Traducción feminista transnacional: instrumentalización y manipulación de la recepción transnacional del relato autobiográfico sobre violencia sexual

2021 ◽  
Vol 66 (2) ◽  
pp. 251-277
Author(s):  
Antonia Montes
Keyword(s):  
Sexual Violence ◽  
Analytical Framework ◽  
Second World War ◽  
World War ◽  
Female Victims ◽  
Female Author ◽  
Literary System ◽  
Second World ◽  
Shed Light

Abstract Transnational feminist translation studies stand for activism, cooperation and solidarity in connecting feminist thinking developed in all parts of the world (Alvarez et al. 2014, Castro/Ergun 2017, Flotow/ Farahzad 2017, Flotow 2019). One of the important issues is wartime sexual violence, which is the focus of this article, and constitutes a feminist, transnational phenomenon. The account of wartime sexual violence by female victims faces instrumentalization and manipulation by the agents involved in the publication process, including the translators, who are an active part of the patriarchal literary system, with the purpose “to make them fit in with the dominant, or one of the dominant ideological and poetical currents of their time” (Lefevere 1992: 8). The transnational reception, thus, is driven by ideological and commercial interests that agents in a literary system negotiate. The aim of this article is to analyse the transnational reception process, examined under the perspective of transnational feminist translation, and based on questions as who rewrites and how is the wartime sexual violence account rewritten. Undertaking a case study, the diary ‘Eine Fau in Berlin’ of an anonymous female author, Anonyma, who describes rape, prostitution and the gender relations in the context of Second World War, an analytical framework is developed to shed light on the question how women’s writing on wartime sexual violence and its transnational reception are determined by mechanisms of instrumentalization and manipulation that are due to the conceptions and moral values that prevail over wartime sexual violence in two different political and historical eras. We conclude that transnational feminist translation enables activism and solidarity about wartime sexual violence beyond geographical limitations. This leads to the empowerment of the victims on a transnational level.

Turning Aliens into Socialists

2010 ◽  
Vol 1 (1) ◽  
pp. 75-93
Author(s):  
Jessica Moberg
Keyword(s):  
Outer Space ◽  
The United States ◽  
Second World War ◽  
World War ◽  
History Of ◽  
Swedish History ◽  
Second World ◽  
The Universe ◽  
Highly Evolved

Immediately after the Second World War Sweden was struck by a wave of sightings of strange flying objects. In some cases these mass sightings resulted in panic, particularly after authorities failed to identify them. Decades later, these phenomena were interpreted by two members of the Swedish UFO movement, Erland Sandqvist and Gösta Rehn, as alien spaceships, or UFOs. Rehn argued that ‘[t]here is nothing so dramatic in the Swedish history of UFOs as this invasion of alien fly-things’ (Rehn 1969: 50). In this article the interpretation of such sightings proposed by these authors, namely that we are visited by extraterrestrials from outer space, is approached from the perspective of myth theory. According to this mythical theme, not only are we are not alone in the universe, but also the history of humankind has been shaped by encounters with more highly-evolved alien beings. In their modern day form, these kinds of ideas about aliens and UFOs originated in the United States. The reasoning of Sandqvist and Rehn exemplifies the localization process that took place as members of the Swedish UFO movement began to produce their own narratives about aliens and UFOs. The question I will address is: in what ways do these stories change in new contexts? Texts produced by the Swedish UFO movement are analyzed as a case study of this process.

Women’s Antifascist Resistance on German-Occupied Territory Through the Lens of Soviet Leaflets, 1941–1945

2021 ◽  
pp. 002200942098804
Author(s):  
Regina Kazyulina
Keyword(s):  
Sexual Violence ◽  
Second World War ◽  
Home Front ◽  
The Self ◽  
World War ◽  
Occupied Territory ◽  
Women And Children ◽  
Second World ◽  
Unrealistic Expectations

During the Second World War, approximately 28,500 Soviet women fought in the ranks of the partisans on Soviet territory temporarily occupied by the Wehrmacht. Although Soviet propaganda destined for the home front often spoke about their contributions, they eschewed direct appeals for others to follow in their footsteps. In contrast, partisan leaflets distributed across occupied territory overtly called on local women to join the partisan movement and fight alongside men. This essay explores how Soviet propagandists attempted to engage with local women on occupied territory through partisan leaflets and the kinds of expectations they sought to convey. Partisan leaflets not only exploited the image of the self-sacrificing partizanka to encourage women to sacrifice themselves but also vividly and graphically detailed crimes committed against women and children in order to inspire hatred. Such depictions were meant to steal the resolve of local civilians, while simultaneously discouraging behavior that was thought to aid the enemy. The representations conveyed in partisan leaflets encouraged a duality that saw women portrayed either as Soviet-style amazons or victims of sexual violence and rape. While promoting partisan recruitment, such representations encouraged unrealistic expectations and foreshadowed the violence that awaited women who failed to live up to them.

I

1986 ◽  
Vol 80 (4) ◽  
pp. 896-901 ◽  
Author(s):  
Manfred Lachs
Keyword(s):  
International Law ◽  
The United States ◽  
Second World War ◽  
World War ◽  
International Court Of Justice ◽  
International Court ◽  
History Of ◽  
American Society ◽  
Second World ◽  
Shed Light

To write of Philip Jessup means to survey the history of the teaching of international law in the United States throughout the last half century; to cover all important events concerning the birth of international organizations on the morrow of the Second World War; to visit the halls of the General Assembly and the Security Council; to attend meetings of the American Society of International Law and the Institute of International Law, where he so frequently took the floor to shed light on their debates; to attend sittings of the International Court of Justice in the years 1960-1969. I could hardly undertake this task; there are others much more qualified to do so. What I wish to do is to recall him as a great jurist I knew and a delightful human being; in short, a judge and a great friend whom I learned to admire.

scholarly journals Vera Lynn on Screen: Popular Music and the ‘People's War’

2017 ◽  
Vol 14 (2) ◽  
pp. 245-270 ◽  
Author(s):  
KATE GUTHRIE
Keyword(s):  
Popular Music ◽  
Art Music ◽  
Second World War ◽  
World War ◽  
Recent Scholarship ◽  
A Site ◽  
Second World

AbstractBy the outbreak of the Second World War in Britain, critics had spent several decades negotiating the supposed distinctions between highbrow and lowbrow culture, as recent scholarship has shown. What has received comparatively little attention is how the demands of wartime living changed the stakes of the debate. This article addresses this lacuna, exploring how war invited a reassessment of the relative merits of art and popular music. Perhaps the most iconic British singer of the period, Vera Lynn provides a case study. Focusing on her first film vehicle,We'll Meet Again(1942), I explore how Lynn's character mediated the highbrow/lowbrow conflict – for example, by presenting popular music as a site of community, while disparaging art music for its minority appeal. In so doing, I argue, the film not only promoted Lynn's star persona, but also intervened in a broader debate about the value of entertainment for a nation at war.

scholarly journals Nation, Ethnicity, and the Geography of British Fiction, 1880-1940

2018 ◽  
Author(s):  
Elizabeth F. Evans ◽  
Matthew Wilkens
Keyword(s):  
Cultural Identity ◽  
Second World War ◽  
Urban Spaces ◽  
World War ◽  
Victorian Period ◽  
British Fiction ◽  
Spatial Imagination ◽  
Second World ◽  
Recent Attention ◽  
Shed Light

Among the most pressing problems in modernist literary studies are those related to Britain's engagement with the wider world under empire and to its own rapidly evolving urban spaces in the years before the Second World War. In both cases, the literary-geographic imagination—or unconscious—of the period between 1880 and 1940 can help to shed light on how texts by British and British-aligned writers of the era understood these issues and how they evolved over time. At the highest level, how can we characterize the international and domestic geographies of British writing? What roles, if any, did cultural identity play in contemporary writers' spatial imagination? What locations were over- or under-represented in their work and how, if at all, does the answer change when we group writers by national origin or by perceived ethnicity? What shifts in geographic attention marked the transition from the late Victorian period to the interwar era of high modernism? These questions, and others like them, have received much recent attention, both popular and academic. In this essay, we explore what we learn when we ask them at scale with computational assistance.

The Etappe Kanaren: A case study of the secret supply of the German Navy in Spain during the Second World War

2018 ◽  
Vol 30 (3) ◽  
pp. 472-487 ◽  
Author(s):  
Juan J. Díaz Benítez
Keyword(s):  
Active Role ◽  
Second World War ◽  
Primary Sources ◽  
World War ◽  
The One ◽  
Intense Activity ◽  
German Navy ◽  
Second World

The secret supply of the German Navy during the Second World War has scarcely been studied until now. The goal of this article is to study one of the more active supply areas of the Etappendienst at the beginning of the war, the one known as Etappe Kanaren, as part of the Grossetappe Spanien-Portugal. In this research primary sources from German Naval War Command have been consulted. Among the main conclusions, it should be pointed out, on the one hand, the intense activity to support the Kriegsmarine during the first years of the war, despite the distance from mainland Spain and the British pressure, which finally stopped the supply operations. On the other hand, we have confirmed the active role of the Spanish government in relation to the Etappendienst: Spanish authorities allowed the supply operations, but pressure from the Allies forced the Spanish government to impede these activities.

Can Events Facilitate Intercultural Understanding?

2021 ◽  
pp. 218-237
Author(s):  
Karen Davies ◽  
Caroline Ritchie
Keyword(s):  
Second World War ◽  
Ethnographic Case Study ◽  
Intercultural Understanding ◽  
World War ◽  
Time And Space ◽  
Cultural Events ◽  
Physical Spaces ◽  
Second World

The founding philosophy of many cultural events established after the Second World War was to enhance the dynamics of peace through supporting and developing multicultural understanding. Over 50 years after their establishment, this chapter investigates the potential of such iconic events to achieve this aim and contribute to the concept of peace through tourism, based on a longitudinal ethnographic case study of Llangollen International Musical Eisteddfod. The results show that this aim can be achieved by such events if they provide enough time and space for participants (performers and audiences) to interact. However, the study also identifies current cultural, political, and fiscal challenges in providing these temporal and physical spaces.

scholarly journals The Massigli Affair and its Context: Turkish Foreign Policy after the Molotov–Ribbentrop Pact

2019 ◽  
Vol 55 (2) ◽  
pp. 271-296
Author(s):  
Onur Isci
Keyword(s):  
Foreign Policy ◽  
Soviet Union ◽  
Second World War ◽  
World War ◽  
Turkish Foreign Policy ◽  
The Soviet Union ◽  
Second World ◽  
English I

This article examines Turkey's wartime diplomacy between the Molotov–Ribbentrop Pact and Hitler's unleashing of Operation Barbarossa. Rather than a survey of Turkish foreign policy as a whole, it takes a critical episode from July 1940 as a case study that – when put in context – reveals how fear of Nazi power and even greater fear of the Soviet Union created in Turkey a complex view of a desired outcome from the Second World War. Juxtaposing archival materials in Turkish, Russian, German, and English, I draw heavily on the hitherto untapped holdings of the Turkish Diplomatic Archives (TDA). Overall, this article demonstrates both the breadth and limits of Nazi Germany's sweeping efforts to orchestrate anti-Soviet propaganda in Turkey; efforts that helped end interwar Soviet-Turkish cooperation. Against previously established notions in historiography that depict Soviet-Turkish relations as naturally hostile and inherently destabilizing, this article documents how the Nazi–Soviet Pact played a key role in their worsening bilateral affairs between 1939 and 1941. The argument, then, is in keeping with newer literature on the Second World War that has begun to compensate for earlier accounts that overlooked neutral powers.

scholarly journals Propaganda Music in Second World War Britain: John Ireland's Epic March

2014 ◽  
Vol 139 (1) ◽  
pp. 137-175 ◽  
Author(s):  
Kate Guthrie
Keyword(s):  
Art Music ◽  
Second World War ◽  
World War ◽  
Musical Style ◽  
Art And Politics ◽  
Total War ◽  
Problematic Relationship ◽  
Music And Politics ◽  
Second World

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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