Interpreting Violence on Healthcare in the Early Stage of the South
Sudanese Civil War
Xavier Crombé and Joanna Kuper
On 15 December 2013, only two and a half years after the Republic of South Sudan had
become an independent state, the long-simmering tensions between President Salva
Kiir and his former vice-president, Riek Machar, erupted into armed clashes in the
capital, Juba. War soon broke out. This article seeks to document and analyse
violence affecting the provision of healthcare by Médecins Sans
Frontières (MSF) and its intended
This I feel. A curse. Mother said it more than once, ‘You could be
killed over there, Oliver,’ as if I were incompetent, not man enough
to take care of myself; I hated her motherlove arrogance. Did I listen? Did it make sense? Mothers are cowards. Curses passed down
the vaginal passageways deep to man. True as true can be. I told
her that I didn’t really want to go back to Yale, I was an adventurer,
just like her and went to Vietnam instead. But I wonder what she’ll
say when she finds out about this. My limbs stiffening, waiting in
T HE Cold
War ended dramatically on 26 December 1991 when the collapsed Soviet
Union dissolved itself. Ironically, in late 1991 British forces were
just returning from the war to help liberate Kuwait from Iraqi
occupation, where they had fought with their airpower and heavy metal
very much in Cold War style. It was as if anti-Soviet battle routines
had been transposed out of NATO and tested by the allies in the open
territory around Basra. Britain created a full division for the
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.
This volume takes the metaphorical character of the Cold War seriously and charts how the bomb was used as a symbol for nuclear war at the very heart of this conflict. The contributions consider the historical relevance of the political, cultural and artistic ramifications of nuclear weapons as signifiers for a new type of conflict. Tis understanding of the metaphorical qualities of the Cold War is encapsulated in the notion of an imaginary war, or, more precisely, a war against the imagination. As an attack against the imagination, the nuclear threat forced politicians and ordinary people to accept the notion that preparations for nuclear annihilation would contribute towards peace, and that the existence of these weapons, and the anticipation of large-scale destruction that came with them, were an inescapable corollary of security, freedom and future prosperity on both sides of the Cold war divide.
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.
This book is about understanding how former combatants come home after war, and how their political lives are refracted by the war and the experience of coming home itself. In particular, it captures the political mobilization among former combatants as they come home from three very different types of war: civil war (Colombia), war of independence (Namibia), and interstate war (United States involvement in the Vietnam War). The book provides a much-needed long-term perspective on peace. It also demonstrates the artificial division between literatures across the Global North and Global South, and demonstrates how these literatures speak to each other just as the three cases speak to each other. The novel use of interviews to document life histories and the inside perspective they provide also give a unique insight into the former combatants’ own perspectives on the process of coming home and their sense of political voice. This book is not about peacebuilding in the sense of interventions. Rather, it examines peace as a process through studying the lived experiences of individuals, displaying the dynamics of political mobilization after disarmament across time in the lives of fifty former combatants. The book demonstrates how the process of coming home shapes their political commitment and identity, and how the legacy of war is a powerful reminder in the lives of these former combatants long after the end of the war.
This book undertakes a consideration of the depiction of naval warfare within British and American cinema. The films (ranging from examples from the interwar period, the Second World War, the Cold War and contemporary cinema) encompass all areas of naval operations in war, and highlight varying institutional and aesthetic responses to navies and the sea in popular culture. Examination of the films centres on their similarities to and differences from the conventions of the war genre as described in earlier analyses, and seeks to determine whether the distinctive characteristics of naval film narratives justify their categorisation as a separate genre or sub-genre in popular cinema. The explicit factual bases and drama-documentary style of many key naval films (such as In Which We Serve, They Were Expendable and Das Boot) also require a consideration of them as texts for popular historical transmission. Their frequent reinforcement of establishment views of the past, which derives from their conservative ideological position towards national and naval culture, makes these films key texts for the consideration of national cinemas as purveyors of contemporary history as popularly conceived by filmmakers and received by audiences.
The Korean War in Britain explores the social and cultural impact of the Korean War (1950–53) on Britain. Coming just five years after the ravages of the Second World War, Korea was a deeply unsettling moment in post-war British history. When North Korea invaded South Korea in June 1950, Britons worried about a return to total war and the prospect of atomic warfare. As the war progressed, British people grew uneasy about the conduct of the war. From American ‘germ’ warfare allegations to anxiety over Communist use of ‘brainwashing’, the Korean War precipitated a series of short-lived panics in 1950s Britain. But by the time of its uneasy ceasefire in 1953, the war was becoming increasingly forgotten, with more attention paid to England’s cricket victory at the Ashes than to returning troops. Using Mass Observation surveys, letters, diaries and a wide range of under-explored contemporary material, this book charts the war’s changing position in British popular imagination, from initial anxiety in the summer of 1950 through to growing apathy by the end of the war and into the late-twentieth century. Built around three central concepts – citizenship, selfhood and forgetting – The Korean War in Britain connects a critical moment in Cold War history to post-war Britain, calling for a more integrated approach to Britain’s Cold War past. It explores the war a variety of viewpoints – conscript, POW, protestor and veteran – to offer the first social history of this ‘forgotten war’. It is essential reading for anyone interested in Britain’s post-1945 history.