In the written texts All Quiet on the Western Front by Erich Maria Remarque, The Bridge on the River Kwai by Pierre Boulle, For Whom the Bell Tolls by Ernest Hemmingway and the visual text Saving Private Ryan directed by Steven Spielberg an accurate idea of the war genre can be comprehensively ascertained. Certain aspects constituting this genre are the horrors of warfare, comradeship which forms between soldiers with common aims and ultimately survival. These strands are intrinsic attributes of
individuals, all depending on different dispositions about the act itself. While some view war as a noble and honorable course of action to participate in, others proclaim that war and any aspect of righteousness exist in a mutually exclusive relationship; however, the reality in the actuality of war persists, regardless of individual opinion. As such, the rationalizations given for war originate from the synthesis of several different individual perspectives. Furthermore, through their works All Quiet
Woman: God’s second mistake? Friedrich Nietzsche, a German philosopher, who regarded ‘thirst for power’ as the sole driving force of all human actions, has many a one-liners to his credit. ‘Woman was God’s second mistake’, he declared. Unmindful of the reactionary scathing criticism and shrill abuses he invited for himself, especially from the ever-irritable feminist brigade. The fact and belief that God never ever commits a mistake, brings Nietzsche’s proclamation dashingly down into the dust bin