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Charles Delverts diary records his career as a front-line officer in the French army fighting the Germans during the First World War. It is one of the classic accounts of the war in French or indeed in any other language, and it has not been translated into English before. In precise, graphic detail he sets down his wartime experiences and those of his men. He describes the relentless emotional and physical strain of active service and the extraordinary courage and endurance required in battle. His account is essential reading for anyone who is keen to gain a direct insight into the Great War from the French soldier's point of view, and it bears comparison with the best-known English and German memoirs and journals of the Great War.
Looks at the origins and impact of World War I, discusses the premiere of Stravinsky's ballet, and analyzes public opinion of the period.
A major new account of the role and performance of the French army in the First World War.
The contrast between battlefield and home front, soldier and civilian was the basis for memory and collective gratitude. Postwar commemoration, however, also grew directly out of the long and agonized search for the remains of hundreds of thousands of missing soldiers, and the sometimes contentious debates over where to bury them. For this reason, the local monument, with its inscribed list of names and its functional resemblance to tombstones, emerged as the focal point of commemorative practice. Sherman traces every step in the process of monument building as he analyzes commemoration's competing goals--to pay tribute to the dead, to console the bereaved, and to incorporate mourners' individual memories into a larger political discourse."--Pub. description.
“Sumner’s brilliant window onto the French army is a book I cannot recommend highly enough . . . Full of detail and mixed with vivid personal accounts.”—War History Online This graphic collection of first-hand accounts sheds new light on the experiences of the French army during the Great War. It reveals in authentic detail the perceptions and emotions of soldiers and civilians who were caught up in the most destructive conflict the world had ever seen. Their testimony gives a striking insight into the mentality of the troops and their experience of combat, their emotional ties to their relatives at home, their opinions about their commanders and their fellow soldiers, the appalling ...
On 26 August 1914 the world-famous university library in the Belgian town of Louvain was looted and destroyed by German troops. The international community reacted in horror - 'Holocaust at Louvain' proclaimed the Daily Mail - and the behaviour of the Germans at Louvain came to be seen as the beginning of a different style of war, without the rules that had governed military conflict up to that point - a more total war, in which enemy civilians and their entire culture were now 'legitimate' targets. Yet the destruction at Louvain was simply one symbolic moment in a wider wave of cultural destruction and mass killing that swept Europe in the era of the First World War. Using a wide range of examples and eye-witness accounts from across Europe at this time, award-winning historian Alan Kramer paints a picture of an entire continent plunging into a chilling new world of mass mobilization, total warfare, and the celebration of nationalist or ethnic violence - often directed expressly at the enemy's civilian population.
Despite the numerous vicious conflicts that scarred the twentieth century, the horrors of the Western Front continue to exercise a particularly strong hold on the modern imagination. The unprecedented scale and mechanization of the war changed forever the way suffering and dying were perceived and challenged notions of what the nations could reasonably expect of their military. Examining experiences of the Western Front, this book looks at the life of a soldier from the moment he marched into battle until he was buried. In five chapters - Battle, Body, Mind, Aid, Death - it describes and analyzes the physical and mental hardship of the men who fought on a front that stretched from the Belgia...
Until now, Orientalist art—exemplified by paintings of harems, slave markets, or bazaars—has predominantly been understood to reflect Western interpretations and to perpetuate reductive, often demeaning stereotypes of the exotic East. Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive dif...