January 12, 1916 saw a very peculiar drama enacted in the trenches--two men, who had left their girlfriends back in England, were exchanging a ritual of kisses:
As we arrived at the barn-door he said, "Just a moment, Frank, before we go in I've something else to give you,--put that light out." I put the lamp out and into my pocket, wondering what was coming. Then I felt an arm round my neck, and the dear lad kissed me once--"that's from Evelyn" [Cocker's fiancée] he said; then he kissed me again and said, "that's from your Mother." I returned his tender salute and said, "that's from me." There we were, two men, like a couple of girls,--but then, there was no one about, and the matter was a sacred one between us,--andyou. 1
This is Lieutenant Frank Cocker's letter to his fiancée Evelyn written from the trenches. The exchange of this "tender salute" is an almost climactic episode in the charged friendship between Cocker and his "dear Charlie," a relationship that can be pieced together from the letters he wrote to Evelyn and to his sister, Minnie.  With its detailed stage management, the narrative transmits some of the excitement of the actual moment, as does Cocker's ready reciprocity with the frank acknowledgment, "that's from me." Physical demonstrations of such ardor could perhaps just be contained within the parameters of the "romantic friendship" that characterized late Victorian culture and intensified during wartime. 2 Anxieties about sexuality--or, at least awareness of the surreptitious nature of the act ("there was no one about")--are filtered through a mock violation of gender categories and their tactile norms with the slightly pejorative simile ("two men, like a couple of girls") intended to point up silliness rather than deviance. Yet the moment cannot so easily be dismissed. If, following the logic of the sentence, "sacred" is taken to be a Freudian slip for "secret" the moment hovers curiously between the sacrosanct and the furtive. On the other hand, if "sacred" is a deliberately chosen word, it might betray an understandably overzealous attempt to ward off "profanity," while at the same time, maybe unconsciously, echoing the marriage vow. Situated between a radical innocence and a transgressive thrill, the exchange mirrors a moment of epistemological crisis in the interlocked histories of sexuality, gender, and gesture at a crucial moment in modernist history and culture. The kiss had just started to be theorized in the realm of sexology, which in turn was beginning to be conceptualized by men such as Havelock Ellis and Sigmund Freud.  3 It was also the time of the cultural construction of the homosexual, or what Alan Sinfield calls "the consolidation of the queer image" through a nexus of effeminacy, aestheticism, and decadence. 4 The war hero, andwartime bonding, informed by manly sentiments and noble ends, were honorably exempt from such base charges and yet, as Cocker's letter demonstrates, not without a trace of anxiety. In so far as historical constructions shape desire, this epistemological uncertainty might well have engendered a greater emotional fluidity: maternal empathy, heterosexual romance, and homoerotic frisson merge in the kiss. These emotions are complexlyinterrelated and equally resonant, defying the strict categories of gender and sexuality. 5
In the trenches of World War I, the norms of tactile contact between men changed profoundly. Mutilation and mortality, loneliness and boredom, the strain of constant bombardment, the breakdown of language, and the sense of alienation from home led to a new level of intimacy and intensity under which the carefully constructed mores of civilian society broke down. As historian Joanna Bourke has documented, men nursed and fed their friends when ill, held each other as they danced, and wrapped blankets around each other, their bodies "spooned" together in sleep. 6 In his unpublished memoirs W. A. Quinton recalls how one night, as he lay shivering, "old Petch put his overcoat in addition to my own over me, taking care to tuck me in as a mother would a child." 7 A writer identified only as A. F. B. notes, in The Third Battalion Magazine, that Smalley was the great favorite of the Third Battalion, AIF for "his heart was as big as his body--his strength like a lion's--his touch to the wounded as a woman's." 8 Another soldier, Jack, must close his letter to Miss Williams as "my wife is in bed & wants me to keep her warm but it is only a Palestine wife. another Sussex boy . . . it is very chilly at night right now. & it is nice to have someone to keep each other warm." 9 A new world of largely nongenital tactile tenderness was opening up in which pity, thrill, affection, and eroticism are fused and confused depending on the circumstances, degrees of knowledge, normative practices, and sexual orientations, as well as the available models of male-male relationships. Erich Maria Remarque, in All Quiet on the Western Front, would distill all the intensity and poignancy of "freundschaft" into this single, silent gesture: "Kat's hands are warm, I pass my hand under his shoulders in order to rub his temples with some tea. I feel my fingers becoming moist." 10 Robert Cedric Sherriff's Journey's End, perhaps the most popular war play, culminates in a similarly intense scene of tactile tenderness: "Stanhope . . . lightly runs his fingers over Raleigh's tousled hair." 11 Similarly, the sense of touch haunts war lyrics, from Rupert Brooke's "linked beauty of bodies" to the "full-nerved, still-warm" limbs of Wilfred Owen's dying boy and from Siegfried Sassoon's "my fingers touch his face" to Robert Nichols's more sentimental "My comrade, that you could rest / Your tired body on mine." 12
English literary modernism, as marked by the Anglo-American high modernist canon (T. E. Hulme, Ezra Pound, Wyndham Lewis), is often said to be fiercely gendered, characterized by a combination of "misogyny and triumphal masculinism." 13 However, the war writings (of Owen, Sassoon, Frederic Manning, Herbert Read, David Jones) that appeared in the 1920s and 1930s alongside these pieces of more self-consciously avant-garde art provide a more complex conception of masculinity. At the center of modernism lies the trauma of the Great War. 14 If shell shock had been the body language of masculine complaint, the poetic efflorescence of the 1920s was the celebration of what the Lawrentian hero Mellors famously describes as the "courage of physical tenderness" forged among men in the trenches: "I knew it with the men. I had to be in touch with them, physically and not go back on it. I had to be bodily aware of them and a bit tender to them." 15 Bodily intimacy in times of physical extremity led to a state of nakedness--in the sense of vulnerability, exposure, and dependence--that continued to haunt the returned soldier: "I clasp his hand," "he dies in your arms," "I have held strong arms that palter," and "I shake you by the shoulder" are recurring phrases in war literature. Whether or not there is any conscious or unconscious erotic investment in these moments, they indicate a new level of intensity and intimacy in male-male relationships. I focus on these moments of charged physical contact because they raise questions about the relation between the experiential reality of the body under physical extremity and the social constructions of gender and sexuality. These moments highlight the continuity and overlap between different emotions and impulses in the response of men to other men during wartime, and show how history--an indistinguishable blend of the social and the personal--radically informs and shapes desire. Above all, these moments of physical bonding and tactile tenderness during trench warfare require us to reconceptualize masculinity, conventional gender roles, and notions of same-sex intimacy in postwar England in far more significant and subtle ways than have been acknowledged in the criticism of war culture, studies of gender and sexuality, or the more general histories of the body, intimacy, and gesture. 16
Homoeroticism in the Great War is a necessarily gray area, but one that is intimately associated with issues of gender. 17 Magnus Hirschfeld, in his chapter on the subject in The Sexual History of the First World War, alerts us to that ambiguous zone between male bonding, war camaraderie, and eroticism:
The comradeship which developed between the soldiers who shared all the trials and dangers of war, this splendid fruit of the war so much praised by Remarque, must have been especially pleasing to the homosexuals for obvious reasons. . . . Very frequently, even among normal people, it penetrated beyond the outer limits of the homoerotic and was thus, to speak the language of psychoanalysis, characterized by libidinous components. [SH, 116-7]
Discussion of World War I homoeroticism largely centers on the latter category of "normal," or rather straight-identified, men who formed intense and intimate bonds, often with a romantic slant--relationships that Hirschfeld regards as "unconsciously erotic." By the time of the Great War, Ellis and Freud had already written their essays on homosexuality, John Addington Symonds and Hirschfeld were advocating reforms, and Walt Whitman and Edward Carpenter had introduced a language of masculine desire into English poetry. 18 But older cultural models prevailed over the scientific and literary discourses: people had yet to recover from the Oscar Wilde trials, and in the public's perception homosexuality was associated with the effeminate dandy. In a culture that demonized homosexuality, wartime relationships were often honorably exempt, as in the following loud disclaimer by Richard Aldington: "Let me at once disabuse the eager-eyed Sodomites among my readers by stating emphatically once and for all that there was nothing sodomitical in these friendships." 19 But other men were more sensitive to the finer shades of eroticism. Thus, J. R. Ackerley reminiscences that "my personal runners and servants were usually chosen for their looks," 20 while a character in Robert Graves's play asks, "Do you know how a platoon of men will absolutely worship a good-looking gallant officer? Of course, they don't realise exactly what's happening, neither does he; but it's a very, very strong romantic link." 21 Discussion of wartime homoeroticism must take into consideration such "very, very strong romantic links," although most of them were perhaps as "sentimental" and "chaste" as Graves's Charterhouse friendships. 22 "Romantic friendship" (or even "love") is the term used by many critics in their discussions of such same-sex intimacy where the erotic element is either confused, unknown, or unconscious. 23
In so far as World War I has become a literary-historical phenomenon, it is perhaps possible to "queer" it. Its three major poets, Brooke, Owen, and Sassoon, had homoerotic encounters, inclinations, or relationships. 24 Three of its major prose works, Goodbye to All That,The Middle Parts of Fortune, and Seven Pillars of Wisdom, were written by men who had similar experiences. And three of its major plays, Journey's End,Prisoners of War, and But It Still Goes On, have homoerotic themes. But any hasty claim for queer politics will encounter problems, both circumstantial and epistemological. Though it is important to create a dialogue between past experience and present awareness, it is important to remember that experiences shared in the trenches for three years had almost no parallel in previous wars, and that any discussion of gender and sexuality must accord with this unique situation. 25
Central to the construction of sexuality is the idea of the male-as-subject-of-desire, a tenet that led Michel Foucault to reformulate his inquiry at the beginning of his second volume of The History of Sexuality:
In order to understand how the modern individual could experience himself as the subject of a "sexuality", it was essential first to determine how, for centuries, Western man had been brought to recognise himself as a subject of desire. 26
While this model of subjectivity has been enormously influential in the discussion of same-sex eroticism from classical Greece to nineteenth-century England, the fundamental problem with its application to the war scenario is that the male body in the trenches becomes an instrument of pain rather than of desire. World War I lasted over four years and claimed nine million lives; an average of 6,046 men were killed every day. From the British army alone, 41,000 servicemen had their limbs amputated and 65,000 were invalided by shell shock. 27 Given this context, homoeroticism has to be understood within new conceptual parameters and a different economy of emotions. In the military, bodily contact is often one of the primary means of fostering loyalty, trust, and unity within an army unit. In the trenches of the western front, where life expectancy could be as short as a couple of weeks, same sex ardor, bodily contact, and (in some cases) eroticism should not be understood solely in contrast to heterosexuality, nor viewed only through the lenses of gender and sexuality. Such intimacy must also be understood to exist as a triumph over death; it must be seen as a celebration of life, of young men huddled against long winter nights, rotting corpses, and falling shells. Physical contact was a transmission of the wonderful assurance of being alive, and more sex-specific eroticism, though concomitant, was subsidiary. In a world of visual squalor, little gestures--closing a dead comrades' eyes, wiping his brow, or holding him in one's arms--were felt as acts of supreme beauty that made life worth living. Although these acts may overlap with eroticism, such experiences must not be conflated with it--nor, for that matter, with the repression or sublimation of sexual drives.
While discussing homosexual writers such as Sassoon, Ackerley, or Manning, it is important to remember that they were a minority writing within a masculinist, heterosexual field. Their conception of same-sex "love" and its relation to sexual identity was very different from ours, hovering precariously between the Victorian cult of "manly love" and the "unspeakable bestiality" of the Greeks. 28 Moreover, they were mostly young men in extreme circumstances whose sexuality was not yet strongly formed, either in relation to erotic experiences or to an intellectual tradition of sexual dissidence, as was the case for Wilde, Symonds, or Carpenter. Above all, sexual orientation, though a very important factor, should not always be highlighted at the cost of other nuances of feeling, as Paul Fussell does with the following passage from Sassoon's memoirs: "As I stepped over one of the Germans an impulse made me lift him up from the miserable ditch. Propped against the bank, his blond face was undisred, except by mud which I wiped from his eyes and mouth with my coat sleeve." 29 While discussing the special erotic appeal of blond good looks among the (predominantly) homosexual writers of the period, Fussell suddenly quotes the above passage, noting that "A dead blond equally fascinates Sassoon" (GW, 276). As Freud had noted just a year before Sassoon wrote this entry, the aesthetic and the erotic are closely allied, and (as marked by Edna St Vincent Millay) might have had a definite relation to Sassoon's pacifist stance. 30 But it is reductive to interpret the incident solely, as in Fussell's account, in terms of Sassoon's fascination with young blond Germans. The moment of tactile tenderness is equally informed by recognition of human dignity and waste, a deep feeling of caritas and a sudden rush of empathy for the enemy. In a poem written on the following day (6 July 1916), Sassoon recounts the episode: "Wiped mud from mouth and eyes, and beardless cheek, . . . / Till he looked tidy for a hostile corpse!" 31 The mud is an affront to the boy's dignity, rather than his beauty, making death "ugly"--"a shameless thing." 32 Wiping it off becomes a pitiful attempt to save the human form from what Martin Jay has called the "recalcitrant meaninglessness of the material universe," especially in a world where men were constantly becoming "things." 33 Even when both parties are alive and there are more consciously erotic (though nongenital) experiences, they must not be understood simply as "the correlation between fields of knowledge, types of normativity, and forms of subjectivity in a particular culture" but rather aligned with a whole range of emotional needs such as succour, sympathy, assurance and security as well as states of bodily extremity. 34 Consequently, to discuss intense same-sex relations during war, we must introduce a different and less distinctly sexualized array of emotional intensities and bodily sensations, a continuum of nongenital tactile tenderness that goes beyond strict gender divisions, sexual binaries, or identity politics. 35 We will explore this terrain through the representation of a particular kind of tactile contact: the dying kiss.
An extremely unstable signifier, forever in danger of slipping from a sign to a sensation, the kiss was increasingly discussed in fin de siècle culture: "The Curiosities of Kissing" in Galaxy, xvi (Jul.-Dec. 1873), "The History of Kissing" in Belgravia: An Illustrated London Magazine, xlvii (Jul.-Oct. 1882), "An Epidemic of Kisses in America" in Pall Mall Magazine, xviii (May-Aug. 1899), "The Kiss Poetical" in The Fortnightly Review, lxxxii (Aug. 1904), "Kiss" in Catholic Encyclopaedia (New York, 1910), and finally Ellis's "The Origins of the Kiss," in the fourth volume of his monumental Studies in the Psychology of Sex . 36 But how would the specifically same-sex kiss be perceived at a moment when English culture was precariously poised between the Victorian cult of "manly love" and the "sodomical" deeds of Oscar Wilde? In one of the earliest full-length books on the subject, The Kiss and Its History , Christopher Nyrop mentions "the kiss of friendship," remembering the "former times" when "the friendly kiss was very common with us between man and man," but notes that in recent times "the friendly kiss usually occurs only between ladies." 37 But wartime extremity suspends normal tactile codes, and the male-to-male kiss had been doing its round in the trenches, mostly in close proximity to danger and death. "Kissing was never out of favour" in the trenches, Evelyn muses in Lawrence's England, My England, as he realizes how he seems "to have one physical body with the other men," while a world-weary Stanhope in Sheriff's Journey's End pleads with Osborne: "Kiss me, Uncle." 38 In Ernest Hemingway's A Farewell to Arms , Rinaldi's interactions with Frederic largely revolve around Frederic agreeing to a kiss which is denied throughout the novel. 39 But the dying kiss had very different connotations. The most obvious association would perhaps have been with the kiss by which grace is bestowed, varying from the New Testament kiss of peace and brotherhood (1 Cor. 16:20., 2 Cor. 12-3) to the transmission of the Holy Spirit (Song of Sol. 28:6-7). However, it is important to note that in 1924, when most of the war lyrics were appearing in print, a young scholar named Stephen Gaselee published an article entitled "The Soul in the Kiss" in The Criterion that painstakingly traced the classical concept of a mingling and migration of souls through the kiss, especially at the point of death. 40 For an Englishman the religious and classical connotations of the kiss would be overshadowed, perhaps, by a more flesh-and-blood incident from national history: Admiral Nelson's famous dying words: "Kiss me, Hardy," an image of heroic martyrdom and war camaraderie. 41 But what do the trench letters tell us?
The Reverend Okeden writes to his wife: "I've got a little secret. . . . One dear lad very badly wounded saw me in the drawing station and said, 'Hello Padre old sport' and then 'Come and kiss me Padre' and he put his arms round me and kissed me." 42 The Reverend Connor, whose diary reads like a Whitmanesque journal in his deep caring and suffering for "dear, dear lads," writes on 22 December 1914: "I prayed to God for the dear lad--I said, 'I'll give you your mother's kiss'--'Let me do it to you,' & the dear lad kissed me." 43 Similarly, when his close friend Jim dies, a grief-stricken Lance-Corporal D. H. Fenton writes to his mother, Mrs Noone:
I suddenly saw Jim reel to the left and fall with a choking sob. I did what I could for him, but his stout heart had already almost ceased to beat and death must have been mercifully instantaneous. I held him in my arms to the end, and when his soul had departed I kissed him twice where I knew you would have kissed him--on the brow--once for his mother and once for myself. 44
The recurring, almost ritualistic phrase "mother's kiss" suggests a powerful reconceptualization of both masculinity and male-male bonds through an assumed maternal impulse of security and tenderness, a moment of "perilous intimacy" to borrow a phrase from Lawrence. The phrase "I held him in my arms," with the subsequent connection to maternity, is almost an unconscious reworking of the Pieta, showing how subtly and how deeply Christian imagery makes up the repertoire of experiential reality in shared Western culture. If a grieving Saint Veronica had wiped Christ's brows, Fenton in his moment of loss would go a step further, planting the kiss of life. And yet there is also a slight, ever so fleeting hesitancy to specify the bodily part, as if deflecting it to a maternal prerogative were a subconscious avoidance of the merest hint of misinterpretation. Yet, it is anachronistic to mark in the kiss an actively transgressive eros: it is a response based on the perception of the male body as a seat of pain, frailty, and transience rather than of desire. Sublimated eroticism, if present, does not exist at the level of deliberate personal intention, but results from a deep structural overlap with sentimentalism, tenderness, and aestheticism that centers on the death of a youth, as in the various representations of the Deposition of Christ. 45 But how does literature describe such moments of intimate emotion? Can imaginative reconstructions by soldier-writers help us to understand the emotional history of the Great War? I shall examine the motif of the dying kiss in fiction, poetry, and the short story in order to show the interaction between gender, genre, and psychosexual complexities.
The dying kiss appears in war literature perhaps for the first time in Wooden Crosses by Roland Dorgelès. 46 This kiss was followed by one in Herman Hesse's Demian . 47 But few war novels dwell on the dying kiss as lengthily or as passionately as Arthur Newberry Choyce's Lips at the Brim . 48 Peter Greshwin and Raymond Dronkel, close friends at school, enlisted in the war as officer and soldier respectively; Choyce represents school friendship as flowering and fusing into officer-soldier romance at the moment of death:
"Lift me higher, Peter--higher up . . . thank God! . . . you're back!  Dumbly Peter raised his head higher, holding him against his rough tunic, and wiping his lips with his own numbed fingers.
Raymond looked into his eyes, and though Peter was half-dazed with the tragedy of these last hours, his heart was stirred by the adoration of friendship that he saw. It was the reallest thing he had known in his life. "Passing the love of women.". . .
Five minutes, ten minutes, the officer held him there, staring hard at the half-closed eyes, without thinking, without moving.
He lowered Raymond to the ground. He felt round his own neck underneath his shirt for the little silver crucifix which Joyce had sent, and finding it, he hung it round Ray's neck.
Afterwards he drew a deep sobbing breath and bent lower and lower, pressing his fevered mouth against the damp hair, and the cold, hard forehead, and the pitiful blood-flecked lips. 49
The maternal empathy that one notes in the letters of Fenton or Reverend Connor is here supplanted by a language of desire--fevered mouth, half-closed eyes, blood-flecked lips--that breaks through the rhetoric of Christianity, patriotism, or war camaraderie. The theatricality of the scene is permeated with sentimentalism and sensationalism but the driving force is a physical frisson that extends well beyond the limits of school friendship or official duty. The blood-smeared kiss is the climactic episode in this narrative, in which plot and character developments are structured around a series of abortive heterosexual kisses. The relationships between religion, heterosexual romance, and friendship in the novel are mediated through a series of kisses. 50 While sexual innocence on the part of Peter and Raymond, both straight-identified males, does not prevent the kiss from being distinctly homoerotic, eroticism is understood in terms of idealization, affection, and ardor rather than as a straightforward case of repression or sublimation of the sexual drives.
Parker, speaking of the Victorian creed of Romantic friendship, notes that "the lush unfolding of a chaste romance between two boys was clearly considered charming," having "all the agreeable elements of a clandestine yet carefree affair without the complication of sex" (OL, 114). Contemporary forms of knowledge, types of normativity, and ideological pressures play a part not only in the interpretation of sexual experience, but often underlie the very constitutive structure of desire. 51 Phrases such as "self-appointed task of devotion," "adoration of friendship," "a straight young god with a clean young body," or the biblical echo, "Passing the love of women" show that, instead of being a simple conflict between physical passion and homophobic structures, eroticism is paradoxically a function of ideological investments in contemporary discourses: the Victorian cult of manly love, the Christian rhetoric of service, the wartime duty of a young officer. Love, respect, grief for a friend, a soldier, a martyr: all contribute to that mood of extravagant emotionalism of which the kiss is the token. The dominant Victorian ideology of religiosity, purity, and manliness, which interlocks with each of these discourses and claims a moral high ground over heterosexual conjugality, fosters the classic "homosocial bond" Eve Kosofsky Sedgwick speaks of in her analysis of nineteenth-century male friendships. Joyce becomes the mediating agent in this triangulated desire, epitomized in Peter's penultimate gesture of taking off Joyce's lovetoken and hanging it round Raymond's neck. Given the physicality and sentimentalism inherent in the theatre of war and death, the kiss indeed serves as a faultline in the contemporary construction of both masculinity and male bonding. While in the aggrieved letter of Fenton the kiss is more of an act of spontaneity and beauty, in Choyce's highly conscious fictional treatment it becomes the fine point where homosociability and homoeroticism--the polarities in the Victorian ideological spectrum of male relationships--intersect both at the level of experiential reality and at that of hermeneutic interpretation.
Yet the "blood-flecked" kiss may also characterize the genre of public school romance on which Choyce draws. The public school novels are marked by a tortured dialectic between earnest homoeroticism and homophobic paranoia. The founders of the genre, Thomas Hughes and Frederic W. Farrar, celebrated intense friendships but were always acutely aware of their physical possibilities: "O Holy Friendship, how awfully a schoolboy can sometimes desecrate thy name." 52 Friendship is celebrated through a language of high romance in novels such as J. E. C. Welldon's Gerald Eversley's Friendship , H. A. Vachell's The Hill , E. F. Benson's David Blaize , or (as in the following passage) Sturgis's Tim :
Tim, listening to the history of these two friends long ago, felt his love for his friend almost a religion to him . . . "What woman could ever love him as I do?" thought Tim, as he looked to the seat where Carol sat. At that moment a sunbeam from some hole high in the roof fell on the golden curly head which seemed transred; and as Tim's hungry eyes rested on the face of his friend, he turned towards him and smiled. 53
When asked about such fraught relationships, G. H. Rendall, Headmaster of Charterhouse from 1897 to 1911, said, "My boys are amorous but seldom erotic" (OL, 106). Affections could be extravagant but were never allowed to stray into the world of touch. The sheer fragility of the distinction is revealed through the fierce homophobia this genre exhibits. In many of the novels, such as Welldon's Gerald Eversley's Friendship or Raymond's Tell England , there is either an episode of "attempted beastliness" or a re of the "degenerate," as if the sanctity of the central relationship could be defined only in relationship to such tropes. 54 Even more important was a strict policing of the ambiguous world of tactile contact; in the pre-Wildean England of Farrar's Eric (1857-8), a scene in which Eric, "stooping down kissed fondly the pale white forehead of his friend," drew a negative critical response. 55 The Saturday Review complained, "to the infinite indignation of all English readers, [the boys] occasionally kiss each other, exchanging moreover such endearments as 'dear fellow' and the like." 56 The objection here is in fact to effeminacy rather than eroticism, but sexual anxiety does lurk in the background. In Hughes's Tom Brown at Oxford , after Tom gives up the barmaid and is reconciled with Hardy, "Tom rushed across to his friend, dearer to him now, and threw his arm round his neck; and if the un-English truth must out, had three parts of a mind to kiss the rough face." 57 The male-to-male kiss is "un-English" but, in 1889, just four years after the Labouchère Amendment, the exact source of anxiety is not difficult to guess. Tacked on to the Criminal Law Amendment Act , this amendment criminalized homosexuality--or, as it termed it, gross indecency between males--with a penalty of up to three years' imprisonment. The climactic kiss in Choyce's narrative needs to be considered in this context of paranoia. Choyce exploited a contemporary historical catastrophe not merely to relegitimize the kiss but to display it proudly as the centerpiece of his narrative framework. He did not merely suffuse it with all the suppressed romance of the genre, skillfully transposing the "hunger" from Tim's eyes to Peter's lips, but gave it a decadent slant as well. The physical intimacy between Peter and Raymond no doubt collapsed the fine distinction between the amorous and the erotic. But such ardor was contained within the theatre of war and death, and Choyce knew that a postwar public would translate it into a sentimental rhetoric of sacrifice and comradeship.
Amorousness was perhaps permissible among boys but not between men in Victorian England. The love and grief Lord Alfred Tennyson felt at the death of Arthur Henry Hallam (A. H. H.) would find expression in the image of a dying kiss at the center of "In Memoriam" : "I, falling on his faithful heart, / Would breathing thro' his lips impart / The life that almost dies in me," only to be attacked by the Times for a tone of "amatory tenderness." 58 Tennyson's violation of Victorian gender norms was what the Victorian public must have found peculiarly disturbing and ultimately threatening. In his frequent and fluid shift of registers from classical models of "manly love" to those of heterosexual romance, he compares Arthur to an absent fiancée, a deceased wife, and a bride leaving her parent's house. Whitman, in the first edition of Leaves of Grass , would employ a far more overtly erotic vocabulary to describe same-sex affection--"comrade's long dwelling kiss"--but would carefully harness the image in a virile and working class identity or a rhetoric of sacrifice, as in "The Wound Dresser": "Many a soldier's kiss dwells on these bearded lips." 59
Herbert Read turns to this literary tradition in "My Company," one of the most frequently anthologized war poems, first published in Naked Warriors . In Read's poem the dying kiss is set exactly in the central section: "It is not thus I would have him kiss'd / but with the warm passionate lips / of his comrade here."  Military relationships are here reconceptualized as personal romance; killing machines are seen as units of love so that the end of the war is like the end of an affair: "O beautiful men, O men I loved / O whither are you gone, my company?" Fussell notes that the above stanza "seems to recover the world of Whitman's Calamus and Drumtaps" (GW, 280). But there is an essential difference between the Whitmanesque model the central section posits and the rest of the poem:
You became
in many acts and quiet observances
a body and a soul, entire . . .
I cannot tell
what time your life became mine:
perhaps when one summer night
we halted on the roadside
in the starlight only
and you sang your sad home-songs
dirges which I standing outside you
coldly condemned.
Perhaps, one night, descending cold
when rum was mighty acceptable,
and my doling gave birth to sensual gratitude.
And then our ts: we've fought together
compact, unanimous
and I have felt the pride of leadership. 61
This is the language of the amorous subject, but it draws on the rhetorics of heterosexual romance, laddish indulgences, and officer-soldier camaraderie. The shifts in register suggest that these realms, kept separate in ordinary life through varying discourses of desire, friendship, and duty have come together. While in "The Wound-dresser" or in his war journals Whitman is a marginal re, sublimating his eroticism into little remembered acts of kindness and love, here the catalyst is clearly not physical charge but rather constant companionship, growth, and development, as well as mutual dependence and support. It is a complete fusion of private and public affections. Manning, in The Middle Parts of Fortune , speaks of war comradeship as having "an intensity of feeling which friendship never touches," remembering how "When Evans heard the Colonel had been left on the wire, he ran back into hell to do what he could for him." 62 Perhaps Read tries to recapture "this intensity of feeling" and physical immediacy by returning to Whitman's world, where physical passion is the basis of communality. However, the eroticization of the kiss does not suggest an actively transgressive politics of sexual difference as it does in Whitman, but rather two different, although related concepts. First, eroticism is primarily on the side of life, meaning, and beauty; it stands in opposition to the Baudelairian grotesquery of rotting lips, and subsequent categories of homo/hetero are strictly secondary. Secondly, Read's poem asks, for a sensitive heterosexual male can emotional intensity accommodate the physical? Or, conversely, is heterosexual desire the necessary structuring principle of social units?
If a questioning of heterosexual norms is implicit in Read's model, Nichols openly employed the motif of the dying kiss in order to challenge civilian domestic structures. His Ardours and Endurances was perhaps the most popular war anthology, rapturously and lengthily reviewed in the Times Literary Supplement (12 July 1917)."The Secret," although appearing in his second anthology, Aurelia , sums up the main thrust of Ardours and Endurances: before the war the poet had been implicated in both "love" and "passion," but in a postwar life he could find solace in romantically mourning two friends: Richard Pinsent, an Oxford friend killed at Loos in 1915, and Harold Stuart Gough, killed at Ypres in 1916. At first glance "The Secret" seems to reproduce the age-old asymmetrical opposition between male camaraderie and heterosexual romance, mapping it onto fiercely gendered binaries of strength/weakness, pain/pleasure, service/comfort, chastity/sex, and mind/body. But in the last stanza a subtle shift occurs: the difference between male-male and male-female relationship is predicated not on an absence/presence of the body but on a distinction between processes of touching. Different kinds of physicalities and masculinities vie for attention in the poem:
I, that have held strong hands which palter,
Borne the full weight of limbs that falter,
Bound live flesh on the surgeon's altar,
What need have I of woman's hand?
I, that have felt the dead's embrace;
I, whose arms were his resting-place;
I, that have kissed a dead man's face;
Ah, but how should you understand
Now I can only turn away. 63
Heterosexual erotic investment is contrasted with noble, altruistic love of comrades but most astonishing is the process of remembrance and representation. The gruesome process of bandaging wounds and mutilated limbs is here fondly cherished, nightmarish experiences are transformed through language into a fantasy of romance. The overarching framework of suffering and service (understood in terms of morality and Christianity, as implied in the phrase "surgeon's altar") comes up against an almost desirable relish heard in the wording, sound-pattern, rhythm, and rhyme. This effect is produced not merely through the liquids and sibilants ("live flesh," "limbs," "strong hands"), but in the way the falling cadence of the feminine rhyme ("palter" / "falter" / "altar") is gathered up by a strong masculine subjectivity grounded in the anaphoric "I" and the alliterative beat of the stressed syllables of the trochee and the spondee: "Bound" and "Borne." In this romance of language between two kinds of masculinity, sympathy flows into empathy, and the "woman's hand," receiving the trochaic stress at the wrong end of the line, no doubt grates harshly. The kiss is the climactic point in the poem: if the rhetorical dismissal of the "woman's hand" is a repudiation of marriage, is kissing the comrade meant to show that the symbol of heterosexual romance has also lost its meaning in postwar England?
The aestheticization of the male body and eroticization of male experience one notes in Read and Nichols--poets who, unlike Sassoon or Ackerley, were not overtly concerned with homosexuality--might result from the effort to find a suitable poetic language with which to articulate the specificity of war experiences. In journals, diaries, and letters that are not self-consciously literary or written by public school officers, one finds a slightly different expression of experience, as in the unpublished memoirs of W. A. Quinton:
Sharing everything, down to the last cigarette end, the last army biscuit, the last bit of cover under an enemy bombardment, can you wonder when I say we almost loved each other. Facing hardships & death together day after day, brings out that something in a man that lies dormant in the monotonous round of everyday civilian life. I well remember on one occasion when I was sickly, how old Petch tried to nurse me. . . . How at night when I lay shivering, he put his overcoat in addition to my own over me, taking care to tuck me in as a mother would a child. 64
Tactile tenderness, red through the maternal embrace, defines the final moment in Quinton's reconceptualization of male-male bonds premised on a language of mutual dependence under extreme circumstances. The bodily intimacy ("stuck together") he suggests is of a different order from desire. The physical continuum--touching, nursing, reassuring--was central to these relationships, which did not fit either the classical or the Christian models of "manly love," both of which largely ignored the body. Without a language to describe this physicality, most poets fell back on a model of Whitmanesque passion or Georgian aestheticism, while at the same time developing a troubled relationship to these modes. This is evident in the conflict that lies at the heart of Read's and Nichols's poems: the central disjunction between an experiential reality and ideology of "greater love" and an inherited poetic language of exquisite sensations. Having challenged the centrality of desire as the structuring principle of heterosexual civilian society, most poets would nonetheless draw on a rhetoric of desire--yet the constant effort to evoke another experience is perceptible in their language and suggests a different kind of relationship.
Perhaps retreat into older poetic modes was the inevitable result of a conjunction of class politics, literary history, and the culture of mourning. Jon Silkin's Penguin anthology shows that what has come to be regarded as the World War I literary canon was largely built on the works of public school officer-poets. Many of them had "sentimental and chaste" but distinctly "homosexual" crushes, as Graves says, at school; for many of them, the army, with its network of male relationships, was basically an extension of the public school, and they transposed the language of school romance with a rhetoric of mourning. 65 Morever, from the aestheticism of Walter Pater to the pastoral poignancy of A. E. Housman's A Shropshire Lad to the Uranian poetry of William Johnson Cory, English poetry was suffused with what Fussell calls a tradition of "warm homoeroticism" through which the youthful male body was endlessly aestheticized, idealized, and eulogized. Sensuousness mixed with pathos as the wistfulness of l'amour impossible was deflected into the early death of the boy. 66 Most of the war poets eagerly tapped into this tradition, reinstating it, through historical contingency, at the heart of English literature and culture. If in 1869 a slightly perturbed father of Arthur Hallam, after reading Shakespeare's Sonnets, had detected "weakness and folly in all excessive and mis-placed affection," in the case of war poetry they were "redeemed by the touches of nobler sentiments." 67 If effeminacy had been attached to the profession of the writer in Victorian England, the nation now had a group of soldier-poets who refuted any such perception. 68 As Aldington says in Death of a Hero, "They were men. There was something intensely masculine about them. . . . They had been where no woman and no half-man had ever been, could endure to be." 69 However, his rather shrill foregrounding of the war as an exclusively male experience cloaks a deep anxiety about gender and sexuality that forms the tortured dialectic of his book. 70 Above all, at a time when nearly a whole generation has been destroyed by unimaginable forms of violence, homophobia was checked through the sheer intensity of grief. The threat of homoeroticism was arrested by the absence of the desired object and the conception of the body as a seat of pain. This explains the appeal of the dying kiss: the strength and sweetness of a whole tradition of "warm homoeroticism" could be gathered into the "warm, passionate" kiss, any direct homoerotic threat halted by the image of a dead body. It would always be a one-sided narrative, the life-death boundary overpowering transgressive eros, such that it could be written into a language of greater love.
And yet for many homosexuals, it was the source of much anxiety. Sassoon, tormented by his homosexuality (although he may not have been active at the time), could not celebrate the "warm, passionate" kiss of comrades with the ease or fluency of Read or Nichols. Sassoon mentions the dying kiss only once, but it has a tortured history. By August 1915 Sassoon was deeply in love with David Cuthbert Thomas, the young Sandhurst subaltern, whom he calls "Dick Tiltwood" in Memoirs of a Fox Hunting Man. 71 By 18 March 1916 David was dead, hit by a stray bullet in the throat; as his biographer, Jean Moorcroft Wilson says, "Without exaggeration, Sassoon found the loss almost unbearable."  When last I saw him, two nights ago, he had his notebook in his hand, reading my last poem. And I said good night to him, in the moonlit trenches. Had I but known!--the old, human-weak cry. Now he comes back to me in memories, like an angel, with the light in his yellow hair, and I think of him at Cambridge late August when we lived together four weeks in Pembroke College in rooms where the previous occupant's name, Paradise, was written above the door. 73
In May 1916 Sassoon wrote "The Last Meeting," a pastoral elegy mourning David's death. In a poem where the male body is consistently woven into a fantasy of space, purity, and disembodiedness, Sassoon concludes with a surprisingly intimate detail of personal history: "And lips that touched me once in Paradise." 74 By framing the kiss, happy with warmly personal details, at the climactic point of the pastoral elegy, the poet places his love on a continuum of intense male love and loss. If the church, the state, and modern sexology had reduced homosexuality to a sin, a crime, or an aberration, he falls back on an "honourable" genre that not only has the weight of classical antiquity but is incorporated within the tradition of "Englishness" from Milton to Shelley to Arnold. But in a stunning example of how gay history is erased through homosexual panic, either personal or institutional, these lines are found only in the original draft sent to Edward Dent. The 1919 collection of War Poems (and all subsequent editions) changes the paradisal kiss into a dying one: "And youth, that dying, touched my lips to song." 75
The kiss--or rather its absence--becomes even more fascinating in the work of Wilfred Owen. Male beauty, often with an erotic charge, is one of the mainsprings of his poetry. 76 But there are essential differences between Owen's deep homoerotic inclination and the more conscious homosexuality of Sassoon. First, unlike Sassoon, there is no documented evidence of any homosexual relationship or encounter on the part of Owen. For him, in contrast to Sassoon and Read, amorous investment impedes rather than facilitates political bonding. The noble principle of greater love is forever in the danger of being tainted by the "unspeakable vice of the Greeks." Still, he is obsessed by lips; a rigorous Protestant ethic mingled with feelings of guilty eroticism and a hatred of warfare produce tortured sadomasochistic images: "Red lips are not so red / As the stained stones kissed by the English dead," or "I saw his round mouth's crimson deepen as it fell." 77 The lips that cannot be touched, morally or legally, can only be mutilated in Owen's poetry. Pain and frustration produce a diatribe against innocent heterosexual kissing:
For love is not the binding of fair lips
With the soft silk of eyes that look and long,
By Joy, whose ribbon slips,--
But wound with war's hard wire whose stakes are strong;Bound with the bandage of the arm that drips;
Knit in the webbing of the rifle-thong. 78
The concluding images might strike one as a piece of grim war realism, but in light of his early work, the metaphor is replete with strong symbolic overtones. Regarding eroticism as "a thorn in the flesh," (male) hands had been a perpetual site of intense pleasure and anxiety for Owen. In "Impromptu," he writes, "Now let me feel the feeling of this hand / For it is softer than the breasts of girls." Looking back on what Hibberd calls his "love affair" with Vivian Rampton, however, he agonizes, "Be better if I had not touched his hand" (OP, 22). These contradictions are gathered up into a moment of terrible guilt in the rough draft of the "Perseus" fragment: "Unhand me / For I have touched the god, touch me not." 79 Consequently, as he sets out to sing the hymn of sacrificial love, the beautiful hands of Rampton and the de la Touch boys, the "groping hand" and "beautiful fingers" of "To Eros" or "Impromptu" get savagely mutilated. Homoerotic anxieties are thus deflected and displaced, painful sacrifice is lauded above pleasurable self-expression. Owen redefines love through a sadomasochistic image of mutilation, just as the innocuous "ribbon," a seemingly casual reminder of heterosexuality, resurfaces with a macabre twist in the image of reddened, bruised flesh implicit in the phrase "Knit in the webbing of the rifle-thong." Greater love is redefined not through the dying kiss but as a bond made by mutilated hands.
But is homosexuality and the related anxieties about gender that seem to hover around the dying kiss ever directly addressed by World War I writers? A unique example is Ludwig Tügel's short story, "Over the Top," originally written in German and translated in the popular anthology, Great War Short Stories , introduced by Edmund Blunden. The story is set in a tiny dugout on the eve of a fatal offensive. The first-person narrator reads a letter written by his close friend Paul to his girlfriend, while Paul lies asleep. When a barrage starts outside the dugout Paul wakes up in absolute terror:
"You've been reading it, haven't you? You've been reading it?"
"Yes," I managed to gasp, and I saw him pull the trigger.The bullet flew past my ear; we struggled and rolled over together. Chest to chest, head to head, we were lying locked against each other.
I don't know what happened. We were trying to bite each other's throats like savage beasts, and our lips met harshly, then relaxed and remained together. We murmured brokenly, incomprehensibly, as we wept and kissed and clung. Outside in the front of the dugout they were shouting: "Take cover! Take cover!" 80
The scene begins as one of male hysteria: the hour of need involves tortured masculinity, homosocial rivalry, self-loathing, and sadomasochistic fury. A moment of silence marks the slide into eroticism in the otherwise detailed narrative: "I don't know what happened," as Tügel shows aggression flowering into desire without a break or mediating pause. The adjective "harshly" is a curious one. While, through the logic of the narrative, it follows from the language of physical aggression ("savage beasts"), it also suggests something very masculine, with a hint of stubble. Ironically, in the literary theatre of World War I, Rupert Brooke's vision of "the rough male blanket of kisses" reaches its apotheosis on the other side of no man's land.
The kiss is the pivot on which the story turns, the site of complex psychosexual mediation. In Tügel's narrative, the kiss is situated between two other kisses. The first is the romantic kiss of Paul's girlfriend--"the lips which you have kissed and which have kissed you"--and as he prepares to go over the top they are his "dearest memory."  I threw myself on the bed and kissed you, understanding nothing, but perhaps realising unconsciously that life gives love and only love can give life" ("OT," 298-9). In Three Essays on the Theory of Sexuality , Freud says that for the child, "sucking at his mother's breast has become the prototype of every relation of love"; initially, "the satisfaction of the erotogenic zone is associated . . . with the satisfaction of the need for nourishment," but with the growth of the child, his "oral education" is connected with an emerging capacity for genital sexuality (CPW, 7:181-2). In a sentence added in 1915, Freud suggests that the instinct of self-preservation lingers on, and that sexual activity "does not become independent of them until later" ("OT," 182). The kiss in Tügel's narrative, exchanged before imminent death, is almost a regression to the childhood world of "love" and "life" contained in the infantile Lutscherli. If, as Adam Philips does, we take Freud's ideas to their extreme, interpreting the kiss to harbor a "narcissistic intent" (the child unsatisfactorily substituting the "corresponding part of another's body"), then the dying kiss suggests an important link between narcissism and homoeroticism.  If this disappointment is the grudge at the root of sexuality, making the kiss the mouth's elegy to itself, Tügel presents us with a grim literalization as the two men go over the top, the kiss being their last--and lasting--memory. 81 While it transports the narrator to the maternal world of comfort and security, he also plays the maternal role. However, the framing vocabulary oscillates between heterosexual romance and homosocial camaraderie: "Paul pressed closely against me, and I sheltered him in my arms as once I might have sheltered a woman whom I loved. 'All right, old man. All right.' We said no more." ("OT," 297) Refusing to be put into any particular category of self-preservation, maternity, romance, friendship, or eroticism, different emotions and instincts slip through "lips at the brim" in this narrative universe.
The revolutionary potential of Tügel's story can be fully appreciated when placed in the context of contemporary debates about homosexuality, especially in Germany. The earliest theories of sexual inversion came from German sexologists--Karl Heinrich Ulrichs and Richard von Krafft-Ebing--all of whom were seeking a medical explanation, thus starting the debate about congenital versus acquired sexuality. Having universally acknowledged homosexuality to be an abnormality, yet having failed to establish any specific "abnormal" link that could be universally acknowledged, these highly scrupulous and enlightened thinkers raided the diverse fields of gender, genetics, and neurology, inadvertently infecting homosexuality with the terror of each. Ulrichs advanced the theory of anima muliebris virile corpore inclusa, a female soul in a male body; Krafft-Ebing, in the twelfth edition of Psychopathia Sexualis , attributed same-sex desire to neurasthenia induced by masturbation, abstinence, and other activities; Lombroso associated the trait with tainted heredity. 82 In this context the publication of Ellis's Sexual Inversion was a landmark. Although his account is profoundly sympathetic, the contemporary sexological conviction almost forces him to conclude that "Sexual inversion . . . remains a congenital abnormality, to be classed with the other congenital abnormalities which have psychic concomitants." 83 Freud broke new ground in 1903 by separating the sexual object and the sexual aim, thus separating gender from sexuality and claiming the polymorphous perversity of human desire. But it is often forgotten that Freud became popular only after World War II, and it was Ellis's model that was very much in vogue during the Great War years. Tügel's story clears up the tendency to read sexual difference through a trope of gender transgression, one of the most long-standing confusions in Victorian ideology. By placing the kiss in the overtly masculine atmosphere evoked by wrestling and death on the battlefield, he subtly discredits both Ulrichs's model of a female soul in a male body and the social construction of the effeminate dandy associated with Wilde. While the whole debate concerning congenital or acquired homosexuality had revolved around the concept of intentionality with pleasure as the aim, Tügel does away with this, largely through the selection of a genre that focuses only on contingent moments. In his narrative these moments are located in the arbitrary and accidental processes of touch.  More importantly, he places sexuality in a continuum of emotions such as vulnerability, helplessness, fear, and the universal need to be loved and cared for. Rather than celebrating Tügel's story as a gay love song of the trenches, it should be read in the context of mutilation and mortality. As one of the most commonly accepted modes of intimate adult communication, sex also becomes the most available language. In the meeting of "lips" the erotics of greed are overwhelmed by the reassurances of affection. Words and phrases such as "pressed," "wept," "hand in hand," or the twice-repeated "clung" and "sheltered" show the overpowering need of bodily reassurance rather than erotic gratification. The kiss--or as Freud defined it, "the particular contact . . . between the mucous membrane of the lips of the two people concerned," held in "high sexual esteem"--becomes a language of support, succor, and solace (CPW, 7:150).
Of modern subjectivity, Roland Barthes writes:
for us the "subject" (since Christianity) is the one who suffers: where there is a wound, there is a subject: die Wunde! die Wunde! says Parsifal, thereby becoming "himself"; and the deeper the wound, at the body's center (at the "heart"), the more the subject becomes a subject: for the subject is intimacy ("The wound . . . is of a frightful intimacy"). 84
Subjectivity and intimacy return when the body is understood as a seat
of pain rather than pleasure. At stake is the issue of nakedness that
also underlies the relations between
gender, gesture, and intimacy in World War I. The word "nakedness"
suggests how a sense of physical danger can lead to a bodily intimacy and
immediacy that is perhaps inimical to linguistic representation. In the
letter to his girlfriend in Tügel's story, Paul mentions a curious
episode: "Yesterday Frohlich the bombardier had an attack of madness,
and my friend had to tie him down in the dugout. He called me up to show
me . . . and said, quite calmly: "I'm just telling you in case you've
to do it to me" ("OT," 294). It is one of the greatest ironies that the
world's first industrial war, which brutalized the male body on such an
unprecedented scale, also nurtured the most intensely intimate of male
bonds. The myth of strong, invincible masculinity fostered in the works of
Rudyard Kipling and Rider Haggard, and which was later advocated by men
like Hulme, Lewis, and Pound, and finally embodied in the stolid re
of General Haig exploded in the mud and blood of the western front. A
very different order of male experience, one that accommodated fear,
vulnerability, support, succor, and physical tenderness, sprang up in
its place. The experiences shared in the trenches were undoubtedly one
of the deciding events in the history of twentieth-century gender. They
led to a radical reconceptualization of masculinity and male intimacy
that profoundly affected both the men and women in postwar England.
85
For a whole generation of war survivors--including Sassoon,
Edmund Blunden, Graves, and Eric Maria Remarque--the most
important relationships in their lives were those forged in the
trenches. Heterosexuality in postwar England was challenged not by
sexual dissidence but memories of such relationships. They were not
composed of romantic love or friendly affection or homoerotic frisson:
with each of these elements there is a distinct overlap, and yet
always a distinct difference. Eroticism may or may not have played
a part, but it was not the founding impulse. Sexuality had not yet
hijacked an intimate history of human emotions. "Frightful intimacy"
is perhaps as far as language can go, and the dying kiss was perhaps
its true sign, the mouth filling the gap left by language.
1. Lieutenant Frank Cocker to Evelyn, 16 January 1916, 82/11/1, Imperial War Museum Archives, London. In the letters, Charlie is often the object of a loving gaze: "I have watched Charlie's face intently under all manner of circumstances"; "I gazed at him and loved him"; "We suddenly caught each other's glance and both his eyes and mine were hot with tears." But the letters also express the most tender feelings towards Evelyn, as well as elation at Charlie's engagement to a "dear Christian girl in Doncaster." After the war, Cocker married Evelyn.
2. For a detailed literary-historical elucidation of the cult of "romantic friendship" between young men in Victorian England, see Peter Parker, The Old Lie: The Great War and the Public School Ethos (London: Constable, 1987); hereafter abbreviated OL.
3. Sigmund Freud, "Three Essays on the Theory of Sexuality," in The Complete Psychological Works, ed. and trans. James Strachey (London: Hogarth Press, 1953), 7:148; hereafter abbreviated CPW.
4. Alan Sinfield, The Wilde Century: Effeminacy, Oscar Wilde and the Queer Moment (London: Cassell, 1994), 84-108. See also Jeffrey Weeks, Sex, Politics and Society: The Regulation of Sexuality since 1800 (London: Longman, 1989), 96-121. Moreover, as Weeks points out in Sexuality and its Discontents (London: Routledge, 1985), the medical discourses, though sympathetic, often understood homosexuality in terms of degeneracy.
5. In light of the current interest in and celebration of bisexuality as "sexually postmodern," and given the fluidity of Cocker's gesture, one might read the kiss as being "a re of subversion and disruption" in the construction of the homo/hetero dyad in wartime England.  See Clare Hemmings, "Resituating the Bisexual Body: From Identity to Difference" in Activating Theory: Lesbian, Gay and Bisexual Politics, ed. Joseph Bristow and Angelia R. Wilson (London, Lawrence and Wishart, 1993), 118. See also Jonathan Dollimore, "Bisexuality, Heterosexuality, and Wishful Theory," Textual Practice, 10.3 : 523-39.
6. Joanna Bourke, Dismembering the Male: Men's Bodies, Britain and the Great War (London: Reaktion Books, 1996), 133-6.
7. Unpublished memoirs, W. A. Quinton, 75/32/1, Imperial War Museum.
8. A. F. B., "Smalley," in The Third Battalion Magazine (August 1918): 8.
9. Jack to Miss D. Williams, 85/4/1, Imperial War Museum.
10. Erich Maria Remarque, All Quiet on the Western Front, trans. A. W. Wheen (Oxford: Heinemann, 1970), 245.
11. R. C. Sherriff, Journey's End: A Play (London: Samuel French, 1929), 82-3.
12. Rupert Brooke, "Fragment," in The Collected Poems (London: Papermac, 1987), 318; Wilfred Owen, "Futility," in The Poems of Wilfred Owen, ed. Jon Stallworthy (London: Chatto and Windus, 1990), 135; Siegfried Sassoon, "The Last Meeting," typescript, Add 7973 S51-end, Cambridge University Library; Robert Nichols, "Casualty," in Aurelia and Other Poems (London: Chatto & Windus, 1920), 75.
13. Marianne DeKoven, "Modernism and Gender" in The Cambridge Companion to Modernism, ed. Michael Levenson (New York: Cambridge University Press, 1999), 174.
14. "Many critics have seen the war as . . . the apocalypse that leads the way into Modernism [and] as violation, intrusion, wound, the source of psychic anxiety [and] generational instability." Malcolm Bradbury, "The Denuded Place: War and Form in Parade's End and U.S.A.," in The First World War in Fiction, ed. Hogler Klein (London: Macmillan, 1976), 193-4.
15. D. H. Lawrence, Lady Chatterley's Lover (Harmondsworth: Penguin, 1961), 290. Also see Elaine Showalter, "Rivers and Sassoon: The Inscription of Male Gender Anxieties," in Behind the Lines: Gender and the Two World Wars, ed. Margaret Higonnet (New Haven, Conn.: Yale University Press, 1987), 64.
16. While most studies of gender and World War I tend to focus on the relation between the sexes, as in Sandra Gilbert and Susan Gubar, No Man's Land: The War of Words, vol. 2 (New Haven, Conn.: Yale University Press, 1989), or on the response and condition of women, as in Higonnet's Behind the Lines, my analysis emphasizes the relation between the experiential or physical reality of the perceiving male body and gender constructions.
17. Important contemporary information can be obtained from the reports of the Scientific Humanitarian Committee (Wissenschaftlich-humanitarian Komitee), a group that began under the auspices of Magnus Hirschfeld to assist in the legal protection and social defence of homosexuals. Its quarterly reports appeared under the title "Aus der Kriegszeit," during wartime. See Hirschfeld, "Homosexuality and Transvestism in the Trenches," in The Sexual History of the World War (New York: Cadillac, 1946); hereafter abbreviated SH. For more recent treatments of the homoerotic element in war literature, see Paul Fussell, The Great War and Modern Memory (New York: Oxford University Press, 1975), 270-309; hereafter abbreviated GW; Martin Taylor, Lads: Love Poetry of the Trenches (London: Duckworth, 1998), 1-58; hereafter abbreviated LLP; and Simon Featherstone, War Poetry: An Introductory Reader (London: Routledge, 1995), 104-15. Weeks, in Between the Acts: Lives of Homosexual Men, 1885-1967 (London: Routledge, 1991) interviews a World War I soldier who met his partner in the trenches . Hirschfeld documents similar cases, but agrees that such examples are few (SH, 115). As Taylor notes, "Given the physical conditions of the front line, the filth, the lice and the lack of privacy, and the probable sexual orientation of most soldiers, it is unlikely that any sexual contact was possible or even desirable" (LLP, 27). The only reference to a court martial related to homosexuality I have found appears in a letter from Raymond Asquith to Lady Diana Manners in September 1916: "I had two terribly strenuous days--10 hours each before a court martial defending a fellow officer upon 5 charges of 'homosexualism'-- unsuccessfully. It was terribly tiring but not entirely unenjoyable as it was easy to make fools of most of the witnesses (though not unfortunately as to the facts to which they testified)." (Raymond Asquith, Life and Letters, ed. John Joliffe (London: Collins, 1980), 292.
18. See Alison Hennegan, "Personalities and Principles: Aspects of Literature and Life in Fin-de-Siècle England," in Fin de Siècle and Its Legacy, ed. Mikulas Teich and Roy Porter(New York: Cambridge University Press, 1990).
19. Richard Aldington, Death of a Hero (London: Chatto and Windus, 1929), 26.
20. J. R. Ackerley, My Father and Myself (London: Bodley Head, 1968), 119.
21. Robert Graves, But It Still Goes On (London: Jonathan Cape, 1930), 245.
22. Robert Graves, Goodbye to All That (London: Jonathan Cape, 1929), 40-1.
23. See Paul Hammond, Love between Men in English Literature (London: Macmillan, 1996) and George E. Haggerty, Men in Love: Masculinity and Sexuality in the Eighteenth Century (New York: Columbia University Press, 1999). Sinfield notes in The Wilde Century, "'Same-sex passion' is the best term I have been able to find for the period up to 1900" (TWC, 11). "Passion" is intended to include both an emotional and a physical charge, while avoiding the fraught term, "desire."
24. While in Brooke's case there is documented evidence of at least one encounter, Sassoon was a self-confessed homosexual. Owen's letters and poems evince a strong homoerotic impulse but provide no evidence of any actual encounter or relationship. See John Lehmann, Rupert Brooke: His Life and His Legend (London: Quartet, 1981); Jean Moorcroft Wilson, Siegfried Sassoon: The Making of a War Poet: A Biography, 1886-1918 (London: Duckworth, 1998); Jon Stallworthy, Wilfred Owen (New York: Oxford University Press, 1974); and Dominic Hibberd, Owen the Poet (New York: Macmillan, 1986); hereafter abbreviated OP.
25. A good example of the dialogue between past and present is David M. Halperin's One Hundred Years of Homosexuality and Other Essays on Greek Love (New York: Routledge, 1990). He contends that the usual charge of historical anachronism must be replaced by a historically nuanced understanding of same-sex love.
26. Michel Foucault, The Use of Pleasure: History of Sexuality, trans. Robert Hurley (Harmondsworth: Penguin, 1992), 2:5-6.
27. Niall Ferguson, The Pity of War (Harmondsworth: Penguin, 1998), 436-7.
28. Jeffrey Richards, "'Passing the love of women': Manly Love and Victorian Society," in Manliness and Morality: Middle-Class Masculinity in Britain and America, 1800-1940, ed. J. A. Mangan and James Walvin (Manchester: Manchester University Press, 1987), 108-24. See also LLP and OL.
29. Siegfried Sassoon, Memoirs of An Infantry Officer (London: Faber & Faber, 1936), 89.
30. In a footnote added in 1915, Freud writes, "There is to my mind no doubt that the concept of 'beautiful' has its roots in sexual excitation and that its original meaning was 'sexually stimulating'" (CPW, 7:156).
31. These lines were excised from the published version of the War Poems; they appear only in the manuscript version in the British Library.
32. Similarly complex is the response of the German infantryman who, as Hirschfeld noted with astonishment, held "a water bottle to the lips of the delirious dying (English) boy who kept on crying, 'Mother, are you here'" and "softly stroked the feverish eyebrow of the youth." Such acts cannot be explained only in terms of "sensitive urning" souls (SH, 121).
33. Martin Jay, Downcast Eyes: The Denigration of Vision in Twentieth Century French Thought (Berkeley: University of California Press, 1993), 286.
34. Foucault, Use of Pleasure, 2:4.
35. This sounds similar to the fluid, indeterminate, and contingent sexualities and identities that are celebrated in the work of Butler, Garber, and Sedgwick. But while most contemporary theorists reach their conclusions by applying various post-structuralist models to gender studies, I base my findings on an analysis of literary and historical texts. Due to the peculiarity of war circumstances, the continuum of nongenital tactile tenderness seems to combine Sedgwick's "homosocial desire" with certain features of Rich's paradigm of the lesbian continuum of "resignation, despair, effacement, self-denial." (Adrienne Rich, "Compulsory Heterosexuality and Lesbian Existence," in Blood, Bread and Poetry: Selected Prose, 1979-1985 [London: Virago, 1986], 53-4) The bonds I examine are not based on triangulated desire, are far more physical than in Sedgwick, and need not be consciously erotic, nor associated with power. See Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985) and Richard Dellamora, Masculine Desire: The Sexual Politics of Victorian Aestheticism (Chapel Hill: University of North Carolina Press, 1990). "Because of the prevalence of the heterosexual-homosexual dichotomy, however, straight-identified men today have nearly lost the possibility of speaking of such relations, and yet there is a continuing need to do so" (Dellamora, Masculine Desire, 5).
36. For a detailed study of the kiss see Nicolas James Perella, The Kiss Sacred and Profane: An Interpretative History of Kiss Symbolism & Related Religio-Erotic Themes (Berkeley: University of California Press, 1969); Willem Frijhoft, "The Kiss Sacred and Profane: Reflections on a Cross-Cultural Confrontation" in A Cultural History of Gesture: From Antiquity to the Present Day, ed. Jan Bremmer and Herman Roodenburg (Malden, Mass.: Polity Press, 1991), 210-36; and Adrienne Blue, On Kissing: From the Metaphysical to the Erotic (London: Indigo, 1997). I am grateful to Luke Davidson, Cate Gunn, and Helen Berry for their papers presented at the Kiss Symposium, Institute of Historical Research, London, July 2000.
37. Christopher Nyrop, The Kiss and Its History, trans. William Frederick Harvey (London: Sands, 1901), 141-2.
38. D. H. Lawrence, "England, My England" (1915 version), in England, My England and Other Stories, ed. Bruce Steele (New York: Cambridge University Press, 1990), 227; R. C. Sherriff, Journey's End (London: Samuel French, 1929), 25.
39. Ernest Hemingway, A Farewell to Arms (London: Vintage, 1999), 151. See also Peter F. Cohen, "I Won't Kiss You. . . I'll Send Your English Girl": Homoerotic Desire in A Farewell to Arms," in The Hemingway Review, 15 (fall 1995): 42-53.
40. Stephen Gaselee, "The Soul in the Kiss," in Criterion 2 (April 1924): 349-59.
41. Christopher Hibbert, Nelson: A Personal History (New York: Viking, 1994), 376. Hardy kisses Nelson not once but twice: the first time on Nelson's bidding, "Then, as though he thought Nelson might think he had kissed him only because he had been asked to do so, he knelt down again and kissed his forehead."
42. Reverend Parry Okeden to May Okeden, n.d. 90/7/1, Imperial War Museum.
43. Diary entry, Reverend Connor, 22 December 1914, 87/10/1, Imperial War Museum.
44. Lance-Corporal D. H. Fenton to Mrs. Noone, n.d. 87/13/1, Imperial War Museum.
45. Nancy Grubb, The Life of Christ in Art (New York: Artabras, 1996), 97-113.
46. Raymond Dorgeles, Wooden Crosses (London: William Heinemann, 1920), 264-6.
47. Herman Hesse, Demian, trans. W. J. Strachan (London: Picador, 1930).
48. Born in 1897, Arthur Newberry Choyce was commissioned in December, 1916 as a Second Lieutenant in the Ninth Battalion, Leicestershire Regiment, and served in France, 1917-18. During and after the war he produced many books of war poetry, such as Crimson Stains , Memory , and Not Until Gilboa: A Book of Poems ; his books were often charged with having a lush romantic vocabulary and being obsessed with the imagery of hands.
49. Arthur Newberry Choyce, Lips at the Brim: A Novel (London: John Bale, Sons & Danielsson, 1920), 165-6.
50. In the first flush of adolescent passion, as Peter tries to follow "the impulse of his lips," Tess throws some forget-me-nots at his face and runs away. At the end of the narrative, when he is about to kiss Claire, she says, "God help me! I am Claude Paler's wife" (Choyce, Lips at the Brim, 197). Similarly, the battle between religious ardor and sexual passion is fought at a moment when Peter is going to kiss the chalice: Tess pretends to faint, Peter gets distracted, and the chalice drops to the floor.
51. As Dollimore notes, "What is less often conceded or, if conceded, considered--Bersani being a significant exception--is that if gender is socially constituted, so too is desire. Desire is informed by the same oppressive constructions of gender that we would willingly dispense with. Desire is of its "nature" saturated by the social." See Sexual Dissidence, 325.
52. F. W. Farrar, Julian Home (London: Adam and Charles Black, 1896), 27.
53. H. O. Sturgis, Tim (London: Macmillan, 1891), 158-9.
54. Richards, "Passing the Love of Women," 113-7.
55. F. W. Farrar, Eric or Little by Little (London: Adam and Charles Black, 1857-58), 139-40.
56. H. Montgomery Hyde, The Other Love (London: Mayflower, 1972), 131.
57. Thomas Hughes, Tom Brown at Oxford (London: Macmillan, 1889), 193-4.
58. The Poems of Alfred Tennyson, ed. Christopher Ricks (Essex: Longman, 1987), 2:337.
59. The Portable Walt Whitman, ed. Mark Van Doren (New York: Penguin: 1977), 229.
60. Herbert Read, Collected Poems: 1913-25 (London: Faber & Gwyer, 1926), 88.
61. Read, Collected Poems, 85.
62. Frederic Manning, The Middle Parts of Fortune (London: Peter Davies, 1977), 79-80.
63. Nichols, "The Secret," in Aurelia, 77.
64. Unpublished memoirs, W. A. Quinton, 79/35/1, Imperial War Museum.
65. Graves, Goodbye to All That, 40-1. See also Ackerley: "the army with its male relationships was simply an extension of my public school." J. R. Ackerley, My Father and Myself (London: Bodley Head, 1968), 117. For a different point of view, see Priestley: "I never hailed with relief, as men in the opposing class did, a wholly masculine way of life uncomplicated by women." J. B. Priestley, Margin Released: A Writer's Reminiscences and Reflections (London: Heinemann, 1962),89.
66. GW, 279-86. See also Timothy D'Arch Smith, Love in Ernest: Some Notes on the Lives and Writings of English Uranian Poets (London: Routledge, 1970).
67. Alan Sinfield, Alfred Tennyson (Malden, Mass.: Blackwell, 1986), 127.
68. See James Eli Adams, Dandies and Desert Saints: Styles of Victorian Masculinity (Ithaca, N.Y.: Cornell University Press, 1995).
69. Richard Aldington, Death of a Hero (1929; London: Hogarth, 1984), 253.
70. Trudi Tate, Modernism, History and the First World War (New York: Manchester University Press, 1998), 81-3.
71. Wilson, Siegfried Sassoon, 237-8.
72. Ibid., 239.
73. Siegfried Sassoon, Diaries, 1915-16, ed. Rupert Hart Davies (New York: Faber & Faber, 1983), 44-5.
74. Siegfried Sassoon, "The Last Meeting," Cambridge University Library.
75. Siegfried Sassoon, The War Poems, ed. Rupert Hart-Davis (1919; New York: Faber and Faber, 1983), 35.
76. Jon Stallworthy, "Wilfred Owen," in Proceedings of British Academy, LVI : 13. Even if one rejects Graves's claim that Owen was a guilt-ridden but practising homosexual in Bordeaux and dismisses Scott Moncrieff's dark hints about "shame" ("Sonnet" by "C. K. S. M.," New Witness, 7 [June 1918]) as the wish-fulfillment of a rejected lover, his poetry and letters clearly reveal his strong homoerotic bent.
77. The Poems of Wilfred Owen, ed. Jon Stallworthy (London: Chatto and Windus, 1985), 143, 100. I use the word "sadomasochism" as an aesthetic mode rather than a moral category.
78. "Apologia Pro Poemate Meo," in Poems, 101.
79. Wilfred Owen: The Complete Poems and Fragments, ed. Jon Stallworthy (London: Chatto and Windus, 1983), 2:467.
80. Ludwig Tügel, "Over the Top," in Great First World War Stories, (Chancellor: London, 1994). Originally published as Great Short Stories of the War (London: Eyre and Spottiswood, 1930); hereafter abbreviated "OT."
81. Adam Phillips, On Kissing, Tickling and Being Bored (New York: Faber, 1993), 106-7.
82. For a detailed discussion of sexological debates at the time, see Jeffrey Weeks, Coming Out: Homosexual Politics in Britain from the Nineteenth Century to the Present (London: Quartet Books, 1977); Frank Mort, Dangerous Sexualities: Medico-moral Politics in England since 1830 (New York: Routledge, 1987); and Lesley A. Hall, Hidden Anxieties: Male Sexuality, 1900-1950 (Malden, Mass.: Polity Press, 1991). See also J. A. Symonds, Studies in Greek Love and E. Carpenter, Some Friends of Walt Whitman: A Study in Sex-psychology (London: J. E. Francis, 1924).
83. Havelock Ellis, Sexual Inversion, Studies in the Psychology of Sex, (London: University Press, 1897), 1:137.
84. Roland Barthes, A Lover's Discourse, trans. Richard Howard (Harmondsworth: Penguin, 1990), 189.
85. For fiction of the time that reveals how deeply the new male experience affected female subjectivity, see Rebecca West, Return of the Soldier (1918; London: Virago, 1980); Virginia Woolf, Mrs. Dalloway (1925; New York: Oxford University Press: 1992); and H. D., Bid Me to Live (1960; London, Virago, 1984).


#{include 'Application/top_head.html'/} #{include 'Application/top_nav.html'/}
Search Response according to FQDN:
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[1]
fitness center was very hospitable - it was disneyesque.
[2]
fitness center was very hospitable - it was long.


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Emily Perlow is Assistant Dean of Students. She works at WPI to manage the CARE program, support student conduct, and advance the Student Affairs Division strategic planning and assessment efforts in addition to supporting the work of Student Activities and Dining Services. One of her favorite functions is to analyze the environment on campus and to work to remove barriers that affect student success. She received a doctorate from the University Massachusetts-Amherst, completing a dissertation exploring the relationships between hazing, masculine norm conformity, and adult play. She also holds a Master’s Degree in College Student Personnel from Bowling Green State University and a Bachelor’s Degree in Anthropology from The Ohio State University. She has volunteered as chair of the Northeast Greek Leadership Association Board of Directors for the past 9 years, as a Harm Prevention Specialist, Education Committee Chairman, and Director of Volunteer Development for Alpha Gamma Delta, and currently serves as Chair of the Association of Fraternity Advisors Research Committee and incoming chair of the NASPA Fraternity/Sorority Knowledge Community. As a scholar-practitioner, her interests include analyzing systems, processes and cultures that inhibit student success, enhancing the experiences of marginalized populations in the STEM pipeline, deviant behavior among college populations, particularly hazing, and masculine expression among college men.


The moon has two mean movements. The moon itself rotates on a small circle that does not surround all of the Earth. Moon's movement on that small circle is called mean lunar anomaly (אמצע המסלול). The small circle (epicycle TODO link to Wikipedia) itself rotates on a big circle (deferent TODO link to Wikipedia) that encircles the Earth. The mean movement of the small circle on the big circle that encircles the Earth is called movement of the mean lunar longitude (אמצע הירח).


This is a map that can change the tiles of the main layer by demand
Current TileLayer Url:
{{ layers | json }}


You need to enable JavaScript to run this app effectively as some features may not be implemented without it.
Lekan Ojulowo
Sorry: Resources Not Found
Please check your network connection.
Also ensure it is a valid resource url.


Registration
REGISTRATION FEE INCLUDE: REGISTRATION KIT, TEA/COFFEE, LUNCH, PROCEEDING (IN CD).
DOWNLOAD REGISTRATION FORM: FOR DOWNLOAD CLICK HERE
PAYMENT METHOD:
- Through Demand Draft (DD): DD should be made in favour of "ABES Engineering College, Ghaziabad" payable at Ghaziabad. Send your DD to:
Organizing Secretary, CICT-2018
Department of CSE, ABES Engineering College,
Campus-1, NH-24, Delhi-Hapur Bypass Road, Vijay Nagar, Ghaziabad-201009(U.P)
- Through Electronic Fund Transfer:
For Domestic Delegates Bank Name: Punjab National Bank Branch Name: Navyug Market, Ghaziabad-201001 Accouunt Name: ABES Engineering College Account Number:<PHONE_NUMBER>045914 Account type: Over Draft Account IFS Code: PUNB0067400 For International Delegates Swift Code: PUNBINBBGNM Email id<EMAIL_ADDRESS>NOTE: Copy of Fee Receipt Should be Send to: Organizing Secretary, CICT-2018 at<EMAIL_ADDRESS>| Category | Early Bird Registration Between 15th Oct 17--30th Oct 17 |
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Rodger's favorite songs
Poor some sugar on me
Butterfly effect
Standing Waves
I told you I'd be with the guys
Cars


About us
It all started…
…back in 2014, Duncan Child and Matt Hall started a Google Group called Software Underground (sometimes affectionately referred to as Swung). A little more than a year later, it branched out to Slack. The move connected us much better, and it’s where most of the Software Underground action is today.
Our purpose
“To provide technical and professional development opportunities to the global community of earth scientists and engineers who program computers in the course of their work, and to promote the use of open source digital technology in the exploitation of natural resources and investigation of the earth.”
Who’s involved
Software Underground is not an organization. It is run and supported by Matt Hall, Evan Bianco, and everyone at Agile Scientific, as well as by a core group of contributors (including but not limited to Brendon Hall, Jesper Dramsch, David Holmes, Steve Purves, and many others).
Where else to find us
There are meatspace meetups from time to time, especially in Houston. Look for #meetups in the Slack group.


Use the X-Frame-Options response header to prevent clickjacking attacks.
The X-Frame-Options response header instructs the browser to disallow the use of iframes across domains or limit their use to the same origin. This protects against clickjacking, a malicious technique that uses iframes to overlay or hide a clickable link or button on a web page. In a clickjacking attack, a user thinks he or she is clicking the intended link but actually clicks the overlaid iframe link, thus sending data to an unintended website.
Use this guideline when implementing Ruby applications where pages are not intended for rendering in a frame or iframe. The programmatic framework used with Ruby determines whether mitigation is required. With Rails 3, use the secure_headers
RubyGem to mitigate several vulnerabilities, including clickjacking. Rails 4 sends the X-Frame-Options header by default, and does not require mitigation.
If you are using the Rails 3 framework use the SecureHeaders RubyGem to add an X-Frame-Options header:
Identify code which renders pages. Find all instances where pages are rendered, and examine whether headers are being modified. Some of this functionality may need to be removed or modified.
Add the configuration for SecureHeaders. Place the following code in an initializer. Note that the configuration is set to DENY
:
::SecureHeaders::Configuration.configure do |config|
# . . .
config.x_frame_options = 'DENY'
# . . .
end
Edit the controller. Include the following code in application_controller to set security-related headers automatically, and apply x_frame_options:
class ApplicationController < ActionController::Base
# . . .
ensure_security_headers
# . . .
end
If you are using the Rails 4 framework, the application automatically sends the X-Frame-Options
response header with the value of SAMEORIGIN
. With this setting, the application tells the client browser to only frame pages that originate from the same domain.
Identify code which changes header. Examine the application to find any instances where pages are rendered, and whether headers are being modified to allow framing.
Re-enable default settings for X_Frame_Options
. If X_Frame_Options
is set to ALLOW
, or is missing from configuration, re-enable the default settings and configuration.


Salmon Cookies Sale Log by Location
Add a New Store
Name:
Minimum Customer
Maximum Customer
Name:Average Cookie Sales
Submit
Change Styles: Red and Green
Change Styles: Gray
Change Styles: Clear


This is the base package for JCAPTCHA service implementation.
It defines two main interfaces :
- AbstractCaptchaService : The base implementation of a service, using two interfaces defined below, and a CaptchaEngine.
- CaptchaStore : The stock of captcha used by the service to store captchas from the time it is generated to the time the captcha validation routine is called
- IDGenerator : A Unique ID generator used by the service to mark captchas


{% extends "base.html" %} {% block content %}
Ever felt like you can't share all your ideas and thoughts with in fear of being judged? You are in the right place. Signup now to find someone to talk to.


Quite a few years have passed since I've used csh or the korn shell. The modern Linux distro seems to favour the bash shell, and it has become as ubiquitous as the operating system itself. Perhaps for good reason, it was the original GNU alternative to the bourne shell.
As any righteous disciple of the technology will tell you, productivity is key to any working environment. Plus crufty code that leads to flaws or problems is an everpresent concern. Are there maybe alternatives worth considering?
One in particular, fish, seemed interesting, but after a short discussion with some collegues, they mentioned zsh. Admittedly, I wasn't immediately convinced to try it, however with several Google searches it appeared that a very large number of users swear by it. So why not give it a spin?
Since we need to overcome the inertia of bash, a bit of excitement is needed. Gander at the flashy and illustrious prompt themes.
prompt -p
Feels good? Bland shells tend to be a bit of bore and I do like the elite2 theme, but each to his own. The prompt choice can be made permanent by adding the following to the .zshrc file:
#
# Prompt settings
#
autoload -Uz promptinit
promptinit
prompt elite2 blue
Like bash, the zsh allows for a customization of the individual components. Doing so is easy, simply add a zstyle after autoloading any given part of zsh. In a similar vien, for the command completion, I used the below settings:
#
# Command completion settings
#
autoload -U compinit
compinit
zstyle ':completion:*' menu select
zstyle ':completion:*:descriptions' format '%U%B%d%b%u'
zstyle ':completion:*:warnings' format '%BSorry, no matches for: %d%b'
setopt COMPLETE_ALIASES
Now bash can recall commands by means of Ctrl-r, but Zsh can also quick recall recently typed commands upon typing a letter or two and pressing the up/down arrow. Setting it up is harder but definitely recommended, since it can save you potentially a couple Ctrl-r keystrokes during the ol' daily grind.
#
# Command history options
#
export HISTSIZE=2000
export HISTFILE="$HOME/.history"
export SAVEHIST=$HISTSIZE
setopt hist_ignore_all_dups
#
# Quick command recall
#
autoload -Uz up-line-or-beginning-search down-line-or-beginning-search
zle -N up-line-or-beginning-search
zle -N down-line-or-beginning-search
[[ -n "$key[Up]" ]] && bindkey -- "$key[Up]" up-line-or-beginning-search
[[ -n "$key[Down]" ]] && bindkey -- "$key[Down]" down-line-or-beginning-search
If you recently typed some long and painfully easy to forget command, typing the first few letters of it and pressing the up arrow will immediately recall it. Neat, eh?
Yet the real beauty of zsh is the autocompletion. The bash variant is rather tab-tastic; to get the path of a greatly nested directory quite a few tab presses are required. With zsh you need only fill out the first few letters like so:
cd /u/s/v/a/
After a single tab press, zsh will convert it to the following:
cd /usr/share/vim/addons/
Presto! Your directory path is completely filled out. Quite the timesaver on very long directory paths. For command completion, simply start entering a command like so:
sndfile-
The completion settings mentioned earlier set it to the 'menu' selection mode. So after a simple tab stroke the user is presented with a list akin to the below.
sndfile-
external command
sndfile-cmp sndfile-deinterleave
sndfile-metadata-get sndfile-regtest
sndfile-concat sndfile-info
sndfile-metadata-set sndfile-resample
sndfile-convert sndfile-interleave
sndfile-play
sndfile-salvage
Tab again, and then use the arrow keys to select the desired choice. Simply enough, and elegant for dealing with many different commands at once.
Zsh supports the recursive nested file handling natively, so if you have a sudden need to view all of the header files in a given location, you need only type:
ls /usr/include/**/*.h
Afterwards you will be presented with a list of every header present in every folder and subfolder and subfolder and so on.
Also worth noting is that zsh contains a number of useful plugins. One of the fancier official plugins is the syntax highlighting.  Wrong command spellings are highlighted red whilst correct command spellings are green. Certainly helps with those tricky spellings and makes the console a bit more Christmas. What's not to love?
That covers my take on zsh, and arguably, it does have much to offer the average Linux developer or administrator. Doubly so considering much of this functionality is present without the usual bash hacks or elongated .bashrc files.
Maybe at some later date I might consider a further look at zsh functionality, or potentially give the fish shell a chance if I get enough people asking about it.


Stock Market Today: Trump's news on trade, uptrend resistance, eyed for next record
by Yohay Elam- Stock futures are suggesting new highs as a new week kicks off.
- Optimism about US-Sino trade talks dominates the agenda.
- S&P 500's four-hour chart is pointing to an uptrend resistance line.
US stock markets are set for new records according to futures. The Standard and Poors 500 (S&P) may exceed 3,125 points as optimism about trade talks keeps shares bid.
US Trade Representative Robert Lighthizer and Treasury Secretary Steven Mnuchin have held a video teleconference with Liu He, China's Vice Premier. Officials from both Washington and Beijing have labeled these talks as "constructive." Optimism also stems from previous comments from Wilbur Ross, America's Commerce Secretary, and Larry Kudlow, a senior adviser.
President Trump holds the key
Equity investors are awaiting commentary from President Donald Trump on the state of negotiations. Stocks have been hitting new highs amid the president's optimism, who stated that "talks are going along very well" last week. Stock markets may hit new records and surge today if the US and China announce the signing of Phase One of the trade deal.
Such news is needed for another rally in financial markets, which have already been trending higher as the December 15 deadline approaches. The US is set to slap new tariffs on China on that day, but officials in the world's second-largest economy have requested removal of duties, not new ones.
Trump has yet to make a decision, but he may reveal his position today, after the high-level talks mentioned earlier. If negotiations break down, shares of all companies may struggle. Presently, optimism prevails.
S&P 500 Technical Analysis
The four-hour chart is showing that momentum is robust but that the Relative Strength Index is flirting with 70 – overbought conditions. On the other hand, the S&P Index's price has broken above uptrend resistance that has been accompanying it since the beginning of November.
Investors are eyeing 3,150 and 3,200 as the next targets, which are already at unchartered territory.
Support awaits at 3,105, a gap line from last week, followed by 3,089, and 3,073.
More Chinese stimulus helps push stock markets higher


This is a tutorial to help first-time contributors participate in a simple and easy project. Get more comfortable using GitHub and make your first open source contribution. It's quick and easy.
Number of contributions so far
Add your own card to this site
How to contributeSyk Houdeib
I love staring at maps, dosing off to David Attenborough's documentaries, listening to 4'33'', and learning more web development everyday.  Anything you want: Why do you program, a fun fact, why do you like programming, what you hope to achieve, your pet's name...
3 Useful Dev Resources
Alex Nielsen
I'm a 40 something stay-at-home-dad who learned HTML a million years ago but is not attempting to break back into the technology sector, more explicitly web development.
3 Useful Dev Resources


Xiaomi could be preparing a cheaper Mi Band 3i for November 21
by Marco LancasterXiaomi could be preparing a cheaper Mi Band 3i for November 21
5 (100%) 1 vote
Xiaomi’s succesful Mi Band series is about to win another member. That’s what suggests a new post shared by the company on Twitter. The post in question comes to promote the RunWithMi marathon with the words “Good thiiings come to those who run”. The three “i” are a perfect allusion to the Mi Band 3i which is rumored to go official on November 21.
The RunWithMi marathon is in Bangalore on December 1 and Xiaomi will give finishers a free Mi Band 3i as a reward. The specifications and price of this new fitness tracker are unclear. However, we believe that the price may sit between the prices of Mi Band 3 and Mi Band 4. It may be slightly better than the last year’s model, but not so good like the recently released Mi Band 4.
The Mi band 4 uses a 0.95-inch AMOLED color display (with 2.5D scratch-resistant tempered glass protection). The screen is 39.9% bigger when compared to the previous generation. Moreover, it has a fully upgraded 6-axis high-precision sensor. This brings 6 sports modes, tracking swimming data in real-time, supporting smart stroke recognition, 50 meters waterproof and more. We are curious to see if any of the above features will be present in the Mi Band 3i.


?6
7
8
9
10
The
New
York
copyright
reserved
botanical
Garden
British
West
Indies
Enicostemma
verticillatum
(L)
Engl.
Erect
herb
on
wet
hillside;
flowers
white.
Along
Castries-Denery
Road
R.
A.
Howard
11319
April
22-May
18,
1950
1624498
Legend -
Level of confidence that token is an accurately-transcribed word
extremely low
very low
low
undetermined
medium
high
very high


A package can be any folder on disk, but usually containing source code. Identifying a Bam package is through inspection of files in specific locations within that folder. This allows Bam to integrate into most existing projects. The visual steps to identify a Bam package are:
Package directory contains a subdirectory called bam
.
A single .xml
file exists in the bam folder, and follows the Bam schema.
A Scripts
folder exists in the bam folder, and contains one or more .cs
files, containing module scripts.
Optional: Sibling folders to Scripts, named after the build modes supported, which contain the .cs
files implementing execution policies for each supported build mode.
See any of the packages in the Bam distribution as examples.


---
layout: post
authors: ["Greg Wilson"]
title: Announcing Hack4ac
date: 2013-05-16
time: "09:00:00"
tags: ["Noticed"]
---
Hack4ac is a one-day hackathon in London, England, on July 6. Its goals are:
- Demonstrate the value of the CC-BY licence within academia. We are interested in supporting innovations around and on top of the literature.
- Reach out to academics who are keen to learn or improve their programming skills to better their research. We're especially interested in academics who have never coded before.
It looks like fun—if you're in the area and interested in getting involved, they'd be happy to have you there.


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GameEntity entity
Tile dest
java.util.concurrent.ConcurrentLinkedQueue<E> overlappablesNonMovable
java.util.concurrent.ConcurrentLinkedQueue<E> overlappablesMovable
OverlapRulesApplier overlapRules
GameUniverse universe
ObservableValue<T> endOfGame
PygmyGameContext context
GameLevel currentPlayedLevel
java.util.List<E> gameLevels
GameLevel level
java.lang.String playerId
Tile tile
EntityType type
Game game
GameUniverse universe
ObservableValue<T> endOfGame
int rows
int columns
int boardType
java.util.List<E> colors
java.util.List<E> gameRules
GameLevel level
java.util.Map<K,V> entities
OverlapProcessor overlapProcessor
Overlappable overlappable1
Overlappable overlappable2


"x" "1" "GLATT,H AND OESCH,F, MUTAGENICITY OF CYSTEINE AND PENICILLAMINE ANDITS ENANTIOMERIC SELECTIVITY, BIOCHEM. PHARMACOL. 34(20):3725-3728,1985"


In the current transgender hoo-hah, the implications for women's sport have prompted much controversy. If big burly blokes who “identify as” women, like “Dr” Rhys/Rachel McKinnon, are allowed to compete in women's events, what are the odds that, given their physical advantage, they will start winning everything? There are already enough instances of this happening to make women's prospects seem bleak.
It so happens that the future of women's sport was televised almost half a century ago, on Monty Python's Flying Circus. In his fight against Petula Wilcox, boxer Ken Clean-Air System is not explicitly identified as trans, but of course those were far less enlightened times.
Click on the link for (poor quality) video.


platforms
genres
action
shooter
role-playing
strategy
sports
puzzle
adventure
platformer
simulation
wrestling
racing
fighting
arcade
party
card/board
misc


1 Minutes ago
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Just a reminder that you have an event today
Update dashboard
New admin wow!
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