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Trench art is the evocative name given to a dazzling array of
objects made from the waste of industrialized war. Each object,
whether an engraved shell case, cigarette lighter or a pen made
from shrapnel, tells a unique and moving story about its maker. For
the first time, this book explores in-depth the history and
cultural importance behind these ambiguous art forms. Not only do
they symbolize human responses to the atrocities of war, but they
also act as mediators between soldiers and civilians, individuals
and industrial society, and, most importantly, between the living
and the dead. Trench art resonates most obviously with the terror
of endless bombardment, night raids, gas attacks and the bestial
nature of trench life. It grew in popularity between 1919 and 1939
when the bereaved embarked on battlefield pilgrimages and returned
with objects intended to keep alive the memory of loved ones. The
term trench art is, however, misleading, as it does not simply
refer to materials found in the trenches. It describes a diverse
range of objects that have in some way emerged from the experience
of war all over the world. Many distinctive objects, for example,
were made during conflicts in Bosnia, Vietnam, Northern Ireland and
Korea.Surprisingly, trench art predates World War I and it can be
made in a number of earlier wars such as the Crimean War, the
American Civil War, and the Boer War. Saunders looks at the broader
issues of what is meant by trench art, what it was before the
trenches and how it fits in with other art movements, as well as
the specific materials used in making it. He suggests that it can
be seen as a bridge between the nineteenth century certainties and
the fragmentedindustrialized values and ideals of the modern world.
This long overdue study offers an original and informative look at
one of the most arresting forms of art. Spanning from 1800 to the
present day, its analysis of art, human experience, and warfare
will pave the way for new research and will be of great interest to
cultural and military historians, anthropologists, art historians
and collectors.
Trench art is the evocative name given to a dazzling array of
objects made from the waste of industrialized war. Each object,
whether an engraved shell case, cigarette lighter or a pen made
from shrapnel, tells a unique and moving story about its maker. For
the first time, this book explores in-depth the history and
cultural importance behind these ambiguous art forms. Not only do
they symbolize human responses to the atrocities of war, but they
also act as mediators between soldiers and civilians, individuals
and industrial society, and, most importantly, between the living
and the dead. Trench art resonates most obviously with the terror
of endless bombardment, night raids, gas attacks and the bestial
nature of trench life. It grew in popularity between 1919 and 1939
when the bereaved embarked on battlefield pilgrimages and returned
with objects intended to keep alive the memory of loved ones. The
term trench art is, however, misleading, as it does not simply
refer to materials found in the trenches. It describes a diverse
range of objects that have in some way emerged from the experience
of war all over the world. Many distinctive objects, for example,
were made during conflicts in Bosnia, Vietnam, Northern Ireland and
Korea.Surprisingly, trench art predates World War I and it can be
made in a number of earlier wars such as the Crimean War, the
American Civil War, and the Boer War. Saunders looks at the broader
issues of what is meant by trench art, what it was before the
trenches and how it fits in with other art movements, as well as
the specific materials used in making it. He suggests that it can
be seen as a bridge between the nineteenth century certainties and
the fragmentedindustrialized values and ideals of the modern world.
This long overdue study offers an original and informative look at
one of the most arresting forms of art. Spanning from 1800 to the
present day, its analysis of art, human experience, and warfare
will pave the way for new research and will be of great interest to
cultural and military historians, anthropologists, art historians
and collectors.
Considering the relationship between the natural sciences and the concept of God acting in the world, this study examines the Biblical motivations for asserting a continuing belief in divine action. It is a radical critique of current attempts to reconcile special divine action with quantum theory, chaos theory and quantum chaos. The book concludes that a satisfactory account of how God might act in a manner that agrees with modern science is still lacking.
Considering the relationship between the natural sciences and the concept of God acting in the world, this study examines the Biblical motivations for asserting a continuing belief in divine action. It is a radical critique of current attempts to reconcile special divine action with quantum theory, chaos theory and quantum chaos. The book concludes that a satisfactory account of how God might act in a manner that agrees with modern science is still lacking.
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