A 'corpse-conversion' Factory

A 'corpse-conversion' Factory
Author:
Publisher:
Total Pages: 4
Release: 1917*
Genre: World War, 1914-1918
ISBN:

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The Corpse Factory

The Corpse Factory
Author:
Publisher:
Total Pages: 96
Release: 1977
Genre: Horror tales, American
ISBN:

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In a Strange Room

In a Strange Room
Author: David Sherman
Publisher: Oxford University Press
Total Pages: 290
Release: 2014-03-10
Genre: Literary Criticism
ISBN: 0199333890

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Literary modernism emerged as death, stripped in the developing world of traditional meanings and practices, became strange. The sea-change over the first part of the twentieth century in how people died and tended corpses-the modernization of death-was a crucial context in which modernist writers developed their new novelistic and poetic techniques. They sought ways to renovate mortal obligations in an age of the obsolescence of the dead. For many years, the flesh-and-blood body has been a central protagonist in literary scholarship--the body in pain, the body as spectacle and performance, embodiments of social identity--but the body in its mortality, as corpse, has not received sustained critical attention. Filling this gap, In a Strange Room investigates modernism's preoccupation with corpses, death rituals, and the ethical demands the dead make on the living who survive them. Informed by insights from psychology, anthropology, political theory, and philosophy, David Sherman shows how modernist aesthetics sought to re-animate the complex meanings and values of dead bodies during an era of their efficient, medical administration and hygienic disposal. The modernist imagination reckoned with the processes by which the modern corpse became a secularized object increasingly subject to scientific inquiry, governmental regulation, specialized medical technologies, and new forms of market exchange. Chapters explore representations of state power over the war dead in Virginia Woolf and Wilfred Owen, the narrative problem of the unburied corpse in As I Lay Dying and Ulysses, mortal obligation as erotic desire in Eliot's The Waste Land and Djuna Barnes's Nightwood, and mortuary pedagogies embedded in elegies by Wallace Stevens and William Carlos Williams. Gathering examples from fiction, poetry, and the visual arts, In a Strange Room considers the changing relationship between aesthetics and mortality during the first half of the twentieth century. New attitudes toward dying and dead bodies demanded modernism's strange, bracing ways of representing ethics at the limits of life.

The Best of Fragments from France

The Best of Fragments from France
Author: Bruce Bairnsfather
Publisher: Casemate Publishers
Total Pages: 313
Release: 2010-06-15
Genre: History
ISBN: 1781598681

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"Bruce Bairnsfather (BB) was the most famous cartoonist of the First World War and his soldier characters Old Bill, Bert and Alf, faced with sardonic good humor everything that the Germans, the mud and their officers could throw at them. However, Bruce (known by some as The Man Who Won the War) never received the acclaim that he deserved for the morale boost that his cartoons gave to the troops at the front and to the people back at home. The 50th Anniversary of Bairnsfathers death on 29 September 2009 offered an opportunity to redress the balance, and acknowledging it in combination with raising funds for Help for Heroes (H4H) seemed to be most appropriate.The cartoons reproduced in this collection were originally drawn for The Bystander, a popular weekly magazine, in which they appeared each Tuesday throughout most of the Great War. Their effect on the public was totally unexpected, and so dramatic that Bystander sales soared. The organization, with unerring good judgement, decided it had a winner in Bairnsfather, and published the first 43 of his cartoons in an anthology. It was produced in February 1916, given the name Fragments from France and sold for 1s. On the front cover was a colored print of The Better Ole which soon became, and was to remain, the most loved of all Bairnsfathers cartoons. The authors own the original. Sales quickly reached a quarter of a million and a second anthology was published, More Fragments from France. It was described on the title page as Vol II and the price was still 1s. The cartoon on the cover was 'What time do they feed the sea lions'?In this volume The Bystander launched the first of a series of imaginative marketing exercises, similar to modern promotional methods. The full extent of the proliferation of the cartoons on all manner of products, from playing cards to pottery, is described in our Bairnsfather biography. Soon Still More Fragments from France were clamored for, and, with an eye to the future, the booklet was labeled No. 3 on the cover, Vol III on the title page. The success of the Fragments magazines was such that edition followed edition in rapid succession and at least eleven editions were published. The covers retained the same cartoon but were reproduced in different colors, both of board and ink green, blue, red, grey, fawn and mauve. In America Putnams issued Nos. I-IV as one volume and parts V and VI separately. Various hard and leather-bound collections were offered for sale by The Bystander, and the drawings were sold separately as prints and Portfolios for framing. They were also printed in color as giveaways for Answers magazine. Leafing through these pages, the reader will soon understand their tremendous popularity and success which have withstood the test of time."

Journal

Journal
Author: Military Service Institution of the United States
Publisher:
Total Pages: 456
Release: 1917
Genre:
ISBN:

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"A Problem from Hell"

Author: Samantha Power
Publisher: Basic Books
Total Pages: 573
Release: 2013-05-14
Genre: History
ISBN: 0465050891

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From former UN Ambassador and author of the New York Times bestseller The Education of an Idealist Samantha Power, the Pulitzer Prize-winning book on America's repeated failure to stop genocides around the world In her prizewinning examination of the last century of American history, Samantha Power asks the haunting question: Why do American leaders who vow "never again" repeatedly fail to stop genocide? Power, a professor at the Harvard Kennedy School and the former US Ambassador to the United Nations, draws upon exclusive interviews with Washington's top policymakers, thousands of declassified documents, and her own reporting from modern killing fields to provide the answer. "A Problem from Hell" shows how decent Americans inside and outside government refused to get involved despite chilling warnings, and tells the stories of the courageous Americans who risked their careers and lives in an effort to get the United States to act. A modern classic and "an angry, brilliant, fiercely useful, absolutely essential book" (New Republic), "A Problem from Hell" has forever reshaped debates about American foreign policy. Winner of the Pulitzer Prize Winner of the Robert F. Kennedy Book Award Winner of the National Book Critics Circle Award Winner of the J. Anthony Lukas Book Prize Winner of the Anisfield-Wolf Book Award Winner of the Raphael Lemkin Award

Myths and Legends of the First World War

Myths and Legends of the First World War
Author: James Hayward
Publisher: The History Press
Total Pages: 245
Release: 2011-11-08
Genre: History
ISBN: 0752476300

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During the First World War, a rich crop of legends sprouted from the battlefields and grew with such ferocity that many still excite controversy today. This book is the first to examine the roots of those stories and reveal the truth. Some myths remain well-known. Did an entire battalion of the Norfolk Regiment vanish without trace at Gallipoli in 1915? Did thousands of Russian troops actually pass through England with snow on their boots? In 1914, an acute spy mania gripped the British public, who imagined that the country was brimming with German spies. Xenophobia, denunciations and attacks on dachshunds were rampant. Amazingly, there was even talk of enemy aircraft dropping poisoned sweets to kill British children. Myths such as the Angel of Mons and the Comrade in White were more innocent creations. With no radio or television, rumours of disaster were rife, and the apparition of mystical guardian spirits gave hope to the civilian population at home. Other stories, such as the so-called Crucified Canadian, and the existence of a gruesome German corpse rendering factory, were more sinister. Yet in an age of new and startling technologies such as poison gas, submarine warfare and the tank, such tales appeared believable. Using a wide range of contemporary sources, James Hayward traces the story of each myth and examines the likely explanation. Supported by a selection of rare photographs and illustrations, the result is a refreshingly different perspective on the common ‘mud and trenches’ view of the First World War, shedding fascinating new light on many curious and unexplained wartime tales.

Reporting from the Front

Reporting from the Front
Author: Brian Best
Publisher: Pen and Sword
Total Pages: 346
Release: 2014-11-30
Genre: History
ISBN: 1473842743

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When the war was declared in August 1914, one of the first acts to be implemented by the politicians and military was a strict censorship on the newspapers. As the poacher turned gamekeeper, Winston Churchill said: The war is going to be fought in a fog and the best place for correspondence about the war is London, The military sought to have one of their officers, dubbed “Eyewitness”, to be the official spokesman to enable them to control what the newspapers could print. In the early stages of the war, there were many reporters on the Continent who were evading military arrest and sending back reports about the reality of the situation. Several volunteered with the various ambulance services just to disguise their real purpose, but all were eventually banished. Having finally cleared all reporters from fighting area, the military was persuaded to allow a small number of accredited war reporters to be chaperoned around the battle fronts. They were closely watched and their reports thoroughly scrutinised, until they eventually became almost a part of the Headquarters hierarchy. Later, diaries and letters revealed how many of them really felt and they had to bear the post-war shame of not writing the truth. The Western Front was not the only front in this world war. Reporters found censorship less rigidly applied on the Eastern Front, Palestine and Italy. One correspondent, whose reports famously brought about the sacking of the campaign commander and the ending of the fruitless and bloody Gallipoli Expedition, bravely broke ranks and was finished as a war reporter. War reporting was not confined to print. The emergence of photographers and cinematographers on the battlefield has left us with an extraordinary record. Unlike their writing brothers, the photographers could get close to the action and shoot what they liked. The resultant film was, of course, censored but thankfully nothing was discarded and museum archives are full of their stunning work. Having been the pre-war stars of their newspapers, the war reporters experienced a post-war wave of anger and cynicism which took years to overcome.

War Photography

War Photography
Author: John Taylor
Publisher: Routledge
Total Pages: 276
Release: 2020-12-22
Genre: History
ISBN: 100025934X

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What makes news patriotic? How is photojournalism used in wartime? In a national crisis, the press operates under various forms of censorship. Within these constraints, it continues to produce news in line with what is considered newsworthy. Everyday ‘human interest’ photographs and stories, which tell of bizarre, comic or tragic events, are turned to patriotic ends. The subject of death is transformed by its use in saving the nation; it is accompanied and displaced by more comforting ideas. Originally published in 1991, with the help of full-page illustrations from newspapers and journals, John Taylor looks at the special truth of war news, how it is built on established ways of storytelling, and how photography is used to make it seem real. Taking examples from the First and Second World Wars, the Falklands campaign and present-day accounts of terrorism and crime within the United Kingdom, Taylor shows that aside from legal controls, the press’s own methods bring it close to the official perspective. Drawing on history, sociology and photo-history, War Photography is a well-illustrated account of the place of photojournalism in the news industry and the use of news in creating national identity.