Wartime Experiences Research Articles

War, forced displacement, and alcohol abuse: experiences and perceptions of war-affected south Sudanese refugee youth living in Bidibidi refugee settlement in northern Uganda.

Refugees are at high risk of alcohol abuse due to their experiences of structural, physical, sexual, and psychological violence in their countries of origin, during flight, and within host communities. Given the prolonged civil war in their country, South Sudanese have continued to flee profound forms of violence and now constitute the largest population of refugees in Uganda. However, little is known about their displacement experiences, as well as the reality of alcohol use and abuse within refugee settlements. Drawing upon the direct voices of a sample of war-affected South Sudanese young people, this article explores their experiences of forced displacement and their links to alcohol abuse, as well as their perceptions regarding appropriate alcohol treatment interventions for refugees in the camp. A total of 22 semi-structured qualitative interviews were conducted with 14 refugee youth (aged 18-25) alongside eight adult key informants who work with the youth (religious leaders, sports coaches, educators, social workers, and settlement administrators). Using thematic analysis, the study revealed a series of key themes influencing and shaping the high incidence of alcohol abuse among the youth. These included traumatic wartime and migration experiences, family separation, poor prospects, and the ubiquitous availability of alcohol in the settlement. In addition, we show how alcohol operates as a strategic tool for survival for the youth, as well as highlight how these perceptions can help to inform alcohol treatment interventions in the Bidibidi refugee settlement. To our knowledge, this is the first in-depth study of alcohol abuse among war-affected South Sudanese refugee youth in Uganda, addressing a significant gap in the current literature on war-affected youth, forced displacement, and alcohol abuse. We contend that involving youth in the design of interventions can be helpful for culturally sensitive and relevant prevention, treatment, and care in refugee settings. In addition, providing employment opportunities and meaningful engagement for growth through social participation can help to address harmful alcohol use among youth in the camps.

Incidence and management of traumatic vertebral artery injuries: wartime experience in Ukraine.

Modern combat-related vertebral artery (VA) injuries are increasingly being diagnosed, but the management of such injuries remains controversial. The authors report the frequency and characteristics of combat-related penetrating VA injuries and the indications for endovascular treatment, as well as analyze their treatment outcomes. A 1-year prospective study was completed at a civilian medical center in Dnipro, Ukraine, in all patients with VA injuries sustained during the Russian invasion in the 1st year of war. The authors evaluated the location, type, and severity of the VA injuries and concomitant injuries, as well as the type of intervention and outcomes at 1 month. In total, 279 wounded patients underwent cerebral angiography and 30 (10.8%) patients had VA injuries. All patients were male. There were 28 soldiers and 2 civilians with a mean age of 37.5 years. Four (13.3%) patients had Bissl grade I injuries, 4 (13.3%) had grade II injuries, 4 (13.3%) had grade III injuries (pseudoaneurysm), and 18 (60.0%) had grade IV injuries (occlusion). Four (13.3%) patients underwent emergency open surgical intervention. Fourteen (46.7%) patients underwent endovascular intervention. There was a significant relationship between the anatomical level of the VA injury and surgical intervention (p < 0.05). Endovascular intervention was correlated with the severity of vascular injury to the VA, with 12.5% of the patients receiving intervention for grade I and II lesions and 59.1% receiving intervention for grade III and IV lesions (p < 0.05). The overall mortality in the study group was 6.7% (n = 2), and both died of ischemic complications. In modern armed conflicts, VA injuries are much more common than reported for previous wars. With the available modern endovascular technology, cerebral angiography is warranted for suspected VA injury and allows for both the diagnosis and treatment of these injuries. Whether endovascular intervention is performed depends on the level and severity of VA injury, severity of concomitant injuries, and presence of collateral circulation.

‘The safety of the realm’: fact, fiction, and wartime trauma in Ian Fleming’s James Bond novels

ABSTRACT The creator of James Bond, Ian Fleming, served as Assistant to the Director of Naval Intelligence throughout World War II and played a leading role in many of its key operations. Yet despite Fleming’s grounding and experience in actual wartime intelligence operations and organisations, the origin of the Bond novels in real wartime intelligence has been neglected. Instead, the adventures of James Bond have more often been read as escapist fantasies concocted by Fleming for fame, profit, and imperial propaganda. This article will respond to this neglect of Fleming’s realism by tracing numerous parallels between wartime intelligence operations, agents, and institutions – such as Operation MINCEMEAT, Operation RUTHLESS, 30 Assault Unit, and Camp X – and the plots and personnel of Bond novels including Casino Royale, Live and Let Die, Moonraker, From Russia, with Love, and On Her Majesty’s Secret Service. The article will further explore how Fleming artfully evaded the constraints of Official Secrecy by disguising classified intelligence material as ‘romanticized caricatures’ in his postwar spy fiction. The profound impact of Fleming’s personal wartime trauma on the Bond novels will also be examined to ground the stories more firmly in actual wartime experience and intelligence.

Safety between the lines – the role, meaning and practice of pen-pal writing in the life of a young Finnish evacuee girl (1939–1945)

ABSTRACT This article examines the role, meaning, and practice of letter writing in the lives of two Finnish girls during the Second World War (WWII). We use a particular set of letters (N = 41) from the wartime letter collection kept in the Tampere University Folklife Archives and argue that they give us an interesting perspective on not only the girls’ wartime experiences, but also on the role of communication and pen-pal writing in everyday life. In particular, we focus on one evacuee – Ritva – who during the period 1939–1945 changed class six times, requiring her to constantly adapt to new class environments and peer relationships. However, from 1942 onwards, the correspondence with her pen pal Ella provided Ritva with a sense of continuous friendship free from the pressures of local peers. We suggest that pen-pal writing formed an arena of communication which allowed the two girls to share experiences, nurture mutual feelings, and give each other support – elements which might have sometimes been lacking in relationships they had locally with adults and peers at this time. In theoretical terms, this article is inspired by approaches from the history of experiences and history of emotions. These provide useful concepts for pinpointing the historical and cultural layers involved in the social process of cultivating a pen-pal correspondence.

Jan Karski’s Representations – Representing Jan Karski: From Poland’s Secret Messenger to Holocaust Witness

ABSTRACT This article analyses the wide range of representations of the actions undertaken by Jan Karski. Karski was a courier for the wartime Polish government-in-exile, engaged to report on the situation in Poland, to Polish politicians in France in 1940, as well as to government leaders in London and Washington in 1942/3. Karski’s book about his diplomatic endeavors was published as early as 1944 (Story of a Secret State), but thereafter he maintained a long silence, one that was only broken in 1978 when he was interviewed for Claude Lanzmann’s Shoah (1985). From the 1980s onwards, Karski repeatedly testified to his wartime activities and experiences; he received numerous awards for his early warnings about the fate of the Polish Jews under the Nazis and became a celebrity among the ‘righteous’. Following his death in 2000, Karski’s mission has been reconsidered and subjected to wide-ranging interpretation. We take an arts and humanities approach to analyzing how far these shifting perspectives on Karski’s wartime undertakings respond to the different emphases in Karski’s postwar memoirs and his interviews in different media. The article therefore poses questions about narrative and aesthetic construction to compare Karski’s testimonies with the ways they have been represented in documentary film and fiction. We conclude that the idea of Karski’s mission has been adopted to diametrically opposed and polemical ends and attempt an adjudication between these often-incompatible representations.

War Poetry of the Angolan/Namibian Border War: Re-membering Poetic Bodies through Textual Limbs

This article argues for a conceptualisation of war poetry as a corporeal re-membering that encapsulates trauma as literary theme through the ‘poetic bodies’ construct. The ‘poetic bodies’ concept implies that literary language, the physical and psychological body, and the environment interact to create ontological meaning through poetry. Therefore, the discussion takes place within a ‘poetic bodies’ epistemological framework, as it resonates with a South African Defence Force soldier’s (Dawid) poetry of the Angolan/Namibian Border War (1966–1989) within the larger body of Border War poetry. The article also indicates how Dawid’s biographical memory, as captured in a life story is manifested in his poetic expression of psychological re-membering and ‘sense-making’ of wartime experience. Therefore, it reveals how his poems or ‘poetic bodies’ re-member war through word-traces and symbols of physical and psychological trauma, which was triggered by environmental stressors during the Angolan/Namibian Border War.

Transmission as Fabrication in Graham Swift’s Shuttlecock (1981) and Wish You Were Here (2011)

For Graham Swift, as for many authors of the immediate post-World War II generation, transmitting memories and stories of the past—especially of the two world wars but also more recently, the Iraq war—to the next generations, especially as those who lived them are dying out, is part of a writer’s duty of remembrance. Thus most of his novels are about or at least include ex-servicemen whose lives have been obliquely or directly shaped by their wartime experiences and/or ordinary people who have been traumatized one way or another by the war. However, as Swift said in an interview with Marc Porée it is also up to the novelists to debunk some of the ‘glorious myths’ transmitted by family members or by the army, for example, when facts or events are deliberately or unwittingly falsified. I shall examine here a few examples of these faulty transmissions that the novelist deals with, focusing more specifically on Shuttlecock (1981) and Wish You Were Here (2011).

ОБРАЗ НІМЕЦЬКОГО СОЛДАТА ТА ОБРАЗ ВОРОГА У ГРАФІЦІ АРТУРА КАМПФА (1914–1917)

The important role which visual media play in modern armed conflicts calls for studying the subject in its historical context. This article examines the construction of the image of the German soldier and that of the enemy during WWI through the example of graphic works by Arthur Kampf – one of the most prominent academic artists of the Wilhelmine period and an «official war artist». Contemporaneous printmaking techniques allowed for the creation and dissemination of a large number of artworks which represented various aspects of wartime experience, as well as reflecting changes in official propaganda and public sentiment. For that reason graphic works from WWI merit special attention on the part of scholars. The source materials include separate prints, reproductions of the artist’s other graphic works in the press, and his illustrations to the collection of sermons «Ein feste Burg» («A Strong Fortress»). The study draws on the concepts used in different fields of contemporary humanities (representation, substitution, image of the enemy) and methods of art history proposed by Erwin Panofsky. The author demonstrates that the subject works reflect the moral ideal of the German soldier rather than the actual experience of the participants in WWI. In Kampf’s pieces from 1914 German soldiers appear as physically and mentally strong superheroes. During and after his trip to the frontline in the winter and spring of 1915, the artist focused on creating individualised portraits of combatants, along with depicting the hardships of their daily life and the pain of being separated from their families. Although the pieces from this period are arguably more realistic, the artist overlooked the immediate experience of industrialised warfare or its traumatic impact on soldiers’ physical and mental health. Kampf represented the enemy as a complete opposite of the German soldier, an embodiment of unrestrained aggression and unprovoked violence. Due to their allegorical nature and references to established iconographic traditions the works depicting the enemy transcend the historical situation in which they were created. Kampf’s pieces reflect the major trends in the representation of WWI in German visual culture over the course of the conflict. Constantly appearing in visual media, such images – emotionally-charged and often devoid of internal contradictions – possessed an ability to shape the recipients’ perception of the nature and objectives of the war, which was portrayed as a clash of cultures. To some extent they were able to replace the first-hand traumatic experience of the combatants and their relatives.

“Lin Daiyu on the Long, Pretty Lady of War”—Ms. Yuexia’s Poetic Creation

As a local poet of Gansu during the war period, Ms. Yuexia’s poems have become an integral part of the literary scene in Gansu during this period. Since her creative works were concentrated in the early period of the Anti-Japanese War, Ms. Yuexia’s poems present a somber beauty like the war situation, with distinctive wartime experience and sense of confusion and disillusionment in terms of subject matter, imagery, and emotion. Through Ms. Yuexia’s poetry, we can not only observe the process of learning and absorbing the old and new poetic styles in the debate and competition in the early 1930s, but also understand the real picture of Gansu’s literary world in the period of the Anti-Japanese War on the basis of her poetry.

Renegotiating Citizenship through the Lens of the ‘People’s War’ in Second World War Britain

Abstract This article re-examines the importance of the ‘people’s war’ by exploring the word history of the phrase. The article shows that the term was widely used and understood on the British home front during the Second World War. Our focus is on how it provided a framework to renegotiate citizenship. Drawing on a wide range of popular newspapers, magazines and life writing, we argue that the ‘people’s war’ was a flexible concept. It was used, on the one hand, to explain extensions to the duties of citizenship and encourage participation, and, on the other, to demand a greater voice, recognition and rewards for citizens. This shaped the lived experience of wartime, and provided a language for ‘ordinary people’, as well as politicians and the press, to articulate their demands in the present and hopes for the future. We argue that the ‘people’s war’ remains an important historical concept. The process of negotiation through the lens of the ‘people’s war’ not only sheds light on wartime experience; it also suggests new ways to think through vernacular understandings of citizenship and the relationship between the people and the state, in the post-war world and beyond.

EARLY-LIFE WAR EXPOSURE AND LATER-LIFE FRAILTY AMONG OLDER ADULTS IN VIETNAM: DOES WAR HASTEN AGING?

Abstract We aimed to assess the nature and degree of association between exposure to potentially traumatic wartime experiences in early life and later-life frailty. The Vietnam Health and Aging Study included war survivors in Vietnam, age 60+. Latent class analysis (LCA) is used to construct classes exposed to similar numbers and types of wartime experiences. Frailty is measured using a deficit accumulation approach that approximates biological aging. LCA yields 9 unique wartime exposure classes, ranging from extreme exposure to non-exposed. Higher frailty levels among those with heavy/severe exposures certain combinations of experiences, including intense bombing, witnessing death firsthand, having experienced sleep disruptions during wartime, and having feared for one’s life during war. The difference in frailty-associated aging between the most and least affected individuals is more than 18 years. War trauma hastens aging and warrants greater attention toward long-term implications of war on health among vast post-conflict populations across the globe.

Wartime intelligence experience in the works of Barbara Pym and Muriel Spark

ABSTRACT This paper looks at the possibilities of fiction in understanding intelligence, taking two female 20th century writers as case studies, Barbara Pym, and Muriel Spark. It considers how they did or did not draw on their wartime experience in their fiction. It asks why fiction still matters in an era of ever-more accessible archives and public records. It concludes that authorial choice, self-censorship, redacting and editing by others suppressed Barbara Pym’s official wartime experience as an Examiner or censor. It suggests that the role was undervalued both at the time and subsequently as a source of intelligence. The paper concludes that Muriel Spark exploited to the full a short exposure to black propaganda, highlighting how three of her works of fiction offer readers insights into ethical questions of deception, manipulation, and surveillance.

“Our children”: Moral panic associated with children and collective violence against the Jews in the immediate aftermath of the Second World War in Poland

AbstractBetween 1945 and 1946, Poland witnessed three large anti‐Jewish pogroms. The infamous Kielce pogrom of July 4, 1946, which claimed the lives of over 40 Holocaust survivors was preceded by outbursts of collective violence in Rzeszów and in Kraków. All three pogroms were perpetrated by police officers, soldiers of the Polish army, and civilians forming a pogrom mob, and all were preceded and inflamed by rumors about Jews kidnapping and harming Christian children. Studies of widespread antisemitism and the common belief in blood libel do not seem to offer an adequate explanation of how the people of Rzeszów, Kraków, and Kielce could have believed the rumors that Jews were abducting and murdering children. They explain even less what made possible the social mobilization leading toward mass violence against Holocaust survivors in Poland in the immediate aftermath of WWII. We address this issue by using the concept of moral panic as proposed by Erich Goode and Nachman Ben‐Yehuda and examining possible reasons why Polish society after the WWII seems to have been particularly attuned to the fate of children. We argue that in the early postwar years there was a moral panic in Poland associated with the vulnerability of children. It was propelled by wartime experience but also by omnipresent violence and hideous crimes committed against children in the wake of WWII. Although there was no fact‐based connection between these crimes and the Jews, many Polish Christians eagerly put the blame on “the Other,” that is, the Jews, and sought facts that could serve as confirmation of an old prejudice—the blood libel. Polish Christians who accepted the blood libel as truth could have found confirmation of their belief when Jewish relatives or Jewish organizations undertook to “recover”—through legal procedures, by payment, by subterfuge or by force—children who had been hidden in Christian families during the Holocaust.

The selection of genres and forms in audiovisual art for the recording and artistic reinterpretation of wartime themes

The article studies the representation of war-related themes in cinematography, the selection of audiovisual forms and genres for their expression, and analyzes the influence of war on the development of art in historical and contemporary contexts. An attempt is made to systematize thematic components that filmmakers can use to create audiovisual works about contemporary war events in Ukraine.&#x0D; The purpose of the article is to explore the issue of choosing cinematic forms that allow for emotional proximity of the audience to the experience of traumatic wartime events. Additionally, it involves an analysis of the differences in approaches to handling war-related themes in art depending on the temporal distance between the creators and the events. The study draws upon the findings of previous research related to the concept of “postmemory” and examines how this concept can be applied to the development of contemporary cinema by Ukrainian directors.&#x0D; The methodology of the research is conducted through a system-oriented analysis and comparison of various forms and genres of screen arts, each of which possesses distinct means of expression for exploring central topics (narrative and documentary cinema, short and feature films, portrait films, and docudramas).&#x0D; The scientific novelty of the study lies in the attempt to apply international experience in analyzing the representation of traumatic wartime experiences in works of art, with the aim of projecting the application of these practices in the Ukrainian artistic context.&#x0D; The results. The depiction of war themes in art serves as a significant tool for preserving and transmitting traumatic emotional memories across generations. It is precisely the experience of wartime events that becomes pivotal in shaping the national identity, both at the collective and individual levels. In this context, the director’s task is to find the most suitable cinematic form to reveal specific stories. Despite the prevailing opinion in the professional Ukrainian film community and society regarding the inappropriateness of producing fictional films about the contemporary war in Ukraine, research demonstrates that the traumatic experience undergone by Ukrainians today requires documentation, representation, and artistic reinterpretation in close proximity to the ongoing events.&#x0D; The scientific novelty of the research lies in the analysis of the application of the concept of “postmemory” and the exploration of ways in which this concept can be used to shape the contemporary cinematic language of Ukrainian directors. Additionally, the article outlines several thematic areas within which modern cinematographers can seek specific stories and characters for their future works.&#x0D; The practical significance. Various formats and genres of screen media can be applied for this purpose, including short and feature films, documentaries, and fictional films, as well as works in such genres like portraiture, sketches, and docudramas. The research emphasizes the appropriateness of creating and comparatively analyzing diverse artistic forms dedicated to the theme of war in literature, cinematography, visual arts, music, and more. Regardless of the chosen thematic dimensions in which an author works, it is crucial to remember the power of personal stories and experiences that can provide an understanding of the enormous scale of wartime tragedy.

Not by Words Alone: Early Holocaust Graphic Narratives as a “Minor Art”

Abstract Immediately after the Holocaust, scores of Jewish survivors created graphic narratives, in word and image, about their individual and collective wartime experiences under Nazi oppression. This essay will make a case for these early postwar works as a “minor art.” “Minor” captures the material characteristics of this low-capital, low-circulation printed matter: slight in weight, small in size, modest in price, and ephemeral in quality. It also describes their “poor” images that pull, in form and structure, from popular culture (comics, cartoons, illustrated books) on the margins of modernist concerns (composite image-texts relying on narrative storytelling). Borrowing from Gilles Deleuze and Félix Guattari’s concept of “minor literature” as a deterritorialized, political, collective utterance, I argue that disciplinary notions of “art” and “testimony” have prevented us from seeing this “minor art” and recognizing how its vernacular, amateur art practices allowed survivors to reconstruct the past, remember communities and identities erased, and reclaim their own narratives of persecution. Created by a minority (a decimated Jewish community) working on the peripheries of the art world, they tell a Jewish story using Jewish frames of reference to create a community outside of majoritarian culture. What is at stake in them is not only a poetics of recollection but a politics of representation: of seeing with Jews as a critical act by dominated persons against the dominant, antifascist master narrative of WWII and the primary media of its dissemination, photography and film. Ultimately, this “minor art” can have major implications for both how we understand the crucial first decade of survivor initiatives and how we write our histories of Jewish art.

The Difficulty of Reintegration: Examining the Child Soldier’s Post-War Life in Selected African Novels

Many research works on the child soldier phenomenon seem to focus largely on the war-time experiences of the child soldier. Consequently, great attention is given to the life of the child soldier during the war. This paper, through qualitative content analysis and the trauma theory (Cathy Caruth’s concept of belatedness and Dominick LaCapra’s concept of acting-out) pays particular attention to the child soldier’s life after the war and his preparedness towards reintegration. The difficulty that accompanies this exercise is what makes obvious the loss of the child soldier. Even though he is far away from the war, he becomes a troubled and lost child who struggles futilely to erase his war-time memories. The paper finds that the child soldier’s loss is often manifested in the form of extreme violence, post-traumatic stress disorder, identity crisis and the lack of trust. Also, the paper subtly questions rehabilitation as an absolute curative measure for the child who was once a vicious perpetrator of violence and chaos. The paper finds that although rehabilitation provides a serene environment for the former child soldier and attempts to normalize his difficult and painful memories in his present world, it does not completely heal him of his psychological pain and wound.

Imagining a Channel Tunnel in France after the First World War

AbstractThe cultural shift that France experienced after the First World War has commonly been analysed through the prism of attitudes towards Germany, and the continuation of wartime prejudices in the immediate post-war period. Yet, an exploration of imaginings of future relations with a wartime ally reveals a broad spectrum of assumptions and expectations that span the transition from war to peace. Taking as its focus the prospect of a tunnel under the English Channel, this article situates thinking about France’s future within cultures of nationalism and ideas about international connection. It uses a collection of answers to a 1919 exam question which asked what might be the likely consequences of a Channel tunnel, and analyses the themes that emerged as the candidates picked and chose from a variety of different national symbols and images. In so doing, they offered a vision of a tunnel that was rooted in the past and in wartime experiences, but that equally represented a means to strengthen and sustain the Franco-British partnership that would be key to France’s future. Read alongside government and lobby group records, their essays afford a glimpse into grassroots imaginings of both the French nation and the new international order after 1919.

‘A whisperer for all Italians’

While considerable research has been undertaken on internment experiences during the World War II in Australia, little has focused on the thousands of ‘enemy aliens’, especially Italian-born women and Australian-born women of Italian descent, whose family members were interned. This article explores the ways in which the lives of three Queensland Italian women were impacted by the National Security (Aliens Control) Regulations 1939 (Cth). One of these three women was ultimately interned as a result of being perceived as a threat to national security. The experiences of each, documented in official records, highlight concerns about their treatment under the Regulations. How did the Regulations restrict the civil rights of Italian women and how did they respond? Examination of these three women’s particular circumstances shows that they each suffered hardship and isolation when loved ones were interned, yet two actively sought to improve their situation by appealing to the authorities. Their stories reflect the ‘war hysteria’ and suspicion, as well as isolation, discrimination and victimisation, that form a largely unacknowledged history of the wartime experience of ‘enemy alien’ women.

Preserving and Celebrating Syrian Intangible Cultural Heritage in the UK: Strategies, Insights, and Untold Narratives

In recent times, the significance of living heritage during crises has gained prominence. While the aftermath of such crises often leads to lessons being forgotten, those in conflict zones persistently endure hardships. This study examines the pivotal role of intangible cultural heritage (ICH) in bolstering resilience, particularly among diaspora communities, using Syrians in the UK as a case study. We delve into the primary ICH practices that they adopt, their assimilation techniques within the UK, the impact of wartime experiences on their reactions to the COVID-19 pandemic lockdown, and the consequent effects on host communities. Employing a diverse methodological framework that includes online public lectures, interviews, and direct observations, our results underscore the Syrian diaspora’s earnest commitment to preserving its rich heritage. Beyond the poignant losses of invaluable art and treasures to conflict, a dominant narrative of hope and enduring human spirit emerges. As illuminated by our findings, Syrians’ resilience extends beyond mere survival, reflecting a deep-seated pride in identity and an unyielding cultural spirit. This resilience not only marks the continuation of Syrian culture but also highlights its capacity to evolve, adapt, and enrich new environments.

Tolstoy’s Happy Children of Peace. The Wartime Translation of 'Sebastopol in December' (1855)

A geopolitical clash between Russia and other European powers, the Crimean War (1854–1856) witnessed the first mediatized armed conflict in modern history. During the war, the young Lev Tolstoy wrote and published three Sevastopol Sketches, based on his wartime experiences in the besieged port of Sevastopol. Upon publication, the first of the stories was translated into French and published within a fortnight. Une journée à Sévastopol en décembre 1854 featured in Le Nord, a Brussels newspaper covertly operated by the Russian government. An in-depth analysis of the translation shows that the text was abridged and carefully groomed to serve Russia’s interests and Tolstoy’s patriotism made way for an appeal to the target audience, designated as ‘happy children of peace.’ Elaborating on the origins of the translation and its publishing context, I argue that this particular translation needs to be read both as an act of soft power and as an act of diplomacy. If the target text is considered as a historical document among other sources, empirical historical research can prove beneficial to the discipline and move forward the debate on Translation Studies’ approach to highly ideological contexts, in particular translations in periodicals.