Lay of a Last Survivor: Beowulf, Great War Memorials, and M.R. James's 'A Warning to the Curious'

2014 ◽  
Vol 66 (274) ◽  
pp. 205-222
Author(s):  
P. J. Murphy ◽  
F. Porcheddu
Keyword(s):  
Author(s):  
Jolyon Mitchell ◽  
Joshua Rey

‘Remembering wars’ discusses how war and religion mingle and shape one another and demonstrates how religion offers to meet the need for meaning in the overwhelming catastrophe of personal and national loss that war brings. There are three interesting different situations in which religious resources have been brought to bear on the remembrance of war, and equally have been shaped by it. The first one is the depiction of martyrdom and martyrs in the commemoration of the Battle of Karbala. The second one is the use of the cross in Great War memorials, while the third one is the Ghost Dance movement


Author(s):  
Martin Kerby ◽  
◽  
Margaret Baguley ◽  
Alison Bedford ◽  
Richard Gehrmann ◽  
...  

This article explores how war memorials engage with the contested nature of public sculpture and commemoration across historical, political, aesthetic and social contexts. It opens with an analysis of the Australian commemorative landscape and the proliferation of Great War Memorials constructed after 1918 and their ‘war imagining’ that positioned it as a national coming of age. The impact of foundational memorial design is explored through a number of memorials and monuments which have used traditional symbolism synonymous with the conservative ideological and aesthetic framework adopted during the inter-war years. The authors then analyse international developments over the same period, including Great War memorials in Europe, to determine the extent of their impact on Australian memorial and monument design. This analysis is juxtaposed with contemporary memorial design which gradually echoed increasing disillusionment with war and the adoption of abstract designs which moved away from a didactic presentation of information to memorials and monuments which encouraged the viewer’s interpretation. The increase of anti- or counter-war memorials is then examined in the context of voices which were often excluded in mainstream historical documentation and engage with the concept of absence. The selection of memorials also provides an important contribution in relation to the ideological and aesthetic contribution of war memorials and monuments and the extent of their relevance in contemporary society.


Author(s):  
Alison Bedford ◽  
◽  
Richard Gehrmann ◽  
Martin Kerby ◽  
Margaret Baguley ◽  
...  

Australian war memorials have changed over time to reflect community sentiments and altered expectations for how a memorial should look and what it should commemorate. The monolith or cenotaph popular after the Great War has given way to other forms of contemporary memorialisation including civic, counter or anti-memorials or monuments. Contemporary memorials and monuments now also attempt to capture the voices of marginalised groups affected by trauma or conflict. In contrast, Great War memorials were often exclusionary, sexist and driven by a nation building agenda. Both the visibility and contestability of how a country such as Australia pursues public commemoration offers rich insights into the increasingly widespread efforts to construct an inclusive identity which moves beyond the cult of the warrior and the positioning of war as central to the life of the nation.


Author(s):  
Saeko Yoshikawa

Chapter 5 reveals how the Great War of 1914–1918 produced a remarkable upturn in Wordsworth’s reputation, and how it had an inescapable impact on the cultural landscape of the Lake District. For obvious reasons, Wordsworth’s sonnets on liberty and independence had strong public appeal, and his sense of crisis during the war with Napoleonic France was shared by many who stood against Germany. Equally, Wordsworth’s poetry and the Lake scenery offered consolation and relief at a time of widespread tension, anxiety, and horror. When hostilities ended, Wordsworth’s association with the Lake scenery, combined with his patriotic revival during the war, produced the idea of the Lakeland mountains as a stronghold of national liberty. Twelve mountains were donated to the National Trust to be preserved as war memorials, and public free access to them were also secured.


PMLA ◽  
2000 ◽  
Vol 115 (5) ◽  
pp. 1096-1103 ◽  
Author(s):  
Katie Trumpener

2019 ◽  
Vol 78 (4) ◽  
pp. 454-471
Author(s):  
Etien Santiago

In Notre-Dame du Raincy and the Great War, Etien Santiago explores how the 1923 church of Notre-Dame du Raincy, designed by Auguste and Gustave Perret, resonated with other French buildings erected during or soon after World War I. Officially designated a monument to a significant battle and the soldiers who died there, the church contains only two overt commemorative symbols, both of which are relatively discreet. Yet original sources reveal that the Perrets' contemporaries saw additional allusions to the war in the building's exposed concrete and bell tower, the latter of which evoked the “lanterns of the dead” typical of contemporaneous French Great War memorials. Moreover, to build Notre-Dame du Raincy, the Perrets drew direct inspiration from utilitarian wartime constructions. Contextualizing the church amid these related structures allows us to chart some of the multiple and often contradictory ways in which French citizens and designers grappled with the war and its legacy.


2020 ◽  
pp. 088832542090281
Author(s):  
Karolina Ćwiek-Rogalska

This article answers the question how the situation of incorporation of Central Pomerania, formerly a German region, into Poland in 1945 affected the formation of its commemorative landscape. The author discusses how it had affected the erection of new monuments after 1945, and if the example of German Great War memorials, erected here after 1918, had an influence on new Polish commemorative practices. A “competition of memories” is used here as the analytical tool. It is understood as a phenomenon that occurs in areas where two cultures are superimposed on one another, so primary commemorations are copied, employing the structures of the existing memorials, to produce secondary commemorations. Through the analysis of the archival and fieldwork materials, the author examines the social practices of memory. The case studies are memorials recycled for commemorations connected to the Pomeranian Line and mythology of “recovery,” legitimising the incorporation of Central Pomerania into Poland.


Author(s):  
Gethin Matthews ◽  

Much of the academic attention on issues of Great War mourning and commemoration has focussed on the civic memorials, particularly given that they are designed to be public, visible reminders of the local community’s contribution to the war effort. The focus of this article is on a different subset of memorials, in that they refer specifically to workers from particular companies who served in the war. As such they were not always public memorials, being located in many cases within the works and thus only on display to fellow workers. Yet neither were they entirely ‘private’ memorials, such as the ones established in so many family homes to those they had lost. This article considers twenty five metalworks memorials in the south Wales counties of Monmouthshire, Glamorgan and Carmarthenshire. Taken as a whole, these memorials convey a number of messages about south Wales society in the immediate aftermath of the war. In most examples these were commissioned within three years of the Armistice, and the terms they deploy show that the ‘language of 1914’ was still in vogue. Patriotism was ‘splendid’; self-sacrifice was ‘heroic’; the memory of the fallen was ‘glorious.’ Death was preferable to dishonour. In naming these men, the metalworks companies claimed them as their own and by extension laid claim to a share of the glory. The men’s identity as employees was highlighted in the numerous memorials which noted their position within the company. They had an identity as steelworkers or tinplaters, as well as their identities as men of their hometown, and as Welshmen, Britons and sons of the Empire.


Author(s):  
Sergei A. Mankov ◽  

The article examines the European experience of creating war memorials dedicated to the World War I, using the motives of medieval architecture. The fascination with the Middle Ages, spread through the art and literature of the Neo-Gothic and national Romanism period, was emotionally rethought by the generation that survived the catastrophe of the global conflict of 1914–1918. At the new stage, the symbolic harsh images of the Middle Ages turned out to be more consonant with the social creation of former front-line soldiers than the classical antique forms used in the memorialization of wars in the 18th–19th centuries. This process was reflected in the commemoration of the Great War in Great Britain, France, Germany and other countries, where the monuments to the fallen began to give the appearance characteristic of the towers, fortresses and castles of the long-gone Middle Ages, giving them a new interpretative meaning.


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