DOCSLIB.ORG

1 Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Introduction Notes 1 Introduction 1. See, for example, the Italian army at Caporetto in November 1917; the open mutiny of the Imperial Russian army in February 1917; the French army in May and June 1917; and the German navy refusing to continue fighting in the autumn of 1918. For a thorough treatment of the breaking apart of the armies see Keegan, 1999, ch. 9. 2. See, for instance, Sir Edward Grey’s famous sentence: ‘The lamps are going out all over Europe. We shall not see them lit again in our time’ and Roger Fry’s observation in a letter to a friend in August 1914: ‘It is over with all our ideas.’ 3. Winter, 1995, p. 2. See also Quinn, 1994, p. 23: ‘writing poetry became a form of mental therapy to expiate the haunting memories of the front and the nagging guilt at having survived’. 4. See Eksteins, 1989, p. 219 and Stephen, 1996, p. 200: ‘It is sometimes assumed that irony broke upon British poetry in 1916 like the plague on London in 1665. In fact the image is a valid one: irony, like the plague, had been around long before, but after the war achieved a strength and prevalence it had not reached for many centuries.’ However, Stephen also points out the indebted- ness of many poets to the English Romantic movement that did not automat- ically cease with the war. 5. Some of the main features of modernist poetry and painting – concentration, focus on processes of perception, fragmentariness – are already used exten- sively as means of intensification of expression. Despite the fact that many of the poets of the Great War cannot be called innovators in the strict sense of poetic technique or imagery, their role in the development of twentieth century poetry may nevertheless be qualified as decisive, as the poets were faced with subject matter that violently demanded new representational approaches. 6. A. P. Herbert, Open Warfare, ll. 1–3, however, describes the contrary: ‘I like a trench, I have no lives to spare;/And in those catacombs, however cramping,/ You did at least know vaguely where you were ...’ 7. The distinction of several phases of poetic responses to the war had largely been underlined by various anthologies up to the late 1970s. To avoid the suggestion of a linear development of antiwar sentiments, the most recent anthologies organise their material according to its topic or area of produc- tion rather than its attitude towards the war, a principle which should also be adhered to in this book. 8. Nevertheless, irony had already played a major role in the critical anti-Boer War poetry of Thomas Hardy, admired by both Rupert Brooke and Siegfried Sassoon, among many others. 9. This emphasis on the subject of the poetry not only rendered it attractive for many generations, it also evoked severe criticism. W. B. Yeats, for example, 160 Notes 161 did not see war as an appropriate subject for poetry. On the basis of aesthetic criteria he excluded all war poems from his Oxford Book of Modern Verse. Whether one takes this position or not, any evaluation of poetry from the Great War must face the difficulties posed by the importance of its subject matter. 10. Grubb, 1965, p. 95, however, argued to the contrary: ‘Any artist who does not herald war – anyone who thinks critically about force outside war – argues for peace.’ And later on the same page: ‘Owen and Rosenberg are pacifists in an active state (...) They transcend “pacifism” and reach one of the strangest, and to the creative mind most indispensable, truths of life: the only way to convict evil with any authority worth respect is to suffer it yourself.’ 11. Hutcheon, 1994, p. 118, therefore rejects intentional/non-intentional as a false distinction and argues that all irony happens intentionally either on the side of the ironist or on the side of the interpreter. 12. Speech act theory underlines the performative aspect of language in empha- sising that speakers are doing something when using language, an assump- tion preparing the way for Sell’s communicative theory. Following Austin’s and Searle’s description of speech acts, one of the main questions of speech act theory with regard to irony is whether the irony affects the level of locu- tion or illocution. However, for a long time literature has not been perceived as a ‘real’ speech act between writer and reader, but as a fictional imitation of a speech act on the level of implied author and implied reader, or rather between various characters. 13. Grice, 1975, pp. 41–58. The principle is based on the distinction between conventional (semantic content of an utterance) and conversational impli- cature, of which the latter is of special relevance with regard to the coopera- tive nature of discourse. By removing the ‘safety net’ for conversations that words mean what they say, irony makes people feel uneasy. For a combin- ation of speech act theory and psychology with regard to irony see Groeben and Scheele, 1984. 14. Muecke distinguishes between three ‘grades of irony’ (overt, covert and private) and four modes (impersonal, self-disparaging, ingénu and drama- tised), all of which may be used in poetry as they are not genre-related. 15. For this reason, Fabb, 1997, p. 264, calls irony ‘a culturally specific notion rather than a universal’. 16. Whereas Derrida – together with Machin and Norris, 1987, pp. 3, 7 – concludes from this uncontrollability of readings that every interpretation can only be a misinterpretation, Sell argues that any readable text can be understood repeatedly by different readers in different circumstances (see also Culler, 1982, p. 176). Fabb, 1997, p. 259, takes a middle position here by focusing on the text itself: ‘It is always necessary to remember that texts do not determine their interpretations, but only provide evidence for them.’ 17. Jacobson’s model consists of six factors and their respective functions: sender (expressive), message (poetic), receiver (conative), context (referen- tial), contact or channel (phatic), code (meta-linguistic). Hutcheon, 1994, p. 6, considers the sender and the receiver to be the most important among these factors as they function as ironist and interpreter. The interpreter, however, does not necessarily need to be the intended addressee of the 162 Notes ironist’s utterance, but he is the one to attribute irony and to interpret the particular ironic meaning of the utterance. 18. Thus Fabb and Durant, 1987, p. 6 have argued against structuralist assump- tions by proclaiming that ‘it is difficult to identify any formal properties of literary language which do not also appear in non-literary language’. This argumentation is strengthened by the frequent occurrence of code-switching between different registers in literary works, including language usually classified as non-literary. Both literary and non-literary kinds of discourse, they continue, ‘share a common range of properties when considered prag- matically, from the point of view of the kinds of communicative acts they perform’. 19. Although Sell draws on Habermas’s communicative theory in most of his arguments, he differs from Habermas in this aspect. The latter qualifies liter- ary works as incomplete speech acts because they are robbed of their illocut- ionary force (1999, p. 390). According to Habermas, the only illocutionary force of literature is mimesis, that is the imitation of several speech acts. 20. See Hutcheon’s attempt (1994, p. 2), to theorise irony’s social as well as for- mal dimensions on the basis of verbal and structural ironies (rather than situational irony or irony of fate): ‘Unlike metaphor or allegory, which demand similar supplementing of meaning, irony has an evaluative edge and manages to provoke emotional responses in those who “get” it and those who don’t, as well as in its targets and in what some people call its “victims”.’ 21. Habermas, 1987, p. 376: ‘Schließlich ist kommunikatives Handeln auf situa- tive Kontexte angewiesen, die ihrerseits Ausschnitte aus der Lebenswelt der Interaktionsteilnehmer darstellen.’ 22. See also Habermas, 1999, p. 396: ‘It [literary criticism] is, however, not merely an esoteric component of a culture of experts but, over and above this, has the task of mediating between the cultures of experts and the everyday world.’ Habermas calls this the ‘bridging function’ of art criticism. 23. See Sartre, 1995, p. 229: ‘This is the measure we propose to the writer: as long as his books arouse anger, discomfort, shame, hatred, love, even if he is no more than a shade, he will live.’ 24. Sell, 2000, p. 26f.: ‘Whereas readers, if they are going to be affected, must obviously be still alive, there is nothing to prevent them from being affected by a writer who is already dead, and by a cultural formation no longer extant.’ 25. Fabb, 1997, p. 264: ‘ “Irony” is a name for various kinds of communication where the speaker dissociates herself from the thoughts communicated. The communicated thought is attributed to a third party, who may or may not be specified, and at the same time the speaker communicates one of a par- ticular range of attitudes of dissociation towards the set of thoughts. The dissociation might be mild disbelief or fierce disapproval.’ 26. Habermas identified ‘Verständigung’ (‘understanding’) as the main pur- pose of human communication in his Theorie des kommunikativen Handelns, 1987, p. 387: ‘Verständigung wohnt als Telos der menschlichen Sprache inne.’ Whereas understanding between communication partners is usu- ally achieved by a straightforward use of language (direct understanding), certain situative contexts require interpretation of figurative language and Notes 163 irony (indirect understanding). The various functions of irony identified in the following chapters may thus be subsumed under the primary aim of understanding.
Load more

Recommended publications
  • SIBL. . V^'- ' / Proquest Number: 10096794
    -TÂ/igSEOBSIAW p o e t s : A. CBIIXCÆJEaaMIBA!ElûIif--CÆJ^ POETRY '' ARD POETIC THEORY. “ KATHARIKE COOKE. M. P h i l . , SIBL. v^'- ' / ProQuest Number: 10096794 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10096794 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SYNOPSIS. As the Introduction explains this thesis sets out to look at the Georgians* achievement in poetry in the light of their intentions as avowed in prose and their methods as exemplified hy their poems. This is chiefly a critical exercise hut history has heen used to clear away the inevitable distortion which results from looking at Georgian poetry after fifty years of Eliot- influenced hostility. The history of the movement is dealt with in Chapter 2. The next three chapters examine aspects of poetry which the Georgians themselves con­ sidered most interesting. Chapter 3 deals with form, Chapter 4 with diction and Chapter 5 with inspiration or attitude to subject matter. Chapter 6 looks at the aspect of Georgianism most commonly thought by later readers to define the movement, th a t is i t s subjects.
    [Show full text]
  • The Poetry of Siegfried Sassoon
    Durham E-Theses The poetry of siegfried sassoon Cumming, Deryck How to cite: Cumming, Deryck (1969) The poetry of siegfried sassoon, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/10240/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk THE POEPRY OF SIEGPEIIED SASSOON Deryck Gtumning M.A. thesis University of Durham The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be. acknowledged. page Early Poems 1 II War Poems, 1915-1917 20 III Counter-Attack 64 IV Picture Show 102 V Poems of the Twenties 115 VI Poems of the Thirties 135 VII Poems of the Fifties I53 VIII Conclusion 167 Bibliography _Ch_cvpt_Gr_ On^ EAHLY POEflS Siegfried. S-J5soon "born in I8865 the cccond of thrrr sons of Alfred Ezrr, Sr.ssoon r,nd Thcrcsr.
    [Show full text]
  • Mouthlessness and Ineffability in World War I Poetry and the Waste Land
    Ezekiel Black Mouthlessness and Ineffability in World War I Poetry and The Waste Land n “Teaching World War I Poetry—Comparatively,” Margot Norris connects Charles Sorley’s poem “When you see millions of the mouthless dead” to an uncanny phenomenon in World War I poetry: “Sorley’s poem is one of a Inumber of poems that invoke the figure of mouthlessness, or the broken mouth or broken teeth, as a trope for the difficulty or inability of soldiers to articulate their experiences” (144-5). Amid the first industrial war, whose novel horrors include tanks, airplanes, machine guns, and poison gas, soldiers could not color their traditional lexicon, a vocabulary born of Victorian ideals, to paint this war’s grim visage, and this insight is familiar to World War I poetry criticism; in fact, Paul Fussell, author of the seminal book The Great War and Modern Memory, writes, “One of the cruxes of the war, of course, is the collision between events and the language available—or thought appropriate—to describe them. To put it more accurately, the collision was one between events and the public language used for over a century to celebrate the idea of progress” (169). This phenomenon might seem specific to war poets, but the inability to express the atrocity of the Great War is widespread—despite writers, especially T. S. Eliot, distancing themselves from the World War I poetry tradition. Although T.S. Eliot, like other Modernist poets, does not recognize the work of certain World War I writers as poetry, The Waste Land suffers from the same affliction as the war poets: neither Eliot nor the war poets could voice their reaction to the Great War; more specifically,The Waste Land and trench poetry struggle with the ineffability of the age through fragmentary language and images of broken mouths.
    [Show full text]
  • Isaac Rosenberg - Biography
    Published on Great Writers Inspire (http://writersinspire.org) Home > Isaac Rosenberg - biography Isaac Rosenberg - biography Isaac Rosenberg (1890-1918) was born in Bristol on 25th November 1890, the son of Barnett and Anna Rosenberg, Lithuanian Jews who had emigrated to Britain a few years before. In 1897, in search of better- paid work, the family moved to the East End of London, but their financial difficulties continued. After a brief period at St Paul's School, St George's-in-the-East, Isaac was sent to the Baker Street Board School. Here he exhibited a talent for drawing and writing which his sympathetic headmaster encouraged. He also discovered English poetry, which he read with huge excitement. By 1904 his family could no longer afford to keep him at school and he was apprenticed to the firm of engravers, Carl Hentschel, in Fleet Street. His earliest known poem dates from 1905. He disliked what he saw as soul-destroying work, and in 1907 began to attend evening classes in painting and drawing at Birkbeck College. In 1911 he was dismissed suddenly from Hentschel's, but a chance encounter in the National Gallery led to an introduction to a group of wealthy Jewish women. One of these, Mrs Herbert Cohen, offered to support him at art school, and in the autumn of that year he enrolled at the Slade. Among his contemporaries were many of the leading young painters of his day, including Mark Gertler, David Bomberg and Stanley Spencer. 1912 saw the publication of his first slight volume of poems, Night and Day, and in the following year he was introduced to Edward Marsh, the influential patron and editor of the Georgian Poetry series.
    [Show full text]
  • EAST INDIA CLUB ROLL of HONOUR Regiments the EAST INDIA CLUB WORLD WAR ONE: 1914–1919
    THE EAST INDIA CLUB SOME ACCOUNT OF THOSE MEMBERS OF THE CLUB & STAFF WHO LOST THEIR LIVES IN WORLD WAR ONE 1914-1919 & WORLD WAR TWO 1939-1945 THE NAMES LISTED ON THE CLUB MEMORIALS IN THE HALL DEDICATION The independent ambition of both Chairman Iain Wolsey and member David Keating to research the members and staff honoured on the Club’s memorials has resulted in this book of Remembrance. Mr Keating’s immense capacity for the necessary research along with the Chairman’s endorsement and encouragement for the project was realised through the generosity of member Nicholas and Lynne Gould. The book was received in to the Club on the occasion of a commemorative service at St James’s Church, Piccadilly in September 2014 to mark the centenary of the outbreak of the First World War. Second World War members were researched and added in 2016 along with the appendices, which highlights some of the episodes and influences that involved our members in both conflicts. In October 2016, along with over 190 other organisations representing clubs, livery companies and the military, the club contributed a flagstone of our crest to the gardens of remembrance at the National Memorial Arboretum in Staffordshire. First published in 2014 by the East India Club. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing, from the East India Club.
    [Show full text]
  • Little Magazines and Canadian War Poetry 1939-1945 with Some Reference to Poetry of the First World War
    LITTLE MAGAZINES AND CANADIAN WAR POETRY 1939-1945 WITH SOME REFERENCE TO POETRY OF THE FIRST WORLD WAR by JOANNE MEIS B.A., University of Calgary, 1966 A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of English We accept this thesis as conforming to the required standard. THE UNIVERSITY OF BRITISH COLUMBIA September, 1971 o In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for .reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date > '77/ While English First World War poetry moved from extolling the Vic• torian versions of chivalric values to the "debunking" realism of some of the soldier poets, Canadian First World War poetry failed to exhibit any such development. Canadian First World War poets write a colonial inter• pretation of what the English inspirational war poets produced, and they did not express any disillusionment with the military-religious dogma of the war. During the Second World War, some Canadian poets produced poetry of a similar type to that which they wrote celebrating the first. But the war years saw the development of a group of young "modernist" poets who followed up the first modernist movement of the Montreal group and New Provinces, and when these poets wrote about war, the idealization of the conflict was not among their aims.
    [Show full text]
  • Whitechapel Gallery Name an Exhibition
    Whitechapel Gallery Name an Exhibition 1901 Modern Pictures by Living Artists: Pre-Raphaelites and Older English Masters – Burne-Jones, Constable, Hogarth, Raeburn, Rubens – Dominic Palfreyman Chinese Life and Art Scottish Artists – Bone, Landseer, Mactaggart, Muirhead, Whistler 1902 Cornish School- Forbes, Stokes Japanese Exhibition Children's Work: Tower Hamlets Schools 1903 Artists in the British Isles at the Beginning of the Century – Fry, Legros, Tonks, Watts Poster Exhibition: British, European, Chinese and Japanese Shipping 1904 Scholars' Work from Board Schools in Bethnal Green, Stepney and Poplar Dutch Art – Hals, de Koninck, Metsu, Rembrandt, van Ruisdael, Amateurs and Arts Students Indian Empire 1905 LCC Children's Work from Board Schools in Bethnal Green, Stepney, Poplar British Art 50 Years Ago – Hunt, Millais, Rossetti, Ruskin, Turner Photography – Chesterton, Pike, Reid, Selfe, Wastell 1906 Georgian England Country in Town Jewish Art and Antiquities 1907 Old Masters: XVII and XVIII Century French and Contemporary British Painting and Sculpture – Boucher, Le Brun, Chardin, Claude, David, Grenze, Poussin Country in Town Animals in Art 1908 Contemporary British Artists: Collection of Copies of Masterpieces – Gainsborough, Holroyd, Latour, Stevens, Teniers Country in Town Muhammaden Art and Life (in Turkey, Persia, Egypt, Morocco and India) 1909 Stepney Children’s Pageant Tuberculosis Flower Paintings and Old Rare Herbals Historical and Pageant 1910 Society of Essex Artists Students Attending London Technical, Art and Evening
    [Show full text]
  • Title of Thesis Or Dissertation, Worded
    “THE STEP OF IRON FEET”: FORMAL MOVEMENTS IN AMERICAN WORLD WAR II POETRY by RACHEL LYNN EDFORD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy September 2011 DISSERTATION APPROVAL PAGE Student: Rachel Lynn Edford Title: “The Step of Iron Feet”: Formal Movements in American World War II Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of English by: Karen Jackson Ford Chairperson John Gage Member Paul Peppis Member Cecilia Enjuto Rangel Outside Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded September 2011 ii © 2011 Rachel Lynn Edford iii DISSERTATION ABSTRACT Rachel Lynn Edford Doctor of Philosophy Department of English September 2011 Title: “The Step of Iron Feet”: Formal Movements in American World War II Poetry Approved: _______________________________________________ Karen Jackson Ford We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier’s battlefront and the civilian’s homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront—widespread isolationist and anti-Semitic attitudes, America’s late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American “Double V Campaign” to fight fascism overseas and racism at home—were just some of the volatile conditions poets in the US grappled with during WWII.
    [Show full text]
  • Studies in the Poetry of Isaac Rosenberg
    A Thesis Submitted to the Department of Linguistic Studies and Cultural comparatives in Partial Fulfilment of the Requirements for the Degree Award Master of Arts. STUDIES IN THE POETRY OF ISAAC ROSENBERG SUPERVISOR: Prof. Valerio de Scarpis CO-SUPERVISOR: Prof. BASSI Shaul ANYANWU, SIXTUS CHIZITERE MATRICULA. 855113 JULY 2015/2016 i DEDICATION To My Noble and worthy parents Chief Sir Lawrence Amaefule Anyanwu (KSJ), Ezinne Lady Cecilia Chisaraokwu Anyanwu (LKSJ) TO Late Bro John Chukwunyere Anyanwu My only Uncle whose death occurred on the 29th of July, 2009. ii ACKNOWLEDGEMENTS I thank you God the Father, God the Son and God the Holy Spirit for the journey so far. My thanks also go to Blessed Virgin Mary Mother of our Lord Jesus Christ whose maternal love have sustained me this far. My undiluted gratitude goes to my wonderful Parents Chief Sir Lawrence Amaefule Anyanwu & Ezinne Lolo Cecilia Chisaraokwu Anyanwu, my grandmother Ezinne Apollona Anyanwu, My Auntie Mrs. Meg Anyanwu, Mrs. Beatrice and family, Mr. Odom and family, Ezinne Veronica and family, Mrs. Priscilla and family and my siblings, Doc. Cletus, Michael, Gabriel, Emmanuel, Prosper, Praise, Rejoice, Melody, Marvelous, and Newness. My thanks also go to Prof. Michele Buglies the Rector, Ca Foscari Unversita di Venezia and head of the International Student Office for the opportunity given to me to study in this great institution. My sincere appreciation goes to Prof. Valerio DeScarpis, my wonderful supervisor and Prof BASSI Shaul my co-supervisor who worked tirelessly with me until the end of my research. I also acknowledge all my lecturers, Professori Guglielmo Cinque, Rodolfo Delmonte, Prof.esse Coonan Mary Camel, Giusti Giuliana,Buzzoni Marina, Dr.
    [Show full text]
  • POETRY and PROPAGANDA of the GREAT WAR Diplomarbeit
    POETRY AND PROPAGANDA OF THE GREAT WAR Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Gernot Alfred Wolfmayr Am Institut für Anglistik Begutachter Ao. Univ. -Prof. Mag. Dr. phil Martin Löschnigg Graz, 2018 Statutory Declaration I hereby declare that the following diploma thesis is, to my best knowledge and belief, original and the result of my own investigation. All the ideas taken from other, external sources are clearly acknowledged in the text. _______________________________ Graz, 11.05.2018 (Gernot Wolfmayr) 1 | P a g e Acknowledgement First of all, I’d like to thank Ao. Univ. -Prof. Mag. Dr. phil. Martin Löschnigg, who introduced me to the poetry of the First World War and instilled in me a passion for the tragic beauty of its poems. I’d also like to thank him for his patience in guiding me through the process of writing my diploma thesis and helping me find a clear and sensible structure. Thank you for your support and I do hope that the end result is to your liking. Secondly, I’d like to thank my brother, Albert Wolfmayr, and my sister, Waltraud Wolfmayr, who supported me in the process of writing my diploma thesis and aided me with their advice, answering any and all of the issues I was uncertain about. I’d also like to thank Ao. Univ. -Prof. Mag. Dr. phil. Klaus Rieser, who inspired me to focus my diploma thesis on the deceptive nature of propaganda and how humans tend to fall for what they wish to be true.
    [Show full text]
  • Chanukah 2014
    J EEWISHW I S H A FFFAIRSFA I R S Chanukah 2014 Price R50,00 incl. VAT Registered at the GPO as a Newspaper ISSN 0021 • 6313 May the light of knowledge shine bright on your path to freedom. Happy Chanukah. The Advantage of Knowing Liberty Group Ltd – an authorised financial services provider in terms of the FAIS Act (Licence No. 2409). We wish all our Jewish customers a Chanukah Sameach www.picknpay.co.za. Customer Care 0800 11 22 88. Toll free landline only. Cellphone rates apply. MISSION EDITORIAL BOARD In publishing JEWISH AFFAIRS, the SA EXECUTIVE EDITOR Jewish Board of Deputies aims to produce a cultural forum which caters for a wide David Saks SA Jewish Board of Deputies variety of interests in the community. The journal will be a vehicle for the publication of ACADEMIC ADVISORY BOARD articles of significant thought and opinion on Professor Marcus Arkin contemporary Jewish issues, and will aim to Suzanne Belling Author and Journalist encourage constructive debate, in the form of Dr Louise Bethlehem Hebrew University of Jerusalem reasoned and researched essays, on all matters Marlene Bethlehem SA Jewish Board of Deputies of Jewish and general interest. Cedric Ginsberg University of South Africa JEWISH AFFAIRS aims also to publish essays Dr Elaine Katz of scholarly research on all subjects of Jewish Professor Marcia Leveson interest, with special emphasis on aspects Naomi Musiker Archivist and Bibliographer of South African Jewish life and thought. Professor Reuben Musiker SAJBD Library Consultant Scholarly research papers that make an original Gwynne Schrire SA Jewish Board of Deputies contribution to their chosen field of enquiry Dr Gabriel A Sivan World Jewish Bible Centre will be submitted to the normal processes of academic refereeing before being accepted Professor Gideon Shimoni Hebrew University of Jerusalem for publication.
    [Show full text]
  • The Heroic Spirit in the Literature of the Great War
    THE HEROIC SPIRIT IN THE LITERATURE OF THE GREAT WAR by KATHLEEN M McARTHUR Town A DISSERTATIONCape SUBMITTED TO THEof FACULTY OF ARTS IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF ENGLISH University UNIVERSITY OF CAPE TOWN 1989 :< . - ... - ~ - .. "~ ._ . -· .•.-:--."I The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University TABLE OF CONTENTS Page Acknowledgements i 1. Introduction A Survey of the Heroic tradition in English Literature. 1 2. Isaac Rosenberg: Part One The Development of an Heroic Vision 56 3. Isaac Rosenberg: Part Two Husbanding the Ancient Glory in an Unheroic Var 85 4. David Jones: Part One Early Works 135 5. David Jones: Part Two 'In Parenthesis' 151 6. David Jones: Part Three The Passchendaele Fragment 199 7. Frederic Manning: Part One Early Works 220 8. Frederic Manning: Part Two 'The Middle Parts of Fortune' 260 Appendix 294 Bibliography 295 i ACKNOWLEDGEMENTS Inevitably, after a study which has its origins as far back as a childhood interest in my grandfather, who was killed in the First World War, one accumulates a debt of gratitude, inspirational, academic, and material. I should like now to thank all the patient people who have borne with me and my obsession for many years1 as well as the Library Staff of the Universities of Cape Town, Stanford, Oxford, the National Library of Wales, and the Imperial War Museum, Landon, who gave me help which was usually much beyond the bounds of their duty.
    [Show full text]