By Brian Bond
Brian Bond writes with blinders on. His revised version has corrected blunders in numbers of casualties, within the Vietnam warfare, for example. he's adept at taking snippet costs of, say, historian John Keegan, and turning it right into a whitewashed revisionist place. Keegan, for example, didn't say that the simplest army leaders happened through the nice conflict, as Bond implies. Bond is, finally, one of many new revisionist historians, who, regardless of exhibiting a few advantage in analyzing the various tv and picture interpretations of the good battle, whines on continually in regards to the excessive ethical management of the inept and self-righteous Alexander Haig, when undercutting extra severe research/historians who've collected the proof and offered them in a methodical approach. Bond's one zero one web page diatribe (I put out of your mind his five web page self-congratulation in being a part of the Lees Knowles Lectures, which has not anything whatever to do with the most thesis of his publication) of glossed-over proof, and terrible learn, is instantly learn and poorly researched. do not waste it slow or cash. he's the archetype of revisionist background.
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Extra resources for The Unquiet Western Front: Britain's Role in Literature and History
For example, the ﬁlm of Journey’s End, released in , remains as controversial as the play. Critics continue to regard , -- it as an indictment of war but, as R. C. Sherriff insisted, it should also be seen as a ﬁlm about duty and endurance. The war exists and Englishmen must see it through to the end. Paris echoes my argument when he writes: British cinema had generally been reluctant to portray the war as unmitigated disaster and had adopted a far less critical approach.
Sherriff insisted, it should also be seen as a ﬁlm about duty and endurance. The war exists and Englishmen must see it through to the end. Paris echoes my argument when he writes: British cinema had generally been reluctant to portray the war as unmitigated disaster and had adopted a far less critical approach. In his precisely titled study A War Imagined: the First World War and English Culture, Samuel Hynes surveys a very wide range of literature before reaching the conclusions given in his ﬁnal chapter ‘The War Becomes Myth’.
It was a play] in which not a word was spoken against the war . . and no word of condemnation was uttered’. Sherriff’s intentions had been to stress the virtues of duty and perseverance in the face of fear and extreme danger, but in the long run, as Bracco shows, these ideas could not prevail over the play’s claustrophobic setting in a trench and the deaths in action of all the main characters. So far I have argued that the war literature of the s was full of ambiguities and could not, taken as a whole, be held to support the ‘anti-war’ myth.
The Unquiet Western Front: Britain's Role in Literature and History by Brian Bond