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The First Aid Nursing Yeomanry in the First World War
Author: Janet Lee

Total war tends to create a situation that falls back on established social and cultural discourses and institutional arrangements at the same time that it provides the opportunity for a shifting and renegotiation of these arrangements. This book explores how the First Aid Nursing Yeomanry (FANY) drew upon, and/or subverted cultural mythologies to make sense of their wartime service. It focuses on this renegotiation of gender and examines seven key themes implicit in this process. The first theme concerns the ways women's military organizations utilized traditional notions of genteel femininity and its accompanying nurturance, cheerfulness and devotion in their promise of service, yet went beyond the parameters of such cultural mythologies. The second focuses on the gendering of military heroism. The third theme addresses the context of female military service in terms of the preparation women received, the opportunities they were given and the risks they took, and focuses on their coping behaviours. Theme four focuses specifically on women's transgression into the masculine terrain of driving and mechanics and shares the ways they developed skills and competencies previously off-limits for women. Such transgressions almost invariably led to women having to negotiate masculine authority and develop skills in autonomy, independence and assertiveness - the focus of theme five. The last two themes discussed in the book address the integration and consolidation of women's organizations as the war progressed and their service became indispensable.

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Andrekos Varnava

: there were equivalents for India, Malaya, South Africa, Canada, Australia and elsewhere. But what is being draped in Cyprus’ case? Aphrodite: an enduring symbol of ancient Greece, which was usurped as a spiritual ancestor and the basis of modern European political culture. The British had occupied a vital part of their own political and cultural mythology. Cyprus’ perceived European identity set it apart

in British Imperialism in Cyprus, 1878–1915
Bruce Woodcock

cultural mythology surrounding the Dog, the Duck and the Mouse, we are little wiser about the Dog and Duck by the close of the novel. Nor are we very certain about other aspects of the fictional scenario like the origins of the Sirkus. This is undoubtedly better than elaborate self-explanation, but it creates its own dissatisfaction in that we feel somewhat short-changed, as if we had been sent on a bit of a wild dog-duck-and-mouse chase, or heard a cock-and-bull story by a master storyteller. It seems Carey’s imagination was fired by the story of Tristan within this

in Peter Carey
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Janet Lee

that narratives mobilize the relationship between individuals and cultural landscapes and there is always some distance between individuals as experiencing subjects and their accounts of this lived experience.12 FANY members drew upon cultural myths to organize their lives and represent their experiences, and their narratives are inevitably expressions of dominant ideologies and cultural mythologies. Their stories are also entangled with the ‘legend’ or collective identity of the FANY organization itself. This is the cultural and socio-political context of their

in War girls
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Technologies, spiritualisms, and modernities
Sas Mays and Neil Matheson

images as well as to both induce and remove feelings and ideas – a phenomenon that finds regular visual expression in areas such as ‘outsider art’.18 The notion of some animating force or spectre returning to haunt technology itself is explored at length in Jeffrey Sconce’s Haunted Media, where he engages with the ‘cultural mythology about the “living quality” of such technologies’ as TV and radio, where the implication is that those technologies ‘are animate and perhaps even sentient’.19 The vitalising force of electricity served to suggest ‘analogies between

in The machine and the ghost
Mikel J. Koven

interpretations of those myths. The idea of ‘universal’ archetypes (as opposed to hypothetical culturally specific archetypes) is deeply reductive, and such reductions tend to be ethnocentrically biased. Lyden continues, ‘mythological approaches tend to ignore historical context and differing specifics of religions, proposing that religious ideas are ahistoric archetypes universally present in the human unconscious’ (33). Just because a pattern may reoccur in two different cultural mythologies that have no contact with one another does not mean their interpretation or

in The Bible onscreen in the new millennium
Matt Qvortrup

had been engaged in peaceful protest. Further, one in ten of the French respondents had been involved in illegal political action. There are undoubtedly cultural reasons for this pattern. The French political scene is shaped by the cultural mythology of mass protest. Protest is integral to the way that French activists see themselves; it is perhaps indicative that two of the most quoted works in in French political philosophy in the twentieth century were George Sorel’s Reflections on Violence (1950) and Albert Camus’s L’homme revolté (1950). The low level of

in The politics of participation
Tereza Kuldova

world must be considered at the same time. 8 As discussed in Chapter 4 , brand narratives, when considered as cultural and ideological forms, can reveal the profoundly global and yet multiply localized cultural mythologies of the present. If we take as our example the ‘ethical sell’, it is clear that the core of its mythology appeals to and is shared by transnational elites and privileged groups across geographical divides. On a global scale and in an increasingly unequal world, only relatively few individuals have the capital and time to indulge in such concerns

in European fashion
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Performance in the contemporary biopic
Dennis Bingham

urge to dramatise actuality. The function of the biopic subject is to deliver the spectator a story. The genre’s charge, which dates back to its salad days in the Hollywood studio era, is to enter the biographical subject into the pantheon of cultural mythology and to show why he or she belongs there. Like any genre that dates back nearly to the beginning of narrative cinema, the biopic has gone through developmental stages

in Genre and performance
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History, belief, and the theatre of enactment
Molly Flynn

that the bathrobe Tania modeled had actually belonged to the playwright’s father, or that Belenitskaia’s mother had in fact been wearing it around the house for the past seven years since the father of her children left her. Nonetheless, the item’s significance both onstage and off contributes to the play’s intermingling of what is real and what is imagined. This indefinite line between Belenitskaia’s biography and that of her onstage alter ego mirrors the uncertain correlation in the play between the historical figure, Pavlik Morozov, and the cultural mythology that

in Witness onstage