 So one of the organizers asked me to give a lecture on this room, specialist ESV work, what model would you give them more. So I tried to find a topic in a way that would be interesting for everybody here. And I felt that the issues of liminality, which is what all veterans of income was in today. So let me start by saying a few words about actually where we're on the front, particularly my fill, so yes, that's fine. So from November 1918 to the spring of 1920, five million French veterans were denulized, each group by each group, and the survivors of a major collective catastrophe were technically meant to be more of a health. This is when the great statue was born, and it's also when a whole generation of young men came of age. Among the survivors was Eastman Jules Isarach, a well-known French historian, who had been recruited by Édition Ashens prior to World War I to edit with his colleague Albert Malet, a series of textbooks on French history, later known as Malet-Isarach. Although to almost be moralized in 1914, Malet joined up as a volunteer, and was reported missing in the after-concept of September 1915. Jules Isarach, also felt in World War I, he was fairly wounded in Berda in 1917, but he survived. In 1919, he was called Newly Revenant, which means in French both we, the rich and the means, those who return from war, and also we, the ghosts, but known as the ghosts in French. And Isarach's works resonate as a challenge for all of us historians, all of us here in this room, working on the solidest one coming, and in the golden era. Here's what Jules Isarach wrote in his Newly Revenant, published in April 1919 in the Revue du Pari. If not from beyond, we turn from far away from these formidable boundaries between life and death, where few men for us spend time. You think that you know us, gentlemen, gentlemen, meaning citizens, while that's right. Do not be mistaken. You do not know us anymore. You will not know us ever again. We are not in a secret sign that you can see we have come back from the dead. How many men of the last generation across Europe shared the same impression of having been plunged into an extreme environment, we all must have, constant nectar and intense suffering. And after returning to the life, both changed by the experience, and were a bit different from the rest of the population, meaning from the younger and the older generations, from the lovers, from the wives, from the lovers, from the citizens. When the war broke out in August 1914, historian Charles Edwin Carrington, aged 17, was preparing for university entrance examinations, and you know, of course, it was probably because he was the author of the book. The book was published in 1965. Over the underage, he volunteered in the teachers' army and joined the Royal Warshire Regiment, built in the Battle of Assam, and finished his education at Oxford after the mobilization in 1919. And here's what he wrote about his experience, it also about this new generation, the last generation. Middle-aged men are united by secret bonds and separated from their fellow as well, too young or too old to fight in the Great War, originally in 1665, so more than 40 years at the end of the war, 15 years after the end of World War II. I think only the generation of young men, the stories before the characters were formed were under 25, 1914, is conscious of the distinction for the war made them what they are. Generally speaking, the secret army presents to the world the front of silence and bitterness, which it adds fashionable, or unfashionable to describe as, the secret army speaking the language of silence, what better description of most that is actually returning from war. This is also where the French novelist Jean Moulin wrote in Le Fleur du Taber in 1941, each man found himself mysteriously stricken with the disease of language. For these survivors, the return to banality, the return to the banality of everyday life was the most underrated. Some tell us out of proportion to the new conditions of life in this time, others tell us, do you know a diminished, to use Louis Alegault's words? And relatively, I think it might be one of the most wonderful novels about returning from the Great War, which actually was published in 1944 by some units out of World War II and the end of World War II, but it's both about the fact that we're returning from World War I. Kirchhoch, you know, under the effect of World War I, described his own outcome in the novel of François de Canvén published in 1984. We found all these papers on our table, a number of letters from the month of August 1914. We read about the past from that time. We tried to resume our usual observations again. Another one of all this stands in the least worthy interest to us, meaning yes, meaning as a man, a train of new will, and what we found instead was a very ordinary monotonous one. All human in this room will recognize a reality that characterizes most veterans in the modern era. Veterans are a mass by definition men, now women, in transition. Veterans have expressed a major change in their social identity from wartime to eastime, from the front line in the front, from the social status of commonance living with their arms and arms to the status of our standards in possible societies. That's a... Don't get me wrong. Each transition is inscribed in history of a specific conflict. Each transition is inscribed in the context of a specific time and culture. Each transition is inscribed in the rules of a specific society. Or through a different way of the discussion that we can have a general shade tomorrow, the internal veteran does not exist, even if most veterans have been through the same experience of liminality. So let me start by clarifying what I'm doing by liminality and how this notion encapsulates some of the challenges of transition from which it is. As you know, the British anthropologist Victor Turner first introduced this notion of liminality in the 1960s after reading the author Anna Benjamin, a famous book published in 1888, rips the passage Right of the Passage. In this Right of the Passage, Van Genet explored the fundamental process underlying the change of individual status in society. It is with your wealth for groups as well as individuals life itself means to separate and to be reunited to change form and condition to die and to be reborn. It is to act and to cease to wait and rest and then to be acting again that in a different way. Van Genet, as you know, studied specifically the knowledge of human life such as birth, puberty, new marriage, or death found that, as a general rule, there were three major stages in the Right of the Passage. First one is separation. It's a kind of attachment of a subject from its stylized environment. Second one is transition or what it calls the legal stage and uses the word liminality, which is the battle for fresher or this legal stage when an individual becomes a sibling outsider with no clear defined status of role and that's very important of course for veterans. And the fifth and final stage of the Right of the Passage re-cooperation that's definitely just presented with the study of objects and the subject has crossed the threshold and is allowed to adopt a new status into a major society. If this re-cooperation does not occur something the most impossible in traditional society in criminal society if you want probably because there are two inclusives in a way in the game re-cooperation was always that but it's something that is quite common in highly modern societies liminality doesn't end and that's one of the topics that I would like to discuss today. When it comes to legal societies from the French in the 60s legal trainer expanded our understanding of liminality and that's actually the turner's definition of liminality that I would like to use today to say the case of veterans. The first point about this trainer made something that's really important is that liminality is an instance of time and space and the Right of the Passage it's important that liminality is the liminal time is an instance of pure potentiality whether the past is momentarily related and the future as I've given you. The second aspect of liminality going through to turner is an original instance of committance where it calls a heightened sense of union along group matters differently liminality is also characterized by a specific social in this case psychosomal and finally turner suggests that liminality provides a catalyst for the creating impulse according to him I quote him liminality frequently generates nests symbols rituals philosophical citizens works a lot these structural roles provide a set of templates model for patterns which are very good that reclassifications of reality they incite us with action as well as to further So let's come back to the issue of transitions from both of these to each of our veterans So for us who work on the transitions from one to piece this definition of liminality applies to so many different aspects of a transition from one to piece even as the kind of tribal structure and of course the French law but they are in this kind of tribalized structure of the right capacity of mind seems like the official so let's now explore the three dimensions throughout of liminality liminality as a suspension of time and space liminality as a communal experience something that veterans experience together and liminality as a catalyst for the creative impulse so in the context of veterans oncomings by following communist trajectories from the moment of separation to the moment of reintegration and by exploring what most experiences of oncoming so we most often think of sorry oncoming as a voyage in spite in space and time and in the right consideration if you take parts of this day to the director Michael Chinoze from Erich Maier amongst a novel published in 1951 The Road to Back to Big Fingles a thank you for your service published in 2013 or few replaced published in 2014 every veteran is described as a voyager as a pilgrim or as a background oncomings always involve a progressive distancing from what we usually identify as the existence of time and space in the new world time every demobilization is a journey with its own phases with its own rituals in World War One or World War Two veterans were repatriated by the Shrine and by the boat in 1919 for instance took almost two weeks for re-patriotic billboards to cross the attack and that's an interesting picture that billboards are writing in New York City in the spring of 1919 which is you know a way to show that at least in the 20th century was a long process like what happens after which is probably the kind of turning point re-patriation by those here to Hopperton was followed by the re-patriation of men to the origin of origin by train so it's kind of a long transition it's also kind of transition from the originality of the battlefields to the mentality here clearly are these amazing pictures of the city so I think also that is not really the historians are not really historic the demobilization of the of men that also demobilization of sensitive but demobilization of hearing and trying to do the course of science in the post-war period and also of science you know what it means to transition from a kind of world everything is for example a city of origin so these are all your soldiers who were one or who received from guns from Australia New Zealand and for that a return home would think so a week sometimes a month so again how different from the basis of the Vietnam that's returning from the tour of duty or veterans from the wars in Iraq Afghanistan Teemo Bryan describes this in his book if I die in a combat zone published in 1953 and what he calls the for him the the homecoming is a mostly artificial and here's what Teemo Bryan in writes the if I die in combat zone published in the early 70s the L main smells and feels artificial the students carefully squeeze carefully smile and hold it does not understand she serves a meal and passes out magazines with plain legs in Japan and takes on a few then you fly straight out of Seattle what kind of war is that is that a bigger and that way a pretty girl and magazine so the same thing you know it's like being a lost tourist I think that is a major major transition in the 20th century people then to process experience and no time to move there and no time to quickly get used to the idea of returning home which I think is a major beginning element so let's talk about exploration of the soldiers homecoming with kind of a key moment the moment of leaf-taking from Congress announced and it was Vangina because it's called so often I think this is actually all the books demobilization were organized on an individual basis in the a game the soldiers returning from the American soldiers returning from the attack but later in World War II demobilization brings about the dissolution of group of soldiers and over there that intense human relationships in terms of the work the primary group to use the notion invented after World War II by Shelton and Janowitz in 1948 the primary group is one of the we all know that it's one of the most important sources of support of survival provided for our mutual security provides to maintain social religion in transportation by for example ensuring the distribution of packages that I value or by transmitting practical know-how by allowing the sharing of emotions when he returns from the war the soldier has little choice but attracts sense the end of his important work of group study I think the soldiers long and soon idolizes actually the front line commander most of the change is still found 30 years later but I think the veterans of World War I but I studied in many ways if you think the veterans of organizations created the sometimes during the war itself disabled veterans but in the immediate of World War I the major ones there are two candidates for you know but if you think of veterans of associations in the of World War I the first one is too fan that is rice and the second one is to promote commander and in a way to create new fictive friendship so war's hell front line war's hell the transition for chemical that we were all together and this is one of the main the famous motto of French veterans in the 20s and 30s and it's actually metal like the union that's generally what they made that's just associations in the 20s united as at the front which you know it's not because these two together they're really united in attention it's a kind of a kind of prolonging in the end of World War I the same kind of of unity and so on way to destets yourself from civilians from the British in the 20s what don't you like again that's just a bad component that's what these metals are so in the case of a war position like World War I a demo is also made beyond fields of battle where So, primary groups were also, in a way, communities of Lugendale and the dead. And here, for instance, I think Maia, the man who owned the room for his famous, all white and white and brown, has actually thrown back, they got that story published in 31, it's really less famous. So, I don't know if you know the book, but I really encourage you to read this, it's very interesting novel. And in the opening scene, there's this chapter where Locke describes a group of German soldiers on the front line in the immediate aftermath of the Anesthes of the 1918. Here's what he writes. They are men who indeed were lie there, though to now have not thought of it so, but just remain here together. We, the race, we, the trenches, the diagonal, a few handfuls of earth, they were back a little before us, they became less and they more. And often we don't know whether we already belong to them or not, but now we are doing that in life and they mass stay there. Since back then, against dispensing yourself from the dead and living beyond the fields of the vial where so many comrades and arms are under it. So we have at least a community of living of the dead, right? Then also the disappearance, the disappearance of the Anesthes, but also the reconstruction of another identity. So one of the human-like soldiers, the greatest fear, I think, as it appears in the editor, especially in many letters in my first book, one of the greatest fears, probably, of not being able to find or replace the game in Switzerland. There is the game in Switzerland. And if they work with survivors, many psychiatrists describe the nightmare coming to most returning veterans. They return to their homes, to their families, they attempt to speak, but then neither hurt or recognize. So this nightmare can perhaps be explained, and you can find that in many of the words published by psychiatrists in the total period or afterwards here. This nightmare can perhaps be explained by the reference to the survival syndrome, a syndrome of survival guilt. Extensively studied, as you know, by the psychiatrists, William Niddenance in the 50s, who actually, Niddenance works specifically with survivors of guilt. It's very interesting to see the game, what it means to be a survivor. Of course, being a survivor of guilt was different from being a veteran, but the concept of survival of guilt is also commonly used for veterans. So most veterans, if you think of having survived at the price of another's life, of being alive when they should be there, I am alive, they are there, they are there for, even, their lives, for me. And other gods in 1919, in Spanish, that's one of the most famous scenes, right, if you've seen, other gods used to go, it's fantastic, that's for crystal versions, you know, it's the 1919-1938 version. That's the 1919 version where the, which, I mean, it's actually in terms of the growing boundaries between the living of the dead and the persons of the ghost. And as you may already be familiar with the scene, other gods imagined the death of the Great War, rising from the battlefield, rising from the grave, to see the survivors have been worthy of the sacrifice. But she was the one who looked extra at the kind of survival of guilt. And so there it is, the 8th, the 13th scene. And it's exactly what the Brian again says in his book, The Things to Carry, in which the narrator confessed, I watched a man die on a train near the finish of IK, and I didn't kill him, but I was present, you see, and my presence was killed now. I remember his face, and I remember feeling the burden of responsibility and grief. I blamed myself and rightfully so because I was present. According to Nancy Sherman, the professor of philosophy at Georgetown University, today most young soldier that put her train with said ideals that encouraged black and whites thinking, never leave the body behind, bringing everyone home, minimise cultural damage. And as visions get ordered, you can't do all those things at once, you can't even do most of your postings well. So there are a lot of compromises that people might not have the equipment to make. And this is exactly what I'm going to say, sadly, to introduce this notion of moral injury. I know that it's like to present that tomorrow. So beyond this kind of sense of guilt, I should look very strong for most veterans, there's also a problem with veterans. The veterans have been changed by the war, their bodies have changed, their recyclages have changed, the way they perceive the world around them have changed. So this feeling of, this transience can sometimes be expressed as a kind of alienation of self and body. And I want to present a very interesting collection of interviews that a few of you know this book, made by Susan Alex Sivic, who is probably not one of the major authors of the late 20th century, early 80s and 31st century. She is a journalist and she's a resident with no right on literature or rights. And she interviewed veterans of the against the war galaxy in the 80s and the book called Zingy Boys, the title of the book, right? Zingy Boys, Zingy Boys is from the Afghanistan War and so it's a very interesting model, actually, of history. And his work, one of the, Afghanistan is one of the survivors of the war against the war, writes, after that, I couldn't bear to wear my two war jeans and shirts. They belong to some treasure, although it still smells of me as my mother showed me. And that treasure no longer exists. This place had been taken by someone else with the same family name. So being reconciled, after normal months, turned off from their families and transformed, often physically actually, that they can sort of work. The question of recognition is a very shared by all returning veterans. And if you think about that, I gave a few, I ran games out in J, I just didn't get down. This is America before the comments. And it's exactly what he said about book 19 of yours, a very specific moment, and this is sometimes a mess, but it's essential in the normal homecoming. This is normal homecoming. And that's when Odysseus is recognized by his old workers, Eurylia, who, as you know, recognizes the scar. So it's interesting to see that in the game, the transformation is presented here as a commodity for transformation. But to be recognized is not simply to recover what's pre-organized. It's also to be recognized as the veteran, to obtain gratitude for citizens rendered, and compensation, which is, of course, not the same thing, or the material and psychological costs inflicted by the worker. So both gratitude and compensation, which seems, actually, to be, you know, kind of revision of the rights of veterans immediately after a war or one. So the second element is to come into most cases of soldiers returning from war. It's the vast question of the gratitude for citizens expressed or refused to express, to veterans. In my view, this problem has long been underestimated. As Odysseus of war became increasingly unfamiliar to us in society since he had animalized or seen as the Franco-Azino war in the case of France, these societies, our societies, these were civilians ceased to understand the importance of what I've called in my mind both the moral economy and gratitude, which is, again, the key element in the reconstruction of entities, the moral economy and gratitude, the complex, and if you think about that, finally structured collection of rituals and gestures, medals, celebrations, commemorative objects, fast to which veterans feel that their experience of war has been at least in part humanized. I really think that it's a combination of collectives expressing something and something very personal. That's fascinating to see how our medal, actually, of course, is always a channel, you know, making that. I would make my collective investments receive, of course, as something extremely, extremely personal. I think it's also part of the, it's also something that has been created by the kind of family, of course, in memory of the conflict, which is how veterans share their experience with their loved ones. So clearly, how war stand constitutes a very important challenge for societies of war. Actually, disability is 1918 by a psychiatrist, Carl Abraham, say he forgot it now, but Carl Abraham was a close collaborator of Sigmund Freud, a very interesting article in 1918 called Contribution to Psychoanalysis of War Neurosis, in which he explained a very simple thing that he drew attention to the simple, the crucial fact that veterans generally experience a feeling of profound loss, a feeling provoked by the death of friends of the people of the perspective of World War I, really held on for lots of years and that it's a sense of loss but nothing could compensate. In this context, the modifier of right of use is an essential part of the veterans' position for women to experience. And related to what Turner described as living in the sea, as a communalist, you don't, you never return for love, you return as a member of a group, even if you return actually, even if there isn't kind of individual hunger, you are always a part of the cannot imagine community. And as a catalyst, you may see as a catalyst for critical impulse. So, Hong Kongings are times of recomposition of the fabric of society. And that's what I'm actually interested in. When I studied my first book and I'm trying to go now, it was published in 2004, most people felt that you were a specialist in World War I. You're interested in, of course, you're interested in World War II, especially in the 20s. And most people felt that demosition is a time suspended between war and peace with no value or no interest. And so, it was about a century ago. And so, again, it's essential because it's really a moment of recomposition of the fabric of society. And a moment of expression of intense emotions. There are also moments when of appreciation matters, megalovs, parades, even, what did you do a few weeks ago? For instance, then, this community's sake cups offered to the imperial champions army to its veterans. It's a long tradition to give to every veteran each old sake cup, which, you know, of course is related to food or drink. It's also very personal. It's also part of history of the literary history of Japan. Or, this object, which, of course, was very interested is the commemorative al-Nas given to each French survivor, each French veteran of World War I. So, you have to imagine it producing air like that. Less than, by most, 18 months, 5 million commemorative al-Nas. So, that's the every-end al-Nas and with this commercial back here that says, soldier of great war. This is what you are. You are a soldier of the great war. And not a soldier of the war in 1850, soldier of the great war. So, using the word used by veterans as abilities in 1815, this is a great war. Completely different from what we see so, again, it's interesting because objects like this one are, of course, a lot of precision and they also give the context to me. They kind of perform every day of these objects who give sense in the way to what the soldiers are. So, according to the French in the troops at the school of the war, obtaining a passion, being awarded a decoration, having one's name mentioned in some historical document or author, these are not references to factions like those of the serving students in the war. They are real true veterans that the collected, collected recognizes that and that the years of suffering inscribed with flesh and mind like had been given meaning. Such choices of gratitude very, very historically indicated absolutely no sense of social security. On the contrary, this signified reassurance that the veterans fell from state and nation, that's what I call the fabric of society. As in here, the affirmation is quite cute, is this fundamental condition of the soldiers reintegration into peace dialogue. It reinforces this sense of existential psychosocial coherence which has been shaken by the invocative origins of war. Which is to be once, it shows that, of course you're different, of course you're totally different, but you know you're still the same game, there is a kind of coherence in what you have done and the object in which you show to you the medal or even the parade in the ritual organized gives you some kind of coherence which is a way in the central direction of the veterans. So most argue that in a way these objects would be presented as the most transitional objects that allow also for the sharing of these things with family and friends. So there are actually two ways to think about it, a lot of times it's better to talk about it in the QA or later in the dinner, but I think there are two forms of objects with the company veterans in the transition back to the light, the first one are these objects that are described in the Molykeumic Gratitude, they don't answer our tropics. And then we are interested to see the connection between tropics and the Molykeumic Gratitude, they're definitely a little bit different. The tropic is individualized and the value of the tropic is a city with something specific, specific moment, specific place, all of one, two, that specific object on the battlefield or somewhere of course, a medal is different. So again, therefore to see that why I was interested by Stephanie's presentation in the last panel, objects are essential to understand the Hong Kong name. Thank you, but we're very much prepared. Objects are really essential to understand the transition from the Molykeumic Gratitude. So not soldiers returning from war have felt this importance of objects, importance of tropics, of gratitude or more so, I think, as the generally felt out of face with the social norms of cinema. And this is a bit of an old gauges of soldiers returning from war. It's a return to peacetime norms. The state of war, as you know, is characterized by the complete of evil of the framework of social life of everyone. In wartime, soldiers go sometimes collapse from exhaustion in the middle of the day. They eat at irregular hours from time to time. So men they got roofs, although they had a few feet of it. Mainly the tragedy, the protection the comfort, the sense of intimacy that comes from living in a home. And in fact, we are then at times feel uncomfortable with the human being created by the personality of looking after bodies, or differently the framework of social life of the distinction between day and night, the difference between inside and outside the importance of physical appearance of being broken down by the war. So when you imagine their return home in narratives again that's one of the sources that I used in my first book, combat that is often out of size the normalization of material life. For them an essential step in the returns of the night. When you read the letter of course on Saint-Helès Victorius French story of 1918 on November 12th, right? The first thing we imagine in the letter is something like that they wrote the good white red, in Spanish of course but still the good white most considered like the good white the red, the color or the real bad in which you stretch out nice and work in the real machine. So what we imagine of course that it's not essential that these are mundane topics that they're extremely important to the game think about the imagine of looking at the misogynist and I like this picture of a dog training you as a 1918 and savoring the dog taste the cinnamon smell of apple pies for that in a way a reassuring labor of the pre-war existence showing a kind of continuity in the pre-war and the post-war So these topics in a way the body of demonization is essential to understand the reintegration and it seems to me that one cannot study for instance the economic reintegration of veterans which is by the way although I love the X4 filled in which reintegration remains to be done we will study the beast dimension of their reintegration so we have social concerns economic concerns work on the transition from order peace what does it mean to discover the rules of order or to re-point yourself with the practical and no-power forgotten during the war even dealing with a serious uncast disabled or shell-shocked veterans out there on the transition of liminality unless I know how I was going to present tomorrow I'm sure will agree with me that again liminality is different completely different for disabled veterans we will experience in the case of disabled veterans they transition to civil life associations play a very important role in transition back to civil life that's a return to norms of peace time also a return to more norms two examples of the early 20th century of the 70s that sells amazing though really amazing though on the return of the soldier from the old one and a taxi driver of course in 1976 much more specifically they in many ways drew attention to the figure of the the almost obsessed the figure of the marginalized or the violent veterans the alienation of real veterans misses this to stigmatize or confine to the liminal to the liminal space so in terms of right of passage and again that's quite important what strikes me is how the rights of purification that they committed the most all stories from coming in pre-modern societies have the most completely disappeared in the modern era I mean that's what you mean by right of purification that's still the fear of communication with contact with the dead what the Romans call horror as some would say committed returning warriors from entering civil life in the sudas actually six states four civil days weeks and with the right of Christianity impurity was later transferred inward as the civil would have said and what tragically changed with the use of total war in the 20th century was for being a violence as accommodation within time and space the intensification of discourses and practice of violence that also was a mass normalization of significance which is a lot which means that the rights of purification the rights of purification disappeared as they became useless demobilizing was no longer a matter of veterans returning from war that's a matter of entire societies which means civilians returning from war so again if you think about the different way to define demobilization we tend as military stars we tend to focus exclusively on the soldiers demobilization that after well let me know what the civil wars are to say that after demobilizing means also rendering civilians into post-war societies and turning away from the extreme hatred for the enemies in increasingly ideological conflicts so I was thinking of the notion that my colleague on the French forum introduced the famous Rowan in 2001 a notion of cultural demobilization again when you think of cultural demobilization with big veterans returning from war and what about the civilians cultural demobilization again re-creating relationships with the enemy and that's something before it's a matter of families especially for I love for love in combat so in a way the kind of unionity is quite by Amal Vajad in the Indian time so just before Rowan in the 1980s denounced by, you might be, the kind of dissonance of the Greek finally, according to Vajad as you know, the third and final phase of our race of passage is re-increparation that term re-increparation into what when there was a problem in 1918-1919 when veterans had to face a terrible realization that next to nothing remained of the life they had known and life is very simple and they were a good college by Moises, who always was a famous French novelist of World War I who writes something like when we were 20 when he was 18 when we were 20 and looked back to the 20s we saw nothing but ghosts and then people and if you know that to me one of the big differences between World War I and any conflict in the 20th century when you were a survivor you were a really small minority in a society after a at least a big conflict so veterans of course often complained of citizens' unionity to most of them but at the same time they knew that their experience was impossible to describe and that's a game I think of that he, his character began to miss the war but on the war the wartime years he had never been able to find the rhythm of life the game he was still living in the day to day of the war the interesting topic for all of us what does it mean the day to day of the war and that's of course something totally different I think for the civil war but that's something that would be good war time and that's still the two major elements, two major topics more time and the relation to space the game, the non-scapes of war that's something that is working on new research about that but as you talk about that it's really getting something that matters and it's inspiring so one of the hypotheses, one of the subject factors from the war that Dan said to you by Zlegan Marek Skirvich felt the same nostalgia for combat that's what he says and can't settle down to this life anymore war is better than this it gives you a justification for any excuse for anything you do good or bad it's incredible that's the way I catch myself sometimes so the nostalgia for combat which I think is an interesting notion the nostalgia for combat is actually a notion described by Kierkegaard, their famous French theology of the 20s and 30s who published an article on that nostalgia for combat and this game was released for him it was a nostalgia for an exceptional experience and for him it was an exceptional in terms of faith where the believer had to face nature constantly and had to give himself over completely to God and here with your rights I cannot do the battle from the war that's what you're writing the immediate aftermath of war one nostalgia of course sometimes documented you'll know that and whose history largely remains to be written it also tends to be all of the the return to what I made a few minutes ago the return to the sensually environment of this time one of the first kind of religious thinking that veterans have to deal with and a major component in the sense of eliminating associated with the return from war people position of the hearing of the sight in their notebooks or their letters most soldiers know the difficulty of getting used to silence getting used to silence in the immediate aftermath of war one veterans of war one you can imagine that the first thing we say in the game in the first hour of the incident is the silence that dominates the battlefields that falls over from times this day over spoke how difficult it was for them not to look at the countryside through an interface eyes not to imagine that she's there not to imagine danger everywhere and as many of you know in some of you have seen probably in psychology scores veterans from Vietnam or Iraq that want to give you an example of this speech that the school principal in bayonet in southwest France gained in the 20s I think it will work by to my village my lovely vast village and here we have a lot of the photo of admitting these type of very interesting thing of you but I want to be completely truthful it was through war this high that I saw a gorgeous countryside covered in greenery and flowers here on that bridge a church called a combat squad to take a position their super a moosh rooms followed by the subsidiary of an adding position for machine gun all the beautiful ways of any industry who modelled everywhere the most lovely city the most peaceful city combat side of others that were too strong or even reminding them that combat experience was in there please don't again one of the agencies interviewed by alex sanan please don't tell me the war is over now in summer when I breathe the hot dust air or a smell of dry flowers it feels like a punch in the head and be hunted by afghanistan for the rest of my life I've shown how strong or even orders are positive reminders of costuming events for instance orders a city with explosions of burning material and how they trigger flashbacks and which were these thoughts I was going with one of the most famous frenchie stars of the 20th century but not always in venture of the unaltered in the 30s and 30s in World War I and who said we'll remember the biggest song of german budgets it's quite his brainwaves as if it were a loss of a gramophone record like a refrain great to do at the first turn of the behandel he saw so he died as you know particularly in in World War II it was a recent fighter and it was executed by the emilees in 1944 this is a very it's probably not a model in many ways it is a kind of hero of any sort and the conference held its power it saw it came to life share the memories of its father and he looked it right and I think I like the extension between silence and truth memory and then the humbite father talked about the war this silence was broken only once and I will tell you about the circumstances but his memory is quite inscribed in my mind but they were in an empty small city I don't know which one he wore and my father hopefully went outside leaving my mother and me behind he could not spare his time in americans leaning against the wall and he had too much of the corpses that were his constant companions during the war so the liminality of the war is inscribed on and we will say into the bodies and sometimes forever in great antiquity Livy one of the five rivers in the world and the presentation of Livyon was the daughter of Eres the great goddess of this court that for most veterans of Oman probably for actually most veterans of the 20th century Livyon was not an option the memory of war became excessive survivors remain frozen in the past and lived in this little space of Elyse and that's why the model used by a jet that can work for at least most of the 20th century and the 21st century the page will be betrayed by the dead in many ways so that's how the great war began and lost most of its size in 1918 french writer Jean-Giordeaux was the first prophet of war in 1931 in Puypots-Norway Le Grand-Propos the book did not actually exercise the memory in the famous 1938 essay Jean-Giordeaux-Barnier I cannot forget the war here's what you write I cannot forget the war I lied to you and I passed two or three days thinking of it and then suddenly I see it again I look at it again and I feel frightened 20 years of sadness and for 20 years it's like life happiness I have not changed myself the horror of these 4 years and clearly marked all survivors