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The poetry of the First World War has determined our perception of the war itself. This volume features poetry drawn from old newspapers and journals, trench and hospital magazines, individual volumes of verse, gift books, postcards, and a manuscript magazine put together by conscientious objectors.
The Handbook ranges widely and in depth across 20th-century war poetry, incorporating detailed discussions of some of the key poets of the period. It is an essential resource for scholars of particular poets and for those interested in wider debates. Contributors include some of the most important international poetry critics of our time.
Elizabeth Vandiver examines the ways in which British poets of the First World War used classical literature, culture, and history as a source of images, ideas, and even phrases for their own poetry. Vandiver argues that classics was a crucial source for writers from a wide variety of backgrounds, from working-class poets to those educated in public schools, and for a wide variety of political positions and viewpoints. Poets used references to classics both to support and to oppose the war from its beginning all the way to the Armistice and after. By exploring the importance of classics in the poetry of the First World War, Vandiver offers a new perspective on that poetry and on the history of classics in British culture.
List of figures and tables -- Acknowledgements -- Preface -- Introduction -- Part I. Unity and Borders (1800-1914) -- Chapter 1. Dreaming of unity -- Chapter 2. Longing for borders -- Chapter 3. Looking for common ground -- Chapter 4. Performing communality -- Part II. Crisis and Decline (1914-1945) -- Chapter 5. Passage to a new Europe: the First World War -- Chapter 6. Fearing crisis -- Chapter 7. Organising for Europe -- Part III. Integration and identity (1945-) -- Chapter 8. Claiming European unity and a Europe of nations -- Chapter 9. Elevating European awareness -- Conclusion -- Bibliography -- Index.
As we approach the centenary of the outbreak of the First World War, this timely reissue, first published in 1991, evaluates the function of poetry in wartime Europe, arguing that war poetry must be understood as a social as well as a literary phenomenon. As well as locating the work of well-known French, English and German war poets in a European context, Elizabeth Marsland discusses lesser-known poetry of the war years, including poems by women and the neglected tradition of civilian protest through poetry. Identifying shared characteristics as well as the unique features of each nation’s poetry, The Nation’s Cause affords new insight into the relationship between nationalism and the social attitudes that determined the conduct of war.
Although poets have written about warfare since at least the time of Homer, the Vietnam war has struck many observers as being immune to the interpretations of poetry and myth. "Lyric poetry of a traditional kind," writes one critic, "has proved inappropriate to communicate the character of the Vietnam war, its remoteness, its jargonized recapitulations, its seeming imperviousness to aesthetics." Nonetheless, the past two decades have seen an unprecedented outpouring of poetry that seeks to describe and come to terms with that bitterly divisive conflict. In Radical Visions Vince Gotera argues that poetry written by Vietnam veterans underlines the failure of traditional American myths to help Americans understand the war and its aftermath. The book blends sociohistorical commentary with close readings of individual works by such poets as Michael Casey, Walter McDonald, and W. D. Ehrhart. In the book's first section, "The 'Nam," Gotera examines several key mythic structures--the Wild West (a violent extension of the mythic virgin land), the machine in the garden, the city on the hill, regeneration through violence--all of which helped delude Americans about Vietnam and the war being fought there. In the second part, "The World," Gotera shows how another myth, the American Adam as an exemplar of ahistorical innocence, proved unusable for returning veterans attempting to readjust to American life. In addition to exposing these failed myths, Gotera argues, the poetry by Vietnam veterans reflects an effort to construct new myths--most notably that of the "warrior against war," an oxymoronic structure arising from the difficulties faced by returning veterans. In the book's final chapters, Gotera examines the work of Bruce Weigl and Yusef Komunyakaa, two poets whom the author considers most successful at portraying the moral absurdity of the Vietnam war without sacrificing lyrical aesthetics. The first comprehensive study devoted exclusively to poetry by Vietnam veterans, Radical Visions argues that this body of writing registers an important advance in the aesthetics and poetics of war literature and offers a cogent antiwar statement rooted in personal experience.
Aubrey and Maturin are caught in the outbreak of the War of 1812.