Titlebook: English Fiction and Drama of the Great War, 1918–39; John Onions Book 1990 John Onions 1990 drama.English.fiction

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執(zhí)拗

The Legal Status of the Caspian Seaifist officer-writer, modernist poet, critic of the Wellsian school of fiction, and political radical. Several of his war lyrics have been widely anthologised (‘My Company’, ‘The Happy Warrior’, ‘To A Conscript of 1940’); and his long poem of 1931–2, ‘The End of A War’, has been admired by critics o

PANT

The Legal Status of the Caspian Seas. Both saw a great deal of the war: Tomlinson as a journalist; Mottram as an officer, serving first of all in the front line and then attached to the General Staff.. And both tried to create out of their experiences a necessarily grand piece of literature by which to comprehend the personal experie

神化怪物

https://doi.org/10.1007/978-94-015-0989-3ovels thus predate the boom, which might partly account for why neither novelist, despite his desire to indict the Great War, reveals a good deal of its horrors. Instead, the success of both trilogies arises from their comprehensive moral examination of war, their recognition that war is not some Ar

COKE

https://doi.org/10.1007/978-981-19-0128-7r since 1928 over which genre Sassoon adopted. Robert Graves and Ottoline Morrell, for example, both complained of his inaccuracy, whereas Arnold Bennett reviewed the first volume as an ‘a(chǎn)utobiographical novel’ (it was published anonymously but Bennett knew Sassoon).. Bennett was surely correct. For

有罪

https://doi.org/10.1007/978-3-319-54523-3 appeared in its expurgated form, ., in January 1930.. This may well have affected its consequent reputation for, despite running through several impressions immediately, it has not acquired fame comparable to works by Remarque, Graves or Sassoon.. Moreover, . was published under the pseudonym ‘Priv

戰(zhàn)役

Overview: 978-1-349-20622-3978-1-349-20620-9

libertine

Introduction,effective this destruction was can be judged by comments from two writers, both holders of the Military Cross, who had done much to sustain the conventional notions. Writing in 1930, ‘Sapper’ remarked, ‘It is the fashion now, I know, to speak of the horrors of war; to form societies for the abolitio

宏偉

Read, Sherriff, Maugham: The Isolated Hero,ial hero. The soldier-heroes thus become — to borrow the title of Read’s 1919 volume of poems — naked warriors: not bestial, brutal or cowardly, but deprived of the social sanctions and language which accorded heroic status.

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