scholarly journals The Enduring Influence of Female Special Operations Executive Agent Biopics on Cultural Memory and Representations in France and Great Britain

2021 ◽  
Vol 10 ◽  
pp. WLS144-WLS168
Author(s):  
Sylvie Pomiès-Maréchal
Keyword(s):  
Central Place ◽  
Specific Aspect ◽  
World War Two ◽  
World War ◽  
War Films ◽  
Special Operations ◽  
Jean Paul ◽  
The Social ◽  
Post War ◽  
Fictional Representations

Seventy-five years have elapsed since the end of World War Two. Yet, the memory of the conflict still occupies a central place in British and French collective consciousness. Fiction and film representations of the war act as powerful ‘vectors of memory’, to borrow an expression from French historian Henry Rousso, and as such, they have deeply contributed to shaping popular and cultural memories of the war. This article investigates a specific aspect of World War Two representations, namely the cinematic representations of the female agents from the SOE F section, focusing on the ‘generic’ or archetypal figure of the female SOE agent as generated by the post-war cultural industry. After a brief contextualisation focusing on Churchill’s clandestine organisation, the article will analyse the contribution of Odette (Herbert Wilcox, 1950) and Carve Her Name with Pride (Lewis Gilbert, 1958) to the construction of a World War Two ‘mythology’. It will then address more recent films, concentrating on Charlotte Gray (Gillian Armstrong, 2001) and Female Agents (Jean-Paul Salomé, 2008). How did the fictional construction of the female spy come to influence the social and cultural perception of the SOE agent? Are the tropes developed in such post-war films as Odette or Carve Her Name with Pride still current or have they evolved with time? The analysis of these fictional representations will reveal the permanence or evolution of certain representational patterns and also allow us to approach different perspectives on the cultural representation of World War Two on both sides of the Channel.

Western Ethnic Borderlands in the Influence of Russian-Soviet Propagangda Before and in the Years of the Second World War

2017 ◽  
Vol 2 (46) ◽  
pp. 32-39
Author(s):  
Igor Lyubchyk
Keyword(s):  
First World War ◽  
Second World War ◽  
World War ◽  
Russian Orthodoxy ◽  
The Social ◽  
The First World War ◽  
Post War ◽  
Second World ◽  
First World ◽  
Russian Identity

The research issue peculiarities of wide Russian propaganda among the most Western ethnographic group – Lemkies is revealed in the article. The character and orientation of Russian and Soviet agitation through the social, religious and social movements aimed at supporting Russian identity in the region are traced. Tragic pages during the First World War were Thalrogian prisons for Lemkas, which actually swept Lemkivshchyna through Muscovophilian influences. Agitation for Russian Orthodoxy has provoked frequent cases of sharp conflicts between Lemkas. In general, attempts by moskvophile agitators to impose russian identity on the Orthodox rite were failed. Taking advantage of the complex socio-economic situation of Lemkos, Russian campaigners began to promote moving to the USSR. Another stage of Russian propaganda among Lemkos began with the onset of the Second World War. Throughout the territory of the Galician Lemkivshchyna, Soviet propaganda for resettlement to the USSR began rather quickly. During the dramatic events of the Second World War and the post-war period, despite the outbreaks of the liberation movement, among the Lemkoswere manifestations of political sympathies oriented toward the USSR. Keywords: borderlands, Lemkivshchyna, Lemky, Lemkivsky schism, Moskvophile, Orthodoxy, agitation, ethnopolitics

The Social Identity of Hosts and Patrons

2018 ◽  
Author(s):  
Christel Lane
Keyword(s):  
World War Ii ◽  
Organizational Identity ◽  
World War ◽  
Social Segregation ◽  
Social Mixing ◽  
The Social ◽  
Late Twentieth ◽  
Nineteenth And Twentieth Centuries ◽  
Post War ◽  
Late Twentieth Century

This chapter analyses inns, taverns, and public houses in their social context, exploring their organizational identity and the social positions of their owners/tenants. It examines how patrons express their class, gender, and national identity by participation in different kinds of sociality. Seventeenth- and eighteenth-century hostelries afforded more opportunities for cross-class sociability than in later centuries. Social mixing was facilitated because the venues fulfilled multiple economic, social, and political functions, thereby providing room for social interaction apart from communal drinking and eating. Yet, even in these earlier centuries, each type of hostelry already had a distinctive class character, shaping its organizational identity. Division along lines of class hardened, and social segregation increased in the nineteenth and twentieth centuries, up to World War II. In the post-War era, increased democratization of society at large became reflected in easier social mixing in pubs. Despite this democratization, during the late twentieth century the dominant image of pubs as a working-class institution persisted.

An Unexpected Path to Modernisation: The Case of German Artisans during the Second World War

1996 ◽  
Vol 5 (3) ◽  
pp. 401-426 ◽  
Author(s):  
Frederick L. Mckitrick
Keyword(s):  
Second World War ◽  
Point Of View ◽  
West Germany ◽  
Class Relations ◽  
World War ◽  
New Era ◽  
The Social ◽  
History Of ◽  
Post War ◽  
Second World

On 10 July 1950, at the celebrations marking the fiftieth anniversary of the founding of the Wiesbaden Chamber of Artisans (Handwerkskammer), its president Karl Schöppler announced: ‘Today industry is in no way the enemy of Handwerk. Handwerk is not the enemy of industry.…’ These words, which accurately reflected the predominant point of view of the post-war chamber membership, and certainly of its politically influential leadership, marked a new era in the social, economic and political history of German artisans and, it is not too much to say, in the history of class relations in (West) Germany in general. Schöppler's immediate frame of reference was the long-standing and extremely consequential antipathy on the part of artisans towards industrial capitalism, an antipathy of which his listeners were well aware.

FROM WORLD WAR TO COLD WAR: THE WARTIME ALLIANCE AND POST-WAR TRANSITIONS, 1941–1947

2002 ◽  
Vol 45 (1) ◽  
pp. 211-227 ◽  
Author(s):  
DAVID REYNOLDS
Keyword(s):  
Cold War ◽  
Soviet Union ◽  
The United States ◽  
World War ◽  
The Soviet Union ◽  
The Social ◽  
Post War ◽  
The One ◽  
The Cold War ◽  
Second World

This review examines some of the recent British, American, and Russian scholarship on a series of important international transitions that occurred in the years around 1945. One is the shift of global leadership from Great Britain to the United States, in which, it is argued, the decisive moment was the fall of France in 1940. Another transition is the emergence of a wartime alliance between Britain and America, on the one hand, and the Soviet Union, on the other, followed by its disintegration into the Cold War. Here the opening of Soviet sources during the 1990s has provided new evidence, though not clear answers. To understand both of these transitions, however, it is necessary to move beyond diplomacy and strategy to look at the social, cultural, and economic dimensions of the Second World War. In particular, recent studies of American and Soviet soldiers during and after the conflict re-open the debate about Cold War ideology from the bottom up.

scholarly journals American 'committed' drama in Slovene theatres

1994 ◽  
Vol 27 ◽  
pp. 57-65
Author(s):  
Igor Maver
Keyword(s):  
Social Criticism ◽  
World War Two ◽  
World War ◽  
The Sixties ◽  
To Come ◽  
Post War

The purpose of this study is essentially to demonstrate that the delayed stagings of American 'committed' plays, written in the thirties and produced in Slovene theatres immediately after World War Two in the late forties and fifties, were often miscontextualized and partly misinterpreted by the literary critics of the period. This was only in the early post-war years largely due to the need to serve the then ruling ideology and to comply with the criteria of Marxist aesthetisc, especially that of a radical social criticism. However, the later stagings particularly of Arthur Miller's and also Tennessee Williams's plays, did not see the same phenomenon, for it was they that assured the popularity of the American post-war drama on Slovene stages and, even more importantly, helped Slovene theatre to come off age in the sixties.

scholarly journals Social Condition Reflected in Samuel Beckett’s Waiting for Godot

2021 ◽  
pp. 285-295
Author(s):  
Fita Chyntia ◽  
Multhahada Ramadhani Siregar ◽  
Roni Hikmah Ramadhan
Keyword(s):  
World War Ii ◽  
Social Condition ◽  
The State ◽  
World War ◽  
Post World War Ii ◽  
What Is Said ◽  
The Social ◽  
Waiting For Godot ◽  
Post War ◽  
Character Types

This paper discusses the absurd character types that exist in Samuel Beckett’s play, Waiting for Godot. Vladimir, Estragon, Pozzo and Lucky are the four contradictory yet dependent characters in the play. The absurd characters reflect the social condition of the time, post – World War II. The characters are pictured waiting for the completion of the war in the hope that it will come. Their fate can be changed instantly, the same as the state of war. Besides discussing the characters in the drama, this paper also discusses the characteristics of the language used by the characters. The language used is unreasonable, not in accordance with what is said or how they act; it is called “verbal nonsense”. The interpretations of the dialogue among the characters in the play will give a better picture of each character and how they can be related to societal conditions. Keywords: Theater of Absurd, Character Types, Post-War, Social Condition

Male Vampires

2020 ◽  
pp. 107-124
Author(s):  
Michael Guarneri
Keyword(s):  
Gender Roles ◽  
World War Two ◽  
World War ◽  
Traditional Gender Roles ◽  
Post War

The chapter zooms in on the cultural instrumentality of the vampire metaphor in Italy by studying Italian-made vampire movies as struggles for gender definition and domination that reflect the zeitgeist of post-war Italy, when a perceived decline in masculine authority due to the vicissitudes of World War Two, the hardships of reconstruction and the post-1958 neocapitalist consumerism went hand in hand with women’s ever-increasing challenges to traditional gender roles. The chapter ventures into the so-far uncharted territory of the Italian male vampires that populate horror parodies, straightforward horrors and horror-tinged adventures. It investigates how, within a masculinity-in-crisis framework, Italian makeshift Draculas act as champions of traditional virility, irresistible Latin lovers and tyrannical patres familias seeking to reassure Italian men of their gender leadership.

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