaches to the topic ensured lively discussions. The tone for the day was set by the keynote paper delivered by Warwick's own V. F. Perkins. Examining beginnings and endings in the genre of 'multi-story' (or portmanteau) movies, Perkins elucidated the various methods used to make the author the focus of these multi-stranded narratives. Drawing on the literary cachet of their source texts, Quartet, Full House and Le Plaisir make Maugham, O. Henry and Maupassant the respective loci around which their stories revolve. Pointing out that authorial intrusions were, with the exception of Le Plaisir, used only at the beginnings of such films, Perkins suggested the possibility of a largely unexplored narrative technique available in returning to the author at the close of a film. However, it was Professor Perkin's call for, 'an aesthetics of the quite good, of the satisfactorily effective, as well as the extremes: the abject and the sublime,' that seemed to resonate most with the delegates and to become a touchstone for the day's later discussions.
    [Show full text]
  • Dopage 31 Juillet
    REVUE DE PRESSE du 31 juillet 2008 NOUVEAU CAS DE DOPAGE SUR LE TOUR DE FRANCE Le Monde - 27 juil 2008 Jusqu'au dernier jour, le dopage aura poursuivi le Tour 2008. Dimanche 27 juillet, quelques heures après la victoire de Carlos Sastre, sacré sur les Champs-Elysées, un nouveau cas de dopage éclabousse la Grande Boucle. Le Kazakh Dimitri Fofonov, de l'équipe Crédit agricole, a été contrôlé positif à un stimulant interdit sur le Tour de France, l'heptaminol. "Fofonov a été contrôlé positif pour un stimulant à l'issue de la 18e étape", entre Le Bourg-d'Oisans et Saint-Etienne, a annoncé le président de l'Agence française de lutte cotnre le dopage Pierre Bordry. L'heptaminol est un vasodilatateur qui permet d'augmenter le débit aortique. Fofonov a terminé le Tour à la 19e place au général, juste derrière le Russe Alexandre Botcharov, qui court lui aussi sous les couleurs du Crédit Agricole. Le Kazakh a expliqué à sa formation avoir pris un produit contre les crampes acheté sur Internet. "C'est un non-respect des règles élémentaires", a déclaré Roger Legeay, manager général de l'équipe française, qui a suspendu immédiatement son coureur. "Un coureur ne peut prendre aucun médicament, sans autorisation du médecin de l'équipe, sans lui en avoir parlé", a ajouté Roger Legeay. Agé de 31 ans, Fofonov avait commencé sa carrière dans la petite équipe belge Collstrop en 1999. Fofonov avait ensuite couru chez Besson Chaussures en 2000, chez Cofidis entre 2001 et 2005 avant d'être recruté par le Crédit Agricole.
    [Show full text]
  • BAPS to BAPRAS the History of the Association 1986–2016
    BAPS TO BAPRAS The History of the Association 1986–2016 Edited by A Roger Green BAPS TO BAPRAS British Association of Plastic Surgeons to British Association of Plastic, Reconstructive and Aesthetic Surgeons The History of the Association 1986–2016 Edited by A Roger Green BAPS to BAPRAS: The History of the Association 1986–2016 © 2016 The British Association of Plastic, Reconstructive and Aesthetic Surgeons. First edition printed in 2016 in the United Kingdom. British Library Cataloguing in Publication Data. A catalogue record for this book is available from the British Library. ISBN No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of The British Association of Plastic, Reconstructive and Aesthetic Surgeons. While every effort has been made to ensure the accuracy of the information contained in this publication, no guarantee can be given that all errors and omissions have been excluded. No responsibility for loss occasioned to any person acting or refraining from action as a result of the material in this publication can be accepted by The British Association of Plastic, Reconstructive and Aesthetic Surgeons or the contributors. Published by The British Association of Plastic, Reconstructive and Aesthetic Surgeons 35–43 Lincoln’s Inn Fields London WC2A 3PE www.bapras.org.uk Printed in the United Kingdom by Latimer Trend EDIT, DESIGN AND TYPESET Polymath Publishing Cover
    [Show full text]
  • The Federalist Revolt: an Affirmation Or Denial Ofopular P Sovereignty?
    Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 9-1992 The Federalist Revolt: An Affirmation or Denial ofopular P Sovereignty? Paul R, Hanson Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the European History Commons, and the Political History Commons Recommended Citation Hanson, Paul, R."The Federalist Revolt: An Affirmation or Denial of Popular Sovereignty?" French History, vol. 6, no. 3 (September, 1992), 335-355. Available from: digitalcommons.butler.edu/facsch_papers/500/ This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Monarchist Clubs and the Pamphlet Debate over Political Legitimacy in the Early Years of the French Revolution Paul R. Hanson Paul R. Hanson is professor and chair of history at Butler University. He is currently working on a book- length study of the Federalist revolt of 1793. Research for this article was supported by a summer grant from the National Endowment for the Humanities and by assistance from Butler University. Earlier versions were presented at annual meetings of the Society for French Historical Studies. The author would like to thank Gary Kates, Ken Margerison, Colin Jones, Jeremy Popkin, Michael Kennedy, Jack Censer, Jeffrey Ravel, John Burney, and the anonymous readers for the journal for their helpful comments on various drafts of this article.
    [Show full text]
  • Andreas Latzko Und Stefan Zweig - Eine Schwierige Freund- Schaft : Der Briefwechsel 1918 - 1939 / Hrsg
    B KULTURWISSENSCHAFTEN BD LITERATUR UND LITERATURWISSENSCHAFT BDBA Deutsche Literatur Personale Informationsmittel Andreas LATZKO; Stefan ZWEIG Briefwechsel 1918 - 199 EDITION 18-3 Andreas Latzko und Stefan Zweig - eine schwierige Freund- schaft : der Briefwechsel 1918 - 1939 / hrsg. und kommentiert von Hans Weichselbaum. - Berlin : Frank & Timme, 2018. - 152 S. ; 21 cm. - (Forum Österreich ; 8). - ISBN 978-3-7329-0436-5 : EUR 28.00 [#6106] Einschlägigen Schätzungen zufolge, hat Stefan Zweig in seinem Leben bis zu 50.000 Briefe geschrieben. Nicht alle sind erhalten, aber immer mehr wurden inzwischen gedruckt – auch wegen ihrer berühmten Empfänger: Zu Zweigs langjährigen Korrespondenzpartnern gehören Persönlichkeiten wie Romain Rolland, Sigmund Freud, Arthur Schnitzler, Hermann Hesse, Rainer Maria Rilke, Joseph Roth 1 oder Thomas und Klaus Mann. An diesen Namen gemessen, ist der österreichisch-ungarische Autor An- dreas Latzko (1876 - 1943) relativ unbekannt. Latzko und Zweig lernten sich 1918 in der Schweiz kennen, vor dem Hintergrund des Weltkriegs waren beide Pazifisten geworden. Der nun vorliegende Briefwechsel umfaßt 60 Briefe und Mitteilungen von Latzko an Zweig und 27 Antworten. Durch Überlieferungslücken und längere Pausen ist nicht jeder Brief direkt auf ei- nen Gegenbrief bezogen. Das mag die Entscheidung erklären, erst alle Briefe Latzkos (L 1 bis L 62, S. 19 - 110), dann alle Briefe Zweigs (Z 1 bis Z 27, S.113 - 142) abzudrucken, doch den grundsätzlich dialogischen Charak- ter selbst einer unvollständigen Korrespondenz drängt diese Anordnung un- nötig in den Hintergrund. 1 "Jede Freundschaft mit mir ist verderblich" : Briefwechsel 1927 - 1938 / Jo- seph Roth und Stefan Zweig. Hrsg. von Madeleine Rietra und Rainer Joachim Siegel. - Göttingen : Wallstein-Verlag, 2011. - 624 S.
    [Show full text]
  • Medicine and Medical Service | International Encyclopedia of The
    Version 1.0 | Last updated 08 October 2014 Medicine and Medical Service By Leo van Bergen It is impossible to talk about “the” medical care or “the” medical service of World War I. Medical care varied greatly, depending on geography, strategy, and national, social, or economic differences, and so did the people providing it. Nevertheless, some common characteristics existed: the urge to prove the worth of one’s own medical specialty for the war effort; the need to uphold discipline and morale; and the effort to deliver back to the army as many soldiers as possible fit for renewed service. These three goals resulted in a medicine defined by dual loyalty to patient and state in wartime, even more so than in peacetime. Table of Contents 1 Introduction 2 The humanitarian and military necessity of medical care 3 The organization of medical service 4 Differences in medical care 5 Dual loyalty 6 The psychologically wounded 7 Conclusion Notes Selected Bibliography Citation Introduction Writers have focused on many aspects of medicine and World War I: organization of care, physicians, and patients, including invalids, the disfigured, or the psychologically wounded. This research has resulted in a multitude of different, often national but sometimes comparative studies.[1] These different approaches are proof that one cannot speak of the medical care of World War I. Medical care during wartime varies as much as the war itself. It depends on the time period, weaponry used, geography, climate, military strategy, politics, the economy, the number of soldiers being treated, the amount of medical materials and of course the numbers, skills and knowledge of doctors and nurses.
    [Show full text]
  • Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
    The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures.
    [Show full text]
  • Viktor Ullmann
    HERBERT GANTSCHACHER VIKTOR ULLMANN Witness and Victim of the Apocalypse Testimone e vittima dell'Apocalisse Prič in žrtev apokalipse Svědek a oběť apokalypsy Informations in English, Italian, Slovenian and Czech Language English (Viktor Ullmann) Page 2 English (Viktor Ullmann, Georg Friedrich Nicolai, Andreas Latzko) Page 7 Italian (Viktor Ullmann) Page 14 Slovenian (Viktor Ullmann) Page 17 Czech (Viktor Ullmann) Page 19 1 Herbert Gantschacher "Viktor Ullmann - Witness and Victim of the Apocalypse" The Austrian composer Viktor Ullmann in The Great War as an artillery observer and musician before, during and after the twelfth campaign in the theatre of war in the valley of the river Isonzo (September - October 1917) and in Barcola Riviera nearby the city of Trieste (November 1917 - April 1918) and as well as a composer and musician in the ghetto and concentration camp of the former imperial and royal fortress of Terezín (1942 - 1944), deportation to Auschwitz on 16th of October 1944, being murdered there on 18th of October 1944. Victor Ullmann (1898 - 1944) is one of the most important composers of the 20th century. His most well known work is the opera "The Emperor of Atlantis or The Disobedience of Death" composed 1943/44 in the ghetto and concentration camp of Terezín. A neglected chapter of his life have been the years from 1916 to 1918. During that time he has served as a one year volunteer in the First World War (such as the composer Ernst Krenek) as an artillery observer. Some years ago letters have been coming to the public, which Ullmann wrote from 1917 to 1918 from the theatre of war to his girlfriend Anny Wottitz.
    [Show full text]
  • Cowboys, Postmodern Heroes, and Anti-Heroes: the Many Faces
    COWBOYS, POSTMODERN HEROES, AND ANTI-HEROES: THE MANY FACES OF THE ALTERIZED WHITE MAN Hyon Joo Yoo Murphree, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2000 APPROVED: Diane Negra, Major Professor Olaf Hoerschelmann, Committee Member Diana York Blaine, Committee Member C. Melinda Levin, Graduate Coordinator of the Department of Radio, TV and Film Steve Craig, Chair of the Department of Radio, TV and Film C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Murphree, Hyon Joo Yoo, Cowboys, Postmodern Heroes, and Anti-heroes: The Many Faces of the Alterized White Man. Master of Arts (Radio, Television and Film), August 2000, 131 pp., references, 48 titles. This thesis investigates how hegemonic white masculinity adopts a new mode of material accumulation by entering into an ambivalent existence as a historical agent and metahistory at the same time and continues to function as a performative identity that offers a point of identification for the working class white man suggesting that bourgeois identity is obtainable through the performance of bourgeois ethics. The thesis postulates that the phenomenal transitions brought on by industrialization and deindustrialization of 50’s through 90’s coincide with the representational changes of white masculinity from paradigmatic cowboy incarnations to the postmodern action heroes, specifically as embodied by Bruce Willis. The thesis also examines how postmodern heroes’ “intero-alterity” is further problematized by antiheroes in Tim Burton’s films. TABLE OF CONTENTS INTRODUCTION...........................................................................................................................................3 1. Reading a Dynamic Connection between the 1950’s and 1990’s..........................................................6 2.
    [Show full text]
  • Cinematographic Space As a Material and the American Territory As a Subject: ''Duel'' and ''The Sugarlan
    Cinematographic Space as a Material and the American Territory as a Subject : ”Duel” and ”The Sugarland Express” Antoine Gaudin To cite this version: Antoine Gaudin. Cinematographic Space as a Material and the American Territory as a Subject : ”Duel” and ”The Sugarland Express”. David Roche. Steven Spielberg, Hollywood Wunderkind and Humanist, Presses Universitaires de la Méditerranée, 2018, 978-2-36781-264-9. hal-02264816 HAL Id: hal-02264816 https://hal.archives-ouvertes.fr/hal-02264816 Submitted on 7 Aug 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. CINEMATOGRAPHIC SPACE AS A MATERIAL AND THE AMERICAN TERRITORY AS A SUBJECT: DUEL AND THE SUGARLAND EXPRESS1 Antoine Gaudin in David Roche (dir.), Steven Spielberg, Hollywood Wunderkind and Humanist, Presses Universitaires de la Méditerranée, 2018. As his recent film Bridge of Spies once again illustrates, Spielberg has always been a rigorous stylist of cinematic space. From the layered deep focus composite shots of Close Encounters of the Third Kind, to the malleability of the digital scenery of The Adventures of Tintin, the experimental scenery of Hook and editing of Saving Private Ryan, and the exploration of emblematic locations like the amusement park in Jurassic Park and the airport in The Terminal, this concern for space takes on various forms throughout the filmmaker’s work.
    [Show full text]
  • Severe Burns in World War II
    Ulster Med J 2017;86(2):114-118 Medical History Severe Burns in World War II. John Hedley-Whyte, Debra R. Milamed Accepted: 16th October 2016 Provenance: externally peer-reviewed. INTRODUCTION Flight Lieutenant Dickson, the plane’s commander was also badly burned and losing blood from head wounds, but The Ulster Auxiliary Air Force Squadron RAF 502 were Sergeant O’Connell was even more severely burned. Dickson former “weekend flyers”. Officers and most of the air and collapsed and cows licked O’Connell’s wounds3,4,5. ground crew were from Ulster1. Supported by their medical and surgical care and their leadership they contributed decisively to Allied victory in World War II . At 3:15 AM on 27th April 1941, Pilot Officer Christopher Carmichael of 502 Squadron took Whitley aircraft Z6501 to roll out on Limavady’s partially completed airfield. A crew of 6, including Pilot Officer Christopher Carmichael, Flight Lieutenant John Dickson, Sergeant Desmond “Des” O’Connell, Sergeant Stanley William Dorney, Sergeant Fred Redhead, Sergeant John Wilson (Air Gunner) were scheduled for a ten-hour anti U-boat patrol over the Atlantic. Shortly after take-off, the starboard propeller broke off. The Whitley hit Loughermore Mountain being unable to gain altitude or fly level on one engine. Fire broke out and ignited aviation gasoline and the 250 pound bombs2,3 (Fig.1). Fig 2. Sir Archibald McIndoe (1900-1960), by Edward Irvine Halliday, painted 1962-63, oil on canvas 92 x 72 cm, courtesy of Hunterian Museum at the Royal College of Surgeons of England Fig 1. Two Whitley Bombers Airborne, by Robert T.
    [Show full text]
  • 'Nature's Cruel Mistake'
    96 history in the making vol. 2 no. 1 ‘Nature’s Cruel Mistake’ 97 transitions within autobiography, it is possible to interrogate the productive place of gender in the construction of performative practice, subjectivity, embodied experience and sexuality. A comparative study of these three accounts of transsexual experience will also provide important insights into how twentieth century understandings of gender and sexuality were both challenged ‘Nature’s Cruel and reinforced by such attempts at gender transformations within Western society. ‘Transgender’ has replaced ‘transsexual’ in current practice and theory in recognition that the term relates to changing physical, social and psychological expressions of gender that are not Mistake’: necessarily related to sexual orientation or practice.5 However, while current theorists, as well as those who self-identify as transgender, have moved away from the term transsexual, this article Representations of Transsexual will use the older term transsexual in order to delineate the historically specific use of the word Experience in Twentieth-Century during the period being examined. When transsexual people first came to the attention of Western medicine and society, they were understood within a continuum between ‘normal’ and ‘deviant’ Autobiographies social and sexual behaviours that saw sexuality and gender to be inextricably linked and based on innate physical differences.6 In contrast, this article takes as a starting point the feminist challenge that biological and physiological characteristics (sex) are actually distinct from understandings of Bethany Phillips-Peddlesden behaviour and meaning for males and females, constructed through various social systems and Honours, discourses within particular historical contexts (gender).7 Likewise, embodiment here is defined University of Melbourne as the subjective experience of becoming a lived body within a particular society.
    [Show full text]