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Journal articles on the topic 'Sassoon, Siegfried'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Ziyaettin Turan, Yusuf. "Siegfried Sassoon & Savaş Şiiri." Gaziosmanpasa Universitesi Sosyal Bilimler Arastirmalari Dergisi 08, no. 16 (2013): 129. http://dx.doi.org/10.19129/sbad.265.

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2

Shaw, John. "Siegfried Sassoon: His Musicality and Poetry." Notes and Queries 64, no. 4 (2017): 645–48. http://dx.doi.org/10.1093/notesj/gjx146.

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3

Hampton, Charles. "Beyond Reciprocal Violence—René Girard and Siegfried Sassoon." Practical Theology 1, no. 1 (2008): 65–83. http://dx.doi.org/10.1558/prth.v1i1.65.

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4

CAMPBELL, PATRICK. "‘TESTAMENT’: AN UNPUBLISHED WAR POEM BY SIEGFRIED SASSOON." Notes and Queries 45, no. 2 (1998): 232—a—232. http://dx.doi.org/10.1093/nq/45.2.232-a.

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5

CAMPBELL, PATRICK. "‘TESTAMENT’: AN UNPUBLISHED WAR POEM BY SIEGFRIED SASSOON." Notes and Queries 45, no. 2 (1998): 232—a—232. http://dx.doi.org/10.1093/nq/45-2-232a.

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6

Campbell, P. "Note. 'Testament': an unpublished war poem by Siegfried Sassoon." Notes and Queries 45, no. 2 (1998): 232. http://dx.doi.org/10.1093/nq/45.2.232.

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7

KEMALOĞLU, Azer Banu. "Remembering Rupert Brooke and Siegfried Sassoon in Gelibolu Novels." Çanakkale Araştırmaları Türk Yıllığı 16, no. 25 (2018): 105–16. http://dx.doi.org/10.17518/canakkalearastirmalari.475828.

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8

Giovanelli, Marcello. "Construing and reconstruing the horrors of the trench: Siegfried Sassoon, creativity and context." Journal of Literary Semantics 48, no. 1 (2019): 85–104. http://dx.doi.org/10.1515/jls-2019-2009.

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Abstract Cognitive Grammar has emerged in recent years to become an established analytical method in cognitive stylistics. Although one of its key affordances is that it provides a robust framework for analysing the different ways in which scenes can be depicted, researchers have yet to develop an account of how Cognitive Grammar can support a detailed analysis of authorial creativity. This paper aims to redress the balance by using Cognitive Grammar to examine the relationship between creativity and the unique situations that give rise to writing in a diary entry and two subsequent rewritings

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9

Wilson, Jean Moorcroft. "Dr W. H. R. Rivers: Siegfried Sassoon and Robert Graves’ ‘fathering friend’." Brain 140, no. 12 (2017): 3378–83. http://dx.doi.org/10.1093/brain/awx303.

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10

Sharma, Niharika, and Manoj Kumar. "War through the eyes of wilfred owen and siegfried sassoon: A study." Motifs : A Peer Reviewed International Journal of English Studies 7, no. 1 (2021): 72–81. http://dx.doi.org/10.5958/2454-1753.2021.00012.x.

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11

Quinn, Patrick J. "Modern Nostalgia: Siegfried Sassoon, Trauma, and the Second World War (review)." University of Toronto Quarterly 79, no. 1 (2010): 382–83. http://dx.doi.org/10.1353/utq.2010.0178.

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12

Saks, Paul S. "Aftermath: The Implicit Processes of Integrating Traumatic Experience in the Poetry of Siegfried Sassoon." Journal of the American Academy of Psychoanalysis and Dynamic Psychiatry 35, no. 4 (2007): 591–604. http://dx.doi.org/10.1521/jaap.2007.35.4.591.

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13

Poynor, David. "Meeting the Enemy in World War I Poetry: Cognitive Dissonance as a Vehicle for Theme." Humanities 8, no. 1 (2019): 30. http://dx.doi.org/10.3390/h8010030.

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Some World War I poems show an enemy soldier up close. This choice usually proves very effective for expressing the general irony of war, to be sure. However, I submit that showing interaction with the enemy also allows the speaker space to wrestle with internal conflict, guilt, or cognitive dissonance, and that it allows—or even forces—readers to participate in that struggle along with the speaker. While the poets’ writings no doubt had therapeutic effects for the poets themselves, I focus more on the literary effects, specifically arguing that the poems are powerful to us readers since they

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14

Sarnowski, Michael. "Revisiting the Sites of Trauma: The War Poetry of Siegfried Sassoon, Edmund Blunden, and Richard Hugo." Journal of Literature and Trauma Studies 7, no. 2 (2018): 1–20. http://dx.doi.org/10.1353/jlt.2018.0010.

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15

Giunta, Angelo. "Il nazionalismo della letteratura britannica prima della Grande Guerra e l’esperienza dei War Poets." Studia Polensia 9, no. 1 (2020): 65–86. http://dx.doi.org/10.32728/studpol/2020.09.01.04.

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L’immagine di un Regno Unito visto come Eden inconsapevole della tragedia che sta per lacerarlo è diffusa, ma piuttosto falsa. L’apparente serenità nasconde una violenza latente e gravi questioni interne e la guerra, quindi, non fa altro che accelerare un processo già in atto. Di tutta la letteratura inglese del Ventesimo secolo, la poesia di guerra sembra, sotto molti punti di vista, una “parentesi” all’interno del panorama letterario. La war poetry è il prodotto di un determinato periodo storico, sociale e culturale venutosi a formare nella Prima guerra mondiale. Tra i migliori poeti della G

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16

Kershaw, Matt. "Poetry as Antidote to Toxic Certainty." Lumen et Vita 9, no. 2 (2019): 29–44. http://dx.doi.org/10.6017/lv.v9i2.11127.

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In examining the discursive environment surrounding the Great War (1914-1918), one finds a familiar reduction of reality into flat and mutually exclusive binaries written in what Robert Graves called "Newspaper Language." In this article, I suggest such discursive flattening to be both unproductive and dehumanizing, employing the term "toxic certainty" to refer to language used by a given partisan over and against the perceived other, where the rhetorical force of an assertion is taken to be the proof of that assertion. To counter dehumanizing discourse both in and out of the pulpit, I suggest

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17

Matalon, Avi. "Difference at War: Siegfried Sassoon, Isaac Rosenberg, U. Z. Grinberg, and Poetry of the First World War." Shofar: An Interdisciplinary Journal of Jewish Studies 21, no. 1 (2002): 25–43. http://dx.doi.org/10.1353/sho.2002.0112.

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18

Wheeler, Raymond L. "Sir Christopher Sydney Cockerell, C.B.E., R.D.I. 4 June 1910 — 1 June 1999." Biographical Memoirs of Fellows of the Royal Society 47 (January 2001): 67–89. http://dx.doi.org/10.1098/rsbm.2001.0005.

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Christopher Sydney Cockerell was born in Cambridge on 4 June 1910. His father, Sir Sydney Carlyle Cockerell, was at that time Director of the Fitzwilliam Museum at Cambridge, a position he was to hold for nearly 30 years. He had formerly been secretary to William Morris and the Kelmscott Press. His mother was a talented artist known for her superb illuminated manuscripts. Christopher was an only son, with two sisters. His distinguished father's very strong personality made early relationships with him rather difficult. Fortunately he adored his mother, who had a profound influence on him. The

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19

Kaplan, Susan, and Robert Giddings. "The War Poets: The Lives and Writings of Rupert Brooke, Robert Graves, Wilfred Owens, Siegfried Sassoon, Edmund Blunde, and the Other Great Poets of the 1914-1918 War." Journal of Military History 53, no. 2 (1989): 197. http://dx.doi.org/10.2307/1985753.

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20

Pividori, María Cristina. "“Prefer not, eh?”: Re-Scribing the Lives of the Great War Poets in Contemporary British Historical Fiction." Revista Alicantina de Estudios Ingleses, no. 31 (December 15, 2018): 125. http://dx.doi.org/10.14198/raei.2018.31.08.

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Although the First World War has become history by now, the memory of the war continues to be repeatedly fictionalised: retrospectively inspired narratives are often regarded as more genuine and far-reaching than historical or documentary accounts in their rendition of the past. Yet, memory is creatively selective, reflecting a highly-conflicted process of sifting and discerning what should be remembered, neglected or amplified from the stream of war experience. In his book about Pat Barker, Mark Rawlinson argues that “historical fiction has been transformed in the post-war period by the way w

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21

Dubois, M. "Siegfried Sassoon's Release, David Jones's Formation." Literature and Theology 25, no. 1 (2011): 79–91. http://dx.doi.org/10.1093/litthe/frq071.

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22

ATASOY-, Emrah. "TRANSFORMATION OF SIEGFRIED SASSOON’S WAR POETRY: DISCOURSE SHAPES PERSPECTIVE." Kesit Akademi 26, no. 26 (2021): 1–8. http://dx.doi.org/10.29228/kesit.49023.

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23

Adham, Dr Kanar Asaad. "A study of the Bereavement of the Mother in Siegfried Sassoons poem "The Hero" and Walt Whitmans poem Come up from the fields, Father"." Journal of Zankoy Sulaimani Part (B - for Humanities) 19, no. 2 (2000): 497–506. http://dx.doi.org/10.17656/jzsb.10608.

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24

Bruce, Susan. "Sherston's Imaginary Friend: Siegfried Sassoon's Autobiographical Prose and the Idea of Photography." Biography 30, no. 2 (2007): 173–93. http://dx.doi.org/10.1353/bio.2007.0034.

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25

Bergonzi, Bernard, and Patrick J. Quinn. "The Great War and the Missing Muse: The Early Writing of Robert Graves and Siegfried Sasson." Yearbook of English Studies 26 (1996): 309. http://dx.doi.org/10.2307/3508700.

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26

France, Peter. "Scott Moncrieff's First Translation." Translation and Literature 21, no. 3 (2012): 364–82. http://dx.doi.org/10.3366/tal.2012.0088.

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C. K. Scott Moncrieff, famous as the translator of Proust, began his translating career in 1918 with La Chanson de Roland. Knowing nothing of Old French, he encountered this classic text while recovering from a war wound; the work of translation was a ‘solace’ in time of war, but also a homage to his friend Wilfred Owen and others who had ‘met their Rencesvals’ as the war drew to a close. Scott Moncrieff was no jingoist, but against the cynicism of Siegfried Sassoon's war poetry, he used the Old French epic to celebrate the positive values embodied in the idea of vassalage. Like his Proust, hi

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27

Sedova, E. S. "THE MOTIVE OF LOST ILLUSIONS IN W.S. MAUGHAM’S “FOR SERVICES RENDERED” AND J. B. PRESTLEY’S “TIME AND THE CONWAYS”." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (2021): 365–73. http://dx.doi.org/10.35634/2412-9534-2021-31-2-365-373.

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The purpose of this article is to analyze the motive of lost illusions in W.S. Maugham’s “For Services Rendered” and J. B. Priestley’s “Time and the Conways”. This motive is realized, firstly, at the level of the system of characters, when two authors show characters with broken hearts, thus the idea of “a heartbreak house” becomes the dominant one in these plays. Secondly, both playwrights use a circular composition, showing the life circle of their characters. The article concludes about the genre diversity of the works of the two authors: Maugham creates a social drama (focusing on the fate

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28

Dijck, Cedric Van. "Time on the Pulse: Affective Encounters with the Wristwatch in the Literature of Modernism and the First World War." Modernist Cultures 11, no. 2 (2016): 161–78. http://dx.doi.org/10.3366/mod.2016.0133.

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Time is a constitutive feature of modernism, which developed in a period when the stability of the self was disintegrating. This paper considers the link between modernist temporality and affect by looking at the wristwatch, the first timepiece worn on the body. I focus on its emergence in World War One and go on to discuss two encounters with the timepiece in Siegfried Sassoon's ‘Attack’ (1918) and Virginia Woolf's To the Lighthouse (1927). In these texts the figure of the conflation of wristwatch/ticking and wrist/pulse articulates a loss of individual mobility and agency in the modern world

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29

"Siegfried Sassoon." Choice Reviews Online 31, no. 03 (1993): 31–1388. http://dx.doi.org/10.5860/choice.31-1388.

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30

Fussell, Paul. ""My Dear Siegfried": Gosse to Sassoon." Journal of the Rutgers University Libraries 38, no. 2 (2012). http://dx.doi.org/10.14713/jrul.v38i2.1557.

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31

Yebra, José M. "The friction line between “lying” and “truth”, Oedipal conflict, and traumatic speaking and silence in Pat Barker’s Regeneration." Grove - Working Papers on English Studies, no. 23 (December 23, 2016). http://dx.doi.org/10.17561/grove.v23.a13.

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The present article analyses the first part of Pat Barker’s trilogy Regeneration (1991-1995), of the same title. It is set in the First World War and turns around the encounter between psychiatrist E. M. Rivers and War poet Siegfried Sassoon when the latter suffers from shell shock and publishes a complaint against the war politics of the British government. From the analysis of Sassoon’s Declaration, my main contention is that the novel addresses the liminal territory between “truth” and “lying” when representing and memorialising a traumatic event like WWI. In the second part, I delve into t

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32

Higham, Dallin. "A United Voice." Constellations 10, no. 2 (2019). http://dx.doi.org/10.29173/cons29394.

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In this article, I consider three influential poets of the Great War: Siegfried Sassoon, Charles Hamilton Sorley and Rupert Brooke. Since the birth of the modernist movement, the historical legacy of Great War poetry has tended to focus on the differing levels of “disenchantment” expressed in the works of these three poets when considered separately, applauding Sassoon and Sorley and criticizing Brooke. While I recognize a separation of the works of Brooke from those of Sorley and Sassoon in terms of modernist disillusionment, I argue that analysing instead the literary elements which unify th

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33

"Siegfried Sassoon: a study of the war poetry." Choice Reviews Online 36, no. 10 (1999): 36–5508. http://dx.doi.org/10.5860/choice.36-5508.

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34

McPhail, Sean A. "From Soldier-Poet to Veteran Memoirist: Siegfried Sassoon, The Complete Memoirs of George Sherston, and the Limits of Life-Writing in Prose." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 74, no. 2 (2021). http://dx.doi.org/10.5007/2175-8026.2021.e79211.

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The Complete Memoirs of George Sherston is a key text supporting Siegfried Sassoon’s reputation as Britain’s pre-eminent Great War-writer. Critics have nevertheless reached no consensus as to whether these lightly fictionalised “memoirs” represent true accounts of Sherston’s/ Sassoon’s war or fictional constructions. They have also yet to account for the differences between the Memoirs and Sassoon’s war-poetry, and between Sherston’s stated commemorative goals and his complete account. This article dissects the Memoirs’ adaptation of Sassoon’s front-line poetics of commemoration: it reads thei

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35

"Modern nostalgia: Siegfried Sassoon, trauma and the Second World War." Choice Reviews Online 46, no. 10 (2009): 46–5476. http://dx.doi.org/10.5860/choice.46-5476.

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36

Güllübağ, Mustafa. "Birinci Dünya Savaşı Şairi Siegfried Sassoon ve Bir Gelibolu Gazisi." Celal Bayar Üniversitesi Sosyal Bilimler Dergisi, September 30, 2019, 331–43. http://dx.doi.org/10.18026/cbayarsos.585427.

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37

"Siegfried Sassoon: the journey from the trenches: a biography (1918-1967)." Choice Reviews Online 41, no. 08 (2004): 41–4516. http://dx.doi.org/10.5860/choice.41-4516.

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38

"Siegfried Sassoon: the making of a war poet: a biography (1886-1918)." Choice Reviews Online 36, no. 03 (1998): 36–1468. http://dx.doi.org/10.5860/choice.36-1468.

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39

"The Great War and the missing muse: the early writings of Robert Graves and Siegfried Sassoon." Choice Reviews Online 31, no. 10 (1994): 31–5314. http://dx.doi.org/10.5860/choice.31-5314.

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40

"A Study of the Bereavement of the Mother in Siegfried Sassoon's Poem "The Hero" and Walt Whitman's Poem "Come Up from the Fields, Father"." International Journal on Studies in English Language and Literature 5, no. 5 (2017). http://dx.doi.org/10.20431/2347-3134.0505003.

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