Depiction Of War Research Articles

СПЕЦИФІКА ВИКОРИСТАННЯ СОЦІАЛЬНИХ МЕДІА У РОСІЙСЬКО-УКРАЇНСЬКІЙ ГІБРИДНІЙ ВІЙНІ

<p><strong><em>The purpose</em></strong><em> of the article is to analyze the effectiveness of using social networks to conduct information operations in the course of hybrid warfare.</em></p><p><strong><em>The research methodology</em></strong><em> includes an overview of the source and empirical base on the subject and issues of the research, with an explanation of the methodological foundations of the research, the main concepts and definitions that form the basis of scientific research. The analysis of the information war from the perspective of chronology made it possible to carefully study the communicative specifics of modern military operations. The methods of observation and monitoring were used to track content in social media communities, and the method of comparative analysis allowed comparing the narratives of the opposing sides.</em></p><p><strong><em>The results. </em></strong><em>It has been determined that social networks are currently the most powerful transformational factor ever seen. Historically, the depiction of war in the media has either been provided by the military and therefore hardly representative or reproduced from fragments of smuggled materials. The high-quality, real-time nature of the video, capable of being delivered by any mobile phone, from any place, at any time, with streaming on an always-on, fast-forwarding social network, means that people anywhere can virtually experience the elements of a military battle. In the past, nation-states have had advantages in managing conflict narratives. Social media has changed that too. In addition, the use of these channels can even be considered a form of guerrilla warfare. Given the fact that networks evoke the quick support and sympathy of the democratic world, their effectiveness increases many times.</em></p><p><strong><em>Novelty.</em></strong><em> The specifics of using social media for conducting information operations are analyzed.</em></p><p><strong><em>Practical significance. </em></strong><em>The results of the study can be used both by conditional senders during the planning of information campaigns, and by conditional addressees to understand the technology of spreading narratives using telegram channels.</em></p><p><strong><em>Key</em></strong><strong><em> </em></strong><strong><em>words:</em></strong><em> social media, hybrid warfare, network warfare, information operation.</em></p>

The Appearance of the Idea of War in the Contexts of Establishment and Beauty in the Divan of the Bosnian Aladdin Sâbit

Among the literati and scientists, the view is found that classical Turkish poetry prefers a separate literary expression, where literature when removed from society, reality, and sociality is at a certain level indifferent to the issues of society. Being involved with life will lead a poet to the reality of society and humanity, and the relevant art must have knowledge about signifiers to be noticed by the poet’s addressee.Metaphorical structures will increase the meaning of a text while evaluating literary texts. This article has come across depictions of war in their literal and figurative meanings in classical Turkish poetry and draws attention herein to the ethnosymbolist approach. The focus of Turkish classical poetry appears to be determinable as the metaphor of war. Based on this, metaphors in classical literature such as the image of a lover’s gaze as an arrow or her hair as a bow string are not meaningless. The flamboyant elements that a nation has stated have emerged in literature in its own language.The poets imply that the army is not in war for fighting but to clean the blood of the enemy with cupping or to shave their hair for free. For the poet, war is the natural healing that saves the corrupted world, and based on this idea, war is based on eliminating and correcting evil. This article will examine the couplets about war in the Divan of the Bosnian Alaaddin Sâbit, a 17th-century poet, in terms of embellishment and concretization.

Savaş Düşüncesinin Bosnalı Alaaddin Sâbit Divânı’nda Somutlama ve Güzelleme Bağlamında Görünümü

Akademide ve bazı edebiyatçılar, sanatçılar, çeşitli sanatlarla ilgilenen halk arasında klasik Türk şiirinin; toplumdan, gerçeklikten, sosyallikten uzak olduğu, bu edebiyatın ‘sırça köşkte’ belirli üslup seviyesinde toplumun, insanlığın meselelerine kayıtsızca ayrı bir edebi dil tercih ettiği görüşü kısmen de olsa yer bulmaktadır.Döneminin aynası şairin; toplumun, hayatın bir parçası olması muhakkak ki şairi toplum ve insanlık meselelerine, gerçekliğine yönlendirecektir. Bu gerçekliğin, muhatabı tarafından fark edilebilmesi için ilgili sanat dalının gösterenlerine dair bilgi sahibi olmak gerekmektedir. Edebî metnin gösterenlerinin de kelimelerden, mecazlardan oluşmasından ötürü edebî metinleri değerlendirirken gösterenleri, mecazlı yapıyı göz önünde bulundurmak metnin anlam katmanlarını açacaktır. Şairin kullandığı mecazlı dilin ifadede oluşturduğu farklılıktan kaynaklı, metni anlamada eksik kalındığı için şiire hakkıyla nüfuz etmek birtakım zorlukları beraberinde getirmektedir.Klasik Türk şiirinin mazmun sistemi içerisinde mecaza bağlı gelişen tasvirler klasik Türk şiirinin simgeci tarafına dikkat çekmektedir. Bununla beraber klasik Türk şiirinin merkezini savaş istiaresi olarak da belirlemek mümkün görünmektedir. Savaş istiaresine ve mazmunlara dayalı olarak sevgilinin bakışının oka, kılıca benzetilmesi; saçlarının halata, darağacına benzetilmesi anlamsız değildir. Cihangir bir devletin belirttiği şaşaalı unsurların hepsi edebiyatta kendi dili, estetiği içerisinde ortaya çıkmıştır. Şairler savaşla ilgili olarak ordunun savaşmaya değil; kanı kirlenen düşmanın kanını hacamatla temizlemeye, saçı uzayan düşmanın saçını vakıf berber hizmeti sunarak ücretsiz tıraş etmeye gittiğini güzelleme bağlamında belirtmektedir. Bu noktada şair için savaş; bozulmuş olan âlemin tabiatını kurtuluşa, selâmete erdiren doğal şifa olmakla beraber kötüyü, kirliyi ortadan kaldırmaya dayanmaktadır.Bu makalede, XVII. yüzyıl şairlerinden Bosnalı Alaaddin Sâbit’in Divân’ındaki savaşla ilgili beyitler, gösterenlerden hareketle güzelleme ve somutlama noktasında incelenecektir.

Woman Life Freedom

Detailing the logic of Clausewitz’s depiction of war as the violent pursuit of the politics of submission, I read the recent protests in Iran as a feminist revolt against Iran’s fundamentalist Islamic war on women. This war is institutionalized in the war-like violence of veiling, gender apartheid, and marriage and family law. Rebelling under the slogan “Woman, Life, Freedom” the people of Iran tie the destiny of women to the destiny of all. The government has crushed the uprising. It has not quelled the protestors’ demands. Signs of resistance continue as the rebellion inhales the hope of a time to come of freedom.

From fireflies to lit windows and from lit windows to fireflies: Alex Dudok de Wit on Isao Takahata’s Grave of the Fireflies

Isao Takahata’s Grave of the Fireflies () is the subject of Alex Dudok de Wit’s new book, his first, for the British Film Institute’s (BFI) Film Classics series. Dudok de Wit’s writing has appeared in Sight & Sound, Vulture, Little White Lies, The Telegraph, The i, The Independent and Time Out, and in specialist animation publications such as Skwigly and Cartoon Brew, where he was formerly the deputy editor. He has written and narrated a short documentary for the BBC about British puppet animation. His English translation of director Hayao Miyazaki’s graphic novel Shuna’s Journey appeared from First Second Books in 2022. In what follows, Dudok de Wit and I explore Fireflies’ incredibly sad tone; the potentialities and the limitations of animated films, both Studio Ghibli’s and beyond; Takahata’s and Miyazaki’s depictions of war, respectively, in Fireflies and in the Academy Award-nominated film The Wind Rises (); Dudok de Wit’s considerable research for this monograph; and finally, how he reads Fireflies’ complex ending.

Historizität im biblischen Schulactus

Abstract Johann Klaj’s Engel⸗ und Drachen⸗Streit (1649) takes an intermediate position in his literary work between the depiction of war and peace poetry: in this ‘Schulactus’, a biblical subject is combined with the historical context of the recently ended Thirty Years War and used for an eschatological interpretation of war. At the same time, the ‘Schulactus’ performs a secular transfer of these interpretive patterns in the context of the peace ceremonies, which is due to the representative functions of his recitational practice, revealing the institutional as well as politico-religious integration of literature. Examining the text, paratext and the historical context of presentation, this contribution elaborates how knowledge is created, transmitted and represented as well as combined with a negotiation of power in discourses and practices of the early modern period.

A Depiction of War in Nigerian Poetry

This study depicts the quensequences of the war in the poetry of Nigerien authors namely Wole Soyinka, Chinua Achebe and Gabriel Okara. From the application of the sociocritical and autobiographical approaches, it appears from the texts that commitment is part of a moral and political awareness that identifies the poet in relation to a community of reprobates, no doubt, but a community fighting for a new morality. These texts are circumscribed in a context of deprivation of freedom by loneliness in prison, the slow and long disintegration that the man undergoes plunged into the abyss of prison isolation, the tortures suffered, the soiled walls, the fetid odors exhaled by the prison, the triumph of truth over the undermining of a system of repression. Prison disorients, disarticulates and fragments the personality of the prisoner who seeks to survive physical and mental attacks. It goes without saying that these texts have an autobiographical dimension. Keywords: Consequence; Death; Mental annihilation; Deprivation of freedom.

The depiction of war in literature for children. An approach to the topic

Last great-armed conflicts resulted in literary reactions, and after World War ii it was a huge production of children’s literature in order to approach the issue to young readers and help them to understand what happened. It can be considered the prelude of the recent politicization and introduction of different conflicts that children’s literature is nowadays experiencing. When Hitler Stole Pink Rabbit (Judith Kerr 1971), Carrie’s War (Nina Bawden 1973) and Good Night Mister Tom (Michelle Magorian 1981) are part of these post-war publications and through their analysis, it is aimed to study how the historical circumstances of the World War II are approached to children. Addressing how their authors represent the conflict, the separation and the family relations that play a crucial role on these works and children literature in general. Analyzing how society of the time is portrayed trough different motifs as the journey, the female figures or the war itself. The techniques they use and how do they overcome a common conflict of displacement, what can help young readers to learn strategies to face their own problems in real life.

Közelítés és távolodás

In this paper I seek common ground between the memoirs of Péter Nádas, a prominent figure in contemporary Hungarian literature, and certain writings of Miklós Mészöly, an important author of twentieth-century Hungarian prose. I show that both authors disrupt the classical chronology of narrative. The temporal structure of Nádas’s memoir is determined by the attempt to identify the narrator’s first memory, whereas in Mészöly’s works the present tense is valorised and the narrative’s final goal is rejected. In their depiction of war, they can be seen as complementary works. Mészöly writes from the point of view of a soldier who has been to the front, while N.das writes from the point of view of a civilian. In this parallel reading, both the soldier and the civilian appear as victims of war.

When William Came: A Prophetic Propaganda War

When William Came by Saki (H. H. Munro) is a unique novel in the genre of invasion literature. Starting after a fictional war between Britain and Germany, it depicts no scenes of invasion. Recently, there have been studies from the perspective of how Munro and other authors in the genre viewed Germany and Britain. Some studies also refer to Munro’s deliberate lack of depiction of the war. However, it seems that no studies have looked into the reasons why the war is not depicted. This paper argues that the story is not about showing British military unpreparedness but about how psychological weapons work. It could even be said that depictions of war would distract from the focus on propaganda and its effect on people. Considering this work as being about a British and German propaganda war opens up a new perspective that is different from previous studies. When William Came is a work that points out Britain’s unpreparedness for psychological war by imagining and detailing possible propaganda strategies. It has been said that the novel’s ending is unsatisfactory, as it only ends up showing the potential for youth resistance. However, if it is understood that this novel, from beginning to end, is about a propaganda battle, a war that is fought under the surface, then the final chapter can also be understood as a thrilling one.

The depiction of war in V. S. Makanin's novel "Asan"

The depiction of war in V. S. Makanin's novel "Asan"

The Depiction of War in the Documentary Prose of Pera Todorović and Vladan Đorđević

In this paper, we sought to analyse non-fictional prose about the Serbo-Turkish War – The Diary of a Volunteer by Pera Todorović and Vladan Đorđević’s Memories from the Serbo-Turkish War – from the point of view of different literary characteristics in the type of text that pleads for objectivity and authenticity. The genres of diaries and memoirs, despite their documentary background, are also subject to literarisation. Subsequent stylisations, pronounced literarisation and subjectivity of the narrator show the positioning of documentary prose between historiographical and literary. In this paper, we sought to illustrate the openness of documentary genres to various types of discourse, the dominant one being polemical. Pera Todorović, an oppositionist, is very critical of the ruling regime in his diary, to which Đorđević belongs to, but political discourse is present in the works of both authors. Both in the memoirs and the diary the confrontation between the public and the private is often themed, as is the complete disintegration of the human being in war in general. The works of Pera Todorović and Vladan Đorđević show us this. Pera Todorović’s diary gives us an inside look from the point of view of participant, while Vladan Đorđević’s memoirs gives us the point of view of a witness. As a result, the depiction of war differs in the works of these two authors depending on roles they had during the war.

THE UNDOING OF ROMANTIC ILLUSIONS IN B. OKUDZHAVA’S STORY LOTS OF LUCK, KID [BUD’ ZDOROV, SHKOLYAR

The article is devoted to B. Okudzhava’s story Lots of Luck, Kid [Bud’ zdorov, shkolyar]. An unconventional depiction of war, it defies the conventional canon of Soviet prose about the Great Patriotic War. With its episodes about impending peril, starvation on the front lines, muddled up orders, feelings of loneliness and hopelessness, it debunks the traditional image of a soldier as a brave romantic who fights fascism with an ideological determination. Okudzhava shows the dark side of war with all of its irrational havoc.

Collaboration and Resistance in Wartime Poland (1939–1945) – A Case for Differentiated Occupation Studies

Collaboration and Resistance in Wartime Poland (1939-1945) - A Case for Differentiated Occupation Studies This article aims to diffenenciate the often simplistic depiction of war and occupation in Europe between 1939 and 1945 as a fight of good against evil. Such a description can be found not only in popular culture, but also, though less blatantly, in historical literature. Without questioning the overall responsibility of the Axis powers for the horrendous crimes committed during the war, this article argues for a more nuanced approach that takes into account the often complex nature of interaction between the occupiers and the occupied. Instead of invoking moral judgment, the authors aim to prioritize the historical analysis of the reality of Poland's occupation by the Nazis, recognizing that the parties involved had their own agency and often conflicting agendas. The authors apply this approach to two major phenomena: collaboration with, and resistance against the occupying forces. It thereby becomes clear that violence was exchanged not only between the occupants and the occupied, but also between different political and ethnic groups of the Polish society.

So That We Do Not Fall Again

This vertical case study applies a transitional justice approach to analyzing curricular reform, as intended, enacted, and experienced in the aftermath of Guatemala’s civil war. Drawing on ethnographic data, I juxtapose the teaching and learning of historical injustice in one urban and one rural classroom, examining how particular depictions of war are positioned as civic narratives for different identity groups, while set against the backdrop of particular ways of understanding the “postwar” period. This study illustrates how young people construct the role and relevance of a history of violence and authoritarianism in relation to their civic identity in a postauthoritarian democracy. It also illuminates how the educational sector addressed legacies of war and how these legacies have been reproduced and challenged through an unequal education system.

Marketing war and the military to children and youth in China: Little Red Soldiers in the digital age

Since the early 2000s, the Chinese military has been engaged in the production of military- and war-themed cultural products which increasingly employ new media and new technologies. Many of these products specifically target children and youth, and many are also a result of collaborations between the People’s Liberation Army (PLA) and commercial forces. This article offers a preliminary exploration of how such PLA–civilian productions attempt to package and market war and the military to contemporary Chinese children and youth. It compares these current endeavours to previous depictions of war and the military in the youth culture of the Maoist period, and reflects on what this comparison can tell us about recent changes in official as well as popular conceptualizations of childhood, youth, and violence in the People’s Republic of China. The analysis demonstrates that contemporary PLA products for children and youth display positive attitudes toward the military and toward officially sanctioned military violence. However, these products also subscribe to new public sensitivities about children and their involvement in acts of brutality, thereby reflecting the changing needs and interests of the PLA and of the Chinese Communist Party in the post-Cold War, post-Tiananmen era.

War on Instagram: Framing conflict photojournalism with mobile photography apps

This paper examines recent acclaim for professional embedded photojournalists who visually document the experience of US soldiers in Afghanistan using the popular mobile photo application Hipstamatic. These photos have stirred controversy among fellow journalists and cultural critics regarding the use of photo filters in Hipstamatic and similar app Instagram, their contribution to the de-professionalization of photojournalism, and the depiction of war as stylishly vintage. The debates about Hipstamatic and Instagram in war photography open up a whole series of enduring questions about distinctions between photography and illustration, photography and photojournalism, professional and amateur, and reporting and editorializing. In consideration of the shifting nature of digital photography, photojournalism, and specifically war photojournalism, I argue that this discourse about the use of mobile apps overlooks another important ethical issue: the implications of non-soldiers mimicking the imagined hand of the modern smartphone-equipped US soldier, particularly in light of soldiers’ own complex media-making practices.

Silencing Violence: Repetition and Revolution in Mother Courage and Her Children

Silencing Violence:Repetition and Revolution in Mother Courage and Her Children Robert Vork (bio) I. The Stage-Defining Act Mother Courage and Her Children is frequently listed among Bertolt Brecht's most important plays, though in the English-speaking world it remains less well known than many of Brecht's other major works, and due to its staging challenges, difficult subject material, and large cast it is seldom performed (one notable exception is a 2006 production in New York's Central Park directed by George C. Wolf, with a script adapted by Tony Kushner, featuring Meryl Streep and Kevin Kline). The play was Brecht's first major production upon returning to Berlin after World War II, and there its enormous success catapulted Brecht almost instantly to celebrity status. Audiences were deeply moved by the play's depiction of war, which uniquely expressed the historical moment in which it was written. Brecht had authored the play years earlier while he and his family fled across Nazi-menaced Europe, on the edge of a global confrontation the likes of which the world had never before witnessed and could not yet fully imagine, but in its way foreseen in the scope and power of Brecht's script. On the surface, the clearly given subject matter of the play is the life of the play's title character—Mother Courage and her singular trials, her private suffering, her ultimate failure to thrive, struggling through life as a petty profiteer during the Thirty Years' War—but as the play's title also suggests, Courage's life decisions are framed at all times by the larger context of their devastating effects on the lives of her three children. One [End Page 31] by one, the children are initially shown not only persevering through the war but using it to achieve modest success, with each child able to find a way within it to capitalize on his or her greatest human virtues. The eldest son's cleverness and bravery make him a formidable soldier, and enable him eventually to become the favorite of a general. The younger son's steadfast honesty allows him to become a regimental paymaster, which not only affords him a steady source of income but most importantly keeps him out of combat. And the daughter's loving care and kindness make her an attentive and customer-attracting server in her mother's canteen. However, these same virtues ultimately prove to be the agents of the children's tragic deaths. The eldest son mistakenly wages war during an armistice and is executed for murder. The younger son refuses to deliver his cash box when he is captured by the opposing army and is summarily killed. The daughter attempts to warn a town of an imminent attack and in the process is murdered by the attacking troops. All three of the children die while the attention of Mother Courage is engaged elsewhere by some ultimately trivial business transaction. In mirroring scenes, Courage not only proves herself unable to prevent her children's deaths, but demonstrates her deep complicity by profiting from the very acts of war that lead to them. This complicity is made especially obvious in the case of the younger son, who dies because Courage attempts to haggle down his executioner's bribe even though she has enough money to pay the asking price for his life. Courage is less directly culpable for the downfall of her other two children, and yet she is conspicuously absent from the stage during their deaths and the key moments that lead up to them, precluded from interceding on her children's behalf and unable to provide any motherly comfort, once again drawn away by her endless need to take advantage of every trading opportunity. Together, these three instances suggest that beyond their immediate causes the truly fatal responsibility for the deaths lies with Mother Courage, along with the zero-sum game of survival that wholly encompasses her and that ironically leaves her unable or unwilling to avail herself to her children when their lives are truly at stake. Their deaths express Courage's repeated, overarching failure as a parent to protect and preserve her offspring, and...

Review: Depictions of War in Edwardian Newspapers, 1899-1914 * Glenn R. Wilkinson: Depictions of War in Edwardian Newspapers, 1899-1914

Review: Depictions of War in Edwardian Newspapers, 1899-1914 * Glenn R. Wilkinson: Depictions of War in Edwardian Newspapers, 1899-1914

Distorted “lessons” from the Vietnam War

D uring the 1980s, was teenagers' chief source of information about the in Vietnam. Via their graphic depictions of gore and mayhem, such films as Platoon, Hamburger Hill, Full Metal Jacket, Coming Home, Good Morning, Vietnam, Rumor of War, and Born on the Fourth of July seemed to send a strong, and indeed salutary, war is hell message to the impressionable young. But as for imparting what the Vietnam conflict was about, and why the United States fought and lost it, too often these films were worse than inadequate. The problem was not simply that these films' visceral vision trafficked more in feelings than in facts: in many cases their depictions of war's reality were artfully employed not to deglamorize and decry per se, but to suggest that the horror was peculiar to one in particular, Vietnam, and that it was the consequence of strictly American behavior, policy, and attitudes. The message was not lost on the young: the locus of evil was the American system itself. So it was with a sense of relief that critics of Hollywood found high schools beginning to squeeze the Vietnam era into their American history courses. How disappointed they will be to learn that a popular and acclaimed Vietnam curriculum, and the only one now in print, virtually duplicates Hollywood's rendition of the war, which thus stands poised to become the standardized version of history in the public schools.