Image Of Warrior Research Articles

John Brown: The Legend Revisited

Few figures hold as mythic a place in America's historical consciousness as John Brown. A fervent abolitionist, his New England reserve tempered by a childhood on the Ohio frontier, Brown advocated arming fugitive slaves to fight for their freedom, an idea that impressed Frederick Douglass, Ralph Waldo Emerson, and Henry David Thoreau. In 1855, answering the call of his five sons to join them in the desperate struggle for freedom in the new territories, John Brown became a hero of Bleeding Kansas. When he returned East, the fiery leader launched his ambitious campaign to rouse the slaves to freedom with a raid on the federal arsenal at Harpers Ferry in 1859. Labeled a madman for his failed military adventure, and repudiated even by prominent antislavery leaders, Brown was tried in a Virginia court and sentenced to hang for treason and sundry other crimes. In John Brown: The Legend Revisited, the eminent historian Mertill D. Peterson brings the same blend of sharp-eyed analysis and narrative elegance to bear on Brown's legacy that he has used to unravel the images of Thomas Jefferson and Abraham Lincoln. Brown's reputation has undergone a series of tectonic shifts since he met his death on the gallows just before the War. Southerners viewed his exploits with apprehension, seeing Harpers Ferry as a harbinger of servile insurrection, while Brown's eloquence before the court won him sympathy in the North and confirmed his place there as a hero and martyr. Thoreau, the author of Civil Disobedience, wrote of Brown as a man of conscience. Perhaps most important historically, Brown's exploits convinced Southerners that Lincoln's election meant secession and a call to arms. Peterson gives us Brown in his own day, but he also shows how the flaming abolitionist warrior's image, celebrated in art, literature, and journalism, has shed some of the infamy conferred by Bleeding Kansas to become a symbol of American idealism and fervor to activists along the political spectrum. And so in the civil rights battles of the twentieth century, Brown became a hero to African Americans.

Women/Warriors: Dual Images in Modern Thai Literature

This paper aims at studying the image of women in modern Thai literature, with emphasis on analyses of the image of woman and the image of warrior. The main concept is that the two images, which seem contradictory, have usually appeared together in Thai literature in the past as well as today. One image is oftentimes obvious while the other is underlying. Women in Thai literature is, thus, present dual images, while the image of the ideal women emphasizes womanhood which is inferior in status to manhood in all respects.

‘Volkshelde’: die Boerekrygerbeeld en die konstruksie van Afrikanernasionalisme

‘Volkshelde’: The image of the Boer warrior and the construction of Afrikaner nationalismThis article deals with the way in which the heroic image of the Boer warrior, who fought in the South African War, was adapted to particular socio-political needs in different phases of the development of Afrikaner nationalism. It is indicated how, in the pre-1961 period, potentially unifying elements of the image (the freedom struggle against British imperialism, the “bittereinder” metaphor, the republican ideal, a common religion and the allegedly egalitarian nature of the commando system) were used to promote “volkseenheid”. Post-1961 texts in Afrikaans historiography and literature are analysed to indicate how the Boer warrior image has been reconceptualised. This reconseptualised image is depicted against the background of changing fortunes for the Afrikaner, to reflect transforming Afrikaner values.

Women Warriors: A History

Women Warriors takes the reader back through history and around the world to uncover a clear pattern of women as warriors. It is a fascinating comment on the nature of gender, on the power of the warrior image, and on the image's source in history.

The Purpose of the Warrior Image from Capestrano

THE height of the Capestrano Warrior is 2.09 m. or a little more than seven Roman feet.' The size alone astonishes us, unused as we are to expect monumental stone sculpture from the hand of an Italic artist, but it is not on its dimensions only that the image depends for effect. There is something in the grim immobility of the figure which inspires an uneasiness close to dismay. The rigid frontality of the pose (pl. 80, fig. i) with feet exactly parallel and side by side, the formality of the panoply with its literal accuracy of detail, convince the beholder that here is something more than the representation of a barbarian soldier, that the statue is a symbol or an instrument rather than a portrait. The chillingly lifeless effect, far from being the result of ineptitude on the part of the sculptor, seems deliberately intended. The following discussion suggests the special use which this unique work was perhaps designed to serve. If the hypothesis is correct, the wonder is not that there are no parallels, but that even one example has survived. In 1934 the Warrior was discovered by chance, in a vineyard which subsequent investigation proved to be situated above an Iron Age cemetery.2 The place in the Abruzzi lies in a region which shared in a very ancient Italic culture and where inhumation was the dominant burial rite.3 From