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Death and destruction of the body in war
Lucy Noakes

• 5 • Dying Death and destruction of the body in war Introduction: the body at war In her seminal work The Body in Pain, Elaine Scarry argues that ‘the main purpose and outcome of war is injuring’; it is injuring and killing more of the enemy than the enemy are able to injure or kill that, she concludes, fundamentally separates warfare from other forms of human competition.1 The aim of injuring and killing the enemy, imagined in modern, total war to include civilians alongside mobilised combatants, was certainly fully realised in the Second World War. People

in Dying for the nation
Death, grief and bereavement in Second World War Britain
Author: Lucy Noakes

This book places death squarely at the centre of war. Focused on Second World War Britain, it draws on a range of public and private sources to explore the ways that British people experienced death, grief and bereavement in wartime. It examines the development of the emotional economy within which these experiences took place; the role of the British state in planning for wartime death and managing and memorialising those who died, and the role of the dead in the postwar world. Arguing that cultures of bereavement and the visibility of grief in wartime were shaped by the Great War, the book traces the development of cultures of death grief and bereavement through the first half of the 20th century. Drawing on a wide range of sources, including diaries, letters, memoirs, newspapers, magazines and government papers, it considers civilian death in war alongside military death, and examines the ways that gender, class and region shaped death, grief and bereavement for the British in war.

The Spanish Civil War in cinema
Author: David Archibald

This book charts the changing nature of cinematic depictions of the Spanish Civil War. In 1936, a significant number of artists, filmmakers and writers – from George Orwell and Pablo Picasso to Joris Ivens and Joan Miró – rallied to support the country's democratically elected Republican government. The arts have played an important role in shaping popular understandings of the Spanish Civil War, and the book examines the specific role cinema has played in this process. Its focus is on fictional feature films produced within Spain and beyond its borders between the 1940s and the early years of the twenty-first century – including Hollywood blockbusters, East European films, the work of the avant garde in Paris and films produced under Franco's censorial dictatorship.

Open Access (free)
Cas Mudde

chap2 28/5/02 13.31 Page 31 2 Die Republikaner The ups and downs of a discorded party While the NPD was slipping further and further into oblivion in the 1980s, dissatisfaction was building up on the right of the Union parties. Their open support for the process of European integration and hidden support for (or at least acceptance of) the so-called Ostpolitik, the normalisation of relations with the communist states initiated by former SPD premier Willy Brandt, led to much criticism in as well as outside the parties. Originally, the protest was voiced

in The ideology of the extreme right
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The disposal of the war’s dead
Lucy Noakes

political rupture and historical change. This political work is also emotional: the body of the Unknown Warrior, returned to Britain and buried in Westminster Abbey on • 155 • Dying for the nation Armistice Day 1920, acted both as an emblem of the value the British Empire attributed to the dead of war, but also as the focus for an outpouring of grief, when numerous women, whose sons and lovers were lost on the battlefields, claimed the body as their own.4 The bodies of the dead thus have value. They maintain an emotional value for the bereaved, for whom the rituals that

in Dying for the nation
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Death, grief and bereavement in wartime Britain
Lucy Noakes

all its losses and heartaches. Like so many others, her sons had died for the nation. Now her grief had to work for the national war effort. Yet a closer reading of Mrs Lane’s interview in the News Chronicle does tell us more of the impact of wartime loss. While her sons may have been dead, their presence was still visible in her home. The interview took place in her Hampstead flat, next to ‘a sideboard covered with photographs and snapshots of “the boys”’. The ongoing emotional labour of grief, and Mrs Lane’s daily struggle with her loss, also became clear in her

in Dying for the nation
The role of law
Mary Donnelly

15 Patient-­centred dying: the role of law Mary Donnelly Death is not the opposite of life, but a part of it. Haruki Murakami, Blind Willow, Sleeping Woman: 24 Stories Introduction The way we die is a fundamental part of our life story. Yet, most of us dedicate little time to thinking about how we want to die (McCarthy et al., 2010). It seems inevitable in contemporary Ireland that the law will play an increased role in decisions about the end of life. There are several reasons for this. Ongoing technological development and increased medical knowledge

in Ethical and legal debates in Irish healthcare
The Crystal Palace monsters in children’s literature, 1854–2001
Melanie Keene

8 Dinosaurs Don’t Die: the Crystal Palace monsters in children’s literature, 1854–2001 Melanie Keene In October 1869, Uppingham School Magazine reported on a troubling event which had regrettably delayed the kick-off for their old boys’ football match. Players attempting to find their way to the pitch in south-east London had been ‘transfixed with terror’, ‘frightened by’ ‘icthyosauri, crocodiles, armadillos, and other amphibious animals’.1 Of course, that day the footballers had not encountered revivified prehistoric beasts themselves, but rather the ‘terrible

in After 1851
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Machen and Stoker
Andrew Smith

This book has explored the transition from writer to reader and how this underpins models of death and dying in the period. As we saw in Chapter 3 , the mid nineteenth century represents the moment when this shift to the reader gains cultural visibility. In part this can be attributed to a post-Romantic critical view of notions of creativity, one that no longer emphasises

in Gothic death 1740–1914
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Eye witnesses
Ida Milne

6 14 7 Dying and surviving: eye witnesses Tommy Christian was a small boy of five when he woke in the middle of the night with a terrible pain in his throat; ninety-​two years later he said ‘you would never forget it’. He spoke of the dispensary doctor coming in his car  –​an ‘old jalopy’  –​to treat his family, who were all ill with influenza, at three in the morning. His memories were so acute that the listener could hear the car pulling out outside the family home in north Kildare. Tommy did not realise at the time that he was part of the biggest disease

in Stacking the coffins