scholarly journals A Total War of the Mind: The French Theory of la guerre révolutionnaire, 1954–1958

2017 ◽  
Vol 25 (3) ◽  
pp. 410-434 ◽  
Author(s):  
Michael P.M. Finch

French theorists of guerre révolutionnaire conceptualized contemporary conflict in the 1950s as a particular form of total war. Located in the idea of global subversive war which provided intellectual rationalization for the army’s experiences in colonial wars after 1945, the theorists argued that the collapse in the distinction between war and peace rendered war permanent and constant, so that France’s colonial wars were a symptom of a broader conflict necessitating the ideological mobilization of the French people. This article contends that much of the inspiration for these ideas can be found in intellectual developments preceding the Second World War.

Aschkenas ◽  
2021 ◽  
Vol 31 (1) ◽  
pp. 187-200
Author(s):  
Hans-Harald Müller

Abstract Arnold Zweig and Walter A. Berendsohn, who were in correspondence with each other between 1909 and 1968, continuously sought to convert the other to their beliefs. Around 1910 Zweig wanted to convert Berendsohn to Zionism as coined by Buber, while his views changed after his exile in Palestine, when he tried to win Berendsohn over to communism. Berendsohn, for his part, wanted to convince Zweig of social democracy around 1910, but after traveling Palestine in the 1950s tried to convince Zweig of Zionism. Viewed retrospectively, both appear as idealistic German intellectuals whose eagerness to reform society in 1910 led them in very different directions due to their individual experiences especially in and after the Second World War.


PMLA ◽  
1946 ◽  
Vol 61 (1) ◽  
pp. 258-268
Author(s):  
John J. Parry

Among the Celtic tongues Cornish occupies a unique place. It is not a wholly dead language like Gaulish and Galatian, and neither is it an actively living one like Welsh and Breton, Irish and Scots Gaelic. Even Manx, few as the speakers of it may be, has maintained a living tradition. But Cornish was practically dead when the revival began in 1904, and it was well on its way to becoming a living language again when the second world war broke out. Whether this revival can survive amid the dislocation of total war remains to be seen.


2021 ◽  
pp. e20200008
Author(s):  
William J. Pratt

Over 230 Canadian Army soldiers took their own lives during the Second World War. For many, soldiering seems to have exacerbated stresses and depressions. Their suicide notes and the testimony of family, officers, and bunkmates reveal that wartime disturbance was an important section of the complex array of reasons why. In attempts to explain the motivations for their tragic final actions, the instabilities brought by the Second World War and the stresses of military mobilization must be added to the many biological, social, psychological and circumstantial factors revealed by the proceedings of courts of inquiry. Major military risk factors include: access to firearms, suppression of individual agency, and disruption of the protective networks of friends and family. Some Canadians had a difficult time adjusting to military discipline and authority and were frustrated by their inability to succeed by the measures set by the army. Suicide motivations are complex and it may be too simplistic to say that the Second World War caused these deaths, however, it is not too far to say that the war was a factor in their final motivations. Some men, due to the social pressures and constructs of masculine duty, signed up for active service despite previously existing conditions which should have excused them. Revisiting these traumas can expose the difficulties that some Canadians experienced during mobilization for total war. Many brought deep personal pain with them as they entered military service and for some, the disruptions, frustrations, and anxieties of life in khaki were too great to bear. Like their better-known colleagues who died on the battlefield, they too are casualties of the Second World War.


2018 ◽  
pp. 162-182
Author(s):  
Samantha Caslin

This chapter focuses on the LVA’s efforts to engage with Irish women in Liverpool during the Second World War and post-war years. Despite a reduction in Irish immigration during the war, which saw the LVA’s staff reduced, the organisation was quick to raise concerns about the moral wellbeing of Irish young women once peace was resumed. As such, the LVA continued, throughout the 1950s and into the 1960s, to provoke concerns about the supposed moral vulnerability of Irish young women in Liverpool in a bid to generate support for their patrols.


2021 ◽  
pp. 141-159
Author(s):  
Uta Andrea Balbier

Anti-Communism constituted a core feature of Billy Graham’s preaching in the 1950s. In Graham’s sermons Communism did not just stand for the anti-religious thread of an atheistic ideology, as it was traditionally used in Protestant Fundamentalist circles, but also for its opposition to American freedom and Free Market Capitalism. This article argues that the term Communism took on significantly new meaning in the evangelical milieu after the Second World War, indicating the new evangelicals’ ambition to restore, defend, and strengthen Christianity by linking it into the discourse on American Cold War patriotism. This article will contrast the anti-Communist rhetoric of Billy Graham and other leading evangelical figures of the 1950s, such as Harold Ockenga, with the anti-Communist rhetoric used by early Fundamentalists in the 1910s and 1920s. Back then, Communism was predominantly interpreted as a genuine threat to Christianity. The term also made appearances in eschatological interpretations regarding the imminent end-times. The more secular interpretation of Communism as a political and economic counter-offer by evangelical preachers such as Billy Graham will be discussed as an important indicator of the politicization and implied secularization of the evangelical milieu after the Second World War.


Author(s):  
Peter Roderick

Bruno Maderna was an Italian composer and conductor, who made his name internationally at the Darmstadt Summer Courses in the 1950s and 60s. A musical prodigy, Maderna toured around Veneto with his family as young as age ten, amazing audiences with his violin virtuosity and intuitive conducting skills. His early life was unstable—his paternity was questioned and he lived with several guardians—and was further disrupted by the Second World War, when he was conscripted. His studies and burgeoning musical friendship with Luigi Nono was temporarily suspended, and a period serving in the Italian army was followed by involvement with the resistenza movement opposing Nazi occupiers in 1944; his membership with the Fronte di Liberazione led to his arrest in February 1945 by the S.S. After escaping the Germans, he joined with the Veronese partisans and fought in the war of liberation in the Po valley.


2008 ◽  
Vol 35 (4) ◽  
pp. 717-746 ◽  
Author(s):  
Akihiko Sato

Scholars have argued that post-World War II domestic disorder in Japan caused a serious methamphetamine problem, which directly led to the establishment of the Stimulant Control Law of 1951. This paper examines the process through which that Law came into effect to argue the central significance of shifting discourses surrounding methamphetamine use, especially by users themselves, and nationalist dialogue concerning secret production and the smuggling of methamphetamine. These factors worked together in the 1950s to transform contemporary understandings of methamphetamine use, and to foster state efforts to regulate it.


2014 ◽  
Vol 139 (1) ◽  
pp. 137-175 ◽  
Author(s):  
Kate Guthrie

ABSTRACTWhile biographical studies of British composers' experiences in the Second World War abound, little attention has been paid to how the demands of ‘total’ war impacted on music's ideological status. This article sheds new light on how composers and critics negotiated the problematic relationship between art music and politics in this period. John Ireland's Epic March – a BBC commission that caused the composer considerable anxiety – provides a case study. Drawing first on the correspondence charting the lengthy genesis of the work, and then on the work's critical reception, I consider how Ireland and his audiences sought to reconcile the conflicting political and aesthetic demands of this commission. With its conventional musical style, Epic March offers an example of a ‘middlebrow’ attempt to bridge the gap between art and politics.


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