Duff Cooper and Western European union, 1944–47.

1985 ◽  
Vol 11 (1) ◽  
pp. 53-64 ◽  
Author(s):  
John Charmley
Keyword(s):  
European Union ◽  
Fair Weather ◽  
Boer War ◽  
Foreign Office ◽  
History Of ◽  
Post War ◽  
First Time ◽  
The Great War ◽  
The City ◽  
De Gaulle

Duff Cooper fell in love with France during his first visit to Paris in 1900 and he remained faithful to her for the rest of his life. The fact that Paris in 1900 was deeply Anglophobic, because of the Boer war, had no effect upon Cooper's feelings for the city. His affection for France was no fair-weather plant. It was deepened by the experience of nine months in the trenches in the Great War and was, thereafter, proof against all discouragements. As a young Foreign Office clerk in 1923 he did not join in the fashionable disparagement of France inspired by the French occupation of the Ruhr. As Minister of War from 1935 to 1937 he fought for the creation of a British army which would be large enough to play a continental role and later, as First Lord of the Admiralty, he was a leading advocate of Anglo-French co-operation. After his resignation in protest against the Munich agreement, Cooper spent his time fostering the idea of an Anglo-French alliance as the corner-stone of a European combination against Hitler's Germany. His love for France even survived the fall of France in June 1940 and, at a time when many francophiles were repenting of their former faith. Cooper renewed his pledges of devotion. Speaking on the wireless as Minister of Information on the eve of the Franco-German armistice, he declared his faith that France would rise again: ‘This is not the first time that a great nation has been defeated and has recovered from defeat. They have fought with heroism against superior numbers and superior weapons; their losses have been terrible.’ At the Ministry of Information Cooper was one of the earliest patrons of General de Gaulle and his Free French Movement. Given such a long history of Francophilia what could have been more natural than that he should have been appointed as Britain's first post-war ambassador to France. It was not, however, quite so simple as that.

scholarly journals Obituary notices of fellows deceased

1928 ◽  
Vol 103 (727) ◽  
Keyword(s):  
British Empire ◽  
Medical Practitioner ◽  
Considerable Part ◽  
Boer War ◽  
Short Account ◽  
Active Life ◽  
History Of ◽  
The Great War ◽  
The City ◽  
The Town

Sir Arthur Shipley was the second son of Alexander Shipley, of the Hall, Datchet, who died in 1896. He was born at Walton-on-Thames on March 10, 1861, and died at the Master's Lodge of Christ's College, Cambridge, on September 22, 1927. His health had for some time been failing, but it was hoped that a visit to Trinidad, undertaken at the beginning of 1927, might re-establish it. This hope was not realised, and, after his return early in March, his condition continued to give his friends anxiety. This was accentuated during Easter week by an attack which for some forty-eight hours seemed likely to prove fatal. He made an unexpected and really wonderful recovery, and for a considerable part of May and June was able to lead an active life, attending to business and taking daily walks, both in the College grounds and in the town. The improvement did not continue, however, and although he was able to spend three weeks at Folkestone towards the end of July he was going downhill, with fluctuations, throughout the summer. The final illness began to show itself towards the end of August. Before his death he was contemplating a short account of the influence of Biological Science on the spread of Colonisation, to have been published in the ‘Cambridge History of the British Empire’, of which Dr. J. Holland Rose is one of the editors; but this essay does not appear to have been begun. Arthur Shipley was one of several children, of whom two sisters survive— Mrs. A. Hutchinson, wife of the present Professor of Mineralogy at Cambridge and Master of Pembroke College, and another who married Dr. H. M. Stewart, a well-known medical practitioner in Dulwich and Senior Surgeon of the South-Eastern Hospital for Children. His elder brother, Sir William Shipley (died 1922), was three times Mayor of Windsor, and his younger brother Reginald (died 1924) went to the Boer War as a captain of the City Imperial Volunteers, served as colonel in the Great War, and received the honour of C. M. G.

Charles de Gaulle and European Community

2020 ◽  
Vol 2020 (10-3) ◽  
pp. 70-81
Author(s):  
David Ramiro Troitino ◽  
Tanel Kerikmae ◽  
Olga Shumilo
Keyword(s):  
World War Ii ◽  
European Community ◽  
World War ◽  
Charles De Gaulle ◽  
The United Kingdom ◽  
History Of ◽  
The Common ◽  
Post War ◽  
De Gaulle

This article highlights the role of Charles de Gaulle in the history of united post-war Europe, his approaches to the internal and foreign French policies, also vetoing the membership of the United Kingdom in the European Community. The authors describe the emergence of De Gaulle as a politician, his uneasy relationship with Roosevelt and Churchill during World War II, also the roots of developing a “nationalistic” approach to regional policy after the end of the war. The article also considers the emergence of the Common Agricultural Policy (hereinafter - CAP), one of Charles de Gaulle’s biggest achievements in foreign policy, and the reasons for the Fouchet Plan defeat.

Reconstituting the International, 1918–1923

2017 ◽  
Author(s):  
Talbot C. Imlay
Keyword(s):  
Seismic Events ◽  
Great War ◽  
Bolshevik Revolution ◽  
Meaning And Purpose ◽  
Post War ◽  
The Impact ◽  
First Time ◽  
The Great War ◽  
Do So ◽  
Lengthy Process

This chapter examines the post-war efforts of European socialists to reconstitute the Socialist International. Initial efforts to cooperate culminated in an international socialist conference in Berne in February 1919 at which socialists from the two wartime camps met for the first time. In the end, however, it would take four years to reconstitute the International with the creation of the Labour and Socialist International (LSI) in 1923. That it took so long to do so is a testimony to the impact of the Great War and to the Bolshevik revolution. Together, these two seismic events compelled socialists to reconsider the meaning and purpose of socialism. The search for answers sparked prolonged debates between and within the major parties, profoundly reconfiguring the pre-war world of European socialism. One prominent stake in this lengthy process, moreover, was the nature of socialist internationalism—both its content and its functioning.

“Satisfied with the Ruins of Berlin”: The German Capital’s Image in Soviet Graphics of 1945

2021 ◽  
Vol 17 (6) ◽  
pp. 564-575
Author(s):  
Irina I. Rutsinskaya
Keyword(s):  
Visual Art ◽  
Visual Image ◽  
Point Of View ◽  
The Public ◽  
Historical Justice ◽  
Public Consciousness ◽  
Post War ◽  
The One ◽  
First Time ◽  
The City

An artist who finds themselves in the last days of a war in the enemy’s defeated capital may not just fix its objects dispassionately. Many factors influence the selection and depicturing manner of the objects. One of the factors is satisfaction from the accomplished retribution, awareness of the historical justice triumph. Researchers think such reactions are inevitable. The article offers to consider from this point of view the drawings created by Soviet artists in Berlin in the spring and summer of 1945. Such an analysis of the German capital’s visual image is conducted for the first time. It shows that the above reactions were not the only ones. The graphics of the first post-war days no less clearly and consistently express other feelings and intentions of their authors: the desire to accurately document and fix the image of the city and some of its structures in history, the happiness from the silence of peace, and the simple interest in the monuments of European art.The article examines Berlin scenes as evidences of the transition from front-line graphics focused on the visual recording of the war traces to peacetime graphics; from documentary — to artistry; from the worldview of a person at war — to the one of a person who lived to victory. In this approach, it has been important to consider the graphic images of Berlin in unity with the diary and memoir texts belonging to both artists and ordinary soldiers who participated in the storming of Berlin. The combination of verbal and visual sources helps to present the German capital’s image that existed in the public consciousness, as well as the specificity of its representation by means of visual art.

“Why Can't I Have the Vote?”

2017 ◽  
pp. 117-144
Author(s):  
Argha Kumar Banerjee
Keyword(s):  
Early Years ◽  
Time Period ◽  
The First World War ◽  
Women's Culture ◽  
History Of ◽  
Post War ◽  
Political Differences ◽  
Political Conviction ◽  
The Great War ◽  
First World

The First World War came at a crucial time when British women's suffrage campaigns were gathering momentum throughout the country. The culmination of the movement during these years, in spite of various social and political differences, enhanced female solidarity and political consciousness to a considerable degree. Hectic political activism also witnessed a phenomenal rise and propagation of an exclusive and extraordinary women's culture. The onset of the Great War however, struck a fatal blow to such an unprecedented female camaraderie and political conviction. My proposed chapter traces and gathers evidences in women's verse written during this time period extending from the pre-war years of the suffrage movement to the early years of the post-war demobilisation correlating them with some of the major developments in women's socio-political history of the period.

Unmaking Democratic Europe

2020 ◽  
pp. 294-312
Author(s):  
Martin Conway
Keyword(s):  
Twentieth Century ◽  
European Union ◽  
Large Degree ◽  
Global Capitalism ◽  
The Other ◽  
Democratic Politics ◽  
The European Union ◽  
Institutional Structures ◽  
Post War ◽  
First Time

This concluding chapter describes how the Europe of the 1990s was for the first time in its history both united and democratic. But the sudden turning point of 1989 lacked something of the global significance of the other European post-war moments of the twentieth century in 1918 and 1945. Europe no longer stood at the centre of its own history, as demonstrated by the ineffective response of the European Union to the violent disintegration of Yugoslavia during the 1990s, and by the divisions that emerged among European states during the American-led wars in Iraq and Afghanistan. In economic terms, too, the ascendancy of a new global capitalism obliged Europe to accept the economic weather generated by more distant or universal forces. In addition, however, Europe had lost confidence in the democratic model that it had developed and, to a large degree, patented. The more fractured and fluid politics that had emerged in Europe by the end of the twentieth century might be more appropriately described as post-democracy: a politics still conducted through the language and institutional structures of democracy, but which lacked much of the former substance of democratic politics.

Dodds and Educational Policy for a Defeated Germany

2019 ◽  
pp. 244-263
Author(s):  
David Phillips
Keyword(s):  
Educational Policy ◽  
History Of Education ◽  
The State ◽  
University Teachers ◽  
Nazi Ideology ◽  
Foreign Office ◽  
History Of ◽  
The Subject ◽  
Post War ◽  
German Universities

This chapter examines the work of E.R. Dodds during preparations for the post-war occupation of Germany. In 1940, Dodds joined Arnold Toynbee’s ‘Foreign Research and Press Service’, which had moved to Oxford, and he began to work on the history of education in Germany. Arnold’s group eventually became the Foreign Office Research Department (FORD), and Dodds produced for it lengthy memoranda to inform others working on the subject. He also lectured at many meetings and published a pamphlet, Minds in the Making, a study of the hollowness and barbarity of Nazi ideology and its effects on education. For FORD he also chaired committees on re-education and on textbook production. In 1947, he led a delegation to Germany of the Association of University Teachers, which produced a damning report on the state of German universities. He proved to be one of the most significant people involved in shaping educational policy as it developed in the British Zone of Germany.

Fighting for the Empire

2019 ◽  
pp. 16-42
Author(s):  
Dónal Hassett
Keyword(s):  
Military Service ◽  
Comparative Approach ◽  
The Political ◽  
Great War ◽  
Colonial History ◽  
Key Concepts ◽  
History Of ◽  
Post War ◽  
The Great War ◽  
First World

This chapter explores the history of military service in Algeria and across the colonial world before and during the Great War. It introduces the reader to key concepts from the fields of colonial history and First World War studies that are crucial to understanding the political legacies of the entanglement of the colonies and, especially, Algeria with the Great War. Taking a comparative approach, it explains the range of legal categories that underpinned colonial rule within the different empires and considers how the rights and responsibilities they implied were connected to and altered by military service. The chapter also examines the variety of attitudes toward the use of colonial soldiers in the different imperial polities and asks how these influenced the expectations of post-war reform in the colonies.

‘A new image of the living theatre’: the Genesis and Design of the Belgrade Theatre, Coventry, 1948–58

2011 ◽  
Vol 54 ◽  
pp. 347-382 ◽  
Author(s):  
Alistair Fair
Keyword(s):  
Modern Architecture ◽  
City Council ◽  
Local Context ◽  
Eastern European ◽  
The Arts ◽  
Living Theatre ◽  
History Of ◽  
New Ideas ◽  
Post War ◽  
The City

When it opened in March 1958, the Belgrade Theatre, Coventry, was the first new professional theatre to be constructed in Britain for nearly two decades and the country’s first all-new civic theatre (Figs 1 and 2). Financially supported by Coventry City Council and designed in the City Architect’s office, it included a 910-seat auditorium with associated backstage facilities. Two features of the building were especially innovative, namely its extensive public foyers and the provision of a number of small flats for actors. The theatre, whose name commemorated a major gift of timber to the city of Coventry from the Yugoslav authorities, was regarded as the herald of a new age and indeed marked the beginning of a boom in British theatre construction which lasted until the late 1970s. Yet its architecture has hitherto been little considered by historians of theatre, while accounts of post-war Coventry have instead focused on other topics: the city’s politics; its replanning after severe wartime bombing; and the architecture of its new cathedral, designed by Basil Spence in 1950 and executed amidst international interest as a symbol of the city’s post-war recovery. However, the Belgrade also attracted considerable attention when it opened. The Observer’s drama critic, Kenneth Tynan, was especially effusive, asking ‘in what tranced moment did the City Council decided to spend £220,000 on a bauble as superfluous as a civic playhouse?’ For him, it was ‘one of the great decisions in the history of local government’. This article considers the architectural implications of that ‘great decision’. The main design moves are charted and related to the local context, in which the Belgrade was intended to function as a civic and community focus. In this respect, the Labour Party councillors’ wish to become involved in housing the arts reflected prevailing local and national party philosophy but was possibly amplified by knowledge of eastern European authorities’ involvement in accommodating and subsidizing theatre. In addition, close examination of the Belgrade’s external design, foyers and auditorium illuminates a number of broader debates in the architectural history of the period. The auditorium, for example, reveals something of the extent to which Modern architecture could be informed by precedent. Furthermore, the terms in which the building was received are also significant. Tynan commented: ‘enter most theatres, and you enter the gilded cupidacious past. Enter this one, and you are surrounded by the future’. Although it was perhaps inevitable that the Belgrade was thought to be unlike older theatres, given that there had been a two-decade hiatus in theatre-building, the resulting contrast was nonetheless rather appropriate, allowing the building to connote new ideas whilst also permitting us to read the Belgrade in terms of contemporary debates about the nature of the ‘modern monument’.

scholarly journals It’s All in the Reading

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 19
Author(s):  
Déirdre Kelly
Keyword(s):  
Contemporary Art ◽  
Mass Production ◽  
Large Scale ◽  
Book Production ◽  
Art Practice ◽  
The Arts ◽  
History Of ◽  
First Time ◽  
The City

It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.

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