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War in Literature
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The Genpei War came to an end one month later, following the battle of Dan-no-ura, one of the most famous and important battles in Japanese history. The Minamoto engaged the Taira fleet in the Straits of Shimonoseki, a tiny body of water separating the islands of Honshū and Kyūshū. After a series of archery duels, hand-to-hand fighting broke out. The tides played a powerful role in the development of the battle, granting the advantage first to the Taira, who were more experienced and abler sailors and later to the Minamoto. The Minamoto advantage was considerably enhanced by the defection of Taguchi Shigeyoshi, a Taira general who revealed the location of Emperor Antoku and the regalia. The Minamoto redirected their attention on the Emperor's ship, and the battle quickly swung in their favor.
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The history of the comprehension and adaptation of the "subject of war" in literature may be described as a longstanding tug-of-war between non-conformist writers and party ideologues. The elites accepted the new "rules of the game" that had developed during the war and supported those authors who adapted traumatic memories to the Soviet rhetorical models. More conscientious writers, who were prepared to engage in an aesthetic and ethical search, strove during the postwar decades to write about an experience stifled by rhetorical reductivism, only to be subjected to brutal criticism and see the experience they had described tabooed. Crucially, this exclusion was supported by readers accustomed to hypocrisy, who thought that literature should serve to assert an ideal, especially under "difficult circumstances".
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The war had repercussions for Carthage, both internally, and internationally. Internally, the victory of Hamilcar Barca greatly enhanced the prestige and power of the Barcid family, whose most famous member — Hannibal — would lead Carthage in the Second Punic War. Internationally, Rome used the "invitation" of the mercenaries that had captured Sardinia to occupy the island, and when Carthage prepared a force to pursue the remnants of the mercenaries there, Rome claimed that Carthage's military preparations were to be used against Rome, and declared war on Carthage. Carthage immediately surrendered rather than enter conflict with Rome again, giving up all claims on Sardinia, and placing themselves in debt to Rome by another 1,200 talents.
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[In the past six years the military image and its attendant mythology has rebounded from the negative effects of the Vietnam War. Star wars began a wave of films romanticizing the military, overcoming "the futility films of Apocalypse now, The Deer hunter, and Coming home. In these the heroes lost their legs, lost their wives, lost their hearts, minds, and lives." (p. 10)]
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After 1945, the trauma of war introduced themes into Soviet literature that would have been unthinkable during the 1930s. However, the censors of the Brezhnev regime put an end to the unofficial literature that explored existential doubt; instead, wartime experiences were exploited to legitimize the Soviet myth. Thus, the potential for an aesthetic-ethical literary corpus to match that of the west was extinguished. During the 1970s and '80s, rock lyrics became the medium for the existential questions, until, in the 1990s, war literature was able to treat its subject matter without euphemism.
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War and revolution in hispanic literature / edited by Roy Boland and Alun Kenwood. Melbourne, Australia : Voz HispaÌnica : Distributors, Spanish Section. Department of Romance Languages, Monash University, Australia, 1990. vi, 248 p. ; 23 cm.
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War in Literature