A Humanist’s Encounter with Science: Visit to the Regional Science Centre, Bhavnagar

A Humanist’s Encounter with Science: Visit to the Regional Science Centre, Bhavnagar

This blog is written as a task assigned by the head of the Department of English (MKBU), Prof. and Dr. Dilip Barad Sir. 

On 10 December 2025, the Department of English, Maharaja Krishnakumarsinhji Bhavnagar University (MKBU) visited the Regional Science Centre, Bhavnagar on the occasion of Nobel Prize Day. The visit was conceived not merely as an educational excursion, but as an interdisciplinary engagement encouraging students of the humanities to explore scientific knowledge through interpretive, cultural, and critical perspectives.

Here is the group photo of our visit-

First Impressions: Reading the Space as a Text

Entering the Regional Science Centre as a student of English Studies, my first impression was not dominated by machines or experiments, but by structure. The space felt deliberately curated almost like a text waiting to be read. Each gallery appeared to follow a narrative logic: an introduction, a development, and a conceptual resolution. Rather than passive observation, the exhibits invited interpretation, echoing the literary principle that meaning arises not only from content, but from arrangement, emphasis, and even silence.

My expectations were shaped by the practice of close reading. I found myself observing not only the exhibits, but also the visitors engaging with them their pauses, repetitions, moments of confusion, and sudden clarity. These gestures resembled a reader grappling with a dense poem or a complex novel. Understanding, here, did not arrive instantly; it demanded patience, curiosity, and revision. The Science Centre thus became a living archive of human response, where learning unfolded experientially rather than didactically.

Interpretation, Perspective, and Knowledge

Interpretation emerged as central to this encounter. Though grounded in empirical facts, the exhibits did not present meaning as fixed or absolute. A model of planetary motion could be read as a lesson in physics, but also as a metaphor for order, balance, and cyclical time concepts deeply rooted in philosophy and literature. This openness reinforced a key humanistic insight: knowledge is never purely objective, but always mediated by language, context, and perspective.

What proved most striking was the quiet but persistent interdisciplinary dialogue the space encouraged. Science did not oppose the humanities; rather, it depended upon them. The explanatory panels relied on narrative clarity, metaphor, and visual rhetoric. Accuracy alone was insufficient communication was equally essential. The visit thus challenged artificial disciplinary boundaries and reaffirmed that all inquiry, scientific or humanistic, begins with the same impulse: the desire to understand the world and our place within it.

Gallery-wise Literary Exploration

1. Marine and Aquatic Gallery

The Marine & Aquatic Gallery invites both scientific observation and contemplative reflection. Its towering glass walls resemble a transparent text through which life can be read in layers. Scientifically, the habitat demonstrates ecological balance; interpretively, it stages nature for human meaning-making, much like a museum curates history or literature shapes experience.

The slow movement of fish against ancient, rugged rocks evoked a sense of deep time worlds predating human language and history. Water emerged as a symbolic medium of continuity, memory, and the unconscious, echoing its presence in myth, poetry, and spiritual traditions. Simultaneously, the clarity of the glass foregrounded ecological fragility, prompting ethical reflection on preservation and human responsibility. The gallery thus functioned as a site where science, symbolism, and environmental ethics quietly converged.

Literary Connection:

The vastness of the ocean and the prehistoric life forms evoke the literary concept of the Sublime, where nature’s magnitude inspires awe, humility, and existential reflection. Simultaneously, the interconnected role of microorganisms aligns with Ecocriticism, which emphasizes the interdependence of all life forms and critiques anthropocentric worldviews. Modern environmental literature similarly stresses that human survival is inseparable from the health of the planet’s smallest and most overlooked entities.

2. Automobile Gallery

The Automobile Gallery, tracing the evolution of bikes, presents technology as a narrative of movement and imagination. Mechanical refinement parallels cultural transformation, reshaping how societies conceive distance, speed, and freedom.

Early designs suggest intimacy and risk; later models reflect industrial standardization and acceleration mirroring literary shifts from reflective journeys to themes of restlessness and alienation. Motorcycles emerge as cultural symbols of identity, rebellion, and individuality. The road becomes a narrative device where desire intersects with technology, reinforcing the idea that machines continually rewrite human stories.

Literary Connection:

In literary discourse, the engine functions as a potent symbol of Modernity. It signifies the transition from the slow, contemplative journeys of pre-industrial narratives to the rapid, impersonal movement characteristic of modern life. This transformation is central to Modernist literature, which frequently explores alienation, fragmentation, and the displacement of the human spirit within a mechanized and accelerated world.

3. Electro-Mechanics Gallery

The exhibit on the Sun–Earth magnetic interaction transforms invisible forces into a readable drama of tension and balance. Solar winds and magnetic shields are mapped like a plotted conflict energy versus resistance, intrusion versus protection.

Metaphorically, the display evokes industrial modernity: unchecked power (solar wind) moderated by ethical or cultural frameworks (magnetosphere). It resonates with modernist anxieties about living within vast, impersonal systems technological, industrial, or cosmic. Rather than celebrating domination over nature, the exhibit emphasizes coexistence and balance, aligning scientific insight with literary reflection on survival within complex systems.

Literary Connection:

The Maglev Train’s suspension above conventional tracks metaphorically reflects themes of transcendence, alienation, and displacement, frequently explored in science fiction and speculative literature. The Plasma Globe, with its sudden flashes of visible energy, parallels psychological and literary representations of latent emotion, creativity, or trauma forces that remain hidden until expressed through decisive action or revelation.

4. Biology Science Gallery

Anchored in Darwin’s theory of evolution, the Biology Gallery presents life as an unfolding narrative of adaptation and transformation. Evolution here reads like a biography of life itself, where change not permanence is central.

The concept of adaptation challenges fixed notions of identity, aligning with literary theories that view the self as historically and socially constructed. Bodies appear not as ideal forms, but as records of negotiation with environment and time. The exhibit disrupts human exceptionalism and situates humanity within a broader ecological continuum, echoing post-Darwinian literature and theory. Evolution thus functions as both biological mechanism and existential metaphor.

Literary Connection:

Evolution functions as a powerful narrative framework, structured around adaptation, struggle, and transformation. In literary studies, it offers a lens through which to analyze tensions between nature and culture, inheritance and agency. The Evolutionary Tree itself becomes a metaphor for literary history, where genres and movements branch out from shared traditions, retaining traces of their cultural and ideological origins.

5. Nobel Gallery

The Nobel Gallery presents science as a cultural narrative rather than a mere chronology of discoveries. The portrayal of laureates through biographies, contexts, and milestones resembles literary authorship, where ideas emerge within historical, political, and personal frameworks.

The emphasis on perseverance, failure, and ethical struggle dismantles the myth of sudden genius and replaces it with a humanized vision of creativity. These scientists appear as protagonists whose discoveries alter not only disciplines, but collective imagination. The gallery also foregrounds responsibility, reminding viewers that innovation carries ethical consequences a concern long debated in literature. Ultimately, the Nobel Gallery bridges science and humanities by framing scientific creativity as a narrative force shaping modern consciousness.

Literary Connection:

The Nobel Gallery highlighted the parallel processes of scientific and literary creation. Just as a scientist organizes empirical data to formulate a theory, a writer shapes lived experience into meaningful narrative form. Both practices influence society by reshaping cultural understanding. This gallery reaffirmed the indispensable role of the humanities in interpreting the ethical, social, and cultural implications of scientific progress.

Personal Reflection

The most unexpected insight from the visit was how naturally scientific exhibits lend themselves to interpretation when viewed through a humanities lens. Instead of separating the two disciplines, the visit revealed their shared foundation in curiosity, storytelling, and meaning-making.

Links to literary works surfaced everywhere: industrial machines reminded me of Modern Times and modernist anxieties; biological evolution echoed narratives of transformation; marine displays paralleled ecocritical concerns found in contemporary literature.

The Science Center broadened my understanding of how interdisciplinary thinking enriches critical perspectives. Science, when read like a text, reveals layers of metaphor and symbolism; literature, when paired with scientific ideas, gains new depth and relevance.

The evolutionary tree profoundly altered my perception of human identity. Seeing humanity branch alongside primates, insects, and simple organisms dismantled anthropocentric assumptions embedded in literature and culture. The visualization reframed evolution as a grand narrative an epic of shared ancestry and deep time.

This perspective recalls Darwin’s influence on modernist thought and challenges Cartesian divisions between mind and body, human and nature. It opens interdisciplinary research avenues, especially in examining how literature grapples with biological kinship and deep time. Science here emerges not as data, but as narrative a story as complex and compelling as any literary epic.

Science, Literature, and Critical Theory

Key exhibits such as the human skeleton labeled “The Most Dangerous Animal of the World” resonate deeply with Modernist and Postmodern themes of existential alienation, self-destruction, and ethical responsibility. The subversion of human supremacy reflects postmodern critiques of grand narratives, while technological models raise questions of posthuman identity.

The juxtaposition of human destructiveness and ecological innocence reframes debates on modernity and progress, compelling ethical self-reflection. These exhibits transform abstract environmental concerns into personal moral inquiry, aligning with contemporary eco-criticism and climate fiction.

9D VR Zone

The 9D VR Zone was one of the most thrilling experiences of our visit to the Regional Science Center. The moment the visuals began, the combination of 3D imagery, motion, sound, and sensory effects created a strong feeling of being inside a different world. It was not just something to watch, but something to experience physically and emotionally.

As an English Studies student, I found the experience similar to entering a vivid narrative where the viewer becomes part of the story. The sudden movements and immersive visuals heightened excitement and curiosity, making the experience memorable. It demonstrated how technology can engage imagination and senses together, offering a modern form of storytelling that goes beyond words and images.

Overall, the 9D VR Zone was an exciting reminder of how digital technology reshapes human experience and perception, blending entertainment with immersive learning.

Conclusion

The visit to the Regional Science Centre reaffirmed a crucial insight: science and the humanities are complementary modes of understanding. Scientific concepts gain depth when interpreted through cultural, ethical, and narrative lenses. For students of English Studies, scientific literacy sharpens observation, interpretation, and contextual thinking skills essential for engaging with modern literature, ecology, and technology.

I express sincere gratitude to the Department of English and the Regional Science Centre for fostering an intellectually enriching, interdisciplinary experience. The visit demonstrated that science is not merely factual it is narrative, ethical, and profoundly human.

Here is the screenshots of my instagram post:

Reference:

Science through a Humanist’s Lens: A Social Media and Blogging Toolkit. YouTube, uploaded by PackingTubes, 21 Mar. 2023,  https://youtu.be/PbidPpMe7Mo.

Thank you!

War Poetry and Its Significance: Content, Form, and Moral Voice

War Poetry and Its Significance: Content, Form, and Moral Voice

This blog task is assigned by Prakruti Bhatt Ma'am( Department of English, MKBU).

Here is the Mind Map of this blog: Click here

Que. 1| What is War Poetry? Discuss its significance in the context of our classroom discussion regarding the content and form of war poetry.

Ans. 

War poetry is a significant literary genre that explores the experience, meaning, and consequences of war. It deals not only with battles and soldiers but also with the emotional, psychological, moral, and social impact of warfare on individuals and societies. Over time, war poetry has changed in tone and purpose from celebrating heroic deeds to exposing the brutal realities and long-lasting trauma caused by war.

War Poetry deals with the questions of Identity, innocence, guilt, loyalty, courage, compassion, humanity, duty, desire and death.

In its early forms, war poetry often glorified courage, honor, and heroism. Ancient and classical poets presented war as a noble and meaningful activity, closely connected with ideas of fate and divine will. Works like Homer’s The Iliad portrayed warriors as heroic figures whose glory lay in bravery and sacrifice, even though the poem also acknowledged the tragic cost of war. Similarly, early English and Anglo-Saxon war poems emphasized loyalty, valor, and duty, presenting death in battle as honorable and meaningful.

During the medieval and Renaissance periods, war poetry became closely linked with religion, monarchy, and national identity. Many medieval poems justified war as a holy duty, especially in the context of the Crusades, where fighting was seen as service to God. Chivalric romances idealized knights who fought bravely for honor, faith, and king. In the Renaissance, writers such as Shakespeare used poetry and drama to explore war as a political and moral issue. His history plays reflect both patriotic pride and critical insight into power, ambition, leadership, and the human cost of conflict.

In the 18th and 19th centuries, war poetry began to change in tone, becoming more reflective and emotionally aware. Influenced by Romanticism, poets focused on individual feelings, moral responsibility, and the suffering caused by war. William Wordsworth highlighted the emotional and ethical loss produced by violence, while Alfred Lord Tennyson’s The Charge of the Light Brigade praised the courage of soldiers but also indirectly criticized military blunders. This period marked a transition from unquestioned glorification of war to a growing awareness of its tragic consequences.

The greatest transformation in war poetry occurred during World War I, which completely shattered romantic ideas of warfare. Industrialized killing, trench warfare, gas attacks, and mass deaths created a new and horrifying reality. Many war poets were soldiers themselves, including Wilfred Owen, Siegfried Sassoon, Rupert Brooke, and Isaac Rosenberg. Their poetry exposed the brutality, futility, and psychological trauma of war. Wilfred Owen’s “Dulce et Decorum Est” famously rejects the idea that dying for one’s country is glorious, calling it an “old lie.” World War I war poetry is marked by realism, bitter irony, and deep disillusionment.

In World War II and postmodern war poetry, the focus shifted further from battlefield heroism to civilian suffering and moral ambiguity. Poets addressed the bombing of cities, the Holocaust, and the ethical collapse caused by total war. Later conflicts such as the Vietnam, Iraq, and Afghanistan wars inspired poetry that questions nationalism, authority, and propaganda. Themes such as PTSD, memory, survivor’s guilt, and emotional numbness became central. Stylistically, modern war poetry often uses free verse, fragmented structure, and broken imagery to reflect psychological damage and social chaos.

Overall, war poetry serves as both a historical record and a moral voice. It documents the lived experiences of war, challenges false notions of glory, and reminds readers of the human cost behind political decisions. From heroic celebration to anti-war protest, the evolution of war poetry mirrors humanity’s growing awareness that war brings suffering, loss, and lasting trauma rather than honor and triumph.

Significance of War Poetry 

Significance of War poetry lies in its relation of immidiate personal experience to moments of national and international crisis.

• Humanizes War: Rather than seeing war as dates, battles, and statistics, war poetry shows us the human side  the suffering, death, loss, longing, grief, trauma. That helps us emotionally connect and empathize. 

• Records Experience & Memory: Poems written by those who experienced war  soldiers or civilians  act as testimonies. They preserve personal and collective memory of events that history books might treat impersonally. 

• Challenges Romanticism & Propaganda: Earlier views of war often glorified heroism, patriotism, and noble sacrifice. War-poetry  especially from conflicts like World War I  frequently rejects that idealized view, exposing horror, futility and human cost instead. 

• Raises Moral, Philosophical, and Psychological Questions: War poetry doesn’t just depict events  it asks: What is humanity worth in war? What happens to identity, innocence, morality in the face of mass destruction? It makes readers reflect.

• Bridges Personal and Collective: It connects the individual experience (a soldier’s fear, trauma, loss) with collective suffering (civilian loss, national grief), making it a powerful medium for shared memory and empathy. 

• Gives Voice to Many Perspectives: Though many famous war-poems are by soldiers, war poetry also includes voices from civilians, women, the home front, non-combatants broadening our understanding of war’s impact. 

Form & Content

Content / Themes

• Realistic, often graphic depiction of war: bloodshed, injury, death, trenches, fear, horror. Poets especially in modern war-poetry tended to present war honestly rather than glorify it. 

• Loss, grief, mourning: poems often lament the fallen, the lost youth or innocence, shattered lives. 

• Disillusionment / critique of war: many poems question the purpose of war, its leaders, the motives behind it, or the cost paid by ordinary people. 

• Psychological / emotional trauma: beyond physical injury, poets often explore guilt, trauma, fear, despair, alienation, loss of identity. 

• Reflection on bigger human questions: duty, identity, nationalism, sacrifice, innocence, humanity war poetry often grapples with such existential themes. 

Form & Poetic Devices

• Use of traditional poetic forms and meter: Many war-poems  especially early ones  use sonnet, rhyme, set stanza forms rather than free verse. 

• Imagery, symbolism, metaphor: Poets often use strong imagery (trenches, mud, graves, gas, poppies, death) and symbolism (flowers, graveyard, nature, silence) to convey deeper meanings  loss, remembrance, futility.

• Contrast between idealism and reality: Especially in poems written as wars progressed  earlier patriotic verses may give way to bitter realism, highlighting the contrast between public rhetoric and actual experience. 

• Personal voice + collective memory: First-person narrators, personal reflections, actual events  but also universal appeal: making the personal tragedy speak for many. 

Que. 2 | What is the tension between message and form in "Dulce et Decorum est" by Wilfred Owen?

Ans. 

"Dulce et Decorum Est" is a poem by the English poet Wilfred Owen. Like most of Owen's work, it was written between August 1917 and September 1918, while he was fighting in World War 1. Owen is known for his wrenching descriptions of suffering in war. In "Dulce et Decorum Est," he illustrates the brutal everyday struggle of a company of soldiers, focuses on the story of one soldier's agonizing death, and discusses the trauma that this event left behind. He uses a quotation from the Roman poet Horace to highlight the difference between the glorious image of war (spread by those not actually fighting in it) and war's horrifying reality.

What is the “message” of Dulce et Decorum Est

• The core message of the poem is a strong rejection of war’s glory and patriotic propaganda. Through graphic, horrifying descriptions of soldiers suffering and dying  especially in a gas attack  Owen exposes war as brutal, dehumanising, traumatic, and deeply destructive. 

• Specifically, the poem challenges the Latin exhortation from the classics  “Dulce et decorum est pro patria mori” (“It is sweet and proper to die for one’s country”)  calling it “the old Lie.” 

• More broadly, the poem gives voice to soldiers’ trauma: exhaustion, fear, horror, psychological wounds. It shifts the narrative from jingoistic heroism to bleak realism, demanding that readers confront war’s human cost. 

So the message is anti-war, anti-glorification: war is not noble, it is horror  and those who glorify it without witnessing it are complicit in a lie.

 What is the “form” of Dulce et Decorum Est

When we speak of “form” in poetry, we refer to things like structure (stanzas, meter), language and imagery, rhythm and sound, narrative order, voice, tone, etc. In this poem:

• The poem is built in two main parts (roughly two sections)  the first part describes the “march” of exhausted soldiers; the second part presents a gas attack and the ensuing death, and then offers a final address to victims of propaganda. 

• Owen uses vivid sensory imagery and strong poetic devices: harsh similes (“bent double, like old beggars under sacks”), grotesque metaphors (“green sea” of gas, “froth-corrupted lungs”), onomatopoeia and harsh, guttural sounds to evoke choking, drowning, blood, decay. 

• The tone shifts  from weary, almost desensitized exhaustion in the marching stanza  “knock-kneed, coughing like hags,” “blood-shod”  to panic, horror and trauma in the gas attack stanza, then to bitter bitterness, moral indictment in the final lines. 

• Structurally, the poem takes up some traditional poetic forms (meter, rhyme) but also subverts them. According to one reading, the poem echoes a distorted, unsettling version of a sonnet-like form  but the horror of content “breaks” the expected comfort or elegance associated with that form. 

Thus the form is controlled, poetic, formal  but the images and events described are savage, chaotic, dehumanizing: creating a strong tension.

The Tension Between Message and Form  Why That Matters

This tension  between the refined, almost “classical/poetic” form and the gruesome, realistic content  is not accidental. It works on several levels:

• Shock and Contrast  Disrupting Romantic Ideals

• By using the language tools of poetry  metaphors, rhythm, meter  Owen lures readers into the aesthetic familiarity of “poetic beauty.” But then he confronts them with grotesque images of suffering. This sharp contrast jolts the reader: the beauty of form clashing with the ugliness of war. That contrast intensifies the impact of the message.

• The final bitter irony (the Latin phrase, “the old Lie”) becomes more powerful because it emerges from within a poetic form that traditionally might be used for love, beauty, heroism  yet is here used to depict horror.

• Authenticity Through Structure + Sensory Detail

• The controlled structure gives the poem authority and credibility: it’s not a rant, or a sloppy outburst. It’s carefully crafted. That makes its claim  that war is horrific  more credible; this is not mere emotional hyperbole, but a disciplined, intentional witness.

• The graphic imagery in vivid sensory detail (visual: “blood-shod,” “white eyes writhing,” “green sea”; auditory: “gargling,” “guttering,” “choking”) forces the reader to experience the horror  the poem’s form draws the reader in, the content pushes them to confront.

• Engaging Both Mind and Emotion - Moral Confrontation

• The poem doesn't simply describe horror; it morally indicts those who romanticize war (propagandists, civilians far from the front, societies that encourage enlistment). By structuring the poem as a vivid narrative followed by a direct address, Owen engages both the imagination (with scenes) and the conscience (with judgment).

• The form  almost lyrical, almost traditional  lulls the reader into expectation of a typical war-hero poem. Instead, the poem subverts those expectations and delivers a bitter truth. That subversion is itself part of the message.

• Memory and Trauma: Poetic Form as Testimony

• The poem becomes more than description: it becomes testimony, memory, a witness statement. The disciplined form allows the horror to be "preserved"  not blurred, not romanticized, but fixed in language for others to read, remember, empathize.

• That tension  between poetic order and chaotic horror  mirrors the tension war creates inside the human mind: among memories, dreams, trauma, loss. The poem’s form houses that tension in itself.

Dulce et Decorum Est uses a traditional, structured poetic form as a vessel to carry a furious, brutal, realistic anti-war message. The tension between that form (with its rhythm, meter, structure, poetic devices) and the content (suffering, death, horror, moral indictment) creates a powerful shock forcing readers to confront war not as heroic myth, but as human tragedy. This tension is not a flaw, but a deliberate and critical tool: making the poem not just a lament, but a moral testament and a forceful condemnation of war.

Que. 3 | Give this prompt to a poetry generator or bot and share the result in your blog: Write a war poem on the Indo-Pak War of 1971 in the style and tone of [War Poet you have studied in this unit]. Reflect on the generated poem while comparing it with the poems you have studied in this unit.

Ans. 

Generated Poem:

Reflection & Comparison with Classic War Poems

Similarities with Wilfred Owen-style War Poetry

• Realism over Romanticism: Like Owen, the poem refuses idealization of war. Instead of heroic charges or noble sacrifice, it focuses on shattered homes, civilian suffering, blood-stained fields, grief, and loss. That mirrors how Owen’s poems depict war as horror rather than glory. 

• Sensory, Graphic Imagery: The poem uses concrete, disturbing images blood-mixed rivers, ruined homes, children’s cries, burned wood, empty corridors. This corresponds to the vivid imagery used by Owen to jolt readers into confronting war’s harsh reality. 

• Moral and Emotional Tone: The poem questions the justification of war, especially when civilians and innocents pay the price. It doesn’t glorify death; it laments loss. This echoes Owen’s moral outrage and his condemnation of the “old lie” about dying for one’s country. 

• Voice of the Victims / Witnesses: Rather than abstract narrators or heroic soldiers, this poem gives voice to civilians  mothers, children, old men  much like how war poetry often aims to record the suffering of ordinary people. War poetry becomes testimony. 

Limitations (and Differences)  What the Generated Poem Lacks Compared to Masterpieces

• Depth of Psychological Trauma: Classic war poems (e.g. by Owen) often explore not just visible horror, but the deep mental scars  guilt, despair, trauma, disillusionment. Although the generated poem hints grief and loss, its psychological depth is more surface-level.

• Nuanced Poetic Craft / Rhetoric: Poets like Owen deploy complex poetic devices  rhythm, irony, volta (turn), careful diction, layered meaning. My poem uses simpler structure and straightforward imagery. It lacks the subtle rhetorical shift or layered ambiguity found in more mature war poems.

• Historical and Cultural Context: While the poem evokes general suffering, it doesn’t reference specific historical incidents, cultural markers, or individual stories. Real war poems grounded in a war (like WWI) often carry concrete references to trenches, gas, uniforms, comrades  giving a sense of reality. My poem remains more universal, lacking specific context of 1971 (locations, events, personal names).

• Voice of Internal Conflict / Patriotism vs Reality: Some war poems complicate the narrative by juxtaposing patriotic ideals with horror  creating tragic tension. The generated poem mostly rejects war outright; it doesn’t attempt to explore conflicting emotions (patriotism, duty, betrayal)  which can be rich ground for complex poetry.

The Evolution of War Poetry

Here is the detailed presentation of this blog:

Words : 2437

Video: 1

Photo : 4

Links : 5

References:

1. Campbell, James. “Combat Gnosticism: The Ideology of First      World War Poetry Criticism.” New Literary History, vol. 30, no. 1, 1999, pp. 203–15. JSTOR, http://www.jstor.org/stable/20057530. Accessed 12 Dec. 2025.

2. Hibberd, Dominic. “Wilfred Owen : A New Biography : Hibberd, Dominic : Free Download, Borrow, and Streaming.” Internet Archive, London : Weidenfeld & Nicolson, 1 Jan. 1970, archive.org/details/wilfredowennewbi0000domi/page/n21/mode/2up.

3. Owen, W. “Dulce et Decorum Est.” Poetry Foundation, 1920, www.poetryfoundation.org/poems/46560/dulce-et-decorum-est.

4. Riano, Nayeli. “An Introduction to English War Poetry.” VoegelinView, 12 Sept. 2023, voegelinview.com/an-introduction-to-english-war-poetry/. 

5. Smith, Leonard V. “Paul Fussell’s The Great War and Modern Memory: Twenty-Five Years Later.” History and Theory, vol. 40, no. 2, 2001, pp. 241–60. JSTOR, http://www.jstor.org/stable/2678033. Accessed 17 Dec. 2025.

6. Ward, A. C. “Twentieth Century England Literature : A. C. Ward : Free Download, Borrow, and Streaming.” Internet Archive,  1928, archive.org/details/in.ernet.dli.2015.184701/page/n35/mode/2up. Accessed 12 Dec. 2025.

Thank You!