scholarly journals Lancastrians, Tudors, and World War II: British and German Historical Films as Propaganda, 1933–1945

Arts ◽  
2020 ◽  
Vol 9 (3) ◽  
pp. 88
Author(s):  
William B. Robison
Keyword(s):  
World War Ii ◽  
English Language ◽  
Private Life ◽  
World War ◽  
Henry V ◽  
Joan Of Arc ◽  
Philip Ii ◽  
Tudor England ◽  
Charles V ◽  
Historical Films

In World War II the Allies and Axis deployed propaganda in myriad forms, among which cinema was especially important in arousing patriotism and boosting morale. Britain and Germany made propaganda films from Hitler’s rise to power in 1933 to the war’s end in 1945, most commonly documentaries, historical films, and after 1939, fictional films about the ongoing conflict. Curiously, the historical films included several about fifteenth and sixteenth century England. In The Private Life of Henry VIII (1933), director Alexander Korda—an admirer of Winston Churchill and opponent of appeasement—emphasizes the need for a strong navy to defend Tudor England against the ‘German’ Charles V. The same theme appears with Philip II of Spain as an analog for Hitler in Arthur B. Wood’s Drake of England (1935), William Howard’s Fire Over England (1937), parts of which reappear in the propaganda film The Lion Has Wings (1939), and the pro-British American film The Sea Hawk (1940). Meanwhile, two German films little known to present-day English language viewers turned the tables with English villains. In Gustav Ucicky’s Das Mädchen Johanna (Joan of Arc, 1935), Joan is the female embodiment of Hitler and wages heroic warfare against the English. In Carl Froelich’s Das Herz der Königin (The Heart of a Queen, 1940), Elizabeth I is an analog for an imperialistic Churchill and Mary, Queen of Scots an avatar of German virtues. Finally, to boost British morale on D-Day at Churchill’s behest, Laurence Olivier directed a masterly film version of William Shakespeare’s Henry V (1944), edited to emphasize the king’s virtues and courage, as in the St. Crispin’s Day speech with its “We few, we proud, we band of brothers”. This essay examines the aesthetic appeal, the historical accuracy, and the presentist propaganda in such films.

scholarly journals “If English Was Good Enough for Jesus, It’s Good Enough for Me”

Paideusis ◽  
2020 ◽  
Vol 17 (1) ◽  
pp. 25-34
Author(s):  
Peter Kovacs
Keyword(s):  
World War Ii ◽  
Foreign Language ◽  
English Language ◽  
Endangered Languages ◽  
Teaching English ◽  
World War ◽  
Philosophical Discussion ◽  
Lingua Franca ◽  
The World ◽  
Harmful Effects

Since the end of World War II, English has become the virtual lingua franca of the planet. However, this development carries significant ethical and educational questions: What are the consequences of the worldwide dominance of the English language? How has it affected and how will it affect the fortunes of other languages? What can and should we as educators to do to minimize or eliminate the harmful effects on some of the endangered languages of the world? This paper will invite educators into a philosophical discussion of the ethical complexities of teaching English as a Second or Foreign Language.

scholarly journals Transnational History of Medicine after 1950: Framing and Interrogation from Psychiatric Journals

2011 ◽  
Vol 55 (1) ◽  
pp. 3-26 ◽  
Author(s):  
John C. Burnham
Keyword(s):  
World War Ii ◽  
History Of Medicine ◽  
English Language ◽  
History Of Psychiatry ◽  
World War ◽  
Medical Specialists ◽  
Professional Recognition ◽  
Universal Language ◽  
Language Communication ◽  
History Of

Communication amongst medical specialists helps display the tensions between localism and transnationalisation. Some quantitative sampling of psychiatric journals provides one framework for understanding the history of psychiatry and, to some extent, the history of medicine in general in the twentieth century. After World War II, extreme national isolation of psychiatric communities gave way to substantial transnationalisation, especially in the 1980s, when a remarkable switch to English-language communication became obvious. Various psychiatric communities used the new universal language, not so much as victims of Americanisation, as to gain general professional recognition and to participate in and adapt to modernisation.

Salomon's Work

1993 ◽  
Vol 3 (2-3) ◽  
pp. 239-253
Author(s):  
Ernst van Alphen
Keyword(s):  
Life History ◽  
World War Ii ◽  
Family History ◽  
Art Criticism ◽  
Private Life ◽  
World War ◽  
Work Of Art ◽  
Her Family ◽  
The Many ◽  
Actual Life

Abstract Charlotte Salomon's painted life history took shape in an extremely gruesome period: World War II. But Salomon's personal family history is also excep-tional: Almost her whole family committed suicide. This article explores the question of whether it is meaningful, or even legitimate, to refer to a work emerging from such a violent reality as a work of art. The article focuses on the many self-reflective passages in the images and text that deal with the function of art and the ways it is made. It is argued that Salomon did not provide the fate of her family and the horrible war with a deeper meaning in order to liberate herself from their horror. She did not write a realistic account of her reality, nor did she create an alternative world for it. Rather, her life history is a performance in the strictest sense: doing the work of working through her reality. (History; art criticism) A "life-testimony" is not simply a testimony to a private life, but a point of conflation between text and life, a textual testimony which can penetrate us like an actual life. (Shoshana Felman & Dori Laub, 1992, Testimony. Crises of Witnessing in Literature, Psychoanalysis, and History, p.

“Our City, Our Hearths, Our Families“: Local Loyalties and Private Life in Soviet World War II Propaganda

Slavic Review ◽  
2000 ◽  
Vol 59 (4) ◽  
pp. 825-847 ◽  
Author(s):  
Lisa A. Kirschenbaum
Keyword(s):  
World War Ii ◽  
The State ◽  
Private Life ◽  
Point Of View ◽  
Narrow Sense ◽  
World War ◽  
Party Discipline ◽  
Counter Narrative ◽  
National Symbols ◽  
The Family

During World War II, images of mothers constituted one of the most striking—and lasting—additions to Soviet propaganda. The appearance of “Mother Russia” has been understood as a manifestation of the Soviet state's wartime renunciation of appeals to Marxism-Leninism and its embrace of nationalism. Yet “Mother Russia” (rodina-mat', more literally, the “motherland mother“) was an ambiguous national figure. The word rodina, from the verb rodit', to give birth, can mean birthplace both in the narrow sense of hometown and in the broad sense of “motherland,” and it suggests the centrality of the private and the local in wartime conceptions of public duty. Mothers functioned in Soviet propaganda both as national symbols and as the constantly reworked and reimagined nexus between home and nation, between love for the family and devotion to the state. From this point of view, the new prominence of mothers in wartime propaganda can be understood as part of what Jeffrey Brooks has identified as the “counter-narrative” of individual initiative and private motives, as opposed to party discipline, that dominated the centrally controlled press's coverage of the first years of the war.

Epilogue

2017 ◽  
Author(s):  
Laura Heins
Keyword(s):  
World War Ii ◽  
Mass Culture ◽  
Third Reich ◽  
Private Life ◽  
West Germany ◽  
Sexual Morality ◽  
World War ◽  
The Third ◽  
The 1950S ◽  
The Third Reich

This concluding chapter reflects on the development of German melodrama in the aftermath of World War II. It traces a sense of disillusionment with the Nazi “deployment of sexuality” in films and how it had prepared the ground for the renewed postwar cultivation of domesticity and feminine nurturance in West Germany. The return to private life and to puritanical mores in the postwar era was partly a response to the attack on “bourgeois” sexual morality that had been carried out by the mass culture of the Third Reich. Turning against nudity and licentiousness in the early 1950s could be represented and understood as a turn against Nazism. Thus, this “reprivatization” and newly conservative culture left its mark on West German melodramas of the 1950s.

Ruth Benedict's Legacy of Shame: Orientalism and Occidentalism in the Study of Japan

2001 ◽  
Vol 29 (2) ◽  
pp. 249-261 ◽  
Author(s):  
John Lie
Keyword(s):  
World War Ii ◽  
English Language ◽  
Japanese Society ◽  
Japanese Culture ◽  
World War ◽  
Post World War Ii ◽  
Critical Literature

AbstractRuth F. Benedict's The Chrysanthemum and the Sword (1946) remains perhaps the most influential English-language book on contemporary Japanese society and culture. The Chrysanthemum and the Sword has generated a large critical literature and has sold over 1.4 million copies in Japan. It would not be an exaggeration to state that Benedict's book framed both American and Japanese - and, by extension, global - perceptions of Japan since the end of World War II. In this paper, I explore why her work found such resonance among the Japanese themselves to the extent that The Chrysanthemum and the Sword became something of an ur-text of the post-World War II Japanese discourse on the Japanese and on Japanese culture (Nihonjinron or Nihonbunkaron).

Uniform multilingualism: A media genealogy of Google Translate

2017 ◽  
Vol 20 (7) ◽  
pp. 2550-2565 ◽  
Author(s):  
Ido Ramati ◽  
Amit Pinchevski
Keyword(s):  
Neural Network ◽  
Artificial Neural Network ◽  
World War Ii ◽  
Machine Translation ◽  
Statistical Methods ◽  
English Language ◽  
Power Structure ◽  
World War ◽  
Rule Based ◽  
The Relationship

This article applies a media geneaology perspective to examine the operative logic of Google Translate. Tracing machine translation from post–World War II (WWII) rule-based methods to contemporary algorithmic statistical methods, we analyze the underlying power structure of algorithmic and human collaboration that Translate encompasses. Focusing on the relationship between technology, language, and speakers, we argue that the operative logic of Translate represents a new model of translation, which we call uniform multilingualism. In this model, the manifest lingual plurality on the user side is mediated by lingual uniformity on the system side in the form of an English language algorithm, which has recently given way to an artificial neural network interlingual algorithm. We conclude by considering the significance of this recent shift in Translate’s algorithm.

scholarly journals School of Diplomatic English

2014 ◽  
pp. 203-205
Author(s):  
D. A. Kryachkov
Keyword(s):  
World War Ii ◽  
Foreign Language ◽  
International Relations ◽  
English Language ◽  
State University ◽  
International Affairs ◽  
World War ◽  
The World ◽  
Language Communication ◽  
Moscow State University

Chair of English Language № 1 considers itself the successor of the English Language Chair, established at the Faculty of International Relations at the Moscow State University during the World War II. After the Faculty was reformed into MGIMO the Department of English Language began to grow rapidly. Members of the chair develop textbooks and teaching materials designed to provide competence-based approach in the education in field of international affairs, the development of the professional proficiency in English, which are necessary for future participants of our foreign policy. To date, the chair staff consists of 60 professionals, including 26 PhDs. Teachers of the department also conduct research and take part in educational conferences both in Russia and abroad, including those devoted to the professional foreign language communication. Members of the chair also publish scientific articles in this field.

Sign in / Sign up

Export Citation Format

Share Document