站在他们的角度:用时尚物件来探索战争经历的持续时间和复杂性

Q1 Arts and Humanities Critical Military Studies Pub Date : 2020-04-23 DOI:10.1080/23337486.2020.1751492

Bethan Bide

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引用次数: 3

摘要

冲突的经历很少会局限于确定日期的历史范围。尽管第二次世界大战于1945年9月2日正式结束，但这场冲突留下的情感遗产挥之不去。这篇文章借鉴了伦敦博物馆的物品，研究了如何利用时尚物品来突出冲突的长期影响。通过观察人们在和平时期是如何重复使用、保存和恋物癖战时物品的，它展示了希望、失望和挥之不去的怨恨的情绪反应是如何通过着装实践表现出来的，并展示了跨越阶级和性别界限的冲突的不均衡影响。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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In their shoes: using fashion objects to explore the duration and complexity of wartime experiences

ABSTRACT Experiences of conflict rarely adhere to the historical confines of defined dates. Although the Second World War was officially brought to a close on 2 September 1945, the emotional legacy of the conflict lingered. Drawing on objects from the Museum of London, this article investigates how fashion objects can be used to highlight the long-term impacts of conflict. By looking at how people reused, saved, and fetishized wartime objects in peacetime, it shows how emotional reactions of hope, disappointment, and lingering resentment manifested themselves through practices of dressing, as well as demonstrating the uneven impact of conflict across class and gender boundaries.

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来源期刊

Critical Military Studies Arts and Humanities-History

CiteScore

1.90

自引率

0.00%

发文量

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.