Writing Disenchantment 2015
DOI: 10.7765/9781526103178.00011
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“…156 Edmund Blunden's review, which Aldington had feared, remarked that Death of the Hero contained 'some of the closest and strongest narration of Western Front warfare that has been produced', marked out by 'indignation and study of revenge', not 'coolness or detachment'. 157 The 'truth' of the work derived, not from objectivity, but from its ability to make sense -or recreate the emotion -of soldiers' experiences. War had become a -perhaps theprimary locus of existential revelation or 'ultimate experience, as Yuval Noah Harari has indicated, because of the transformation of the ways in which feelings were conceived of (tied to materialism, sensation and a Romantic 'sublime') and -I have argued herebecause of the changing technologies and conditions of modern life and military conflict.…”
Section: Writing About Warmentioning
confidence: 99%
“…156 Edmund Blunden's review, which Aldington had feared, remarked that Death of the Hero contained 'some of the closest and strongest narration of Western Front warfare that has been produced', marked out by 'indignation and study of revenge', not 'coolness or detachment'. 157 The 'truth' of the work derived, not from objectivity, but from its ability to make sense -or recreate the emotion -of soldiers' experiences. War had become a -perhaps theprimary locus of existential revelation or 'ultimate experience, as Yuval Noah Harari has indicated, because of the transformation of the ways in which feelings were conceived of (tied to materialism, sensation and a Romantic 'sublime') and -I have argued herebecause of the changing technologies and conditions of modern life and military conflict.…”
Section: Writing About Warmentioning
confidence: 99%