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THE SELF SEPARATED FROM VIOLENCE: SPECTACLE, MATERIAL APPROPRIATION, AND VOICES OF RESISTANCE ON THE WESTERN FRONT, 1914-18.
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- Author(s): Schultz, Christopher
- Source:
Canadian Journal of History. Winter2011, Vol. 46 Issue 3, p563-584. 22p. - Source:
- Additional Information
- Subject Terms:
- Abstract: Trench culture is a field of First World War studies that, until recently, has received primarily descriptive attention. It is, however, a key element in avoiding oversimplified and occasionally facile analyses of participants ' wartime experiences. Employing a multi-sensory analytical style, this article explores topics in visuality, materiality, and aurality in an attempt to trace both continuities and contradictions in these aspects of trench culture. Moreover, this article pleads for a mode of analysis that distances trench culture from "purpose-driven" narratives — these too often resulting in participants experiences becoming subordinated to military objectives and war aims. By analyzing the aforementioned concepts, one sees firstly that trench culture is not necessarily attached to any sense of military pragmatism, and secondly that war participants often were required to negotiate the potentially deadly lines between the spectacular and the terrific. [ABSTRACT FROM AUTHOR]
- Abstract: La culture des tranchées est un des domaines d'étude de lu première guerre mondiale qui, il y a peu de temps encore, n' avait été touché essentiellement que de façon descriptive. Toutefois, c'est un des éléments clés à considérer si l'on veut échapper aux analyses trop simples, voire même occasionnellement trop superficielles des expériences des participants en temps de guerre. Utilisant un style analytique multi-scnsoriel, nous examinons des thèmes en visualité. en matérialité et en oralité dans un effort de retracer les continuités et les contradictions de ces aspects de la culture des tranchées. De plus, nous préconisons une méthode d'analyse qui sépare cette culture des tranchées de narrations ayant un but spécifique, celles-ci trop souvent devenant des subordonnées à des objectifs militaire-, et à la guerre. En analysant ces concepts susmentionnés, nous réalisons avant tout que la culture des tranchées n 'est pas nécessairement rattachée à aucun objectif de pragmatisme militaire ni. deuxièmement, que les participants à la guerre étaient souvent obligés de négocier les limites souvent mortellles entre le spectaculaire et le terrible. [ABSTRACT FROM AUTHOR]
- Abstract: Copyright of Canadian Journal of History is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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