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The military historian Yuval Noah Harari accounts for the enduring allure of war by calling attention to a change in soldiers' memoirs that occurred in the mid-eighteenth century. Soldiers began to describe how they felt rather than what they did. Harari introduces the term flesh-witnessing to distinguish inner experience from eyewitness testimony. Flesh-witnesses speak of combat as a transformative and indescribable experience comparable to the sublime. This view is often attributed to militarists, but Harari shows that it also motivates pacifists. Even antiwar arguments like those of Erich Maria Remarque are based on the authority of the flesh-witness. To test Harari's claims, I invited ROTC officers to speak to students enrolled in a course titled British Literature: The Twentieth Century about their military experience. The juxtaposition of Harari's research and the officers' comments provided a framework for teaching All Quiet on the Western Front and other texts about war. Whether war is portrayed as painful or exhilarating, degrading or ennobling, it is widely idealized as a crucible for the development of the self. This view makes war stories irresistible, whatever political views writers and readers may hold.

It is the aim of this thesis to study the role of the pacifist current in the evolution of the west german literature between 1945 and 1968. Four main periods can be distinguished. Inspirated by political pacifism, the young literature after world war ii first endeavoured to find its identity through stylistic research. The literature of the fifties is characterized by a pacifist reorientation, that is to say by a social pacifism, which was succeeded by a return to political pacifism. The third part of this study describes the main concepts of the so-called engaged literature, in particular in the fields of poetry and the documentary theatre, between 1960 and 1965. Finally, the last part deals with the literature between 1966 and 1968. Confronted with social and political change, the authors' diverging conceptions of pacifism resulted in the end of a cycle of literature ; Le but de cette thèse est de déterminer le rôle du courant pacifiste dans l'évolution de la littérature ouest-allemande entre 1945 et 1968. L'on distingue quatre périodes principales. Inspirée du pacifisme politique, la jeune littérature d'après-guerre s'est tout d'abord attachée à trouver une identité au travers d'une recherche stylistique. La littérature des années cinquante est caractérisée par une réorientation pacifiste, c'est-à-dire par le pacifisme social suivi d'un retour au pacifisme politique. La troisième partie de cette étude dégage les principaux concepts de la littérature engagée, en particulier de la poésie et du théâtre documentaire, entre 1960 et 1965. La dernière partie, enfin, est consacrée à la littérature entre 1966 et 1968. Confrontées aux modifications sociales et politiques, les diverses conception pacifistes des auteurs aboutissent, en 1968, a la fin d'un cycle littéraire

It is the aim of this thesis to study the role of the pacifist current in the evolution of the west german literature between 1945 and 1968. Four main periods can be distinguished. Inspirated by political pacifism, the young literature after world war ii first endeavoured to find its identity through stylistic research. The literature of the fifties is characterized by a pacifist reorientation, that is to say by a social pacifism, which was succeeded by a return to political pacifism. The third part of this study describes the main concepts of the so-called engaged literature, in particular in the fields of poetry and the documentary theatre, between 1960 and 1965. Finally, the last part deals with the literature between 1966 and 1968. Confronted with social and political change, the authors' diverging conceptions of pacifism resulted in the end of a cycle of literature ; Le but de cette thèse est de déterminer le rôle du courant pacifiste dans l'évolution de la littérature ouest-allemande entre 1945 et 1968. L'on distingue quatre périodes principales. Inspirée du pacifisme politique, la jeune littérature d'après-guerre s'est tout d'abord attachée à trouver une identité au travers d'une recherche stylistique. La littérature des années cinquante est caractérisée par une réorientation pacifiste, c'est-à-dire par le pacifisme social suivi d'un retour au pacifisme politique. La troisième partie de cette étude dégage les principaux concepts de la littérature engagée, en particulier de la poésie et du théâtre documentaire, entre 1960 et 1965. La dernière partie, enfin, est consacrée à la littérature entre 1966 et 1968. Confrontées aux modifications sociales et politiques, les diverses conception pacifistes des auteurs aboutissent, en 1968, a la fin d'un cycle littéraire

Wolfgang Rothe ; Inhaltsverzeichnis ; Volltext // Exemplar mit der Signatur: München, Bayerische Staatsbibliothek -- 99.11645

AbstractThose who think of peace as an intrinsic value might be called "intuitionist pacifists" or "intuitive pacifists." For pacifists of this sort, peace functions as an unanalyzable foundational value. The pacifist intuition is often meta‐ethical and not the result of argument or inference. Understanding pacifism in this way helps explain some disputes between pacifism and its critics. The article makes this argument with appeal to historical sources, both in the literature on pacifism and in the literature on intuitionism. It contributes to our understanding of the history of pacifism, while also offering a pacifist contribution to the theory of intuitionism.

This article presents what Slavoj Žižek calls ideological 'unmasking' as a central feature of Virginia Woolf's pacifist agenda. Accompanying the rise of extreme nationalisms during the 1930s and 40s, the article argues that militaristic discourse 'masks' the bodies of unknown others as dangerous antagonists in order to justify their violent deaths. Patriotic commemoration, however, renders domestic soldiers free from this precarity as men whom Judith Butler calls 'grievable' subjects, or those who continually engage in acts of warfare on their nation's behalf because it grants them cultural visibility despite their bodily undoing. In Woolf's pacifist writings, then, a stylistic use of terminological clashes and ambiguities undoes this antagonism by highlighting a transgressive site of shared vulnerability where a new, more peaceful language for understanding the diversity of human existence arises. Ultimately, this literary aesthetic invites reformed styles of international diplomacy by upholding otherness not as something or someone in need of erasure but a locale where pacifist thinkers can foster productive, ethically-engaged dialogue among all individuals, places, and beliefs.

On July 1, 1909 in a professed act of patriotism to his Indian motherland, Madar Lal Dhingra, a nationalist revolutionary studying in England, assassinated Sir William Curzon Wyllie, political aide-de-camp to the Secretary of State of India. Twelve days later, Stefan Zweig responded to this event in the Viennese newspaper, Neue Freie Presse, in an essay titled, "Die indische Gefahr für England" ("The Indian Threat to England"). As with much of Stefan Zweig's published works with political undertones, his public response is less an overt political statement—less a disapproval or sanction of Dhingra's act—than a quest to understand it: its motivations and ramifications. For a young Zweig developing his commitment to a postnational, Paneuropean ideal, the end of Empire was troublesome for it delineated foremost the fracturing of Europe along nationalist lines.