Byron to D'Annunzio: from liberalism to fascism in national poetry, 1815–1920

ABSTRACT. From Byron's death at Missolonghi in 1824 to D'Annunzio's capture of Fiume for Italy in 1919, the nationalism of universal liberalism and independence struggles changed, in literature as in politics, to cruel dictatorial fascism. Byron was followed by a series of idealistic fighter‐poets and poet‐martyrs for national freedom, but international tensions culminating in World War I exposed fully the intolerant, brutal side of nationalism. D'Annunzio, like Byron, both a major poet and charismatic war leader, was a key figure in transforming nineteenth‐century democratic nationalism into twentieth‐century dictatorial fascism. The poet's ‘lyrical dictatorship’ at Fiume (1919–20) inspired Mussolini's seizure of power in 1922, with far‐reaching political consequences. The poet became the dangerous example of a Nietzschean Übermensch, above common morality, predatory and morally irresponsible. This article shows how the meaning of nationalism was partly determined and transformed by poets, illustrating their role as ‘unacknowledged legislators of the world’.     

Chopsticks,phone bells and farms: Fuyuko Taira's diasporic spatial practice

In this article, I revisit my earlier project on local poetry practices by Japanese ‘war brides’ from the Second World War and explore a creative, transnational home-making activity by focusing on one of my informants, Fuyuko Taira's senryu poetry. Drawing on theories of global space and diasporic home-making practices, I suggest that her engagement in senryu involves a transnational spatial practice through the use of familiar everyday language. While the experience of displacement among Taira and other so-called ‘war brides’ cannot be understood without a consideration of socio-historical and economic constraints that characterized their emigration, my aim here is not to analyse how Taira's senryu simply reflects her diasporic victimhood but to explore how she exercises her creative agency to make her new home familiar and habitable by engaging with the everyday poetry practice of alternation between ‘pause’ and ‘move’ in the midst of changing landscapes. I argue that to a member of the Japanese diaspora like Taira senryu can be thought of as a different mode of experiencing at once the local and the global in an organic way.     

‘Signs of the still recent war’: Medbh McGuckian and conflict

In a review of Medbh McGuckian's poetry, Christopher Benfey maintained that ‘[t]o scan her poems for allusions to sectarian violence would be as fruitless and naïve as to sift Emily Dickinson's poems for references to the Civil War’. McGuckian's work is not often read for its commentary on or critique of violence in Northern Ireland. Indeed, in an interview with John Brown, the poet revealed that ‘I never thought of myself as a “Troubles” poet; it was not part of my oeuvre and I couldn't do it simply as an exercise, so I didn't take it on’. This article tests the validity of her self-assessment by examining poems which borrow from sources focused on conflict, particularly the two world wars. The intertexts allow the poet to explore moments of crisis (due to violence, imprisonment and enforced deprivation) without having to deal explicitly with the more immediate conflict in Northern Ireland.     

From the Angels of Mons to the Garden of Gethsemane: Some Theological Reflections on the Western Front

The Great War began with widespread public euphoria across the combatant nations, with community leaders, political, ecclesiastical and other, giving enthusiastic endorsement to the ‘war effort.’ In addition to simplistic and clichéd proclamations that ‘God is on our side,’ early in the war stories of spiritual phenomena, such as the so-called ‘Angels of Mons’ and the ‘White Comrade’, captured the public imagination. As the war progressed, however, and particularly in the wake of the Battle of the Somme from 1 July 1916, there is a noticeable shift in the spiritual and theological language of the battlefront (if not the home front) — away from angelic visitations bringing divinely ordained victory, and towards the ‘suffering God’ of No Man’s Land. The primary vehicle for this are the war poets, and the dominant symbolic language that of the Passion of Christ, who prays with great anguish in the garden of Gethsemane on the night of his arrest and betrayal that the cup of suffering might pass from him. As that cup will nor pass from Christ, neither would it pass those who endured the trenches of the Western Front. By the end of the war, the transcendent God had become an imminent deity, and the place of visitation was not the heavenly places, but the mud and blood of No Man’s Land.     

Rethinking the Ottoman Imitation of Persian Poetry

This article revisits the common discourse that Ottoman poetry is a derivative imitation of Persian poetry. I begin by surveying and discussing the discourse of imitation that has pervaded approaches to Ottoman poetry in particular and Ottoman literature in general. Then I turn to explore how Ottoman poets engaged with Persian poetry by focusing on a lyric poem composed by the Ottoman sultan Süleyman the Magnificent (1494?1566) in imitation of the Persian master poet Hafiz of Shiraz (ca. 1315?90). In light of intertextual analysis, I illustrate and discuss the intricate ways in which Süleyman models himself on Hafiz in crafting his poem. I conclude with the idea that a closer analytical look at Ottoman poets’ intertextual dialogue with Persian poetry can offer better insights into the Ottoman reception of Persian poetic models as well as into the meaning and workings of imitation in the Ottoman literary context.     

Food on the Borderlands: Josie Underwood’s Civil War Diary and the Kentucky Home Front, 1860–1862

The diary of Johanna Louisa ‘Josie’ Underwood (1840–1923), the daughter of Kentucky lawyer, politician and plantation owner Warner Underwood, portrays what happened to many elite households in Kentucky during the American Civil War (1861–1865), especially with its depiction of food as a scarce, and thus increasingly valuable, resource. Spanning the first two years of the conflict, Josie’s diary is essentially a war narrative written by a well-educated, articulate, outspoken, Unionist woman from a slave-owning family who was barely out of her teens when the fighting began. As she reveals through her entries, her state and in particular her hometown of Bowling Green, was a ‘hotbed of political and military action’, and at the centre of this ‘hotbed’ of activity was food. Often historians think about wartime hunger as a function of the later years of the war, but as Josie’s diary elucidates, food scarcity was an immediate and constant issue. Consequently, food became an important commodity in the borderlands during the war, especially in occupied cities like Bowling Green, where it was a vital, yet elusive, military and civilian resource which, when accessed and controlled, functioned as social currency and a political symbol of power, especially for women.     

西夏遗民余阙对魏晋六朝诗歌的接受

西夏遗民余阙是元代少数民族诗人的杰出代表。受到元代社会背景、文化熏陶以及文人交游等多维度因素影响,余阙在诗歌中表现出对魏晋六朝诗歌强烈的认同感,其诗承继魏晋风骨,规仿六朝风韵,熔炼吸收魏晋六朝诗人的作诗法度,吸纳意象和语言风格,在元代诗坛别具一格。论文详细探讨余阙对于魏晋六朝诗歌的多方面接受,楬橥余阙作为少数民族诗人在元代诗坛的重要意义,希望能为西夏文学研究,构建多民族文学交融的"中华文学史"添砖加瓦。     

The presence of Sikelianos in the poetry of George Seferis

Abstract

Echoes of Sike1ianos' poetry can be detected in many poets, but his presence in Seferis is particularly interesting in the light of the close personal relationship which developed between the two poets from the 1940s. The poetic dialogue starts with Seferis' Στρo?η (1931) and develops continuously until his last book of poems, Tρια Kρυ?? Φoιημα&tauα (1966). Seferis, attracted by Sikelianos' linguistic richness, recreates the older poet's words ingeniously in his search for a new poetics. I examine this dialogue chronologically to show that exploring the presence of Sikelianos in Seferis' poetry enhances the understanding of the younger poet and reveals that, however great the differences in matters of technique between the two poets, their attitudes to poetry and poetics are in the end closely related.     

The Great War,the child’s body and the American Red Cross

Abstract

This article examines the child-relief activities of the American Red Cross in Hungary in the aftermath of the Great War, offering an insight into the workings of humanitarianism in interwar Europe. A close look at this one Central European ‘playground’ of transatlantic intervention helps us understand the logic and the underlying political, economic and ideological motives behind Allied humanitarian aid to ‘enemy’ children. Analysis of the ways in which the war’s aftermath affected children, their bodies and their relief throws light on the relationship between violent conflicts, children in need and humanitarian intervention. The article looks particularly at the role of the child’s damaged body and its photographic representation, making it what Cathleen Canning calls an ‘embodied experience of war’. Exploration of the humanitarian discourse around the suffering child helps us identify the humanitarian reaction to the unforeseen social consequences of wartime confrontation. The article argues that the harmed body of the ‘enemy child’ served to mobilise transnational compassion that challenged the war’s deeply anchored ‘friend–foe’ mentality. The child turned into a means of configuring and translating human suffering beyond ideological and political borders. At the same time humanitarian child relief helped to further consolidate asymmetric international power relations.     

Muted violence: Italian war crimes in occupied Greece

This article considers the myth of Italians as ‘good people’ that has dominated post-war historiography as well as the public and institutional discourse, and analyses the connection between the judiciary paradigm and the historical narrative of the Second World War. It presents an account of Italian war crimes in occupied Greece and suggests a possible interpretation regarding the military violence towards the civilian population. War crimes are considered within the context of the general orientation of the fascist policy of occupation and the structures of conflict that emerged in the occupied territories. In particular, it discusses the turning point in Italian repressive action, from the logic of reprisal to a policy of massacre.     

Enigmas of the Great War: Thomas Kettle and Francis Ledwidge

Recent publications in the field of Irish Studies have begun to address the previously neglected issue of Irish involvement in the First World War, including some limited attention to Irish First World War literature. This article explores the poetry of two nationalist writers who joined the British army, namely Thomas Kettle and Francis Ledwidge. Kettle was a public figure who had served as a Westminster MP and his poetry expresses the political complexity of his responses to the outbreak of war and to the Easter Rising. Ledwidge was first and foremost a poet and the article explores and evaluates that aspect of his oeuvre which can be described as war poetry.     

‘God'll Send the Bill to You’: The Costs of War and the God Who Counts in W. T. Stead's Pro-Boer Peace Campaign

W. T. Stead's 1899–1900 weekly newspaper, War against War in South Africa, sets out to persuade its readers of the financial, spiritual, and moral costs of war and in doing so urges them to participate in an oppositional ‘peace war’. It conflates the economic and the spiritual in presenting to its readers accounts of the South African war that emphasize the price to be paid for unjust bloodshed. This article examines the ways in which Stead uses the idea of counting in both its senses – of mattering and enumerating – alongside the idea of moral accountability, to make his case against war and for peace as part of a larger narrative of brotherhood and bloodguilt. I argue that his campaign failed to achieve its ends at least in part because, despite the sensationalist power of each item in his account, the final bill, addressed ambiguously to the individual, the government, and the nation, is unimaginably vast and morally unpayable. His newspaper and other anti-war publications offer a graphic account of the wrongs of war, yet their gothically inflected religious imagery of judgement and guilt work in unresolvable tension with their message of rational individual action against the national project of the war.     

Marvell as libertin: Upon Appleton House and the Legacy of Théophile de Viau

Abstract

This paper argues for a ‘libertine Marvell’ as heir to a line of intellectual and poetic influence stretching from the atheist philosopher Lucilio Vanini, through the poets Théophile de Viau and Marc-Antoine Gérard de Saint-Amant, via their English translators Charles Cotton, Thomas Stanley, and Thomas Fairfax, to Marvell’s poem Upon Appleton House. It argues that Upon Appleton House captures the libertine spirit of Théophile more faithfully than Stanley and Cotton’s largely sanitised versions. Conversely, French libertine poetry and thought of the 1610s and 1620s are seen to provide the best context for understanding the ‘vitalism’ of Marvell’s garden poems, as well as their unusually divagating observational style.     

On the shock of civil war: cultural trauma and national identity in Finland and Ireland

What role does national identity play after civil war? Is reconstruction possible on the basis of an existing identity, or does a new identity have to be found? Much depends on whether narratives of conflict are unifying. I use the tools of cultural sociology to explain why the Finnish Civil War of 1918 has become a unifying ‘cultural trauma’ for the Finns, whereas the Irish Civil War of 1922–23 never became the dominant referent in Irish national identity. The difference is explained by the greater shock civil war posed to Finnish national identity.     

What the drone saw: the cultural optics of the unmanned war

The dramatic growth of drone warfare in the last decade has meant the arrival of a new kind of war imagery in civilian life: the view through the drone camera. As such, the drone is not simply a weapon, but also an emerging medium for representing conflict. This article explores the ways this imagery has been selected, interpreted, framed and put to use in public and popular culture. In addition to exploring how these practices of looking fit within the larger history of war imagery, two prominent features of ‘drone vision’ are identified: the promotion of consumer interactivity in the drone war and the militarising of domestic space.     

‘The gentle art of re-perceiving’: post-ceasefire identity in the poetry of Alan Gillis

This article discusses post-ceasefire identity in Northern Ireland, as examined in the poetry of Alan Gillis. Emphasising the novelty of Gillis's work (and connecting this with his status as one of the first generation ‘peace poets’), the article argues for awareness of complexity and uncertainty within the poems, suggesting formation of the ‘new’ as, in poetry as in society, a difficult, ambiguous task productive of an aesthetics of transition. Focusing particularly on the ten year gap between the signing of the Good Friday Agreement in 1998 and the implementation of devolved government in 2007 (and with reference to political writings from this period), it examines the relationship between poetic and political agency, aligning Gillis's approach to form, language and syntax with a dualistic sense of opportunity and disempowerment. Also examined are themes of consumerism and the globalising of identity attendant on economic/political ‘normalisation’, with reference to theoretical approaches by Walter Benjamin and Cairns Craig.     

乾嘉常州诗派中的“洪亮吉范式”

乾嘉常州诗派除了诗歌风格上的趋同外,在伦理道德上亦有相似之处,他们大多忠、孝、友、悌皆备,道德、文章俱佳。常州诗人的忠梗、迂憨在洪亮吉身上体现得尤为集中,堪称范式。对其进行个案研究,既可促进对洪亮吉及其诗歌与诗学理论的探讨,亦可促进对常州诗派的思考,同时对透析乾嘉士子心态,洞悉乾嘉士风与世风亦有裨益。     

论日本《五山堂诗话》的诗学观及对中国古典诗学之受容

日本江户时代诗人菊池桐孙所著《五山堂诗话》,其中关涉中国古代诗歌、诗论颇多,不乏精辟之论。在诗歌主张上,倡导性灵,排斥生僻;诗歌宗尚上,兼师唐宋,排斥伪体。这既是对当时诗坛弊习的纠偏,鼓扬山本北山等反古文辞派的观点,也源于对中国诗歌、诗论之影响受容。发掘《五山堂诗话》的诗学主张,梳理其对中国诗学之受容,无疑对当今的古诗研究具有借鉴价值。     

The invisible war on nature: the Abyssinian war (1935–1936) in newsreels and documentaries in Fascist Italy

This contribution to the special issue focuses on newsreels and documentaries that were produced concerning the Second Italo–Ethiopian War (1935–1936), commonly known as the Abyssinian War. It aims to contextualise LUCE's filmic production on the war, so as to create a framework in which the institute can be understood not only as being part of a wider politics of propaganda in Fascist Italy, but as an example of a modern socio-technical organisation that enabled the discursive construction of East African nature as ‘Other’ and therefore helped to justify colonial war as a process of sanitised creative destruction aimed at replacing a previous, negative ‘first nature’ with a positive, Fascist and Italian ‘second nature’. The article draws on archival documents from Mussolini's government cabinet, and on LUCE documentaries and newsreels; these sources are used to create a background against which LUCE's concern with the Second Italo–Ethiopian War can be understood.     

The British Empire and revolutionary national poetry

ABSTRACT. The British empire set off an explosion of poetry, in English and native languages, particularly in India, Africa and the Middle East. This poetry – largely neglected in the scholarship on nationalism – was often revolutionary both aesthetically and politically, expressing a spirit of cultural independence. Attacks on England and the empire are common not just in native colonial poetry but also in poetry of the British isles. This article discusses some of the most influential poets, including: Shawqi of Egypt, Tagore of India, Rusafi of Iraq, Yeats of Ireland, Iqbal of Pakistan, Greenberg of pre‐State Israel, and Kipling, the ‘poet of empire’. In contrast with other empires, many poets were inspired by British culture to create revolutionary art and seek political independence. Most strikingly, British rule was instrumental in the revival of vernacular Hebrew poetry after 1917 as the centre of Hebrew literature shifted from Odessa to Tel Aviv.