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Journal articles on the topic 'Wilfred owen'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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

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2

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

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3

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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4

Betz, Mathew J. "Observing the Basics: Remembering Wilfred Owen." Transportation Research Record: Journal of the Transportation Research Board 1819, no. 1 (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 provisio

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5

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

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6

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

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7

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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8

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

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9

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

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10

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 (2018): 66–70. http://dx.doi.org/10.29070/15/57697.

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11

Motion, Andrew. "Wilfred Owen: The Making of a Poet." Literary Imagination 22, no. 3 (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 (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 (1988): 431. http://dx.doi.org/10.3828/twpr.10.4.q7w765q5h4145517.

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14

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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15

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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16

HIBBERD, DOMINIC. "A DONATION TO THE WILFRED OWEN COLLECTION AT OXFORD." Notes and Queries 36, no. 2 (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 (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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20

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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23

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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24

Catren, NR. "(Thought) Process Driven: The Inconsonant Imprints of Mind and Machine." Sculpture Review 67, no. 2 (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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25

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 (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 hi

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26

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 ph

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27

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 (2020): 1835–44. http://dx.doi.org/10.37200/ijpr/v24i5/pr201856.

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28

Kerr, Douglas. "The Disciplines of the Wars: Army Training and the Language of Wilfred Owen." Modern Language Review 87, no. 2 (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 (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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30

Sarnowski, Michael. "Enemy Encounters in the War Poetry of Wilfred Owen, Keith Douglas, and Randall Jarrell." Humanities 7, no. 3 (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 p

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31

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

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32

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

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33

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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34

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 (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 estab

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35

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 (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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37

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 (1996): 311–19. http://dx.doi.org/10.1177/001458589603000204.

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38

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 (2011): 125. http://dx.doi.org/10.1192/bjp.bp.111.094318.

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39

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 (2012): 116–19. http://dx.doi.org/10.1177/082585971202800209.

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40

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 (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 a

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41

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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42

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 в

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43

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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44

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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45

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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46

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 (2001): 445–76. http://dx.doi.org/10.1215/10829636-31-3-445.

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47

Honigsbaum, Mark. "Regulating the 1918–19 Pandemic: Flu, Stoicism and the Northcliffe Press." Medical History 57, no. 2 (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 l

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48

Abdulsalm, Hamid B. "Demystifying the Other." Koya University Journal of Humanities and Social Sciences 3, no. 1 (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

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49

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 activ

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50

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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