Journal articles: 'Wilfred owen'

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Musil, Caryn McTighe. "Wilfred Owen and Abram." Women's Studies 13, no. 1-2 (December 1986): 49–61. http://dx.doi.org/10.1080/00497878.1986.9978652.

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Kerr, Douglas. "A Candle for Wilfred Owen." RUSI Journal 163, no. 5 (September 3, 2018): 86–88. http://dx.doi.org/10.1080/03071847.2018.1552461.

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King, Daniel P. "Wilfred Owen by Guy Cuthbertson." World Literature Today 88, no. 6 (2014): 74–75. http://dx.doi.org/10.1353/wlt.2014.0016.

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Betz, Mathew J. "Observing the Basics: Remembering Wilfred Owen." Transportation Research Record: Journal of the Transportation Research Board 1819, no. 1 (January 2003): 9–12. http://dx.doi.org/10.3141/1819a-03.

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The conference presents a unique opportunity to recognize the contributions of Wilfred Owen to the field of low-volume roads and their application to the problems of today and tomorrow. Owen was the transportation expert for the Brookings Institution for about four decades. Besides being interested in the theories and principles of low-volume roads, Owen was vitally concerned with the rural and urban needy throughout the world. He believed that the development of transport and the economic opportunities that would ensue would benefit them significantly. Few have had more impact on the provision and improvement of low-volume roads in developing countries than Wilfred Owen. He was the author of many studies of specific countries in addition to several books. His major emphasis was on the need to identify and grasp the basics of economic evaluation and, more important, the basic premises and goals for investing in transport to facilitate economic development. Owen’s second major emphasis was on well-founded and rational planning. He focused on the need for change, including the reorganization of international efforts to address the global transportation problem. In 1983 Wilfred Owen was the keynote speaker at the Third International Conference on Low-Volume Roads. His topics that day included a shrinking planet, integrated global economies, world population growth, global disparities, and development of an international cooperative effort. He had completed his last book shortly before his death in November 2001.

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Lefeber, Louis. "Transportation and World Development. Wilfred Owen." Economic Development and Cultural Change 37, no. 3 (April 1989): 657–63. http://dx.doi.org/10.1086/451750.

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Stewart, Alistair. "Wilfred Owen: hospital poet – 100 Words." British Journal of Psychiatry 203, no. 3 (September 2013): 195. http://dx.doi.org/10.1192/bjp.bp.112.112524.

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NORGATE, PAUL. "WILFRED OWEN AND THE SOLDIER POETS." Review of English Studies XL, no. 160 (1989): 516–30. http://dx.doi.org/10.1093/res/xl.160.516.

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WORMLEIGHTON, SIMON. "WILFRED OWEN AND A. C. BENSON." Notes and Queries 37, no. 4 (December 1, 1990): 435–37. http://dx.doi.org/10.1093/nq/37-4-435.

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Pittock, M. "Wilfred Owen, Tailhade, Tolstoy, and pacifism." Review of English Studies 49, no. 194 (May 1, 1998): 154–66. http://dx.doi.org/10.1093/res/49.194.154.

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Banerjee, Debayan. "Vignettes of Violence: Exploring Trauma in Selected Poems of Wilfred Owen." Journal of Advances and Scholarly Researches in Allied Education 15, no. 6 (July 1, 2018): 66–70. http://dx.doi.org/10.29070/15/57697.

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Motion, Andrew. "Wilfred Owen: The Making of a Poet." Literary Imagination 22, no. 3 (September 4, 2020): 258–73. http://dx.doi.org/10.1093/litimag/imaa011.

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12

Jackson, Patrick. "Wilfred Owen and the Sublimity of Warfare." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 24, no. 3 (July 2011): 167–74. http://dx.doi.org/10.1080/0895769x.2011.590098.

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13

Proudlove, J. Alan. "Owen, Wilfred, "Transportation and World Development" (Book Review)." Third World Planning Review 10, no. 4 (November 1988): 431. http://dx.doi.org/10.3828/twpr.10.4.q7w765q5h4145517.

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KERR, DOUGLAS. "BROTHERS IN ARMS: FAMILY LANGUAGE IN WILFRED OWEN." Review of English Studies XLIII, no. 172 (1992): 518–34. http://dx.doi.org/10.1093/res/xliii.172.518.

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Tomlinson, Alan. "Strange Meeting in Strange Land: Wilfred Owen and Shelley." Studies in Romanticism 32, no. 1 (1993): 75. http://dx.doi.org/10.2307/25600996.

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HIBBERD, DOMINIC. "A DONATION TO THE WILFRED OWEN COLLECTION AT OXFORD." Notes and Queries 36, no. 2 (June 1, 1989): 197–98. http://dx.doi.org/10.1093/nq/36-2-197.

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17

Norgate, P. "Shell-shock and Poetry: Wilfred Owen at Craiglockhart Hospital." English 36, no. 154 (March 1, 1987): 1–35. http://dx.doi.org/10.1093/english/36.154.1.

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18

Suret, Emma. "John Keats, Wilfred Owen, and Restriction in the Sonnet." English: Journal of the English Association 66, no. 253 (2017): 145–62. http://dx.doi.org/10.1093/english/efx015.

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19

Najarian, James. ""Greater Love": Wilfred Owen, Keats, and a Tradition of Desire." Twentieth Century Literature 47, no. 1 (2001): 20. http://dx.doi.org/10.2307/827855.

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Najarian, James. "“Greater Love”: Wilfred Owen, Keats, and a Tradition of Desire." Twentieth-Century Literature 47, no. 1 (2001): 20–38. http://dx.doi.org/10.1215/0041462x-2001-2005.

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21

Martin, Meredith. "Therapeutic Measures: The Hydra and Wilfred Owen at Craiglockhart War Hospital." Modernism/modernity 14, no. 1 (2007): 35–54. http://dx.doi.org/10.1353/mod.2007.0019.

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22

Butts, Dennis. "Anthems for (Un)doomed Youth?: The Fairy Tales of Wilfred Owen." Children's Literature 40, no. 1 (2012): 218–30. http://dx.doi.org/10.1353/chl.2012.0000.

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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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Catren, NR. "(Thought) Process Driven: The Inconsonant Imprints of Mind and Machine." Sculpture Review 67, no. 2 (June 2018): 8–17. http://dx.doi.org/10.1177/074752841806700202.

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“Are limbs, so dear-achieved, are sides Full nerved, still warm, too hard to stir? Was it for this the clay grew tall?”—Wilfred Owen, Futility “Paradoxically, the ability to transform memory is the norm, while the problem in PTSD is that the full brunt of an experience does not fade with time” — Bessel van der Kolk, Post-traumatic Stress Disorder and Memory

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Abdulrahman, Salih A. "The Conception of Trauma in Depicting the Battlefields In Wilfred Owen’s War Poetry." Academic Journal of Nawroz University 8, no. 4 (December 28, 2019): 362. http://dx.doi.org/10.25007/ajnu.v8n4a482.

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The paper examines the poetry of Wilfred Owen as a representative of a group of poets who write poetry out of the trenches during and after World War I. Their poetry is generally known as war poetry or trench poetry. It is mostly characterized by the processing of traumatic experience through visual imagery to invoke the readers’ sense of realization to the horrors of war. Some of these poets, including Owen himself, were hospitalized due to shell shock or traumatic symptoms that affected them physically and psychologically. Such traumatic experience changes the poet’s view of war and marks him a witness to its horrors. Owen, one of the greatest of these poets, tries to put the reader in the mid of the battlefield through an extensive use of images, condensed language, and paradoxical statements to show the ugly face of war and warn the people at home of its horrors and urges them not to believe the old lie of the glories of war.

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Petrovic, Goran J. "EXISTENTIAL NIHILISM IN WILFRED OWEN’S ANTI-WAR POEM “FUTILITY”." Lipar, no. 72 (2020): 157–67. http://dx.doi.org/10.46793/lipar72.157p.

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This paper analyzes “Futility”, one of the best poems by Wilfred Owen, a renowned British poet-soldier of the First World War. It shows that, in philosophical terms, the poem is based on existential nihilism as a view that human existence is intrinsically non-teleological. As the paper argues, Owen does not develop such a pessimistic world-view because of his great knowledge of Darwin’s or Nietzsche’s work as being emblematic of late nineteenth and early twentieth century pessimism, but because of his firsthand experience with the horrors of history’s first mechanized war. Owen’s nihilistic philosophy is viewed in contrast with the ideology of progress and utopianism as being prevalent over pessimism up until the outbreak of WWI and as being equally propounded by the secular philosopher Herbert Spencer and the Protestant liberal theologians. In brief, “Futility”, as a poem which presents the demise of a nameless British soldier, ends in the poet’s rhetorical question which explicitly doubts the purposefulness of human history. The paper also deals with “Futility’s” stylistic traits, and in doing so comes to the conclusion that the poem’s mood is for its most part temperate and elegiac with, in emotional terms, a somewhat more intense ending, just as it reveals that its irregular rhyming and metre reflect the poet’s reaction to the spiritual emptiness and chaos of war.

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Muslih, Waleed Shihan. "Poetic Speech Analysis of Metaphorical and Literal Uses in War Poetry: A Study of Selected Poems by Wilfred Owen." International Journal of Psychosocial Rehabilitation 24, no. 5 (March 31, 2020): 1835–44. http://dx.doi.org/10.37200/ijpr/v24i5/pr201856.

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Kerr, Douglas. "The Disciplines of the Wars: Army Training and the Language of Wilfred Owen." Modern Language Review 87, no. 2 (April 1992): 286. http://dx.doi.org/10.2307/3730667.

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29

cooke, miriam. "RECORDING WORLD WARS." International Journal of Middle East Studies 46, no. 4 (October 9, 2014): 801–7. http://dx.doi.org/10.1017/s0020743814001135.

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World War I inspired countless artists, poets, novelists, and even soldiers across the world to record their unimaginable experiences and to reject the millennial lie: dulce et decorum est pro patria mori (it is sweet and appropriate to die for one's country). Early 20th-century European writers like Wilfred Owen, Virginia Woolf, Erich Maria Remarque, and Henri Barbusse have become household names. Less well known are the Arab civilians and soldier writers who struggled on the edges of the war's fronts.

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Sarnowski, Michael. "Enemy Encounters in the War Poetry of Wilfred Owen, Keith Douglas, and Randall Jarrell." Humanities 7, no. 3 (September 14, 2018): 89. http://dx.doi.org/10.3390/h7030089.

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While some war poets amplify the concept of anonymity for enemy soldiers, projecting an “us vs. them” mentality, other defining voices of war counter this militaristic impulse to dehumanize the enemy. This pivot toward describing the World Wars more like humanitarian crises than an epic of good and evil is most notable in poems that chronicle both real and imagined close-range encounters between combatants. The poem “Strange Meeting” by British First World War soldier Wilfred Owen uses the vision of two enemy soldiers meeting in hell to reinforce his famous notion that war is something to be pitied. As a result of technological advancements in the Second World War and the increasing distance of combat, the poems “Vergissmeinnicht” and “How to Kill” by British Second World War soldier Keith Douglas wrestle with dehumanizing the enemy and acknowledging their humanity. “Protocols” by American Second World War soldier Randall Jarrell is an imagined view of civilian victims, and is a reckoning with the horrors human beings are capable of committing.

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Araujo, Anderson D. "Jessie Pope, Wilfred Owen, and the politics ofpro patria moriin World War I poetry." Media, War & Conflict 7, no. 3 (September 17, 2014): 326–41. http://dx.doi.org/10.1177/1750635214550259.

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Mancuso, Luke. "Comer, Keith. Strange Meetings: Walt Whitman, Wilfred Owen, and the Poetry of War [review]." Walt Whitman Quarterly Review 16, no. 2 (October 1, 1998): 101–4. http://dx.doi.org/10.13008/2153-3695.1612.

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Mandon-Hunter, Natalie. "Closing Ranks and Crossing Lines: loyalty and truth in the poems of Wilfred Owen." Etudes de stylistique anglaise, no. 7 (December 31, 2014): 63–75. http://dx.doi.org/10.4000/esa.1258.

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Penny, William Kevin. "A tragic harp: Ritual, irony and myth in the war poetry of Wilfred Owen." Language and Literature: International Journal of Stylistics 20, no. 2 (May 2011): 151–67. http://dx.doi.org/10.1177/0963947010397846.

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Wilfred Owen stands out as one of the foremost poets writing on the theme of war and the pity of war. This article examines Owen’s innovative use of Romantic, biblical, and Classical language in conjunction with specific literary and rhetorical devices as a way of developing irony in his work. Also central to the poet’s stylistic approach was his deliberate collapse of conventional literary modes of expression, which included the traditional sonnet form. The enquiry which follows examines how Owen’s use of antiquated language and literary patterning — which the poet relied on to undercut established ritual and myth and their associated symbolism — served to juxtapose the classically ‘heroic’ with the sacrificial ‘heroes’ he had encountered on the battlefields of Europe. To assist him in this the poet — somewhat paradoxically — relied on a mythopoeic approach that mirrored later Modernist attempts to address issues of personal nobility amidst the perceived dissolution of society. Close stylistic analysis contributes to an understanding of the intricate ironic patterning in Owen’s war poetry, which defamiliarizes, yet also heightens, a reader’s intuitive response to the poet’s work.

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Hartwig, Richard E. "Transportation and World Development. By Wilfred Owen. Baltimore: Johns Hopkins University Press, 1987. 157p. $22.50." American Political Science Review 83, no. 2 (June 1989): 699. http://dx.doi.org/10.2307/1962476.

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36

Stephens, John, and Ruth Waterhouse. "Authorial Revision and Constraints on the Role of the Reader: Some Examples from Wilfred Owen." Poetics Today 8, no. 1 (1987): 65. http://dx.doi.org/10.2307/1773002.

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Musolino, Walter. "Physics and Metaphysics: Capture and Escape. Two War Poems of Wilfred Owen and Giuseppe Ungaretti." Forum Italicum: A Journal of Italian Studies 30, no. 2 (September 1996): 311–19. http://dx.doi.org/10.1177/001458589603000204.

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Ben-Ezra, Menachem. "Exposure to chemical warfare during the First World War: shell shock poetry of Wilfred Owen– extra." British Journal of Psychiatry 199, no. 2 (August 2011): 125. http://dx.doi.org/10.1192/bjp.bp.111.094318.

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Brennan, Frank. "John Keats and Wilfred Owen — Mortality, Mystery, and the pursuit of Truth: Lessons for Palliative Care." Journal of Palliative Care 28, no. 2 (June 2012): 116–19. http://dx.doi.org/10.1177/082585971202800209.

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SPERL, STEFAN. "Crossing enemy boundaries: al-Buhturī's ode on the ruins of Ctesiphon re-read in the light of Virgil and Wilfred Owen." Bulletin of the School of Oriental and African Studies 69, no. 3 (September 19, 2006): 365–79. http://dx.doi.org/10.1017/s0041977x06000164.

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This article seeks to gain a better understanding of a famous ode by the ‘Abbāsid court poet al-Buhturī (d. 897) by comparing it with two other works which exhibit a similar thematic development. One is an extract from The Aeneid by Virgil (d. 19 BC), the other a poem by Wilfred Owen (d. 1918). The three texts emanate from imperial identities (Roman, Arab and British) in a state of crisis, which in turn paves the way for cathartic encounters with an alien other that each involves an act of recognition. The comparison uncovers certain similarities in the psychological impact of this encounter and thereby throws a new light on the carefully crafted structure of al-Buhturī's ode. The experience described by the three texts emerges as an expression of man's universal quest for his lost self, and its recovery—however momentarily—in the very heart of his supposed foe.

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Poynor, David. "Meeting the Enemy in World War I Poetry: Cognitive Dissonance as a Vehicle for Theme." Humanities 8, no. 1 (February 19, 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 heighten the personal exposure of the poets’ psyches and since they make us share the dissonance as readers. I consider poems by Siegfried Sassoon, Wilfred Owen, Robert Graves, Ford Madox Ford, Herbert Read, and Robert Service.

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Насонов, Роман Александрович. "Reconciliation in the Cathedral: Isaac's Religion in “Owen-Mass”." Музыкальная академия, no. 1(773) (March 31, 2021): 6–36. http://dx.doi.org/10.34690/125.

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Статья представляет собой исследование религиозной символики и интерпретацию духовного смысла «Военного реквиема» Бриттена. Воспользовавшись Реквиемом Верди как моделью жанра, композитор отдал ключевую роль в драматургии сочинения эпизодам, созданным на основе военных стихов Оуэна; в результате произведение воспринимается подобно циклу песен в обрамлении частей заупокойной мессы. Военная реальность предстает у Бриттена амбивалентно. Совершая надругательство над древней верой и разбивая чаяния современных людей, война дает шанс возрождению религиозных чувств и символов. Опыт веры, порожденный войной, переживается остро, но при всей своей подлинности зыбок и эфемерен. Церковная традиция хранит веру прочно, однако эта вера в значительной мере утрачивает чистоту и непосредственность, которыми она обладает в момент своего возникновения. Бриттен целенаправленно выстраивает диалог между двумя пластами человеческого опыта (церковным и военным), находит те точки, в которых между ними можно установить контакт. Но это не отменяет их глубокого противоречия. Вера, рождаемая войной, представляет собой в произведении Бриттена «отредактированный» вариант традиционной христианской религии: в ее центре находится не триумфальная победа Христа над злом, а пассивная, добровольно отказавшаяся защищать себя перед лицом зла жертва - не Бог Сын, а «Исаак». Смысл этой жертвы - не в преображении мира, а в защите гуманности человека от присущего ему же стремления к агрессивному самоутверждению. The study of religious symbolism and the interpretation of the spiritual meaning of “War Requiem” by Britten have presentation in this article. Using Verdi's Requiem as a model of the genre, the composer gave a key role in the drama to the episodes based on the war poems by Wilfred Owen; as a result, the work is perceived as a song cycle framed by parts of the funeral mass. The military reality appears ambivalent. While committing a blasphemy against the ancient belief and shattering the aspirations of modern people, the war offers a chance to revive religious feelings and symbols. This experience of war-born faith is felt keenly, but for all its authenticity, it is shaky and ephemeral. The church tradition keeps faith firmly, but this faith largely loses the original purity and immediacy. Britten purposefully builds a dialogue between the two layers of human experience (church and military), finds those points where contact can be established between them. But this does not change their profound antagonism. In Britten's work, faith born of war is an “edited” version of the traditional Christian religion: in its center is not the triumphant victory of Christ over evil, but a passive sacrifice that voluntarily refused to defend itself in the face of evil-not God the Son, but “Isaac.” The meaning of this sacrifice is not in transforming the world, but in protecting the humanity of a person from his inherent desire for aggressive self-assertion.

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France, Peter. "Scott Moncrieff's First Translation." Translation and Literature 21, no. 3 (November 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, his Song of Roland sought to bring another world to life in English-speaking culture, in all its specific difference. Here this led him to adopt an archaizing and purportedly oral style, notably in the imitation of the assonanced laisses of the original.

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Giunta, Angelo. "Il nazionalismo della letteratura britannica prima della Grande Guerra e l’esperienza dei War Poets." Studia Polensia 9, no. 1 (November 24, 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 Grande Guerra troviamo Rupert Brooke, Wilfred Owen e Siegfried Sassoon. Il fatto che molti poeti siano ufficiali – ma non alti ufficiali – permette loro di essere in contatto, a livello socio-culturale, con i ranghi elevati dell’esercito e, fisicamente, con i soldati semplici. In questo modo hanno una visione più ampia della realtà in trincea.

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Kershaw, Matt. "Poetry as Antidote to Toxic Certainty." Lumen et Vita 9, no. 2 (May 18, 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 a remedy in an alternate reading of James 1:22, where preachers can aspire to be "poets of the word," rather than just self-deceiving hearers. This idea is developed through an examination of the poetic efforts to humanize the full reality of the Great War undertaken by Wilfred Owen and Siegfried Sassoon.

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Frantzen, A. J. "Tears for Abraham: The Chester Play of Abraham and Isaac and Antisacrifice in Works by Wilfred Owen, Benjamin Britten, and Derek Jarman." Journal of Medieval and Early Modern Studies 31, no. 3 (October 1, 2001): 445–76. http://dx.doi.org/10.1215/10829636-31-3-445.

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Honigsbaum, Mark. "Regulating the 1918–19 Pandemic: Flu, Stoicism and the Northcliffe Press." Medical History 57, no. 2 (March 21, 2013): 165–85. http://dx.doi.org/10.1017/mdh.2012.101.

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AbstractSocial historians have argued that the reason the 1918–19 ‘Spanish’ influenza left so few traces in public memory is that it was ‘overshadowed’ by the First World War, hence its historiographical characterisation as the ‘forgotten’ pandemic. This paper argues that such an approach tends to overlook the crucial role played by wartime propaganda. Instead, I put emotion words, emotives and metaphors at the heart of my analysis in an attempt to understand the interplay between propaganda and biopolitical discourses that aimed to regulate civilian responses to the pandemic. Drawing on the letters of Wilfred Owen, the diaries of the cultural historian Caroline Playne and the reporting in the Northcliffe press, I argue that the stoicism exhibited by Owen and amplified in the columns ofThe Timesand theDaily Mailis best viewed as a performance, an emotional style that reflected the politicisation of ‘dread’ in war as an emotion with the potential to undermine civilian morale. This was especially the case during the final year of the conflict when war-weariness set in, leading to the stricter policing of negative emotions. As a protean disease that could present as alternately benign and plague-like, the Spanish flu both drew on these discourses and subverted them, disrupting medical efforts to use the dread of foreign pathogens as an instrument of biopower. The result was that, as dread increasingly became attached to influenza, it destabilised medical attempts to regulate the civilian response to the pandemic, undermining Owen’s and the Northcliffe press’s emotives of stoicism.

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Abdulsalm, Hamid B. "Demystifying the Other." Koya University Journal of Humanities and Social Sciences 3, no. 1 (June 18, 2020): 63–68. http://dx.doi.org/10.14500/kujhss.v3n1y2020.pp63-68.

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This paper harnesses the term Other, though not in a strictly postcolonial sense, to uncover an essential role war poetry played to reveal a hidden side often overshadowed by war propaganda. The two poems, Hardy’s “The Man He Killed” and Owen’s “Strange Meeting,” serve as effective counter war propaganda tools that demystify a crucial element of war ideology that the enemy is an Other: The enemy is unlike me. Wilfred, an outspoken poet of the evils of war, and Thomas Hardy, who penned in some of his poems his abhorrence to war, show that the Other which stands for their enemies could have been a friend had the spatiotemporal factors been different. Both poets enact an imaginary meeting between the speakers and their enemies. Moreover, the paper traces the various poetic techniques that are employed by those poets to achieve this goal. Whereas Owen, for instance, uses pararhyme to depict the fallacy of war claims by drawing attention to the unlikelihood of the meeting in real life, Hardy resorts to punctuation marks to probe the sense of guilt his speaker endures as a result of killing his “enemy.” The form of the two poems contributes to the sense that war propaganda fails to sustain itself in legitimizing the act of killing and thus providing a shield against the feeling of remorse. Throughout the two poems, the Other is no longer a stranger nor is an enemy in the first place. Owen finds that his enemy is a poet who has had similar dreams and ambitions. Thomas Hardy, on the Other hand, reflects how he could have offered the man he killed in battle a drink or even lent him money had they met elsewhere.

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Tabachnikova, Olga. "Life as a Metaphor and Metaphor as a Foundation for Poetic Translation." Pitannâ lìteraturoznavstva, no. 101 (July 9, 2020): 126–45. http://dx.doi.org/10.31861/pytlit2020.101.126.

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The first part of the article examines the phenomenon of metaphor in its ontological sense – as an integral part of the poetic worldview. Using the example of the famous extended metaphor in describing the ball in Nikolai Gogol’s novel “Dead Souls”, we discuss the extension of meanings that occurs at the level of aesthetics as a direct effect of the metaphor. In the second part of the article, the metaphor is considered as a supporting element of the poetic construction, which in a certain sense plays the role of an invariant in the process of poetic translation. Using my own translation activities as an example, I am trying to trace the transplantation of a poetic metaphor from English into Russian. Moreover, the metaphor, that terminologically means movement, a certain flow (and extension) of meaning, is analysed as a scientific model. In constructing this model, the author’s goal is not identification, but approximation, not blind similarity, not far-fetched comparison of the two phenomena (even if formally suitable), but the discovery of deep kinship. Moreover, as stated in the article, this kinship does not have to be conveyed by the totality of qualities – instead, it aesthetically follows from the main features. Using translations from 20th-century English poetry (Robert Frost and Wilfred Owen), specific poetic decisions made by me as a translator are discussed. At the same time, general issues that inevitably arise in translation are also addressed, in particular, on the choice of a poetic form depending on the cultural context and on both poetic traditions. In this case, our goal is to trace what happens with a metaphor in the process of translation, what transformations it undergoes.

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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 writers have exploited the porous and unstable demarcation between fiction and no fiction, stories and history” (14). Jill Dawson’s The Great Lover (2009), Geoff Akers’s Beating for the Light: The Story of Isaac Rosenberg (2006) and Robert Edric’s In Zodiac Light (2008) have not become best sellers like Barker’s Regeneration trilogy; yet, they too represent the predominant commemorative drift in contemporary British fiction about the Great War. Without doubt, these three authors have followed in Barker’s steps in their purpose of holding a mirror to real people and real events in the past and of deciphering the deleted text of ‘the war to end all wars.’ However, while Barker chose to write about the often-anthologised Wilfred Owen and Siegfried Sassoon, Dawson, Akers and Edric base their narratives on the writings, and lives, of Rupert Brooke, Isaac Rosenberg and Ivor Gurney respectively. My discussion of these three novels will explore the various ways in which the past can be accessed and interpreted from the present and represented in fiction. The authors’ decisions as to what historical instances to unravel do not just reveal the relation that contemporary British fiction entertains with the Great War and with history, but also how the past erupts in the present to interrogate it. Taking three salient features of Hutcheon’s “historiographic metafiction” (1988)—intertextuality, parody and paratextuality—as my theoretical points of departure, I will explore the dominant frameworks and cultural conditions (that is the propagation of either patriotic or protest readings) within which the Great War has been narrated in the novels and the new approaches, opportunities and ethical implications of using historical and literary sources to re-scribe a previously non-existent version of the lives of the iconic Great War Poets.

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Journal articles on the topic 'Wilfred owen'

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