Pantheon De La Guerre Reconfiguring A Panarama Of The Great War
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"Assesses the changing values attached to the Panthéon de la Guerre, a propagandist panorama featuring 5,000 full-length portraits of prominent figures from WWI, during its journey from Great War Paris to cold war Kansas City's Liberty Memorial. Examines its reconfiguration there and the dispersion of fragments into international art markets"--Provided by publisher.
Portraits of Remembrance by Margaret Hutchison,Steven Trout Pdf
Interdisciplinary collection of essays on fine art painting as it relates to the First World War and commemoration of the conflict Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of painting played a vital role in the visual culture of combatant nations. The public's appetite for the kind of up-close frontline action that snapshots and film footage could not yet provide resulted in a robust market for drawn or painted battle scenes. Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: first, many governments and communities invested in freestanding panoramas or cycloramas that depicted the war or featured murals as components of even larger commemorative projects, and second, certain paintings, whether created by official artists or simply by those moved to do so, emerged over time as visual touchstones in the public's understanding of the war. Portraits of Remembrance: Painting, Memory, and the First World War examines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale, including modernist masterpieces and crowd-pleasing expressions of sentimentality or spiritualism. Contributors raise a host of topics in connection with the volume's overarching focus on memory, including national identity, constructions of gender, historical accuracy, issues of aesthetic taste, and connections between painting and literature, as well as other cultural forms.
The course of events of the Great War has been told many times, spurred by an endless desire to understand 'the war to end all wars'. However, this book moves beyond military narrative to offer a much fuller analysis of of the conflict's strategic, political, economic, social and cultural impact. Starting with the context and origins of the war, including assasination, misunderstanding and differing national war aims, it then covers the treacherous course of the conflict and its social consequences for both soldiers and civilians, for science and technology, for national politics and for pan-European revolution. The war left a long-term legacy for victors and vanquished alike. It created new frontiers, changed the balance of power and influenced the arts, national memory and political thought. The reach of this acount is global, showing how a conflict among European powers came to involve their colonial empires, and embraced Japan, China, the Ottoman Empire, Latin America and the United States.
A Companion to the First World War brings together an international team of distinguished historians who provide a series of original and thought-provoking essays on one of the most devastating events in modern history. Comprises 38 essays by leading scholars who analyze the current state of historical scholarship on the First World War Provides extensive coverage spanning the pre-war period, the military conflict, social, economic, political, and cultural developments, and the war's legacy Offers original perspectives on themes as diverse as strategy and tactics, war crimes, science and technology, and the arts Selected as a 2011 Outstanding Academic Title by CHOICE
These laborers, mostly illiterate peasants from north China, came voluntarily and worked in Europe longer than any other group. Xu explores China's reasons for sending its citizens to help the British and French (and, later, the Americans), the backgrounds of the workers, their difficult transit to Europe---across the Pacific, through Canada, and over the Atlantic---and their experiences with the Allied armies. It was the first encounter with Westerners for most of these Chinese peasants, and Xu also considers the story from their perspective: how they understood this distant war, the racism and suspicion they faced, and their attempts to hold on to their culture so far from home. --
'A groundbreaking and important book that will surely reframe our understanding of the Great War' David Lammy 'A genuinely groundbreaking piece of research' BBC History 'Meticulously researched and beautifully written' Military History Monthly In a sweeping narrative, David Olusoga describes how Europe's Great War became the World's War – a multi-racial, multi-national struggle, fought in Africa and Asia as well as in Europe, which pulled in men and resources from across the globe. Throughout, he exposes the complex, shocking paraphernalia of the era's racial obsessions, which dictated which men would serve, how they would serve, and to what degree they would suffer. As vivid and moving as it is revelatory and authoritative, The World's War explores the experiences and sacrifices of four million non-European, non-white people whose stories have remained too long in the shadows.
Forgotten Veterans, Invisible Memorials by Allison S. Finkelstein Pdf
Investigates the groundbreaking role American women played in commemorating those who served and sacrificed in World War I In Forgotten Veterans, Invisible Memorials: How American Women Commemorated the Great War, 1917–1945 Allison S. Finkelstein argues that American women activists considered their own community service and veteran advocacy to be forms of commemoration just as significant and effective as other, more traditional forms of commemoration such as memorials. Finkelstein employs the term “veteranism” to describe these women’s overarching philosophy that supporting, aiding, and caring for those who served needed to be a chief concern of American citizens, civic groups, and the government in the war’s aftermath. However, these women did not express their views solely through their support for veterans of a military service narrowly defined as a group predominantly composed of men and just a few women. Rather, they defined anyone who served or sacrificed during the war, including women like themselves, as veterans. These women veteranists believed that memorialization projects that centered on the people who served and sacrificed was the most appropriate type of postwar commemoration. They passionately advocated for memorials that could help living veterans and the families of deceased service members at a time when postwar monument construction surged at home and abroad. Finkelstein argues that by rejecting or adapting traditional monuments or by embracing aspects of the living memorial building movement, female veteranists placed the plight of all veterans at the center of their commemoration efforts. Their projects included diverse acts of service and advocacy on behalf of people they considered veterans and their families as they pushed to infuse American memorial traditions with their philosophy. In doing so, these women pioneered a relatively new form of commemoration that impacted American practices of remembrance, encouraging Americans to rethink their approach and provided new definitions of what constitutes a memorial. In the process, they shifted the course of American practices, even though their memorialization methods did not achieve the widespread acceptance they had hoped it would. Meticulously researched, Forgotten Veterans, Invisible Memorials utilizes little-studied sources and reinterprets more familiar ones. In addition to the words and records of the women themselves, Finkelstein analyzes cultural landscapes and ephemeral projects to reconstruct the evidence of their influence. Readers will come away with a better understanding of how American women supported the military from outside its ranks before they could fully serve from within, principally through action-based methods of commemoration that remain all the more relevant today.
Cities have always had a key role in warfare, as strategic centres which periodically suffered the horrors of siege and sack. With industrialisation, however, they were drawn ever closer to the front line and to direct and continuous experience of fighting and destruction. 'Cities into Battlefields: Metropolitan Scenarios, Experiences and Commemorations of Total War' explores the cultural imprint of military conflict on metropolises world wide in the era of the First and Second World Wars. It brings together cultural and urban historians and scholars of related disciplines including anthropology, education, and geography. The volume examines how the emergence of 'total' warfare blurred the boundaries between home and front and transformed cities into battlefields. The logic of total mobilisation turned the social and cultural fabric of urban life upside down. Arranged so as to bring out the evolution of experience over time, the essays explore Eastern and Central Europe, Britain and Western Europe, and Japan and address several key themes. The first strand - scenarios - explores the apocalyptic imagination of intellectuals and experts in peacetime. Artists and writers anticipating doom presented the coming upheaval as an urban event - a commonplace of late-Victorian and post-1918 pessimism. On a different plane, civil servants and engineers materialised visions of urban chaos and devised countermeasures in case of emergencies. Both groups helped to furnish a repertoire of cultural forms which channelled and encoded the actual experience of war. The second strand deals with metropolitan experiences, notably mobilisation, deprivation, and destruction in wartime. Ruins and the repercussions of war is the central theme of the third strand - commemorations - which investigates post-war efforts to remember and forget. The quest for meaningful forms of commemoration was hard enough after the First World War; the Second World War, which saw whole cities disappear in flames, raised the possibility that the limits of representation had been reached. The central contention of this volume - that total war in the twentieth century has a significant but often overlooked metropolitan dimension - is fully addressed, thereby filling a conspicuous gap in the currently available literature.
Author : Wendy N. E. Ikemoto Publisher : Taylor & Francis Page : 200 pages File Size : 54,7 Mb Release : 2017-07-06 Category : Art ISBN : 9781351668620
Antebellum American Pendant Paintings by Wendy N. E. Ikemoto Pdf
Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor’s Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole’s Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale’s Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.
This work is a detailed study of how Americans in the 1920s and 1930s interpreted and remembered the First World War. Steven Trout asserts that from the beginning American memory of the war was fractured and unsettled, more a matter of competing sets of collective memories—each set with its own spokespeople— than a unified body of myth. The members of the American Legion remembered the war as a time of assimilation and national harmony. However, African Americans and radicalized whites recalled a very different war. And so did many of the nation’s writers, filmmakers, and painters. Trout studies a wide range of cultural products for their implications concerning the legacy of the war: John Dos Passos’s novels Three Soldiers and 1919, Willa Cather’s One of Ours, William March’s Company K, and Laurence Stallings’s Plumes; paintings by Harvey Dunn, Horace Pippin, and John Steuart Curry; portrayals of the war in The American Legion Weekly and The American Legion Monthly; war memorials and public monuments like the Tomb of the Unknown Soldier; and commemorative products such as the twelve-inch tall Spirit of the American Doughboy statue. Trout argues that American memory of World War I was not only confused and contradictory during the ‘20s and ‘30s, but confused and contradictory in ways that accommodated affirmative interpretations of modern warfare and military service. Somewhat in the face of conventional wisdom, Trout shows that World War I did not destroy the glamour of war for all, or even most, Americans and enhanced it for many.
The Floating University sheds light on a story of optimism and imperialist ambition in the 1920s. In 1926, New York University professor James E. Lough—an educational reformer with big dreams—embarked on a bold experiment he called the Floating University. Lough believed that taking five hundred American college students around the globe by ship would not only make them better citizens of the world but would demonstrate a model for responsible and productive education amid the unprecedented dangers, new technologies, and social upheavals of the post–World War I world. But the Floating University’s maiden voyage was also its last: when the ship and its passengers returned home, the project was branded a failure—the antics of students in hotel bars and port city back alleys that received worldwide press coverage were judged incompatible with educational attainment, and Lough was fired and even put under investigation by the State Department. In her new book, Tamson Pietsch excavates a rich and meaningful picture of Lough’s grand ambition, its origins, and how it reveals an early-twentieth-century America increasingly defined both by its imperialism and the professionalization of its higher education system. As Pietsch argues, this voyage—powered by an internationalist worldview—traced the expanding tentacles of US power, even as it tried to model a new kind of experiential education. She shows that this apparent educational failure actually exposes a much larger contest over what kind of knowledge should underpin university authority, one in which direct personal experience came into conflict with academic expertise. After a journey that included stops at nearly fifty international ports and visits with figures ranging from Mussolini to Gandhi, what the students aboard the Floating University brought home was not so much knowledge of the greater world as a demonstration of their nation’s rapidly growing imperial power.
Author : Chad L. Williams Publisher : Univ of North Carolina Press Page : 472 pages File Size : 40,5 Mb Release : 2010-09-20 Category : Social Science ISBN : 0807899356
For the 380,000 African American soldiers who fought in World War I, Woodrow Wilson's charge to make the world "safe for democracy" carried life-or-death meaning. Chad L. Williams reveals the central role of African American soldiers in the global conflict and how they, along with race activists and ordinary citizens, committed to fighting for democracy at home and beyond. Using a diverse range of sources, Torchbearers of Democracy reclaims the legacy of African American soldiers and veterans and connects their history to issues such as the obligations of citizenship, combat and labor, diaspora and internationalism, homecoming and racial violence, "New Negro" militancy, and African American memories of the war.
Essays by Jay Winter, Jeffrey T. Schnapp, Jennifer D. Keene, and others reveal the centrality of visual media, particularly the poster, within the specific national contexts of Britain, France, Germany, Russia, and the United States during World War I.℗¡Ultimately, posters were not merely representations of popular understanding of the war, but instruments influencing the.