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The anglo boer wars essay
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The Boer War has been the focus of a considerable body of fiction numbering over two hundred novels and at least fifty short stories in English, Afrikaans, French, German Dutch, Swedish and even Urdu if we count the translation of Rider Haggard's Jess in 1923. For the social and literary historian it provides over a hundred year record of the relationship between literature and history. The vast majority of novels and short stories about the Anglo-Boer conflict were published around the time of the war and reflect the values and attitudes to British imperialism. Some of the titles published then give a fairly accurate impression of the patriotic fervour which found its way into print: B. Ronan, The Passing of the Boer (1899); E. Ames, The Tremendous Twins, or How the Boers were Beaten (1900); C.D. Haskim, For the Queen in South Africa (1900); F. Russell, The Boer's Blunder (1900); H. Nisbet, For Right and England (1900) and The Empire Makers (1900). Among the more notable literary figures of the day who were closely associated with the events of the Anglo‑Boer conflict were Rudyard Kipling (1865‑1936); Winston Churchill (1874‑1965); H. Rider Haggard (1856‑1925); Sir Arthur Conan Doyle (1859‑1930); Sir Percy Fitzpatrick (1862‑1931); Edgar Wallace (1875‑1932); and John Buchan (1875‑1940)). Some of the most interesting names associated with satirising the Anglo‑Boer conflict include H.H. Munro (Saki) (Alice in Pall Mall, 1900); G.K. Chesterton (The Napoleon of Nottinghill, 1904), Hilaire Belloc (Mr Clutterbuck's Election, 1908) and Kipling: "Fables for the Staff", published in The Friend in 1900 in which he lampooned the incompetence of the British general staff. Douglas Blackburn's A Burgher Quixote (1903) is one of the most unde... ... middle of paper ... ...any Boers from the Cape, and later the two republics, who joined the National Scouts and fought for the British, but there were many Cape Boers who joined the commandos. This aspect of the war produced some of its finest responses in fiction, for example Herman Charles Bosman's short stories "The Traitor's Wife" and "The Affair at Ysterspruit", and Louis C. Leipoldt's novel Stormwrack (1980). The question of divided loyalties is a large issue in Boer War fiction. Nor did the conflict end with the war. As late as 1980 a successful Australian film Breaker Morant was based on Kenneth Ross's play and Kit Denton's novel The Breaker (1973). The Boer War has continued to be a popular subject for escapist fiction. Whereas the writers at the height of the Empire were overwhelmingly British, with the decline of imperialism the field is now dominated by South African writers
Many war stories today have happy, romantic, and cliche ending; many authors skip the sad, groosom, and realistic part of the story. W. D. Howell’s story, Editha and Ambrose Bierce’s story, An Occurence at Owl Creek Bridge both undercut the romantic plots and unrealistic conclusions brought on by many stories today. Both stories start out leading the reader to believe it is just another tpyical love-war senario, but what makes them different is the one-hundred and eighty degrees plot twist at the end of each story.
For many soldiers and volunteers, life on the fronts during the war means danger, and there are few if any distractions from its horrors. Each comradeship serves as a divergence from the daily atrocities and makes life tolerable. Yet, the same bonds that most World War literature romantically portrays can be equally negative. James Hanley’s “The German Prisoner”, shows the horrifying results of such alliances, while “Farewell to Arms” by Ernest Hemmingway reveal that occasionally, some individuals like Lieutenant Henri seek solidarity outside the combat zone. Smithy of “Not So Quiet” and Paul Baumer in “All Quiet on the Western Front” demonstrate the importance and advantages of comradeship while giving credence to the romance of these connections. Pat Barker’s “Regeneration” depicts Siegfried Sassoon, as an officer who places comradeship and honor above his own personal anti war convictions. Regardless of the consequences, each demonstrates not only the different results of comradeship but also its power and level of importance to each character in the abovementioned writings.
May, C. E. (2012). Critical Survey of Short Fiction: World Writers (4th ed.). Ipswich: Salem Press.
„h My survival, honour and safe return home was all but a fading light at the end of the tunnel. It was clear that they wanted me to fight the Boer, but also to be used as a bloody scapegoat for the bloody empire, I lieutenant Morant, leader of the special group, the Bushveldt Carbineers. I guess that us Australians fighting for the Empire was not a privilege, but a bloody scam, a set up, we were fooled.
Damrosch, David, et al., ed. The Longman Anthology of British Literature: Vol. B. Compact ed. New York: Longman - Addison Wesley Longman, 2000. p. 2256
Kich, Martin. "The Wars." Cyclopedia Of Literary Characters, Revised Third Edition (1998): 1. Literary Reference Center. Web. 9 Apr. 2014.
... "He possesses inborn militaristic qualities, and is intensely proud of his descent from Marlborough". This opinion of Churchill was well deserved, because Churchill gave individuals fuel to flame such notions. When Churchill worked as a correspondent for the English newspaper the "Morning Post" during the Boer War. He wrote "There is only one way to break the resistance of the Boers: the most severe suppression. In other words, we must kill the parents to teach the children respect for us." The same young correspondent reported about an English punishment expedition to the Mamund Valley, "We went systematically from village to village, destroying the houses, ruining the wells, breaking the towers, felling the larger shade-giving trees, burning the harvest and destroying the water reservoirs, after fourteen days the valley was a desert and our honor was satisfied".
were two wars against the British and two South African Republics that occurred in the late 1800’s) Jim Key the Educated Horse, The Dancing Girls of Madrid, and the Hagenbeck’s Zoological Paradise and Animal Circus that a...
In 1806, Britain would take possession of the Dutch Cape colony during the Napoleonic wars with Emperor Napoleon Bonaparte of France. The Boers, descendants of the original Dutch settlers in Africa, would come to resent this British rule and Britain's anti-slavery policies that would be forced upon them. Much of the Boer way of life depended on the work from their slaves. In attempts to free themselves from British rule the Boers would make the “Great Trek” in 1833. They would press into tradition tribal territory and would found the twin republics of the Transvaal and the Orange Free State. Peace between the new republics and the British would hold until gold and diamonds were discovered, in 1867. In the spirit of greed, war was inevitable to break out between the Boer and the British, although peace did hold for several years after the discovery. In 1890 skirmishes would begin and in 1899 an all-out war prec...
In Half of a Yellow Sun, Chimamanda Ngozi Adichie attempts to use history in order to gain leverage on the present, to subvert the single story stereotypes that dominate many contemporary discourses on Africa. Written in the genre of historical fiction, Adichie’s novel transcends beyond mere historical narration and recreates the polyphonic experiences of varying groups of people in Nigeria before and after the Civil War. She employs temporal distortion in her narrative, distorting time in order to illustrate the intertwining effects of the past and present, immersing deep into the impact of western domination that not only catalyzed the war, but continues to affect contemporary Africa. In this paper, I will analyze her portrayal of the multifaceted culture produced by colonialism – one that coalesces elements from traditional African culture with notions of western modernity to varying degrees. I will argue that Adichie uses a range of characters, including Odenigbo’s mother, Ugwu, Olanna and Kainene, to each represent a point in a spectrum between tradition and modernity. Through her juxtaposition, she undermines the stereotypes that continue to characterize Africa as backwards and traditional, proving instead that colonialism has produced a cross culture where the two are intertwined.
In British imperial fiction, physical setting or landscape commonly plays a prominent role in the central thematic subject. In these works, landscape goes beyond an objective description of nature and setting to represent “a way of seeing- a way in which some Europeans have represented to themselves and others the world about them and their relationships with it, and through which they have commented on social relations” (Cosgrove xiv). By investigating the ways in which writers of colonial ficition, such as H. Rider Haggard and E.M. Forester, have used landscape, we see that landscape represents a historically and culturally specific way of experiencing the world. In Rider Haggard’s King Solomon’s Mines, the landscape is gendered to show the colonizer’s ability to dominate over native territory. However, while the scenario of the male colonizer conquering a feminized landscape reinforces a legitimizing myth of colonization, it is later overturned by Forester’s A Passage to India. In this novel, the landscape takes on a complex, multifaceted role, articulating the ambivalence of cross-cultural relationships and exposing the fragility of colonial rule. In contrast to King Solomon’s Mines, A Passage to India uses landscape as a tool to expose the problematic nature of colonial interaction that might have easily been left obscured and unacknowledged. We can read the landscape as a type of secondary narrator in A Passage to India that articulates the novel’s imperial ideology.
Bibliography w/4 sources Cry , the Beloved Country by Alan Paton is a perfect example of post-colonial literature. South Africa is a colonized country, which is, in many ways, still living under oppression. Though no longer living under apartheid, the indigenous Africans are treated as a minority, as they were when Paton wrote the book. This novel provides the political view of the author in both subtle and evident ways. Looking at the skeleton of the novel, it is extremely evident that relationship of the colonized vs. colonizers, in this case the blacks vs. the whites, rules the plot. Every character’s race is provided and has association with his/her place in life. A black man kills a white man, therefore that black man must die. A black umfundisi lives in a valley of desolation, while a white farmer dwells above on a rich plot of land. White men are even taken to court for the simple gesture of giving a black man a ride. This is not a subtle point, the reader is immediately stricken by the diversities in the lives of the South Africans.
Rudyard Kipling grew up in a very unstable home and environment in India, Bombay. He was bullied as a kid and had a bad family life. He turned to writing and reading as a way to cope with his abusive childhood and published his first book in 1902 (Stewart, britannica). His books display a variety of imperialist thoughts that revolve around racist intentions as well. Although Kipling can be read as a well-intentioned imperialist, his stories demonstrate that he is also a racist because he portrays the natives as savages, unclean and an inferior race and believes the help can help the “inferior races” civilize.
Ngugi Wa Thingó. Writers in Politic: A Re-engagement with Issues in Literature and Society. Revised and enlarged ed. Nairobi, Oxford and Portsmouth: James Currey,East African Educational Publishers and Heinemann, 1981.
History is no more confined to a monolithic collection of facts and their hegemonic interpretations but has found a prominent space in narratives. The recent surge in using narrative in contemporary history has given historical fiction a space in historiography. With Hayden White’s definition of history as a “verbal structure in the form of a narrative prose discourse” literature is perceived to be closer to historiography, in the present age (ix). History has regained acceptance and popularity in the guise of fiction, as signified by the rising status of historical fiction in the post colonial literary world.