LEADER 04090nam 22005772 450 001 9910790873403321 005 20170815155356.0 010 $a1-78138-933-0 010 $a1-84631-803-3 035 $a(CKB)2550000001151014 035 $a(EBL)1591031 035 $a(SSID)ssj0001163712 035 $a(PQKBManifestationID)11962738 035 $a(PQKBTitleCode)TC0001163712 035 $a(PQKBWorkID)11163517 035 $a(PQKB)10895771 035 $a(StDuBDS)EDZ0000174505 035 $a(MiAaPQ)EBC3016900 035 $a(MiAaPQ)EBC4616329 035 $a(UkCbUP)CR9781781387122 035 $a(Au-PeEL)EBL4616329 035 $a(CaPaEBR)ebr11246355 035 $a(CaONFJC)MIL878065 035 $a(OCoLC)874967680 035 $a(MiAaPQ)EBC1591031 035 $a(EXLCZ)992550000001151014 100 $a20170307d2013|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMemory, narrative and the great war $erifleman Patrick Macgill and the construction of wartime experience /$fDavid Taylor$b[electronic resource] 210 1$aLiverpool :$cLiverpool University Press,$d2013. 215 $a1 online resource (viii, 227 pages) $cdigital, PDF file(s) 300 $aTitle from publisher's bibliographic system (viewed on 11 Aug 2017). 311 $a1-78138-712-5 311 $a1-84631-871-8 320 $aIncludes bibliographical references and index. 327 $aCover; Half-title Page; Title Page; Copyright; Contents; Acknowledgements; List of Illustrations; Introduction: The Problem with Pat; Part I: The Broader Context; 1 Some Changing Perspectives on the Great War; 2 Memories and Narratives of War; 3 Sources: Some Problems and Findings; Part II: The War Writings of Patrick MacGill; 4 At the Front: Fighting and Writing the War; 5 Writing the War from the Home Front; 6 The War in Retrospect; Conclusion: Changing Perspectives and Coming to Terms with the War; Select Bibliography; Notes; Index 330 $aMemory, Narrative and the Great War provides a detailed examination of the varied and complex war writings of a relatively marginal figure, Patrick MacGill, within a general framework of our current pre-occupation with blood, mud and suffering. In particular, it seeks to explain how his interpretation of war shifted from the heroic wartime autobiographical trilogy, with its emphasis on 'the romance of the rifleman' to the pessimistic and guilt-ridden interpretations in his post-war novel, Fear!, and play, Suspense. Through an exploration of the way in which war-time experiences were remembered (and re-remembered) and retold in strikingly different narratives, and using insights from cognitive psychology, it is argued that there is no contradiction between these two seemingly opposing views. Instead it is argued that, given the present orientation and problem-solving nature of both memory and narrative, the different interpretations are both 'true' in the sense that they throw light on the ongoing way in which MacGill came to terms with his experiences of war. This in turn has implications for broader interpretations of the Great War, which has increasingly be seen in terms of futile suffering, not least because of the eloquent testimony of ex-Great War soldiers, reflecting on their experiences many years after the event. Without suggesting that such testimony is invalid, it is argued that this is one view but not the only view of the war. Rather wartime memory and narrative is more akin to an ever-changing kaleidoscope, in which pieces of memory take on different (but equally valid) shapes as they are shaken with the passing of time. 606 $aWorld War, 1914-1918$xPsychological aspects 615 0$aWorld War, 1914-1918$xPsychological aspects. 676 $a940.3 700 $aTaylor$b David$f1946 May 10-$01208582 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9910790873403321 996 $aMemory, narrative and the great war$93689853 997 $aUNINA