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British classical music and the Armistice
Kate Kennedy

points to a fear that he, the survivor, has been forgotten; left behind in imagination by the war machine, and in reality by his brother. Bliss’s wife later recalled: As the months went by it became clear to me what [Morning Heroes] was really about. Not so much about war, the emphasis was on courage, on the v 223 v The silent morning heroism of men and women in wars throughout the ages. Heroism, and waste, and sorrow. And musically Morning Heroes is a unity. Whether the words come from The Iliad, or Walt Whitman, or a Chinese poet writing twelve hundred years ago

in The silent morning
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Corpse or chrysalis
Elza Adamowicz

more playful parody of the prosthetic body. The prints of Krüppelmappe, consequently, were compared by contemporary reviewers to Goya’s macabre Horrors of War, and received as a powerful anti-war protest, deploring the damage to soldiers’ bodies and minds in wartime and their subsequent impotence and alienation in post-war society. They are critical of the war machine which amputated body-parts and mangled minds, and of the post-war industrial machine which exploited prosthetic surgery to transform them into an efficient, mindless workforce. It was in this vein that

in Dada bodies
Barry Atkins

criticism that such a fiction might encounter. This was the kind of ‘clean’ representation of warfare of which Brussels and Washington can only dream. No Dutch citizens are caught in crossfire or risk reprisals – this German war-machine is the product of programming information and not of an economy dependent on slave labour. The politics of the story are just not an issue. The armchair general faced with a computer did not have to concern himself or herself with questions of right or wrong, or separate the good guys from the bad guys. It all depended, quite literally, on

in More than a game
Hero-worship, imperial masculinities and inter-generational ideologies in H. Rider Haggard’s 1880s fiction
Helen Goodman

, Men of War; Roper, The Secret Battle. 77 Brown, ‘Cold Steel, Weak Flesh’, pp. 155–81. Also see John Ellis, The Social History of the Machine Gun (Baltimore, MD: Johns Hopkins University Press, 1975); Pick, War Machine. 78 Gray, South African Literature, p. 124. 79 See Jeffrey A. Auerbach, Imperial Boredom: Monotony and the British Empire (Oxford: Oxford University Press, 2018). 80 Salmon, ‘What Boys Read’, p. 248. 81 Ibid., p. 248. 82 Allan Quatermain (London: Penguin, 1995), pp. 93–4. • 254 •

in Martial masculinities
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The confederate wars revisited
Patrick Little

comprehensive study of the confederate war machine.12 The final book of the quartet, published in 2005, was Robert Armstrong’s masterly study of the Irish wars from the Protestant point of view.13 The Big Four were complemented by a series of articles covering different aspects of the period, notably Ó hAnnracháin’s two essays looking at the Catholic clergy, and his thought-­provoking piece on the conflicted loyalties of the confederates more generally.14 On the Protestant side of the equation, Ormond came into the spotlight thanks to Armstrong’s study of his peace talks with

in Ireland in crisis
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The rape of Europa
Katia Pizzi

as a point of departure to explore the extent and manners in which postwar Italian futurist artists deployed the machine as a vehicle – quite literally as in this particular case – of modernity. Dynamic engines of social and constructive engagement, pistons and carburettors of displacement, of re-envisioned times and spaces, machines are lodged at the core of the futurist belief in a totalitarian and utilitarian art. Especially after the First World War, machines become the very syntax and architecture of futurist aesthetics and ideology.2 Machines are objects in

in Italian futurism and the machine
The War on Terror and the resurgence of hillbilly horror after 9/11
Linnie Blake

thirty years, and one that that references amongst others Night of the Living Dead, Deliverance, The Texas Chainsaw Massacre, Dawn of the Dead, The Hills Have Eyes, Psycho, The Birds (1963), The Evil Dead (1982), Alien, The Exorcist (1973), Cujo (1983) and Donnie Darko (2002). Its most notable influence though is The Crazies, that allegory of Nixon’s involvement in Vietnam I considered in Chapter 3, a film that itself explored the invidious effects of propaganda on the American psyche and underscored the utter ruthlessness of the American war machine in the pursuit of

in The wounds of nations
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War and medicine in World War I Germany
Heather R. Perry

conditions of total mobilisation from 1914 to 1918. This process of medicalisation included both the militarisation of medicine as well as the militarisation of the disabled body in Germany’s first ‘total war’. Fundamental to these two developments, however, was the growing participation of medical ­professionals – in this instance orthopaedists – in the organisation of the modern ‘war machine’. As this book demonstrates, the so-called ‘recycling of the disabled’ was a direct result of the convergence of multiple war-time processes. Medicine and war Given the centrality of

in Recycling the disabled
Open Access (free)
Christine E. Hallett

, her brother, and two close friends – it was also written for those women who had served in wartime, to ensure that the female voice would be heard, and that one particular feminine perspective would be understood. Enid Bagnold: military medicine as part of the ‘war machine’ If some wartime nurse writers may be viewed as ‘heretics’ – as individuals who attacked the received wisdom of their day – then Enid Bagnold is perhaps one of the most skilful and least openly aggressive of these. Her soft irony and quiet observations evoke a more muted form of horrified

in Nurse Writers of the Great War
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A structure of feeling
Patrick Duggan

others decimated as the war machine rumbles, ever smiling, on and on. The stage action has had visible effects as the audience embody their emotions; some cry, others close their eyes and hang their heads in their hands. And then it ends. Blackout and silence. A sense of emptiness and exhaustion descends. Restaged in 2005 in the midst of the wars in Iraq and Afghanistan, this scene evokes links to those conflicts and with wars more generally. However, the effect it had on the audience suggests that this theatrical experience presented something that was more 33

in Trauma-tragedy