War Prose Research Articles

Evocations of Nekrasov’s trench prose in Elena Rzhevskaya’s novellas

The article examines the unique characteristics of E. Rzhevskaya’s prose. In 1941–1945, Rzhevskaya was an army interpreter from German. In her analysis of Rzhevskaya’s biography and literary output, S. Perevalova shows the assimilation of the writer’s wartime experience in her oeuvre, which simultaneously follows the patterns of ‘lieutenant prose,’ typified by novellas of V. Nekrasov, Y. Bondarev and other contemporaries of Rzhevskaya’s, and the tradition of Russian classical writers of the 19th c. and the Silver Age. The first work of ‘lieutenant prose’ that invokes the classical tradition was V. Nekrasov’s In the Trenches of Stalingrad [V okopakh Stalingrada], a novella strongly defined by humanism and ties to classical Russian war prose. The author names Nekrasov as well as Lermontov and Blok as influences on Rzhevskaya’s creative method, her affinity with the two poets made stronger by their translations of German poetry which earned the status of classics. Thanks to her interest in Blok and Lermontov, a writer Rzhevskaya became acquainted with world culture, where German literature has long been prominently represented.

The Pragmatics, Poetics, and Ethics of Pronouns in Ford Madox Ford’s War Prose

This essay adopts a stylistic approach to delineate the various—and varying—pragmatic effects inherent in the use and interactions of pronouns in Ford’s war prose. Ford’s singular use of pronouns is shown to be instrumental in his practice of literary impressionism. In particular, the omnipresent second person is granted a variety of referents that coexist along a “continuum of reference” (as defined by Bettina Kluge), from a “you” that is speaker-oriented to one that is addressee-oriented. Sorlin’s intersection of Kluge’s continuum with a gradient from personalisation to generalisation (2022) is illuminating when examining the manifold significance of Ford’s use of the second person, as it brings to light its ethical impact. Ford’s war essays shift from the general to the particular and from the collective to the individual in a manner that opposes propaganda rhetorics. Furthermore, the gradient established by Sandrine Sorlin to account for the pragmatic effect of “you” also proves remarkably useful when applied to the pronoun “one”. Scrutinising the interplay between these various pronouns allows us to investigate the multifarious relationships that Ford establishes in his war essays between the persona, the reader, those he often called “my men”, and the collective ethos of wartime Britain.

Мотив любви в фреймовой структуре концепта враг (на материале романов Ю.В. Бондарева «Берег» и Х.Г. Конзалика «Штрафной батальон»)

The main purpose of the present paper is to provide a comparative analysis of the multilingual war prose by highlighting the motif of love in the frame structure of the concept of enemy. The relevance and scientific novelty are due to the fact that the comparative analysis is carried out by the example of texts of the works of two literatures: Yu.V. Bondarev's “The Coast” and H.G. Konzalik's “Penal battalion 999” and the theme itself — the Second World War. The authors start from the definition of Russian scientists (D.S. Likhachev), who considered the concept as a multi-level creation, in the structure of which several layers are distinguished. Proceeding from the position that frames in a work of fiction represent a complex of plot (narrative) motifs, the authors consider the implementation of the motif of love at the level of the motivic system and the system of characters. The study pays special attention to the associative and figurative layers of the concept. Such an integral approach made it possible to identify and explain typological cohesions in the realization of the love motif in the frame structure of the concept of enemy, which are observed regardless of belonging to a particular national literature. The researchers came to conclusion that in the absence of war danger leads the characters to mutual human sympathy between representatives of the warring parties, but the official ideology becomes an obstacle to the common future of the characters.

"The Spectre of Death" (October 31, 1943). Myth-making in the war prose of Aleksander Omiljanowicz and the autobiography of Władysław Świacki

Relying on archival material, the author verified the story of the alleged Home Army action near Ełk (Germ. Lyck) on October 31, 1943, according to which a Home Army platoon under the command of Lt. Władysław Świacki was to carry out an attack on the SS detail who were executing Italian prisoners of war near the camp at Bogusze. It is recounted in The Spectre of Death by Aleksander Omiljanowicz (1965) and the autobiography of W. Świacki (2007). The study reconstructs the complex biographies of the protagonists of the engagement, i.e. Świacki and Czesław Nalborski. Also, attention is drawn to the plot elements in Omiljanowicz’s narrative (including the date of the engagement and the name of the SS commander), which were then adopted in the accounts of the combatants themselves. The analysis of archival documents from various periods indicates that this story is a legend created in the 1960s. Despite this, the action has remained a fragment of the collective memory of the war in the Ełk district to this day. On October 28, 1989, a monument to the successful attack on the SS men was erected in Nowa Wieś Ełcka. It still stands there, demonstrating that local memory is influenced by the myth-making practices of the Society of Fighters for Freedom and Democracy.

THE IMAGE OF A SCHOOLBOY IN THE B. OKUDZHAVA’S WAR PROSE

The article analyzes the history and poetics of Okudzhava’s war prose and its role in modern literature. Particular attention is paid to the image of the schoolboy character, which structures the text. The author reflects on his orientation towards classical literature and the creators of “lieutenant prose,” but treats the past with an emphatically apprentice attitude. This trusting intonation is inherited by his autobiographical protagonist, whose image emphasises the features of a private individual, an amateur. The figure of the schoolboy combines contradictory features: courage and naivety, belief in myths and fairy tales, as well as inner weariness and self-irony dictated by the author’s position. A special place is held by the story “Be Well, Schoolboy,” which is structured according to the soliloquy principle, when the hero’s self-discovery takes place, the war becomes an initiation and a test of the book truths “about feats, about glory,” which are alienated when confronted with the chaos of reality. The author demonstrates the gap between the perception of the schoolboy by those around him and his self-perception, which opens up an ambiguous and ironic perspective. The motifs of the “naked man,” the Other, Mercurianism and the labyrinth, which converge in the image of the schoolboy hero, have become the key concepts in these texts. The traditional paradigm of the “little man,” whose home is an overcoat, is apparent behind the character of Okudzhava’s prose. A peculiar result of the author’s reflections on the war is the rejection of the epic tradition of the classics. Instead, the schoolboy inherits the old spoon of the “eternal soldier” Shongin, becoming a part of his destiny, so commonplace in its tragic nature. The most important role in the representation of the battle theme is played by the cultural centrism paradigm, which helps to include the traumatic, horrible experience of war in the memory and post-memory space.

Reprezentacija ratnih iskustava u romanu blockbuster zorana žmirića

Representation of war experiences in Zoran Žmirić’s novel Blockbuster The paper analyzes the representation of the war experiences of a group of soldiers on the front line of the battlefield during the Homeland War, depicted in the novel Blockbuster (2009) by the writer Zoran Žmirić. The thematization of warrior activities is based on the intertwining of military operations and scouting actions with the presentation of personal moral doubts, psychological traumas of individuals and collectives. In the novel, the characters specific to contemporary Croatian war prose are shaped in an interesting way (figures of warriorsdefenders, enemies, victims, traitors, war invalids). Relying on the theoreticalmethodological assumptions of selected narratological concepts, literary studies of memory and theories of disability, the paper will analyze the narrative strategies used to thematize the war experience in Žmirić's action war novel; the role of retrospective narrative episodes will be investigated, the hint of posttraumatic stress disorder (PTSD), the role of amputation metaphors, and the design and purpose of warrior instruments will be also investigated.

Shraer [Shrayer] , Maksim D. Antisemitizm i upadok russkoi derevenskoi prozy. Astaf'ev, Belov, Rasputin (review)

SEER, 99, 2, APRIL 2021 346 exhibited themes of militarization in books of the 1930s and ’40s. In the 1950s and ’60s, after the death of Stalin, when there was a return to the ideals of Lenin, themes such as moral choices and allegiance to the Party were recurring in the books. Soviet translations of British books strengthened ideas of any-religious themes, class struggle, war and the fight for independence, as these were ideas that were also very important for Soviet identity. In this unique book, the author makes the original argument that Russian translations cast a Soviet ideological shadow over English stories by emphasizing inequality, the hardship of the English working class and its movement, as standing in opposition to its imperialist past. Sewanee the University of the South Susanna Weygandt Shraer [Shrayer], Maksim D. Antisemitizm i upadok russkoi derevenskoi prozy. Astaf´ev, Belov, Rasputin. Contemporary Western Rusistika. Academic Studies Press and BiblioRossiia, Boston, MA and St Petersburg, 2020. 112 pp. Notes. Bibliography. $30.00. Village prose was the most significant literary movement in the Soviet Union during the early 1960s to mid-1970s, characterized by a nostalgic memory of a rural childhood, and of a world as yet untouched by modernity and even ideology. Its main practitioners — Astaf´ev, Belov and Rasputin who are the subjects of this monograph, but also Vasilii Shukshin, Fedor Abramov, and Boris Mozhaev — are all united in being born in the 1920s and 1930s, and spending their early years in a rural community before moving on to adult life in a local urban centre (in Shukshin’s case several). Collectively their writings form a corpus that recreates an idyll of rural life before industrialization, is reminiscentofnineteenth-centurybucoliccanvasesasevokedbyIvanTurgenev and Gleb Uspenskii, and rejects urban ways as alien to the ‘real’ Russia of the village. Village prose began to decline from the mid-1970s with the death of Shukshin (in 1974) and Abramov (in 1983), and the surviving above-mentioned authors turning away from the pastoral and towards a diatribe against what destroyed it. Maxim Shrayer’s formulaic solution is straightforward and simplistic: Astaf´ev, Rasputin and Belov hated Jews in Russian society. His evidence based on their fictional writings is scanty, and only with reference to Vasilii Belov is there sufficient meat to cover the bare bones. The book is structured around three major chapters, one for each writer, framed by a perfunctory introduction and a final chapter ‘instead of a conclusion’. Belov and Astaf´ev are afforded almost forty pages each, while Valentin Rasputin, ‘the environmental anti- REVIEWS 347 Semite’, seems added on as an afterthought with a mere thirteen, and even then the author admits in his summing up that ‘anti-Semitism mainly manifested itself in the writer’s non-fiction (v publisistike) and not in his fiction’ (p. 88). More could have been said of Rasputin’s xenophobia, as expressed in his prose fiction published in the last years of his life, especially his vitriolic attacks on the peoples of the Caucasus, but of this there is nothing. This is a shame, as Rasputin’s negative attitude to non-Russians and his nationalistic flag-waving are indeed reasons for his fall from grace among Russian intellectuals. Therein lies the rub. The chapter on the writings of Viktor Astaf´ev (‘the internal anti-Semite’) essentially discusses just one work of fiction, the novel Tsar´-ryba (first published in 1976, not 1977, as here), although there is admittedly some insightful exploration of its Biblical motifs. Otherwise the chapter focuses on Astaf´ev’s well-documented correspondence with Natan Eidel´man, and less so with Iurii Nagibin, Of Astaf´ev’s ‘war prose’, for which he has been duly recognized in the post-Soviet period, the author merely comments that ‘there are no Jewish bones and Jewish corpses in what Astaf’ev relates about the war’ (p. 40). It is unclear to this reviewer how this statement, however true it may be, is of relevance to a study of village prose, and indeed any rationale for its ‘decline’. The main problem with this study is that it does not engage with its own stated purpose, and only scratches the surface of its subject...

ВОЕННАЯ ПУБЛИЦИСТИКА В.С. ГРОССМАНА НА СТРАНИЦАХ ГАЗЕТЫ «КРАСНАЯ ЗВЕЗДА» (МАРТ 1942 Г.)

The article focuses on the propagandistic and artistic features of V’ Grossman’s reports about Red Army soldiers. The researcher analyzes the nature of the interpretation of the reportage material in the author’s war prose – novels “For a Just Cause” and “Life and Destiny”.

A Look at Yuri Bondarev in Turkey from Past to Present

Yuri Vasilyevich Bondarev is one of the well-known names of 20th century Russian literature, and he is one Russian writer familiar to Turkish readers. A successful author of war prose, Bondarev attracted the attention of the Turkish audience with a wide range of literary works which includes novels, novellas, short stories, poems, articles, essays, interviews, etc. In this respect, the years in which he produced writings on the universal theme of war have an important place in Turkish politics. Bondarev began to be published in Turkey during the politization process following the military coup (1980) and he continued to be present in Turkey until the day he died. Especially in the 80’s when he was adopted as a war prose writer he was a guide for left-wing people in the struggle after the events of September 12. It is worth noting that the recent significant increase of interest in Bondarev’s work among Turkish linguists and philologists indicates that he is popular with the Turkish reader no less than the recognized classics of Russian literature. In this article, Bondarev’s position in Turkey from past to present will be analyzed in view of the studies on him in Turkish press and literature, and it will be emphasized that the author engrossed the Turkish reader with his artistic expertise and the ideology relayed through his works.

New hero in war prose of present time (based on books about war in Donbas)

The events on Maidan, the Russian-Ukrainian war in the East of Ukraine became a particular challenge not only for the novice writers but also for the famous masters of the word. Some of them took part in the defense of the country; others were strictly focused on the contemporary situation and talked with the soldiers who returned from the front. New works with scary stories and unexpected solutions aroused. In addition to the common theme, these books, published in 2014–2018, showed another common longed-for phenomenon – the emergence of a new hero. He is a patriot who, with weapons in hands, defends the homeland in Donbas, his own choice and future. He is a well-educated young man with a strong pro-Ukrainian position who is proud of his nationality. He has the power to design and successfully conduct a military special operation. Now he is ready for changes within society, he is savvy in questions of politics and course of Ukraine in the international arena. He is characterized by determination and perseverance, he is ready to fight. The new hero does not trust the central government since during all the years of independence it demonstrated to its own people only political weakness and double standards. An ordinary Ukrainian might be used to adjust himself to all the authorities without exception. However, the events of Maidan, and then the war woke up the society and swept its apathy. The desire to defend oneself, one’s family and friends, and the whole country gave strength to the people. Thus a new, self-confident and strong Ukrainian became typical. He is a leader able to motivate his comrades for being active in the battlefield and politics.The new hero may have even some messianic features corresponding to the people’s expectations.

PAT BARKER’S «REGENERATION» IN THE LIGHT OF THE LITERARY TRADITION OF THE XXTH CENTURY

The article is devoted to the comparative analysis of the works belong to the English war prose about the Great War. Despite the fact that in many European literatures the First World War is no longer a central artistic image (due to the shift of focus to the Second World War), in the UK the attention to the preservation of the memory of the Great War is still maintained. The novel «Regeneration» by P. Barker is an example of a modern interpretation of this topic. The writer does not abandon the existing tradition in the English literature («Death of a Hero» by R. Aldington) and even more clearly shows hypocrisy of the British society. As once the central character of the novel «Death of a Hero» by R. Aldington, the Barker’s hero refuses to adapt socially to what is happening at the front. Experiencing the English snobbery because of his origin, watching the death of his colleagues, he is aware of the lies and propaganda from the state and begins to consider his participation in the war as a kind of springboard for further successful life after it.

Paper Bullets and the Crisis of the Symbolic Order: A Study of English Civil War Prose

By showcasing and analyzing three separate texts from the English Civil War (The King’s Cabinet Opened; Eikon Basilike; A Fiery Flying Roll), this paper explores how the radical shift of print culture after the collapse of state censorship reflected on and strengthened the crisis of the symbolic order in the domains of politics. The King’s Cabinet Opened exemplifies the Parliament’s new approach to the use of print. By sending King Charles’ private documents and letters to print, the Parliament attempted to turn public sentiments against King Charles, thereby finding a more effective way of undermining his authority and power. Eikon Basilike is a sort of counter attack on the part of King Charles to justify his kingship by using the same print media with a view of an emerging readership constituted of common people. King Charles used Eikon Basilike as a prop to shine his final performance at the stage of Whitehall to complete his self-fashioning as a martyr. A Fiery Flying Roll, the third piece under examination, tells us that the exploitation of print to weaken the symbolic power of established authority was not limited to disagreements between elite groups. Against Coppe’s apocalyptic vision announced clearly in the pamphlet speaks the fact that print was now embraced even among socially and politically marginalized groups to challenge the basic premises of hierarchical society that had hitherto suppressed their utopian dreams. In conclusion, these writings are the landmarks attesting to a dramatic increase in the use of print as a deconstructive force to subvert the established order and power, anticipating the arrival of post-modern cultural practices of the late 20th century.

ХУДОЖЕСТВЕННАЯ КОНЦЕПЦИЯ ЧЕЧЕНСКИХ СОБЫТИЙ РУБЕЖА ХХ-ХХI ВЕКОВ В РОМАНЕ А. ПРОХАНОВА «ЧЕЧЕНСКИЙ БЛЮЗ»

The article considers the artistic conception of war suggested by A. Prokhanov in one of his war novels of the dilogy (“Those Marching through the Night” and “The Chechen Blues”) about the Chechen events of the turn of the XX-XXI centuries. This conception differs cardinally from the vision of war in the Soviet literature, and these differences indicate the formation of a “new conception of war” in the modern war prose. By the example of one particular novel, the authors try to formulate and justify a radically different perception of war typical of the current war literature usually associated with the Chechen events. The term “new conception of war” acquires new characteristics associated with religious perception of the Chechen war battles.

Andrew Frayn, Writing Disenchantment: British First World War Prose, 1914–30

Andrew Frayn, <i>Writing Disenchantment: British First World War Prose, 1914–30</i>

Transformacja mitu o bohaterstwie w rosyjskiej współczesnej prozie wojennej

Contemporary “war prose” contains works on both the Second World War and the subsequent conflicts in Afghanistan and Chechnya. The aim of the article is to analyse the changes of the war hero myth in autobiographical texts of the wars’ participants. Among the authors are Oleg Yermakov, Zachar Prilepin, Arkady Babchenko. As we find out, the contemporary “war narrative” is interwoven with the lack of ideology and patriotic pathos. A soldier fails to accept his war; moreover, he questions the authorities in their decision to break out the military conflict. In these conditions, it is difficult to make heroic acts and sacrifice for the good of the homeland.

Women, wars and militarism in Svetlana Alexievich’s documentary prose

This work examines the war prose of Svetlana Alexievich, an author from Belarus who writes predominantly in the oral history genre about significant political and social events in the Soviet Union and post-Soviet states. Alexievich is the 14th woman who has won the Nobel Prize in Literature and is one of just a few nonfiction authors recognized by the Nobel Prize Committee. Although only one of Alexievich’s writings from her magnum opus – the grand cycle of books Voices of Utopia – is explicitly devoted to women in wartime, essentially many of her creations analyze war from gender perspectives. Her honest and raw books are based on carefully documented eyewitness accounts of the scariest things that can happen to people in horrific wartime situations. In each of her works, Alexievich emphasizes the discrepancy between the official Soviet discourse of glorious wars and the survivors’ true accounts of the horrors they experienced.

ЭРИХ МАРИЯ РЕМАРК И АРНО ЗУРМИНСКИ (проблема взаимодействия литературной традиции в военной прозе)

The paper deals with the comparative analysis of the structure of main characters in the classic novel of the First World War prose All Quiet on the Western Front by Erich Maria Remarque and the work by the contemporary German author Arno Surminski Fatherland without Fathers (Vaterland ohne Väter). The analysis is based on the narrative model of “initiation”, which is regarded as the basis of the war prose. The author identifies the events that implement the motif model (e. g., death, contrasting of the past and present, frontline friendship, social adaptation, etc.) at the corresponding stages of the literary hero’s “initiation”. It is based on the traditional (three-part) scenario of initiation, whereby the initiated gets away from people, undergoes death-transformation, and is finally reborn as a different person. It has been found that while the medieval epics were characterized by the transformation of a war participant into the image of the hero, in the works by Remarque and Surminski the motif of rebirth in the model core is replaced with the motif of disappointment with what is happening (emergence of the lost generation literature). The motif of symbolic death, which was originally in the model core, does not change its position. However, it acquires a plot-shaping function as it ceases to be associated with the transformation of the literary hero’s image (due to the change in functions) and is implemented together with the motif of meeting the enemy. The stages of initiation also change along with the development of the war prose. The initial stages (getting away from people, symbolic death, rebirth) are transformed into the stages of growing up, frontline everyday life and rebirth (in the image of the unknown soldier).

Life and Limb: Perspectives on the American Civil War ed. by David Seed, Stephen C. Kenny, Chris Williams

Reviewed by: Life and Limb: Perspectives on the American Civil War ed. by David Seed, Stephen C. Kenny, Chris Williams Brian Matthew Jordan Life and Limb: Perspectives on the American Civil War. Ed. David Seed, Stephen C. Kenny, and Chris Williams. Liverpool: Liverpool University Press, 2016. ISBN 978-1781382509, 210pp., paper, $29.95. In “The Real War Will Never Get in the Books,” one of the most memorable and oft-quoted parts of Specimen Days (1882), Walt Whitman argued that the “marrow of tragedy concentrated in those Army hospitals” remained the Civil War’s “untold and unwritten history.” “Think how much, and of importance . . . has already been—buried in the grave, in eternal darkness,” he wrote. Our paltry inheritance of 1861 to 1865 was “a few stray glimpses” of a “many-threaded drama.” Life and Limb collects glimpses of the human suffering prompted by the war; each of these testifies eloquently to the efforts of surgeons and nurses, battlefield photographers and prosthetic manufacturers, veterans and writers (many of them well-known, but others less renowned) to make meaning of the misery all around them. A Union assistant surgeon describes the breathless, improvised aftermath of Bull Run, and a New York adjutant pocked by enemy lead narrates his evacuation from the battlefield at Cold Harbor. Nurses recall the woes of hospital wards, then marvel, with perhaps equal parts satisfaction and distress, at their newfound fortitude: “I am simply eyes, ears, hands, and feet,” Sarah Emma Edmonds concedes (34). “It seems strange,” the African American nurse Susie King Taylor comments, “how our aversion to seeing [End Page 336] suffering is overcome in war—how we are able to see the most sickening sights . . . without a shudder” (37). Reports are included of both the insect-infested excuse for a field hospital at Andersonville and Mathew Brady’s New York exhibition of Antietam images. Advertisements and testimonials for artificial limbs are presented, and both post-battle and postwar narratives, several from the pen of Ambrose Bierce, are sampled. Finally, from an insert printed on glossy paper, double amputees stare at us hauntingly, both before and after they are fitted with state-of-the-art arms or legs. Several succinct contributions from modern scholars are modestly interspersed among the sources, ensuring that the voices of Civil War Americans predominate. Like the sources, each essay invites us to interrogate the ways we have gazed at the war and its legacies of human destruction. Robert Leigh Davis reviews Walt Whitman’s Civil War prose, highlighting both its “ethics of intimate attention” and its instructive cadence—a “dilatory pace of hesitating, pausing, stepping aide” (43, 45). Susan-Mary Grant’s splendid essay reminds us that our reflexive laments for the supposedly primitive state of battlefield medicine can obstruct our view of some of the war’s extraordinary surgical coups. Nonetheless, Grant is keenly aware of the war’s “appalling” side; demonstrating the promise of neglected sources, she issues an eloquent call for “a more inclusive narrative, one that brings together the medical and the martial, the soldier and the surgeon” (91–92). Mick Gidley considers the work of Civil War photography, from the battlefield carnage captured on wet plates to the less studied images of maimed and mangled veterans collected that the new Army Medical Museum in Washington, D.C., collected during the war. Finally, Dillon Jackson Carroll renders a sketch of the Maine artillerist Napoleon Perkins, who, his new bride and newly fitted prosthetic limb notwithstanding, perhaps never made sense of the loss of his leg. While scholars will no doubt be familiar with many of the materials it excerpts, both the richness and the range of this welcome volume mark it an as ideal addition to undergraduate syllabi. It is likewise ideal for classroom adoption because the editors invite readers to draw their own conclusions—to reach for an interpretation that looks to the war not merely as a military event but as human experience. If Seed, Kenny, and Williams hazard few answers of their own, at least they are asking the right questions. “As distant witnesses to the war and its victims, readers have to work hard not to wallow in the appalling details of...

PSYCHOLOGICAL APPROACH TO NOVEL “THE BATTALIONS REQUEST FIRE” OF THE WAR PROSE WRITER YURI BONDAREV

Великая Отечественная война (1941-1945) стала важной темой в искусстве XX&#x0D; века, в том числе и в художественной литературе. Эта тема была всесторонне раскрыта в&#x0D; произведениях писателей военных лет, каждый из которых изображал войну в&#x0D; соответствии с собственным восприятием. К таким писателям относится и военный&#x0D; прозаик Юрий Бондарев, последователь антивоенной традиции Л.Толстого.&#x0D; Произведения Ю.Бондарева полны правды о вызываемой войной психологической&#x0D; катастрофе. Одним из произведений, в которых отображается эта правда, является&#x0D; повесть писателя «Батальоны просят огня». В ней ясно просматриваются моральные и&#x0D; душевные изменения, вызванные в человеке войной.&#x0D; В данной статье сделана попытка проанализировать повесть Ю.Бондарева&#x0D; «Батальоны просят огня» в свете возможностей, которые даёт психология для анализа&#x0D; художественных произведений. Нашей целью было продемонстрировать применение&#x0D; психологии в анализе произведений художественной литературы и внести вклад в&#x0D; исследования в области литературной психологии.

The narrator Dragisa Vasic and the First World War

The article talks about the war prose of Dragisa Vasic, primarily about his war stories, less about the novel 'Red mists'. The aim of the work is to demonstrate high achievements of the narrator Dragisa Vasic, and his skill in giving a picture of the First World War, not only through direct events on the front, but also the consequences which the First World War had on people making them 'scatter-brains' - defeated people and people of ill will. Special attention is drawn to the place occupied by women in the war prose of Dragisa Vasic.