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Bloomsbury attitudes to the Great War
Author: Jonathan Atkin

The Great War still haunts us. This book draws together examples of the ‘aesthetic pacifism’ practised during the Great War by such celebrated individuals as Virginia Woolf, Siegfried Sassoon and Bertrand Russell. It also tells the stories of those less well known who shared the attitudes of the Bloomsbury Group when it came to facing the first ‘total war’. The five-year research for this study gathered evidence from all the major archives in Great Britain and abroad in order to paint a complete picture of this unique form of anti-war expression. The narrative begins with the Great War's effect on philosopher-pacifist Bertrand Russell and Cambridge University.

Post-9/11 Horror and the Gothic Clash of Civilisations
Kevin J. Wetmore

Twentieth century cinema involving monster conflict featured solitary monsters in combat (Frankenstein Meets the Wolf Man, for example). The writing of Anne Rice and the RPG Vampire: The Masquerade by White Wolf Games introduced the idea of Gothic communities and civilisations in conflict. It was not until after the terror attacks of 11 September that the idea of a clash of civilisations between supernatural societies fully emerged into the mainstream of popular culture. This essay explores the construction of a clash of civilisations between supernatural communities as a form of using the Gothic as a metaphor for contemporary terrorism in film and television series such as Underworld, Twilight, True Blood and The Vampire Diaries. Inevitably, it is the lycanthropes that are the disempowered and disenfranchised society and are alternately exploited by and rebel against the dominant vampire civilisation grown decadent and on the verge of collapse. Post-9/11 Gothic posits a world in which vampire society is the new normal, and werewolves represent a hidden danger within. Lycanthropes must be controlled, profiled and/or fought and defeated. Through close readings of the cinematic and televisual texts, I explore the vampire/werewolf clash as metaphor and metonym for the war on terror.

Gothic Studies

For women writers, the decades of the English Civil War were of special importance. This book presents a complex and rewarding poetic culture that is both uniquely women-centred and integrally connected to the male canonical poetry. It brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips, and Lucy Hutchinson. All these five women were attracting new and concerted attention as poets by seventeenth-century women. Bradstreet's poems first appeared in The Tenth Muse Lately Sprung up in America, and the later volume of Several Poemsincluded revised texts of those poems and several new ones. Each version of the poems spoke more directly on the context of the English Civil War. Pulter's poems construe Broadfield as a place of unwelcome isolation: she describes herself as 'shut up in a country grange', 'tied to one habitation', and 'buried, thus, alive'. Philips's poetry was first printed in 1664, her state-political poems, on members of the royal family and events of the Civil War, Interregnum, and Restoration, suggest Philips as a poet writing on matters of political significance. Cavendish's two major editions of Poems and Fancies in 1653 and 1664 each have strongly competing claims both to textual authority and to the more resonant political moment. Across poetry and prose, print and manuscript, Hutchinson's writing bears the marks of her fervent hostility to corrupt rulers and her remarkably broad education, adventurous reading habits, and energetic intellect.

Abstract only
Marie Mulvey-Roberts

to mould. Red fangs have torn His face. God’s blood is shed. He mourns from His lone place His children dead. O! ancient crimson curse! Corrode, consume. Give back this universe Its pristine bloom. 2 Isaac Rosenberg, ‘On Receiving News of the War’ (written in 1914

in Dangerous bodies
Open Access (free)
Jonathan Atkin

4 Writers at war Bertrand Russell was just one man largely thinking and acting alone – and therein rests his reputation. But to what extent – whether in private or public – did similar anti-war concerns to those of Russell and the Bloomsbury circle express themselves among the intelligentsia? The bulk of the evidence derives from the letters that sped back and forth between contemporary writers, artists and thinkers, during a time of unexpected conflict – a conflict that provoked much doubt and debate. In common with Bertrand Russell, E.M. Forster believed the

in A war of individuals
Open Access (free)
Jonathan Atkin

6 Women and the war The Great War, most people would have agreed at the time, was a male creation. Politicians, statesmen and kings bred it and soldiers fought and fed it. Thus far, this study has regarded those women within Bloomsbury whose aesthetic reactions to the conflict provide such a good starting point when examining the war in this context. What of other women, existing independently from that hot-house of creativity, but who felt similarly? Due to their status in society as a whole, women necessarily operated within a different cultural milieu to

in A war of individuals
Open Access (free)
Sara Haslam

4 In sight of war ‘Just imagine it,’ murmured Bazarov, ‘what a word can mean! You’ve found it, said it, the word “crisis” – and you’re happy! It’s astonishing how a man can still believe in words.’1 I don’t know that the large words Courage, Loyalty, God and the rest had, before the war, been of frequent occurrence in London conversations. But one had had the conviction they were somewhere in the city’s subconsciousness. . . Now they were gone.2 Ford admired Turgenev, so it is not surprising that one comes across ideas borrowed, perhaps, from him in the later

in Fragmenting modernism
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Family, gender and post-colonial issues in three Vietnam War texts
Marion Gibson

control’. 1 ‘This is not something they [the US military] can blame on the Taliban’ noted The Times; ‘family life in the Special Forces is becoming so dysfunctional … that the killings are going to continue.’ 2 Meanwhile, other voices blame the military profession itself, seeing the victims as ‘a casualty of war’, or Fort Bragg as a ‘dumping ground for the problems of the American century of war and

in Gender and warfare in the twentieth century
Pascale Drouet

Bolingbroke and Coriolanus each set in motion a ‘war machine’ with the respective results that have been pointed out. Other characters, also victims of abusive banishment, do not take part in such a dynamic of riposte; rather, they find another way of expressing their feelings of injustice, trying to sublimate their temptation to be revenged. Sometimes violence does erupt, but it is channelled away

in Shakespeare and the denial of territory
On the cultural afterlife of the war dead
Elisabeth Bronfen

At the end of his remarkable elegiac poem in praise of war, ‘1914’, Rupert Brooke expresses the wish that, ‘If I should die, think only this of me:/That there’s some corner of a foreign field/That is for ever England’ (Roberts, 1996 : 71). On first view, this image of a soldier’s grave seems to have little to do with gothic sensibility. Yet

in Monstrous media/spectral subjects