Battle Scenes Research Articles

Visual Allusions to the Mexican-American War

The Mexican-American War (1846-48) is often described as the first major war in US history inspired by the idea of Manifest Destiny. The significance of this war, however, has not been matched by a rigorous scrutiny of its representation in contemporary visual culture. This study hopes to contribute to filling this void through an iconological investigation of three American paintings made in the Düsseldorf Academy, by now canonized and perceived as ultimate visual treatments of the topic. The paper first discusses the war and the public debates surrounding it in the US, then turns to the visual scene and introduces how the war was portrayed in various art forms. Next, it touches upon the artistic milieu of the Düsseldorf Academy in preparation for the analysis of the three paintings to follow. The study argues that these images depart from the American tradition of depicting war through concrete battle scenes. Instead, they offer symbolic representations or allusions, approaching the war in terms of morality, political philosophy and its potential social and economic consequences, while also employing ambiguity to urge viewers to contemplate on the implications of the war. In the meanwhile, they seem to express little if any consideration for the impact of the war on Mexico, its culture, and people.

Research on Simulation Technology of Infrared Missile Battle Scene

To provide a battle scene for the semi-physical simulation of infrared missile. Picked the main factors of infrared radiation processing, calculated target and background’s temperature, atmospheric radiation transmission, infrared smoke interference. Performed simulation calculation for ship-type target under battle scene and analyzed the simulation results. Provides support for test design.

Античные источники романа В. Т. Щукина «Красные плащи»: «История Греции» Ксенофонта Афинского

The article is the first in the Russian literary criticism to treat Xenophon of Athens’s “Hellenica” as one of the main sources for V. T. Shchukin’s novel “Red Cloaks”. It is revealed that the modern writer was guided by the work of the ancient author giving an account of the major events of the Greek history from 379 to 362 BC, addressing battle scenes, political events and historical characters. The conclusion is made that Xenophon, being Sparta’s supporter, had described historical events in accordance with his convictions, whereas V. T. Shchukin, directed by the facts the ancient author had related, sought to depict Sparta’s loss of power in Ancient Greece.

THEME "INSURMOUNTABLE PAST” IN RUSSIAN AND FOREIGN LITERATURE OF THE XX CENTURY

article is devoted to theme of past, which is inextricably linked with theme of war. authors of article show how tragedy of war is reflected in personality of a person, regardless of his nationality and historical time, by example of creative work of writers of Russian and foreign literature. In center of attention is novel of V. Grossman (1905-1964) Life and destiny (1988) and works of Gunther Grass (1927 – 2015) Under local anesthesia (1969) and The Trajectory of crab (2002). Turning to work of writers of different generations, different national mentality and different fate, authors of article actualize spiritual and moral problems of literature about war: tragic circumstances of war and their consequences in human life. Such a conceptual and problematic theme allows us to reveal both commonality in its interpretation by Russian and German writers, and originality of position of each. Prose Grossman's war does not contain images of battle scenes, conceptual component of Russian writer includes a philosophical, symbolist, partly religious interpretation of designated theme: war as evil, violence, fratricide, Apocalypse, death of soul. Gunther Grass, using techniques of postmodern narrative, reveals changes in mindset of Germans after Second world war: from a sense of guilt to a sense of irritation and desire for revenge, which leads to silencing, distortion, simplification of history, substitution of concepts of criminal and victim. article builds a convincing logical series in context of stated theme: if Russian writer V. Grossman showed in his novel actually origins and causes of the insurmountable past in man, German writer G. Grass with his works warns of danger of revival of spirit of fascism in modern United Germany. In course of analysis, authors emphasize that in literature of XX century, conflict caused by war does not disappear at end of war itself, and this is one of deepest problems of life and literature of XX century.

Current Bibliography

Current Bibliography Kelli A. Larson [The current bibliography aspires to include all serious contributions to Hemingway scholarship. Given the substantial quantity of significant critical work appearing on Hemingway’s life and writings annually, inconsequential items from the popular press have been omitted to facilitate the distinction of important developments and trends in the field. Annotations for articles appearing in The Hemingway Review have been omitted due to the immediate availability of abstracts introducing each issue. Kelli Larson welcomes your assistance in keeping this feature current. Please send reprints, clippings, and photocopies of articles, as well as notices of new books, directly to Larson at the University of St. Thomas, 333 JRC, 2115 Summit Avenue, St. Paul, MN 55105-1096. E-Mail: Kalarson1@stthomas.edu.] ________ BOOKS Corbacho, Henri-Pierre. A Short Biography of Ernest Hemingway. Carlisle, MA: Benna Books, 2018. [Not Seen. ISBN: 9781944038533] Feldman, Andrew. Ernesto: The Untold Story of Hemingway in Revolutionary Cuba. Brooklyn: Melville House, 2019. [Comprehensive biography of EH’s life in Cuba, covering his initial visit with second wife Pauline Pfeiffer in 1928, move to the fishing village of Cojimar with third wife Martha Gell-horn in 1940, and eventual adoption of the island as his second homeland in later years. Feldman discusses EH’s love for the Cuban people, literary debt to Cojimar’s villagers in the writing of OMS, longtime liaison with Leopoldina Rodriguez, friendships with Cuban writers, neighbors, and fishermen, relationship with Castro, and support of the revolution. Feldman’s examination deftly situates the author and his works (e.g. THHN, OMS, IIS) within the island’s complex and changing political, social, and cultural landscapes, drawing on archives from the Hemingway Museum and Library in Havana and John F. Kennedy Library in Boston, biographies, memoirs, histories, correspondence, and other resources. Features over twenty black-and-white photographs. Includes extensive notes and critical bibliography and helpful index. ] Pisasale, Gene. Hemingway, Cuba and the Great Blue River. La Vergne, TN: IngramSpark, 2018. [Not Seen. ISBN: 9781532333446] Pumfrey, Jamie. Hemingway. Lewis: Ammonite P, 2019. [Relies on visually engaging infographics to tell the story of EH’s life, work, and legacy.] Shams, Ishteyaque. The Novels of Ernest Hemingway: A Critical Study. New Delhi: Atlantic P, 2018. [Not Seen. ISBN: 8126901675] ESSAYS Abd Hussein, Ghufran. “Discovering Eden: Rain, Cats and Women in Hemingway’s Garden.” Gender Studies 17.1 (2018): 57–72. [Covers familiar ground on EH’s four turbulent marriages, sums up the inherent risks of interpreting his iceberg prose, and provides a close reading of “Cat in the Rain,” focusing on gender identity, cat and mirror symbolism, and the theme of repressed desire. Concludes with a brief assessment of the treatment of women and the role of androgyny in GOE.] Ali, Chaker Mohamed Ben. “Reading Hemingway in Algeria.” The Hemingway Review 39.1 (Fall 2019): 128–33. Bannigan, S.P., Michaela Brownell, Megan M. Miller, and Karena Schrempp. “Current Bibliography.” The Hemingway Review 39.1 (Fall 2019): 151–62. Beall, John. “The Dark Humor of Hemingway’s ‘A Way You’ll Never Be.’” Midwestern Miscellany 47 (Spring/Fall 2019): 96–111. [Manuscript study. Beall chronicles EH’s extensive drafting and revision process, contending that the author carefully constructs the opening battle scene with Nick as a rational and detached military analyst to underscore his later manic loss of control, as evidenced in his rambling interior monologues and comedic lecture to the adjutant connecting American troops with plagues of locusts. Contrasts Nick’s comical monologues on locusts in “Big Two-Hearted River” with the sharper and edgier humor of his exchange with the adjutant. Reads the latter story’s conclusion as evidence of Nick’s resilience and ability to move forward despite his wounding.] Betsworth, Leon. “A Café is a Very Different Thing: Hemingway’s Café as Church and Home.” The Hemingway Review 39.1 (Fall 2019): 62–80. Bloom, Harold. “Ernest Hemingway (1899–1961).” The American Canon: Literary Genius from Emerson to Pynchon. Ed. David Mikics. New York: Library of America, 2019. 266–74. [Characterizes EH as an elegiac poet influenced by Walt Whitman’s style and Ralph Waldo Emerson’s vision of self-reliance. Applauds EH’s contributions to the short story genre, identifying...

Coastal Cultures of the Long Nineteenth Century, edited by Matthew Ingleby and Matthew P. M. Kerr

Reviewed by: Coastal Cultures of the Long Nineteenth Century ed. by Matthew Ingleby, Matthew P. M. Kerr Carolyn W. de la L. Oulton (bio) Coastal Cultures of the Long Nineteenth Century, edited by Matthew Ingleby and Matthew P. M. Kerr; pp. xii + 276. Edinburgh: Edinburgh University Press, 2018, £75.00, $110.00. Matthew Ingleby and Matthew P. M. Kerr’s edited collection, Coastal Cultures of the Long Nineteenth Century, is a beautifully illustrated volume. As its title suggests, it is concerned as much with the societies and cultural meanings invested in coastlines as it is with modern beaches and seascapes. Composed of thirteen essays, its scope moves variously toward, over, below, and sometimes away from the sea itself. Interdisciplinary in focus, the volume draws on literature, art history, photography, and museum studies to create new perspectives on modernity, war, imperialism, technology, aesthetics, and the seaside holiday. As such, it makes an important contribution to the burgeoning field of seaside and marine studies. The editors’ introduction achieves that most difficult of tasks, weaving a coherent argument through the essays that follow to show the ways in which each topic contributes to an integrated whole. Its strong awareness of the nineteenth-century coast as “a meeting place where modernity and antiquity could be experienced at once” paves the way for a number of the discussions that follow (21). Provocatively, the book also moves the sea inland, outlining some of the ways in which eighteenth-century panoramas and ephemera “rendered the experience of the coast portable, transportable and available” (7). The sea would be interpreted in new ways as technology advanced; as Kerr shows in his chapter “Developing Fluid: Precision, Vagueness, and Gustave Le Gray’s Photographic Beachscapes,” the controversial method of combination printing in photography blurred the lines still further between creative art and the supposedly objective transmission of authentic views. Moving from entertainment to health, Christiana Payne similarly points out in “A Breath of Fresh Air: Constable and the Coast” that while seascapes function as a reminder of eternity, they can be domesticated for the wellbeing of invalids who are thought to benefit from looking at pictures of the sea. For Sarah Longair in “Seats and Sites of Authority: British Colonial Collecting on the East African Coast,” however, such acts of translation are potentially less benign. Focusing on two chairs now held by the British Museum, she considers what is at stake in acts of appropriation and reinterpretation in the context of imperial power. Notwithstanding its emphasis on the reduction of battle scenes to panoramas, and the [End Page 672] natural life of coastlines to the amateur aquarium, the volume’s introduction registers the complex and contradictory modes in which the coast is purveyed. This sense of multiplicity permeates the collection in different ways. Taken together, the essays are notable not least for the disparate ways in which they figure the sea as ambiguous while contesting or complicating received assumptions about the liminal status of the shore. In “‘Unconscious of her own double appearance’: Fanny Burney’s Brighton,” Leya Landau argues that Burney’s response to Brighton reverses the wider trend whereby the resort’s status as a health resort was overtaken by its fashionable reputation. Burney’s intermittent gaze toward the sea, however, gives “a rare glimpse of the oceanic sublime” that is at odds with her equivocal identification of sea bathing with the sexualized materiality of the body (38). A later essay, Nick Freeman’s “Symons at the Seaside,” examines Symons’s construction of an aesthetic sea through his debt to the painter James Abbott McNeill Whistler. If the voyage to Dieppe figured the sea as “an unfortunate, if occasionally beautiful, obstacle that separated perfidious Albion from an altogether more significant artistic culture” (247), then Symons’s writing shows an increasing tendency “to use the environment as a means of talking about himself” (251). The often uneasy relations in coastal environments are explored from the local to the international level. For James Kneale in “The Battle of Torquay: The Late Victorian Resort as Social Experiment,” “local scandals might become a test of national legislation in even the most decorous coastal sites” (83). The ambiguous application of bylaws in the...

The Great War, communal identity and personal emotions in the fiction of Kazi Nazrul Islam

ABSTRACTThis article examines how Kazi Nazrul Islam, litterateur and musical polymath, references the First World War in his Bengali prose fiction as a means of constructing and asserting both a personal and a communal identity. Nazrul was part of the newly formed 49th Bengalees or the Bengali Double company, which never saw combat and was unceremoniously dissolved after the War. Several of his fictional works written during his posting in Karachi cantonment or immediately after it draw on the War as a matrix for staging a multiply inflected persona with autobiographical overtones. These texts often equate military service for the colonial master with patriotism and evoke an ideal of heroic masculinity for the heroism-starved Bengali. Besides, most of these texts try to inscribe Bengali Muslims into an urbane, middle-class literary space and forge an identity for them within the broader rubric of Bengali or Indian nationalism. But more conspicuously, these texts focus on personal emotions revolving around unrequited love. Even in texts depicting gruesome battle scenes and the rigours of military training, the Great War does not enjoy thematic centrality but serves only to metaphorise or catalyse the protagonist’s amatory tribulations. This article argues that Nazrul’s prose fiction deserves attention because of the way it appropriates and personalises the Great War for emotional self-projection, in dialogue with the more public sentiments of heroic masculinity and patriotism.

THE COMB FROM THE HAYMANOVA MOHYLA AND THE SCYTHIAN MYTH OF A HERO FIGHTING A DRAGON

The article is devoted to the analysis of images on the bone comb from the Haymanova Mohyla mound (IV century BC). The images on it quite fully represent the myth of a Hero fighting a dragon, which is not known from narrative sources.
 The first large plate (the «male» side of the comb) depicts a battle scene with a consistently developing plot: the defeat of one hero — the triumph of the dragon — revenge and the victory of the second hero. It can be assumed that the characters in this scene are Targitaos and Kolaxais, known from the story of Herodotus. These Scythian heroes relate to Iranian Yima (Jamshid) and Θraētaona (Fereydun).
 The goddess is reproduced on the second large plate (the «female» side of the comb). Her iconographic image was borrowed from the ancient Greek Art, but it was perceived by the Scythians, probably as the goddess Api (Άπί), equivalent to the Iranian goddess Aredvi Sura Anahita. The general context of the images suggests that the Scythians were familiar with the Iranian prayers to this goddess with a request to bestow good luck in the fight against hostile creatures.
 The comb was certainly an important ritual and status attribute.

MOUNTED SHOCK COMBAT WITH COUCHED LANCE IN 13TH CENTURY AS DEPICTED IN MINIATURES FROM PIERPONT MORGAN OLD TESTAMENT

У статті розглядається зображення взірцевого рицарського тактичного прийому – таранного бою кушованим списом у одній з найвідоміших візуальних пам’яток рицарської культури середини ХІІІ ст. – манускрипті № MS M.638, відомого як Старий Заповіт Моргана або Біблія Мацейовського, що перебуває зараз на збереженні в бібліотеці Пірпонта Моргана в Нью Йорку. Іконографічна програма пам’ятки містить розбудовану візуальну нарацію біблійних битв, де персонажі Старого Завіту представлені як середньовічні рицарі, екіпіровані та озброєні відповідно технологічного рівня та воєнної моди що панували на Середньовічному Заході в середині ХІІІ ст. В даній роботі проаналізовано кількість, способи та вірогідність зображення таранного бою на рукописних мініатюрах манускрипту MS M.638. Автор приходить до таких висновків. З 32 двох батальних сюжетів манускрипту лише 8 містять зображення таранного бою, що підтверджує ексклюзивність прийому. Всі 8 мініатюр подають зображення індивідуальної, а не колективної таранної атаку що підтверджує висновок Джона Френса про ефективність цього прийому передусім персональних зіткненнях. Програма візуальної нарації мініатюр до дрібних деталей співпадає з батальними повідомленнями текстових нараційних джерел ХІІІ ст. написаних народними мовами і цитованих вище. Таким чином проблема вірогідності Заповіту Моргана як історичного джерела до мілітарних реконструкцій є тісно пов’язаною з вірогідністю усього корпусу таких текстових джерел і не може розглядатися сепаратно. Автентичність цитованих вище текстів, компетентність їх авторів та адресатів у військовій справі не підлягає сумніву, а отже і за мініатюрами Біблії Моргана можна визнати представлення таранного бою адекватне мілітарним реаліям на Середньовічному Заході в ХІІІ ст.

'Postcolonial Inclination' in Migration Narratives to Manchuria at the End of Japanese Imperialism37) - Centered on differences in space representation of Manchuria shown from Continent and Virgin Soil

이 논문에서는 한설야의 『대륙』과 이기영의 『처녀지』에 나타난 ‘탈식민 지향’을 ‘만주’라는 공간의 가능성에서 찾고자 하였다. 『국민신보』에 연재된 한설야의 일본어 소설 『대륙』은 남녀 간 사랑이나 전투 장면 묘사, 스파이 조직의 등장 등과 같은 통속적 요소를 의도적으로 사용하고 있으며 오야마가 중심이 된 애정관계 서사와 하야시가 중심이 된 개척 서사가 병렬적으로 진행되는 구조를 지니고 있다. 오야마를 주인공으로 내세워 전자에 더 집중이 되고 있긴 하지만 어린 시절 만주로 이주하여 만주에 대해 누구보다 잘 이해하고 있는 하야시와 그가 기획한 사업의 성격에 더 주목해볼 필요가 있다. 그 성격이란 ‘대륙’에 바탕을 둔 개조를 말하는 것인데, 이는 당시 만주국의 현실적 상황에 기반한 변화가 아니라 기층 중심의 국제적 연대의 가능성에 초점을 둔 변화를 일컫는 것이다. 이러한 변화가 다른 어느 곳이 아닌 만주이기 때문에 가능하다고 보기 때문에 『대륙』 전반은 만주공간에 대한 긍정의 파토스가 지배적이다. 역경은 좌절의 계기가 되는 것이 아니라 오히려 계속해서 시도하고 변화하는 추진력으로 작용한다. 이기영의 『처녀지』에서 확인할 수 있는 ‘탈식민 지향’은 주인공 남표의 행적에서 찾아볼 수 있다. 그는 조선에도, 만주에도, 또 만주의 신경이나 정안둔 그 어디에서도 정주할 수 없는 경계인으로서, 구도자적 행보를 계속하며 자신이 거쳐온 장소와 자신과 관계 맺은 사람들을 원경화(遠景化)한다. 이러한 남표의 행적은 ‘물질’을 거부하는 그의 ‘정신’ 지향을 보여주는 것이며, 동시에 ‘물질’과 단절된 자신의 결백을 주장하는 행로이다. 전향 사회주의자로 추측할 수 있는 인물을 통해 만주에서 펼쳐보이고자 한 이기영의 ‘탈식민 지향’은 이처럼 한 작중 인물의 무의식적 층위에서나 확인할 수 있을 정도이지만 그 파토스는 두 주요 인물을 죽음으로 몰아갈 만큼 비극적이며 강렬하다. 구도자의 비극적 죽음은 강렬한 파토스를 남기며 그가 서 있는 무대의 현실적 시공간성을 무화시킨다. 그렇기 때문에 이기영의 『처녀지』가 만주의 조선인 개척민 마을을 배경으로 하면서 아편중독자나 페스트와 같은 당시 실재했던 소재를 활용하고 있음에도 불구하고 현실적 생활 공간으로서의 만주는 원경화될 수밖에 없다. 정도의 차이는 있지만 주변부 이주 공간인 만주를 통해 어떠한 층위로든 ‘탈식민 지향’이 표출될 수밖에 없는데, 그 파토스는 『대륙』과 『처녀지』 두 작품에서 정반대의 정조(情調)를 보이고 있다.This paper aimed to find out Postcolonial Inclination in 『Continent』 by Han Seol Ya and 『Virgin Soil』 by Lee Ki Yeong from potentials of a space Manchuria . Han Seol Ya s novel 『Continent』 in Japanese serialized in 『Kukmin Shinbo』 uses intentionally conventional elements including description of love between man and woman and of battle scenes, appearance of a spy ring and has a parallel structure of a romantic relational narrative centered on Oyama and a pioneering narrative centered on Hayashi. Though it focuses more on the former since Oyama plays a main character, it is needed to pay more attention to Hayashi who emigrated to Manchuria when young so understands Manchuria better than anyone else and to the character of the undertaking he planned. Such a character refers to reorganization based on the Continent , meaning not a change grounded in a realistic situation of those days Manchukuo but a change focused on potentials for substratum-centered international solidarity. Since such a change is regarded to be possible because it is Manchuria, not anywhere else, pathos of positivity for the space of Manchuria is dominant in the first half of 『Continent』. Adversity not presents a possibility of frustration but acts as momentum for making an attempt and changing continually. Postcolonial Inclination shown from 『Virgin Soil』 by Lee Ki Yeong may be identified from a trace of life of a hero, Nampyo. As a marginal man who can settle down neither in Joseon nor in Manchuria, and also neither in Xinjing nor in Jeongandun of Manchuria, he is constantly walking the path of a truth-seeker and makes places where he has been and people who have a relation with him kind of a distant view. His trace of life is the thing showing his orientation toward Soul which denies Material and at the same time it is a path for protesting his innocence, who was broken off from Material . As such, even though Lee Ki Yeong s Postcolonial Orientation he wanted to spread in Manchuria through the character who can be assumed as a converted socialist may be identified only from unconscious layer of the character, its pathos is tragic and intense enough to lead both main characters to death. The tragic death of the truth-seeker leaves intense pathos and leads realistic space-time of a stage where he is standing to nihility. Hence, though 『Virgin Soil』 by Lee Ki Yeong sets in a Manchurian village of Joseon setters and uses subjects which existed in those days like an opium addict or pest. Manchuria as a realistic space for living is forced to be a distant view. Through Manchuria, a marginal migration space, Postcolonial Orientation is forced to be expressed to any layer in a greater or lesser degree and its pathos shows opposing sentiments in both works 『Continent』 and 『Virgin Soil』.

Visualising Tamerlane: History and its Image

ABSTRACTThe creation of Timur’s kingly image was the work of his chroniclers and in particular the achievement of ‘Ali Yazdi, whose literary masterpiece, the Zafarnama (“Book of Victory”), was commissioned by Timur’s grandson, Ibrahim-Sultan, prince governor of Shiraz in southern Persia (r. 1415–1435). Yazdi’s work became a byword for rhetorical elegance and was reproduced in many tens of manuscripts; some of these, including the first known copy, dated 1436, were illustrated. Within the corpus of illustrated manuscripts and the paintings they contain, I differentiate between royal or court commissions, such as those produced for Timur’s descendants, and provincial or commercial ones produced in the next century, and the effect this may have had on the choice of scenes to illustrate. Among these, it is helpful to distinguish between “generic” scenes of battle, single combats, hunting and the ruler’s court, and specific scenes of particular events, often found in a unique image, and their relationship with the written text. While these illustrations cannot be viewed as visual sources for the history of the events they depict, they can be regarded as evidence of how Timur’s career was perceived and understood by subsequent generations.

Образ защитника веры и отечества в повестях Азовского цикла

The traditional and original features of the plot structure and the system of images of the cycle of stories about the conquest of the Turkish fortress of Azov by the Zaporozhye Cossacks in 1637 and about their "sitting" under siege in 1641 are investigated. An analysis of the texts showed that they are characterized by an even greater addiction to digital data on the number of enemy troops and to detailed technical information about their weapons than for military texts of Old Russian literature. Observations of the texts showed that the battle scenes, key for the military story, and, first of all, the fights, are much less introduced in the narratives, and they practically do not mention battles using cold arms traditional for the military narrative. The differences in the system of images of the Azov stories (Cossacks and their enemies) from the old Russian military stories in the characteristics of events, details of military life and battle scenes are considered. It was established that the authors of the Azov novels set as their goal the creation of a biased fictionalized narrative in which real facts were freely interpreted, combined with folklore motifs, with a few lexical and situational formulas of military narratives and fictional episodes.

King John by William Shakespeare

Reviewed by: King Johnby William Shakespeare Tamar LeRoy King John. By William Shakespeare. Directed by Aaron Posner. Folger Shakespeare Theater. 10 23- 12 2018. This production of King John(dir. by Aaron Posner) opens on a nearly bare stage centered by a wooden throne. The boards composing the throne are sharpened at the top to points that evoke, at once, the battlements of a castle, the walls of a city, and a medieval war-machine. Above the throne an oversized wrought iron crown, also severe and martial in appearance, is suspended from the ceiling and hangs slightly ajar. These details of the stage setting mesh well with the play's theme of the precarities of dynastic succession in a war-obsessed medieval Europe. The sparseness and lack of ornament suggest an atmosphere in which the constant alarms of war supplant softer concerns, and the ambiguously nineteenth-century or Edwardian costuming suggests that the world of the play extends far beyond the medieval past. As this is a play of Shakespeare's that is now seldom performed, it is very welcome that at the start of this performance, the actors explain their roles and a brief run-down of historical context starting with the yellow flower associated with the Plantagenet name (and worn as a nosegay by the Plantagenet line on stage to differentiate them from the enemy). This added section at the beginning sets the tone for the mix of humor, cruelty, and pathos that suffuses this production. Although this production mostly follows Shakespeare's script, in the two battle scenes, familiar war-themed phrases and exclamations from other Shakespeare plays are added, such as "unto the breach" from Henry V. For these battles, the stage lighting is darkened except for glaring lights that resemble floodlights that are shined onto the audience from the stage. The participants of the battle yell phrases from other Shakespeare plays to create a sense of the disorder and chaos of the field, and the affect is unsettling and partly satirical. The phrase "unto the breach," for instance, which refers in siege warfare to the initial wave of soldiers that would enter a breach made in the wall of besieged defensive architecture, has complicated associations (Cahill, 4-6). The full exclamation from Henry V, made by the king to his troops, is "Once more unto the breach, dear friends, once more, / Or close the wall up with our English dead" (Cahill, 4). Patricia Cahill suggests that while this "seems to posit a choice between two actions"—courageously mounting the breach or "certain death"—actually "the lines articulate only one possibility and only one very grim outcome" (Cahill, 5). The phrase was also picked up in twentieth-century wartime propaganda, as the Fall 2018 exhibit at the [End Page 117]Folger, Churchill's Shakespeare, points out. In the glee the nobles in the performance take in shouting these rousing phrases, one detects a hint of Blackadder-esque satire. Perhaps recalling the use of travestiroles in the eighteenth century, two major male roles—the Bastard (illegitimate son of Richard Coeur de Lion) and the young prince Arthur—are played by actresses in this performance. These two cross-dressed roles are played seriously and are notably not sexualized, giving them wider interpretive range. The awareness that Arthur, for instance, is played by an adult actress shows the complexity of the role. Arthur's playful games and banter with Hubert (when Hubert is tasked with slaying the child) functions on multiple levels; his banter comes off as innocent play while also amounting to a more mature navigation of a treacherous emotional landscape. And the cross-dressed performance of the Bastard especially fits with this character's ability to attach himself to the nobility but also stand outside their entrenched perspectives, to serve as both commentator and participant to the conflicts in the play. His airy, ironic, and self-possessed quality (since he is illegitimate and ambiguously gendered) fits with his attachment to England in the abstract over personal aggrandizement, or "that sly devil … Commodity, the bias of the world" (Shakespeare, 2.1.594; 602). The Bastard's cross-gendered embodiment reiterates this, making him seem less weighed...

The Early Period of the Napoleonic Wars through the Eyes of Artist and Military Man Louis-François Lejeune

This article analyses paintings by artist and Napoleonic general L.-F. Lejeune (1775–1848) as a historical source reflecting the period between 1796 and 1800. In 2012, there was a personal exhibition of the painter in Versailles, which presented the works stored in the museum and in a private collection of the artist’s descendants. A detailed catalogue was published following the exhibition. There are no special works published in Russia devoted to the artist. Meanwhile, the works of Lejeune are of great interest because he was not only an artist, but also a general, an eyewitness and a participant of all the military campaigns of the Napoleonic era. The first painting where his talent of an artist and historiographer manifested itself was The Battle of Marengo exhibited in the Salon of 1801. It was followed by a number of his works, i.e. The Battle of Lodi , The Battle of Mount Tabor , The Battle of Abukir , and The Battle of the Pyramids . All these paintings are stored in the Palace of Versailles. This article analyses these paintings reflecting the early period of the Napoleonic Wars. The authors interpret the paintings and explore their correspondence to the realities and the spirit of the time, based on the memoirs of the artist and documents of the time. A distinctive feature of Lejeune’s painting was the combination of different battle scenes in a single canvas, which resembles mediaeval miniatures. Nevertheless, this fact did not affect the reliability of his canvases, which are valuable documents on the history of the Napoleonic Wars.

Российская история эпохи Просвещения в образах и эмблемах

Russian thinkers of the Enlightenment were sure that historical memory may be fixed both in texts and in visual images, therefore they assigned great importance to visualising the events of the past. Historical works formulated the logic of the development of events and depicted the image of the “glorious past” in historical painting, theatrical productions and ideological decor. Historical records were often filled with pictorial descriptions of characters or events, and also contained expressive frontispieces, illustrations, images of genealogical trees, emblems, etc. Such historians as M. V. Lomonosov, or N. M. Karamzin believed that the key events of Russian history should be reflected in painting, and they created original programs for that purpose. In “The ideas for pictural paintings from Russian history” Lomonosov proposes to monumentalise dozens of events in Russian history from the Conversion of Russia to Christianity to the modern times. The “History of the Russian State” by N. M. Karamzin was full of descriptions. It is probable that the graphic descriptions of historical characters made the “History of the Russian State” so popular. In this work Karamzin presented not only the logic of the development of events but also the successive pictures describing them. While reading his record of history, we can “see” the expressions of the characters’ faces, their costumes, the battle scenes. Historical emblems expressed historiosophical archetypes and played an extremely important role in the historical policy of the state, as well as in the construction of cultural memory. Academic historical painting of the 19th century followed as a direct consequence of the visualised “histories” of the Enlightenment and often developed the plots and stereotypes they formed. Historical emblems laid the foundation for various projects of “monumental propaganda” and ideological campaigns in the form of triumphal gates’ decorations, fireworks and other official objects designed to embody the state ideology.

A Support System for Designing Camera Blocking of Battle Scenes in Robot Anime

A Support System for Designing Camera Blocking of Battle Scenes in Robot Anime

The Culture of Fear in World War One

The Culture of Fear in World War One Mark Whalan (bio) W. Scott Poole. Wasteland: The Great War and the Origins of Modern Horror. Berkeley: Counterpoint, 2018. 304pp. Notes. $26. Zachary Smith. Age of Fear: Othering and American Identity During World War I. Baltimore: Johns Hopkins University Press, 2019. xi + 233pp. Notes, bibliography, index. $59.95. In 1917 the pioneering American film director D.W. Griffith visited the Belgian town of Ypres on the Western Front to conduct research for his movie Hearts of the World after being given exceptional access to the lines by British authorities eager to harness his skills for propaganda purposes. Despite receiving license to film whatever he wished, what he found was perplexing. The battlefield was "too colossal to be dramatic," he later complained, its human figures "hidden away in ditches" leaving "literally nothing that meets the eye but an aching desolation of nothingness." "You might as well try to describe the ocean or the Milky Way," he lamented.1 Despite being the most famous and innovative creator of war movies in the era—a reputation staked on the Civil War battle scenes in The Birth of a Nation—Griffith admitted defeat and recreated his own more camera-friendly version of the trenches on Salisbury Plain instead. Griffith is a marginal figure in the two books discussed here, but his response to the war was indicative of a broader cultural impasse. The industrial, technological, and tactical innovations of World War One posed unprecedented challenges not just for the politicians, military commanders, and populations that prosecuted it, but also for the cultural apparatus the West had available for representing and understanding war. Few events in history have been seen as having such an immediate and wide-ranging impact on cultural imaginaries across media and genre; there is a huge body of scholarship examining the war's impact on the modernist movement, for example, or how it transformed memorial architecture and commemorative practice. Yet the authors of these two books have traced the war's relation to another less-acknowledged twentieth-century cultural legacy, to a phenomenon often simultaneously psychological, political, and aesthetic—fear. In Wasteland, W. Scott Poole suggests the Great War gave birth [End Page 613] to modern traditions of horror, a genre that flourished after 1918 across the West in much visual and literary media; it catered to populations reeling from the events of 1914–18 through developing a set of classic iconographies and dramatic situations that powerfully evoked and channeled the embodied and psychological experiences of the conflict. Zachary Smith's more historically focused Age of Fear examines how fear of a German racial and/or religious other in the United States saturated the political rhetoric, religious ideology, and popular culture of the war, a discourse that framed conflict with Germany less as a selfless and idealist battle to make the world safe for democracy and more as an existential struggle to stave off racial annihilation. Both authors locate the extensive twentieth-century legacies of the politics of fear that developed in World War One; and while they are clear that fear does not inevitably tend in one political direction, both are forthright about its hospitability to absolutist, authoritarian governance and its centrality to some of the twentieth and twenty-first centuries' darkest moments. For Poole, what World War One munitions did to the human body (and bodies) was the source of much of the horror genre that flourished in its aftermath, especially in German expressionist cinema in the 1920s and early 30s and then in the "Universal Horror" classics of Hollywood in the 1930s. Revenant armies of the dead, monsters stitched together from multiple corpses, the animation of puppets or dolls, and monsters invading peaceable countries became widely used and popular conventions in films made or designed by men who often had first-hand experience of combat in the war. Poole assesses a diverse range of cultural material to build his argument, drawing from different national and generic traditions and across media. Anglophone poetic modernism is represented here by Ezra Pound and T.S. Eliot; the latter's long poem "The Waste Land" (full of rattling bones, sprouting corpses, and unreal burning...

Slagscener i det elizabethanske teater

Christian Dahl: “Battle scenes in the Elizabethan theater”This article analyses the widespread use of staged battle in Elizabethan theater by use of data extracted from Folger Library’s Digital Anthology of Early English Drama. Between 1576 and 1616, hundreds of battle scenes were produced on English stages but although a substantial number is still available for study, only few scholars have recognized their significance. The many battle scenes both attest to the Elizabethans’ vivid interest in history and to the cultural impact of England’s increasing military engagement on the Continent and in Ireland at the end of Elizabeth’s reign. It is often assumed that histories and battle scenes were particularly popular in the 1590’ies and then fell out of fashion early in the 17th century, but the article demonstrates that staged war remained a frequent occurrence in the first two decades of the century and never disappeared entirely. The article discusses visual and, in particular, acoustic representation of warfare based on the evidence of surviving plays and other documents. The article will also (very) briefly sketch the narrative development of battle scenes that took place in the 1590ies.

DYING IS HARD TO DESCRIBE: METONYMIES AND METAPHORS OF DEATH IN THEILIAD

Homer'sIliadis an epic poem full of war and battles, but scholars have noted that ‘[t]he Homeric poems are interested in death far more than they are in fighting’. Even though long passages of the poem, particularly the so-called ‘battle books’ (Il.Books 5–8, 11–17, 20–2), consist of little other than fighting, individual battles are often very short with hardly ever a longer exchange of blows. Usually, one strike is all it takes for the superior warrior to dispatch his opponent, and death occurs swiftly. The prominence of death in Homeric battle scenes raises the question of how and in which terms dying in battle is being depicted in theIliad: for while fighting can be described in a straightforward fashion, death is an abstract concept and therefore difficult to grasp. Recent developments in cognitive linguistics have ascertained that, when coping with difficult and abstract concepts, such as emotions, the human mind is likely to resort to figurative language and particularly to metaphors.

Experiences of Posttraumatic Growth in Witnesses to the July 15 Coup Attempt in Turkey

The July 15, 2016 coup attempt in Turkey shocked the entire Turkish nation and left deep traces on Turkish citizens. People living in Ankara and İstanbul province were direct witnesses to these events and faced with images that resembled a battle scene. The aim of this research is to reveal the experiences of posttraumatic growth among individuals who directly witnessed the July 15 coup attempt. This qualitative research was carried out with a phenomenological design. Participants in the study consisted of 20 adults living in Ankara and İstanbul. Five themes were found in the analysis: self-perception, new possibilities in life, relating to others, religious/spiritual change, perspective on life, and perception of future. The results of the research showed that many positive changes occurred in the lives of individuals who had a coup experience.