By Ian Ronayne
If the 1st global warfare had no longer occurred while it did, Channel Islander Clarence Ahier might in all probability have led a regularly unremarkable existence. however it did, and in October 1915, elderly simply 23-years-old, Clarence left his domestic and volunteered to hitch the British military. He might spend the following and part years serving as an artillery guy at the Western Front.
Now this in itself isn't really outstanding - hundreds of thousands of alternative younger males did an analogous factor. yet Clarence Ahier did do whatever notable, and it was once whatever to set him out from just about all his contemporaries. From the very starting of his time on the entrance, he wrote a photo and relocating account of his reviews of war.
Clarence’s final plans for his meticulously written magazine are unknown. yet having lain disregarded for years, it used to be lately came across in a suite of dusty ephemera passed to an area background society.
The whole magazine contains round 25,000 phrases, with a spotlight on Clarence’s event in the course of the conflict of the Somme, within the scuffling with round Ypres, and, after he used to be wounded for the second one time, the adventure to India and his time there as a member of the garrison. it will be supported by way of extra explanatory textual content.
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Extra info for A Gunner's Great War: An Artilleryman's Experience From The Somme To The Subcontinent
42 The competition for representation is readily visible in spectacles, literature, and paintings, for the allegorical images of Queen Elizabeth represent not only the self-sufficient chastity of sovereign discourse, but also the woman whose sexuality comes under masculinist control. Examples include published spectacles like Richard Mulcaster's Queen's Majesty's Passage and George Gascoigne's Princely Pleasures at the Courte at Kenelwoorth, Literary examples include drama like John Lyly's Endymion and Ben Jonson's Cynthia's Revels, prose, including Philip Sidney's Old and New Arcadias; and such poetry as Walter Ralegh's Book of the Ocean to Cynthia and Edmund Spenser's Shepheardes Calender and The Faerie Queene.
Even though Elizabeth herself was no feminist—in the sense that she did not concern herself with the situation of other women—in her own interest she developed and worked for representations of female autonomy and power that both underwrote and jeopardized the apparently natural fabric of signification. 1 Engendered Economics: Elizabeth Ps Coronation Entry (1559) When Elizabeth I participated in her coronation entry, she entered a London as yet unmarked by her reign. 2 But in mid-January 1559, when Elizabeth crossed the city to pause for entertainment at six hubs of economic activity, her reign did not yet exist.
8 Civic leaders, courtiers, poets, artists, and playwrights representing various political perspectives variously allegorized the queen's body through the overlapping, even contradictory images that developed and recurred throughout the fortyfive years of her reign. 10 The Queen's Majesty's Passage provides a logical starting place for examining the iconography of Elizabeth and its relation to her self-representation. The description of the eight scenes of the entry itself—the presentation of the royal genealogy at Fenchurch; the Seate of Worthie Governance device at Cornhill; the Eight Beatitudes at Sopers Lane; Truth, the Daughter of Time, presented in Cheapside, with a digression to describe the elaborately staged presentation of the city's purse to the queen; the oration at St.