The films Catch-22 （1970） and The English Patient （1996） are based on literary novels, and set in the specific time and place of World War II Italy. Each work uses the topic of the war to raise the issues of ident...The films Catch-22 （1970） and The English Patient （1996） are based on literary novels, and set in the specific time and place of World War II Italy. Each work uses the topic of the war to raise the issues of identity and loyalty that loom large during wartime, when nations place huge demands on their people. Both works explore these issues as relevant to their own time. In the 1960s, Catch-22 elevates loyalty to self as a value and challenges the dehumanizing conformity demanded by the bureaucratic states of the postwar world. Twenty-six years later, The English Patient honors loyalty to people rather than to nations. Both movies end in hope, with Yossarian＇s escape in Catch-22, and the end to the European war in The English Patient. This paper argues that Michael Ondaatje＇s novel, The English Patient, goes beyond the issues of identity and loyalty and the hopeful Hollywood ending as seen in the movies. By giving Kip＇s and Hana＇s points of view, which were not shown in the film--the view of a brown man in a world controlled by whites and of a woman who understands the horrors of the atomic bomb--Ondaatje offers the possibilities of a new sense of identity and loyalty, one more in tune with issues of a post-colonial 21 st century world展开更多
Algernon Charles Swinburne’s late poems encouraging Britain’s aggression against the Boer States are exercises in imperialist jingoism,and seem at odds with the poet's longstanding Republicanism and advocacy of ...Algernon Charles Swinburne’s late poems encouraging Britain’s aggression against the Boer States are exercises in imperialist jingoism,and seem at odds with the poet's longstanding Republicanism and advocacy of individual rights.A close examination of Swinburne’s notorious involvement in practices of sado-masochist flagellation,however,casts some light on how these poems can be read as congruent with his earlier ideological investments.The rhetoric of his Boer War poems is precisely aligned with his earlier responses to the Bulgarian Crisis of 1876 and the Eyre Affair of 1865;in both of these moments,Swinburne’s political reaction is keyed to his aversion to the use of the lash(by the Russians in the former,by the British colonial Jamaican regime in the latter).While Swinburne was something of a connoiseur of passive flagellation-to the extent that birching becomes sometimes a metaphor for poetry itself-the act of deploying the lash against an unwilling subject(as the Boers did to their African workers)is for him the epitome of tyranny and dehumanization.展开更多
文摘The films Catch-22 （1970） and The English Patient （1996） are based on literary novels, and set in the specific time and place of World War II Italy. Each work uses the topic of the war to raise the issues of identity and loyalty that loom large during wartime, when nations place huge demands on their people. Both works explore these issues as relevant to their own time. In the 1960s, Catch-22 elevates loyalty to self as a value and challenges the dehumanizing conformity demanded by the bureaucratic states of the postwar world. Twenty-six years later, The English Patient honors loyalty to people rather than to nations. Both movies end in hope, with Yossarian＇s escape in Catch-22, and the end to the European war in The English Patient. This paper argues that Michael Ondaatje＇s novel, The English Patient, goes beyond the issues of identity and loyalty and the hopeful Hollywood ending as seen in the movies. By giving Kip＇s and Hana＇s points of view, which were not shown in the film--the view of a brown man in a world controlled by whites and of a woman who understands the horrors of the atomic bomb--Ondaatje offers the possibilities of a new sense of identity and loyalty, one more in tune with issues of a post-colonial 21 st century world
文摘Algernon Charles Swinburne’s late poems encouraging Britain’s aggression against the Boer States are exercises in imperialist jingoism,and seem at odds with the poet's longstanding Republicanism and advocacy of individual rights.A close examination of Swinburne’s notorious involvement in practices of sado-masochist flagellation,however,casts some light on how these poems can be read as congruent with his earlier ideological investments.The rhetoric of his Boer War poems is precisely aligned with his earlier responses to the Bulgarian Crisis of 1876 and the Eyre Affair of 1865;in both of these moments,Swinburne’s political reaction is keyed to his aversion to the use of the lash(by the Russians in the former,by the British colonial Jamaican regime in the latter).While Swinburne was something of a connoiseur of passive flagellation-to the extent that birching becomes sometimes a metaphor for poetry itself-the act of deploying the lash against an unwilling subject(as the Boers did to their African workers)is for him the epitome of tyranny and dehumanization.
