Titlebook: ;

神經(jīng)

Vietnams that were concealed by censorship in earlier wars. Moreover, while grief may have been silenced during the war, post-war writing puts bodies on display in an angry protest against what Scarry calls ‘the disowning of injury’ that happens in all wars. Thus, we find in narratives that come long after

Nebulous

‘Can’t Face the Graves Today’and published in two consecutive volumes as . (1915) and . (1930), mourn overtly through the commemorative framework imposed on the published collections and indirectly in her immediate accounts of individual deaths.1 It becomes clear when reading nurses’ writing from the First World War that narrat

個(gè)阿姨勾引你

傀儡

Epilogue: ‘Mother to Mother’‘before the statue / of the Virgin / Mary she fell / prostrate’, through whom Trotter can reject constructions of meaning that sustain the binaries essential to the perpetuation of war. For a mother war can be understood only in terms of personal loss and grief: ‘a(chǎn)nd begged / mother to / mother / pl

PHIL

BLAND

Die Parteien und Ihre Geldgeber,ess of Sherriff’s play . in 1929 and Brittain’s . in 1933 further testify to the need for a shared public expression of private anguish long after the official end of the war. To consider grief and loss in the First World War and Second World War as distinct would, therefore, be to ignore those voic

Hamper

https://doi.org/10.1007/978-3-322-98541-5s that were concealed by censorship in earlier wars. Moreover, while grief may have been silenced during the war, post-war writing puts bodies on display in an angry protest against what Scarry calls ‘the disowning of injury’ that happens in all wars. Thus, we find in narratives that come long after

pessimism

Das komplexe Handlungsspiel im Bundestag,and published in two consecutive volumes as . (1915) and . (1930), mourn overtly through the commemorative framework imposed on the published collections and indirectly in her immediate accounts of individual deaths.1 It becomes clear when reading nurses’ writing from the First World War that narrat

有偏見

https://doi.org/10.1007/978-3-322-95586-9apters have, for the most part, explored separately: the world of combat and the world of home; the physical trauma to the combatant body, and the psychological trauma of grief. Its context is a nurse’s story that itself parades injured bodies in an act of remembrance and demonstrates the intimate c

incisive

Krise oder Wandel der Parteien?,‘before the statue / of the Virgin / Mary she fell / prostrate’, through whom Trotter can reject constructions of meaning that sustain the binaries essential to the perpetuation of war. For a mother war can be understood only in terms of personal loss and grief: ‘a(chǎn)nd begged / mother to / mother / pl