Posez n’importe quelle question sur les cours, conférences, exercices, recherches, actualités, etc. de l’EPFL ou essayez les exemples de questions ci-dessous.
AVERTISSEMENT : Le chatbot Graph n'est pas programmé pour fournir des réponses explicites ou catégoriques à vos questions. Il transforme plutôt vos questions en demandes API qui sont distribuées aux différents services informatiques officiellement administrés par l'EPFL. Son but est uniquement de collecter et de recommander des références pertinentes à des contenus que vous pouvez explorer pour vous aider à répondre à vos questions.
In Parenthesis is a work of literature by David Jones first published in England in 1937. Although Jones had been known solely as an engraver and painter prior to its publication, the book won the Hawthornden Prize and the admiration of writers such as W. B. Yeats and T. S. Eliot. Based on Jones's own experience as an infantryman in the First World War, In Parenthesis narrates the experiences of English Private John Ball in a mixed English-Welsh regiment starting with embarkation from England and ending seven months later with the assault on Mametz Wood during the Battle of the Somme. The work employs a mixture of lyrical verse and prose, is highly allusive, and ranges in tone from formal to Cockney colloquial and military slang. In Parenthesis is often described as an epic poem. Some critics, such as Evelyn Cobley and Umberto Rossi (who carried out a detailed analysis of Part 7), consider In Parenthesis a destructured novel, not a poem. In his preface and the dedication, Jones refers to the text as a "writing." In Part 1, Ball and his battalion assemble, march to Southampton, and sail at night across the English Channel. In Part 2, they receive instruction and training and travel towards the front, where Ball has the shattering experience of a long-range heavy explosive shell exploding nearby. In Part 3 they march at night along a road and then through flooded communication trenches to a position in the front line. As Ball stands sentry, narrative realism gives way to Irish and Welsh mythic associations. Part 4 concerns a typical day in the front line, from morning stand-to to evening stand-down, alternating between fatigue duty, horrendous violence, and boredom. This day is circular in shape, with echoing allusions centring on the great, long boast of Dai Greatcoat. He is the archetypal soldier who has fought in previous historical, legendary, and scriptural conflicts and who never dies. Part 5 is a montage of events in estaminets and work parties in reserve (behind the lines) where rumours abound, culminating in their long march south towards the Somme.