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V.1 the war of the words. V.2 sexchanges.
"Central Vietnam. 1975. A young peasant woman, happily married to a successful farmer, returns to her house in the countryside to find a thong of villagers assembled around her gate. She learns that her first husband - who reportedly died as a martyr and war hero many years earlier - is in fact alive and has returned to claim her. Faced with immense pressure from the community and the Party authorities, she agrees to leave her second husband and their son to live in a squalid shack with the veteran." "This tragic twist of fate sets the stage for Duong Thu Huong's tale of three individuals whose destinies are inextricably linked and irrevocably altered by the absurdity of war. As the riveting story unfolds, each of the parties in this fateful love triangle struggles to reconcile personal happiness with traditional values of duty and selflessness. Together, these characters offer a devastating portrait of a people sacrificed on the altar of war and to a cult of heroism."--BOOK JACKET.
In 1915 Massachusetts native Lorenzo N. Smith, roused by the newspaper reports of desecrated Belgium and France, crossed the Canadian border and joined the Wesmount Rifles. After stints with the First Canadian Contingent at Ypres, Festubert, Givenchy, Ploegsteert, and Messines, where he was, according to the original foreword, struck by a piece of shrapnel and removed from combat, Sgt. Smith joined the British-Canadian Recruiting Mission. Smith’s recruiting addresses were frequently followed by questions from the floor—“What d’ye mean by Blighty?’” and “What’s a ‘Whizbang?’”—and as a result, he compiled the Lingo of No Man’s Land, his dictionary of World War I slang. Originally published in 1918, Lingo of No Man’s Land provides fascinating contemporary insights into the soldier’s experience of the Great War. Among the terms and phrases defined within are “Cage–A wire enclosed structure to hold Fritz”; “Coote–A species of lice with extraordinary biting ability”; “Poultice wallopers–Hospital orderlies”; and “Rat poison–Affectionate term for cheese. The trench rats which swarm about are fed on cheese.” What is perhaps surprising for the modern reader is the number of words and phrases that Smith felt the need to define but are now considered commonplace—aerial photography, armored car, bomb, camouflage, concussion, and crater—a testament to how much English comes from World War I. Published again to coincide with the centennial of World War I, Lingo of No Man’s Land offers a unique perspective of life on the front lines and will be compulsory reading for all American and European history buffs.
V.1 the war of the words. V.2 sexchanges.
How do writers and their readers imagine the future in a turbulent time of sex war and sex change? And how have transformations of gender and genre affected literary representations of "woman," "man," "family," and "society"? This final volume in Gilbert and Gubar's landmark three-part No Man's Land: The Place of the Woman Writer in the Twentieth Century argues that throughout the twentieth century women of letters have found themselves on a confusing cultural front and that most, increasingly aware of the artifice of gender, have dispatched missives recording some form of the "future shock" associated with profound changes in the roles and rules governing sexuality. Divided into two parts, Letters from the Front is chronological in organization, with the first section focusing on such writers of the modernist period as Virginia Woolf, Zora Neale Hurston, Edna St. Vincent Millay, Marianne Moore, and H.D., and the second devoted to authors who came to prominence after the Second World War, including Gwendolyn Brooks, Sylvia Plath, Margaret Atwood, Toni Morrison, and A.S. Byatt. Embroiled in the sex antagonism that Gilbert and Gubar traced in The War of the Words and in the sexual experimentations that they studied in Sexchanges, all these artists struggled to envision the inscription of hitherto untold stories on what H.D. called "the blank pages/of the unwritten volume of the new." Through the works of the first group, Gilbert and Gubar focus in particular on the demise of any single normative definition of the feminine and the rise of masquerades of "femininity" amounting to "female female impersonation." In the writings of the second group, the critics pay special attention to proliferating revisions of the family romance--revisions significantly inflected by differences in race, class, and ethnicity--and to the rise of masquerades of masculinity, or "male male impersonation." Throughout, Gilbert and Gubar discuss the impact on literature of such crucial historical events as the Harlem Renaissance, the Second World War, and the "sexual revolution" of the sixties. What kind of future might such a past engender? Their book concludes with a fantasia on "The Further Adventures of Snow White" in which their bravura retellings of the Grimm fairy tale illustrate ways in which future writing about gender might develop.
V.1 the war of the words. V.2 sexchanges.
Set in France during World War l, No Man's Land pulls us into the lives of the young men of the Newfoundland Regiment as they prepare to set out for the trenches and what will come to be known as the Battle of the Somme. A classic war novel, the book is equally effective in its portrayal of the camaraderie and unnatural quiet before the storm, as in its graphic acccount of the fight to make it through the barbed wire and sweep of machine-gun bullets. Two hundred and seventy-two Newfoundlanders who went over the top on July 1, 1916 were killed. No regiment suffered more casualties. It was the single greatest disaster in the island's history.
THE INSPIRATION BEHIND THE BBC DRAMA THE CRIMSON FIELD 'On the face of it, ' writes Lyn Macdonald, 'no one could have been less equipped for the job than these gently nurtured girls who walked straight out of Edwardian drawing rooms into the manifest horrors of the First World War ...' Yet the volunteer nurses rose magnificently to the occasion. In leaking tents and draughty huts they fought another war, a war against agony and death, as men lay suffering from the pain of unimaginable wounds or diseases we can now cure almost instantly. It was here that young doctors frantically forged new medical techniques - of blood transfusion, dentistry, psychiatry and plastic surgery - in the attempt to save soldiers shattered in body or spirit. And it was here that women achieved a quiet but permanent revolution, by proving beyond question they could do anything. All this is superbly captured in The Roses of No Man's Land, a panorama of hardship, disillusion and despair, yet also of endurance and supreme courage. 'Lyn Macdonald writes splendidly and touchingly of the work of the nurses and doctors who fought their humanitarian battle on the Western Front' Sunday Telegraph Over the past twenty years Lyn Macdonald has established a popular reputation as an author and historian of the First World War. Her books are based on the accounts of eyewitnesses and survivors, told in their own words, and cast a unique light on the First World War. Most are published by Penguin.
After his father is accused of murder, combat veteran and Special Agent John Puller must investigate his past and learn the truth about his mother in this New York Times bestselling thriller--but someone hiding in the shadows wants revenge. Two men. Thirty years. John Puller's mother, Jackie, vanished thirty years ago from Fort Monroe, Virginia, when Puller was just a boy. Paul Rogers has been in prison for ten years. But twenty years before that, he was at Fort Monroe. One night three decades ago, Puller's and Rogers' worlds collided with devastating results, and the truth has been buried ever since. Until now. Military investigators, armed with a letter from a friend of Jackie's, arrive in the hospital room of Puller's father-a legendary three-star now sinking into dementia-and reveal that Puller Sr. has been accused of murdering his wife. Aided by his brother Robert Puller, an Air Force major, and Veronica Knox, who works for a shadowy U.S. intelligence organization, Puller begins a journey that will take him into his own past, to find the truth about his mother. Paul Rogers' time is running out. With the clock ticking, he begins his own journey, one that will take him across the country to the place where all his troubles began: a mysterious building on the grounds of Fort Monroe. There, thirty years ago, the man Rogers had once been vanished too, and was replaced with a monster. And now the monster wants revenge. And the only person standing in his way is John Puller.
As the post-9/11 wars wind down, a literature professor at West Point explores what it means for soldiers, and our country, to be caught between war and peace. In her critically acclaimed, award-winning book Soldier's Heart, Elizabeth D. Samet grappled with the experience of teaching literature at the United States Military Academy at West Point. Now, with No Man's Land, Samet contends that we are entering a new moment: a no man's land between war and peace. Major military deployments are winding down, but soldiers are wrestling with the aftermath of war and the trials of returning home while also facing the prospect of low-intensity conflicts for years to come. Drawing on a range of experiences-from a visit to a ward of wounded combat veterans to correspondence with former cadets, from a conference on Edith Wharton and wartime experience to teaching literature and film to future officers-Samet illuminates an ambiguous passage through no man's land that has left deep but difficult-to-read traces on our national psyche, our culture, our politics, and, most especially, an entire generation of military professionals. In No Man's Land, Elizabeth D. Samet offers a moving, urgent examination of what it means to negotiate the tensions between war and peace, between "over there" and "over here"-between life on the front and life at home. She takes the reader on a vivid tour of this new landscape, marked as much by the scars of war as by the ordinary upheavals of homecoming, to capture the essence of our current historical moment.