Commemoration and the Great War: The Return of the Soldier, the Unknown Soldier and Mrs. Dalloway
Bibliographic record
Abstract
Criticism on Great War memorialisation typically argues one of two things: that monuments were erected as authentic expressions of grief or that monuments were erected for political purposes.This study attempts to reconcile these diverging views by exploring the effects of Great War propaganda and memorialisation on individual consciousness.This study is particularly concerned with the genesis of the nation-or imagined community-and how traditions, monuments, and cultural symbols construct Englishness during and after the Great War.Ideology transforms individuals into national subjects.The trauma of twentieth-century warfare-millions of men were killed and millions more were physically and psychologically maimed-challenged the ideologies that construct the nation and control the individual.The three novels included in this study represent characters whose war experiences call into question the ideology of the nation; because of the war, these characters become alienated from the English community.In Rebecca West's The Return of the Soldier (1918), Chris Baldry returns home with shell-shock induced amnesia and refuses to perform his masculine roles as husband and soldier.In Vernon Bartlett's The Unknown Soldier (1930), a soldier believes the nation does not exist and that patriotism imposes illusory divisions among men.In Virginia Woolf's Mrs. Dalloway (1925), post-war memorialisation constructs a community of mourners.For Woolf, individuals must separate themselves from the ideology of the community, which glorifies the war dead, in order to engage in authentic grief work.These texts highlight the ways people responded to the trauma of the Great War and the ways the nation assimilated or rejected particular narratives.Les théories à propos de la commémoration de la première guerre mondiale soutiennent généralement l'une des deux choses suivantes: soit que les monuments ont été érigés en tant qu'expressions authentiques du deuil, ou encore que l'érection de ces monuments s'est faite selon des visées politiques.Cette étude a pour but de réconcilier ces visions opposées en explorant les effets de la propagande et de la commémoration de la première guerre mondiale sur la conscience individuelle.Cette étude s'intéresse particulièrement à la genèse du concept de nation-ou de communauté imaginée-ainsi que sur la manière dont les traditions, les monuments et les symboles culturels ont contribué à la construction de l'identité anglaise pendant la première guerre mondiale et après.L'idéologie transforme les individus en sujets nationaux.Le trauma induit par cette guerre-des millions d'hommes mutilés physiquement et psychologiquement-a remis en cause les idéologies qui fondent la nation et contrôlent l'individu.Les trois nouvelles incluses dans la présente étude présentent des personnages ayant refusé l'idéologie de la nation, de par leurs expériences de guerre; en raison de celles-ci, ces personnages ont été exclus de la communauté anglaise.Dans The Return of the Soldier (1918), de Rebecca West, Chris Baldry revient à la maison avec une amnésie liée à un traumatisme et refuse de s'acquitter de son rôle d'homme en tant que mari et soldat.Dans The Unknown Soldier (1930), de Vernon Bartlett, un soldat croit que la nation n'existe pas et que le patriotisme impose des divisions illusoires entre les hommes.Dans Mrs. Dalloway (1925) de Virginia Woolf, les commémorations de l'après-guerre transforment la population, menant à une communauté en deuil.Selon Woolf, les individus doivent se détacher de l'idéologie de la communauté, qui glorifie la mort en contexte de guerre, s'ils veulent s'engager dans un réel processus de deuil.Ces textes mettent donc en lumière les façons dont les gensTABLE OF CONTENTS Introduction.......
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.031 | 0.011 |
| Scholarly communication | 0.006 | 0.003 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.003 | 0.009 |
| Insufficient payload (model declined to judge) | 0.007 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".