scholarly journals The Conception of Trauma in Depicting the Battlefields In Wilfred Owen’s War Poetry

2019 ◽  
Vol 8 (4) ◽  
pp. 362
Author(s):  
Salih A. Abdulrahman

The paper examines the poetry of Wilfred Owen as a representative of a group of poets who write poetry out of the trenches during and after World War I. Their poetry is generally known as war poetry or trench poetry. It is mostly characterized by the processing of traumatic experience through visual imagery to invoke the readers’ sense of realization to the horrors of war. Some of these poets, including Owen himself, were hospitalized due to shell shock or traumatic symptoms that affected them physically and psychologically. Such traumatic experience changes the poet’s view of war and marks him a witness to its horrors. Owen, one of the greatest of these poets, tries to put the reader in the mid of the battlefield through an extensive use of images, condensed language, and paradoxical statements to show the ugly face of war and warn the people at home of its horrors and urges them not to believe the old lie of the glories of war.

2020 ◽  
pp. 132-163
Author(s):  
Kyle M. Lascurettes

How do we account for the vision of international order the American delegation pursued at the Paris Peace Conference after World War I, manifested most concretely in the Covenant of the League of Nations that was written by avowed liberal internationalist Woodrow Wilson? The dominant inclusive narrative of order construction in 1919 emphasizes America’s liberal institutions at home coupled with its president’s progressive ideals and sense of ideological mission in world affairs. By contrast, chapter 6 (“The Wilsonian Order Project”) argues that the new ideological threat posed by radical socialism after the Bolshevik Revolution in late 1917 actually played the most critical role in shaping the order preferences of Wilson and his principal advisers both before and during the Paris Peace Conference.


Humanities ◽  
2019 ◽  
Vol 8 (1) ◽  
pp. 30
Author(s):  
David Poynor

Some World War I poems show an enemy soldier up close. This choice usually proves very effective for expressing the general irony of war, to be sure. However, I submit that showing interaction with the enemy also allows the speaker space to wrestle with internal conflict, guilt, or cognitive dissonance, and that it allows—or even forces—readers to participate in that struggle along with the speaker. While the poets’ writings no doubt had therapeutic effects for the poets themselves, I focus more on the literary effects, specifically arguing that the poems are powerful to us readers since they heighten the personal exposure of the poets’ psyches and since they make us share the dissonance as readers. I consider poems by Siegfried Sassoon, Wilfred Owen, Robert Graves, Ford Madox Ford, Herbert Read, and Robert Service.


Author(s):  
Elizabeth McKillen

This chapter examines the themes of collaboration and resistance during the period of U.S. belligerency. It first considers the controversy over the Root diplomatic mission, led by American Federation of Labor (AFL) Vice President James Duncan, that visited Russia in the wake of the March revolution that overthrew the Czar. It then discusses the debate over the collaborationist strategies of AFL and the prowar Socialists throughout World War I, along with the antiwar culture of the Industrial Workers of the World and its decision to continue strike and organizing activities despite government pleas for patriotic unity. It also explores the Socialist Party's anticonscription and antiwar activities as well as the AFL's collaboration with the Wilson administration in promoting its war policies both at home and abroad.


Author(s):  
Beth Keyes

Railway spine, nerve prostration, combat neurosis, post-traumatic stress disorder: throughout the twentieth century, a complex array of terms has been codified by cultural, national, and medical institutions to describe a body and mind made dysfunctional by the inability to process intensely disturbing memories. In the wake of World War I, trauma-induced mental illness—diagnosed and treated as “shell-shock” in countless veterans—became an imperative focal point for sociopolitical and medical reform throughout Europe. This essay explores the connections between this historically contextualized psychiatric disorder and the music of Ivor Gurney, a soldier in the British Army whose life and work was significantly affected by his diagnosis in 1918. Through particular disturbances of form, structure, and texture, Gurney’s musical landscapes reenact the conditions of psychic trauma by creating a world in which memories are disruptive, invasive, and ultimately disabling.


2011 ◽  
Vol 44 (2) ◽  
pp. 257-278 ◽  
Author(s):  
Lisa M. Todd

In May 1917 twenty-seven residents of Landau (Württemberg) sent a long petition to the German Reichstag. The group, which included doctors, pastors, teachers, and industrialists, demanded that the state put an end to the “immoral” behavior of women who had romantic relationships with foreign prisoners of war. The petition included more than one hundred examples of such affairs, gleaned from newspapers, court records, and eyewitness accounts. The petitioners lamented the “sinking morality” of the countryside and the damaged reputation of German women. They also had more immediate concerns. These affairs were threatening the happiness of families, “complicating” the feeding of the nation, weakening the strength of the people, and heightening the fear of espionage. The petitioners went on to warn the Reichstag deputies that “good German citizens are full of anger at such events,” and that the common person's “sense of sacrifice” was dwindling now, in the third year of the war.


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