Briser les ailes de l'ange : les infirmières militaires canadiennes (1914-1918), and: An Officer and a Lady: Canadian Military Nurses and the Second World War (review)

2008 ◽  
Vol 41 (82) ◽  
pp. 635-637
Author(s):  
Geneviève Allard
2013 ◽  
Vol 17 (1) ◽  
pp. 114-116
Author(s):  
Paul Solomon

War frames our lives. We live, as Billy Bragg (1985) put it, “Between the Wars”; or we live during wars, or after wars; or we live in terror of the threat of war; or get passionately aroused into war. We may watch helplessly as TV news shows us events of horror and violence overseas; on 19th June this year New Zealanders watched video on TV3 News of Kiwi troops under fire in Afghanistan, recorded on a soldier’s helmet-cam. Recent events unfolded once more on TVNZ with gut-wrenching inevitability: I watched as two soldiers were killed, and four injured. The survivors probably will return home traumatised. My interest in reviewing The War Hotel was personal: my grandfather fought in the First World War, my father in the Second World War. I served in the Israeli Defense Force, 1965-1967, and soon felt appalled by Israel’s treatment of the Palestinians. Some of my Jewish extended family perished in Poland during the Shoah. All humanity is touched by war, in varying degrees of separation.


Author(s):  
Gerard L. Weinberg

The enormous loss of life and physical destruction caused by the First World War led people to hope that there would never be another such catastrophe. How then did it come about that there was a Second World War causing twice the 30 million deaths and many times more destruction as had been caused in the previous conflict? The ‘Introduction’ poses several questions: why did this war start so soon after World War I? Why was it considered a world war and not just European? What triggered the involvement of various nations? How did the Allies win? These questions are considered in subsequent chapters.


2014 ◽  
Vol 6 (3) ◽  
pp. 64 ◽  
Author(s):  
Harro Maas

Over time, Mark Blaug became increasingly sceptical of the merits of the approach to the history of economics that we find in his magnum opus, Economic theory in retrospect, first published in 1962, and increasingly leaned to favour 'historical' over 'rational' reconstructions. In this essay, I discuss Blaug's shifting historiographical position, and the changing terms of historiographical debate. I do so against the background of Blaug's personal life history and the increasingly beleaguered position the history of economic thought found itself in after the Second World War. I argue that Blaug never resolved the tensions between historical and rational reconstructions, partly because he never fleshed out a viable notion of historical reconstruction. I trace Blaug's difficulty in doing so to his firm conviction that the history of economics should speak to economists, a conviction clearly present in his 2001 essay: "No history of ideas, please, we're economists".


Author(s):  
Rūta Šlapkauskaitė

This paper engages Cathy Caruth’s thinking about trauma, Marianne Hirsch’s notion of postmemory, and Giorgio Agamben’s theorising of bearing witness to examine the affective performance of remembering in Richard Flanagan’s novel The Narrow Road to the Deep North. Reading the narrative as a postmemorial account of Japan’s internment of Australian POWs in Burma during the Second World War, I focus on the body as a site of both wounding and witnessing to show how the affective relays between pleasure and pain reanimate the epistemological drama of lived experience and highlight the ambivalence of passion as a trope for both suffering and love. Framed by its intertextual homage to Matsuo Bashō’s poetic masterpiece of the same name, the Australian narrative of survival is shown to emerge from the collapse of the referential certainties underlying the binaries of victim/ victimiser, witness/perpetrator, human/inhuman, and remembering/forgetting. In Flanagan’s ethical imagination, bearing witness calls for a visceral rethinking of historical subjectivity that binds the world to consciousness as a source of both brutality and beauty.


2019 ◽  
pp. 174387211988031
Author(s):  
Diana Popa

This paper examines “Îmi este indiferent dacă în istorie vom intra ca barbari” / “I Do Not Care if We Go Down in History as Barbarians” (Radu Jude, 2018) (hereafter “Barbarians”), a film that explores the persistence of problematic official narratives about the Romanian participation in Second World War. I argue that this is a narrative film akin to conceptual art, in which formal elements combine with a variety of heterogenous media, such as archival still and moving imagery, to provide ‘evidence’ about the past while also reflecting on historical truth’s fragility to propagandistic manipulation and on the role that media, film included, can play in it. Through close analysis and drawing on recent theorising on the cinematic dispositif, this article examines the ways in which “Barbarians” encourages complex text–viewer relationships and eventually thwarts spectators’ expectation of being presented with a ‘final truth’. It ultimately reveals the inevitable multitude of perspectives about the past, highlighting the risks of failure that any pedagogical attempt to ‘fix memory’ will face.


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