{"title":"Proud to ‘fly a desk’ and wear a medal? Interrogations of military pride through the eyes of the RAF veteran","authors":"Paul Higate","doi":"10.1080/23337486.2022.2140095","DOIUrl":null,"url":null,"abstract":"ABSTRACT Framed by the author’s status as a former Royal Air Force (RAF) service-person and subsequently as a critical sociologist, this article considers the performative role of pride in both exceptionalizing and legitimizing military actors and the RAF, respectively. In so doing, auto-ethnographic material is included to reveal the mundane and unremarkable, yet illustrative experiences of the RAF clerk whose lifeworld as a military actor in a support role differs sharply from how he or she might be imagined by the wider public. In order to demonstrate this disparity in perception, attention is paid to the relative ease of RAF basic training, tensions between the assumed hardships of active service in a war zone and its reality, and the role of racism and individual agency in the RAF. Rather than pride, these reflections invoke a mix of authorial guilt and shame, the latter of which is rooted in the political role played by an institution whose violence is normalized and its members eulogized. The wider, normative aim of the article is animated by my own modest attempt to demilitarize through revealing the work pride does in canonizing an institution revered by the public.","PeriodicalId":37527,"journal":{"name":"Critical Military Studies","volume":"9 1","pages":"5 - 23"},"PeriodicalIF":0.0000,"publicationDate":"2022-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Military Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/23337486.2022.2140095","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
Abstract
ABSTRACT Framed by the author’s status as a former Royal Air Force (RAF) service-person and subsequently as a critical sociologist, this article considers the performative role of pride in both exceptionalizing and legitimizing military actors and the RAF, respectively. In so doing, auto-ethnographic material is included to reveal the mundane and unremarkable, yet illustrative experiences of the RAF clerk whose lifeworld as a military actor in a support role differs sharply from how he or she might be imagined by the wider public. In order to demonstrate this disparity in perception, attention is paid to the relative ease of RAF basic training, tensions between the assumed hardships of active service in a war zone and its reality, and the role of racism and individual agency in the RAF. Rather than pride, these reflections invoke a mix of authorial guilt and shame, the latter of which is rooted in the political role played by an institution whose violence is normalized and its members eulogized. The wider, normative aim of the article is animated by my own modest attempt to demilitarize through revealing the work pride does in canonizing an institution revered by the public.
期刊介绍:
Critical Military Studies provides a rigorous, innovative platform for interdisciplinary debate on the operation of military power. It encourages the interrogation and destabilization of often taken-for-granted categories related to the military, militarism and militarization. It especially welcomes original thinking on contradictions and tensions central to the ways in which military institutions and military power work, how such tensions are reproduced within different societies and geopolitical arenas, and within and beyond academic discourse. Contributions on experiences of militarization among groups and individuals, and in hitherto underexplored, perhaps even seemingly ‘non-military’ settings are also encouraged. All submitted manuscripts are subject to initial appraisal by the Editor, and, if found suitable for further consideration, to double-blind peer review by independent, anonymous expert referees. The Journal also includes a non-peer reviewed section, Encounters, showcasing multidisciplinary forms of critique such as film and photography, and engaging with policy debates and activism.