Separating the Men from the Boys: Masculinity and Maturity in Understandings of Shell Shock in Britain

This article examines gendered discourses of shell shock inBritain during the First World War. Located within the contextof the ideas about shell shock as a form of male hysteria putforward by Elaine Showalter, it examines the ways in which thecontemporary discourses of soldiers, medical professionals andpopular novelists used ideas of maturity and self-control tounderstand a condition that appeared to undermine both the wareffort and national masculinity. It argues that contemporaryunderstandings of authority and maturity helped to normalizeshell shock as a medical condition, thereby lessening its perceivedthreat to society.     

Race and Identity: The Culture of Combat in the Pacific War

This article addresses how the Royal Navy intended to defend the British Isles from invasion before the First World War. Revisionist historians have recently suggested that during his first tenure as First Sea Lord, 1904–10, Sir John Fisher conceived and implemented a radical new home-defence strategy. Fisher's ‘flotilla defence’ system assigned a hitherto unprecedented importance to flotilla craft. This was apparently a marked departure from previous practice, which had been to rely upon armoured warships to deter invasion. These claims are not supported by the evidence and have failed to appreciate that flotilla craft had historically formed the foundation of the naval defence of the British Isles. War Plans drafted in early 1909 confirm that before leaving office Fisher remained committed to the blockade of enemy naval forces and that he identified blockade as key to the security of the British Isles.     

Kazantzakis and the Cinema

Abstract

Alexis Zorbas unwittingly displays a knowledge of the cinema when he says to the Boss, <inline-graphic href="splitsection8_in1.tif"/><inline-graphic href="splitsection8_in2.tif"/><inline-graphic href="splitsection8_in3.tif"/>. [‘Anything we couldn't say with our mouths we said with our feet, our hands, our belly or with wild cries'.] Kazantzakis himself once said the same thing in a different way: ‘To succeed in transforming the abstract concepts into simple, clear images is my great aspiration’. These words – written to his future wife Eleni Samios and referring to the cinema's influence on The Odyssey – are the starting point for the rest of Kazantzakis' more complex theories on film, the distillation of the lessons he learned from motion pictures and later applied to his writing. But before continuing, we can create a helpful context for the author's concern with film by supplying some historical background.