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This critical study illuminates the neglected intersection of war, disease, and gender as represented in an important subgenre of World War I literature. It calls into question public versus private perceptions of time, mass media, urban spaces, emotion, and the increasingly uncertain status of the future.
Chapter 6 The 1918 Influenza Pandemic in the Developing World: Elechi Amadi and Buchi Emecheta's Occluded Vision -- Epilogue Loss, Contagion, and Community -- Notes -- Index
After surviving a severe case of influenza in 1918, Katherine Anne Porter observed, 'It simply divided my life, cut across it.' The 1918 influenza pandemic spanned the volatile early twentieth century, a time period that included the end of World War I and the granting of female suffrage in the Western world. Focusing on major novels and essays by Willa Cather, Katherine Anne Porter, and Virginia Woolf, this work examines how narratives by women writers engage the 1918 influenza pandemic, emphasizing vision as compensation for losses of both war and disease. Drawing on World War I posters, poetry, songs, drawings, and photographs, the argument offers a persuasive framework for connecting war, disease, and gender to the shock of the modern in twentieth-century culture.
This critical study illuminates the neglected intersection of war, disease, and gender as represented in an important subgenre of World War I literature. It calls into question public versus private perceptions of time, mass media, urban spaces, emotion, and the increasingly uncertain status of the future.
T. S. Eliot memorably said that separation of the man who suffers from the mind that creates is the root of good poetry. This book argues that this is wrong. Beginning from Virginia Woolf's 'On Being Ill', it demonstrates that modernism is, on the contrary, invested in physical illness as a subject, method, and stylizing force. Experience of physical ailments, from the fleeting to the fatal, the familiar to the unusual, structures the writing of the modernists, both as sufferers and onlookers. Illness reorients the relation to, and appearance of, the world, making it appear newly strange; it determines the character of human interactions and models of behaviour. As a topic, illness requires new ways of writing and thinking, altered ideas of the subject, and a re-examination of the roles of invalids and carers. This book reads the work five authors, who are also known for their illness, hypochondria, or medical work: D. H. Lawrence, Virginia Woolf, T. S. Eliot, Dorothy Richardson, and Winifred Holtby. It overturns the assumption that illness is a simple obstacle to creativity and instead argues that it is a subject of careful thought and cultural significance.
The influenza pandemic of 1918–1919 took the lives of between 50 and 100 million people worldwide, and the United States suffered more casualties than in all the wars of the twentieth and twenty-first centuries combined. Yet despite these catastrophic death tolls, the pandemic faded from historical and cultural memory in the United States and throughout Europe, overshadowed by World War One and the turmoil of the interwar period. In Viral Modernism, Elizabeth Outka reveals the literary and cultural impact of one of the deadliest plagues in history, bringing to light how it shaped canonical works of fiction and poetry. Outka shows how and why the contours of modernism shift when we account for the pandemic’s hidden but widespread presence. She investigates the miasmic manifestations of the pandemic and its spectral dead in interwar Anglo-American literature, uncovering the traces of an outbreak that brought a nonhuman, invisible horror into every community. Viral Modernism examines how literature and culture represented the virus’s deathly fecundity, as writers wrestled with the scope of mass death in the domestic sphere amid fears of wider social collapse. Outka analyzes overt treatments of the pandemic by authors like Katherine Anne Porter and Thomas Wolfe and its subtle presence in works by Virginia Woolf, T. S. Eliot, and W. B. Yeats. She uncovers links to the disease in popular culture, from early zombie resurrection to the resurgence of spiritualism. Viral Modernism brings the pandemic to the center of the era, revealing a vast tragedy that has hidden in plain sight.
Pandemic Re-Awakenings offers a multi-level and multi-faceted exploration of a century of remembering, forgetting, and rediscovering the influenza pandemic of 1918-1919, arguably the greatest catastrophe in human history. Twenty-three researchers present original perspectives by critically investigating the hitherto unexplored vicissitudes of memory in the interrelated spheres of personal, communal, medical, and cultural histories in different national and transnational settings across the globe. The volume reveals how, even though the Great Flu was overshadowed by the commemorative culture of the Great War, recollections of the pandemic persisted over time to re-emerge towards the centenary of the 'Spanish' Flu and burst into public consciousness following the outbreak of the COVID-19 pandemic. The chapters chart historiographical neglect (while acknowledging the often-unnoticed dialogues between scientific and historical discourses), probe silences, and trace vestiges of social and cultural memories that long remained outside of what was considered collective memory.
The influenza pandemic of 1918-1919--the worst widespread outbreak in recorded history--claimed an estimated 100 million lives globally. Yet only in recent decades has it captured the attention of historians, scientists, and fiction writers. This study surveys influenza research over the last century in original scientific and historical documents and establishes a critical paradigm for the appreciation of influenza fiction. Through close readings of 15 imaginative works, the author elucidates the contents of and the interaction between the medical and the fictional. Coverage extends from Pfeiffer's 1892 bacillus theory, to the multidisciplinary effort to isolate the virus (1919-1933), to the reconstruction of the H1N1 viral genome from archival and exhumed RNA (1995-2005), to the emergence of H5N1 and H7N9 avian viruses (1997-2014).This book demonstrates that pandemic fiction has been more than a therapeutic medium for survivors. A prodigious resource for the history of medicine, it is also a forum for ethical, social, legal, national defense and public health issues.
The idea of America has always encouraged apocalyptic visions. The 'American Dream' has not only imagined the prospect of material prosperity; it has also imagined the end of the world. 'Final forecasts' constitute one of America's oldest literary genres, extending from the eschatological theology of the New England Puritans to the revolutionary discourse of the early republic, the emancipatory rhetoric of the Civil War, the anxious fantasies of the atomic age, and the doomsday digital media of today. For those studying the history of America, renditions of the apocalypse are simply unavoidable. This book brings together two dozen essays by prominent scholars that explore the meanings of apocalypse across different periods, regions, genres, registers, modes, and traditions of American literature and culture. It locates the logic and rhetoric of apocalypse at the very core of American literary history.
Affective Materialities reexamines modernist theorizations of the body and opens up the artistic, political, and ethical possibilities at the intersection of affect theory and ecocriticism, two recent directions in literary studies not typically brought into conversation. Modernist creativity, the volume proposes, may return to us notions of the feeling, material body that contemporary scholarship has lost touch with, bodies that suggest alternative relations to others and to the world. Contributors argue that modernist writers frequently bridge the dichotomy between body and world by portraying bodies that merge with or are re-created by their surroundings into an amalgam of self and place. Chapters focus on this treatment of the body through works by canonical modernists including William Carlos Williams, Virginia Woolf, and E. M. Forster alongside lesser-studied writers Janet Frame, Herbert Read, and Nella Larsen. Showing the ways the body in literature can be a lens for understanding the fluidities of race, gender, and sexuality, as well as species and subjectivity, this volume maps the connections among modernist aesthetics, histories of the twentieth-century body, and the concerns of modernism that can also speak to urgent concerns of today.