“Little Goodies in His Kit Bag”: British Servicemen, Masculinity, and Feeding the Home Front in World War II

2021 ◽  
pp. 1-15
Author(s):  
Kelly A. Spring
Keyword(s):  
2008 ◽  
Vol 48 (4) ◽  
pp. 534-564 ◽  
Author(s):  
Charles Dorn

The fairer sex takes over and the campus becomes a woman's world. They step in and fill the shoes of the departing men and they reveal a wealth of undiscovered ability. The fate of the A.S.U.C. [Associated Students of the University of California] and its activities rests in their hands and they assume the responsibility of their new tasks with sincerity and confidence. —Blue and Gold, University of California, Berkeley, 1943During World War II, female students at the University of California, Berkeley—then the most populous undergraduate campus in American higher education—made significant advances in collegiate life. In growing numbers, women enrolled in male-dominated academic programs, including mathematics, chemistry, and engineering, as they prepared for home-front employment in fields traditionally closed to them. Women also effectively opposed gendered restrictions on extracurricular participation, filling for the first time such influential campus leadership positions as the presidency of Berkeley's student government and editorship of the university's student newspaper. Female students at Berkeley also furthered activist causes during the war years, with the University Young Women's Christian Association (YWCA) serving as one of the most popular outlets for their political engagement. Historically rooted in a mission of Christian fellowship, by the 1940s the University YWCA held progressive positions on many of the nation's central social, political, and economic issues. Throughout the war years, women dedicated to promoting civil liberties, racial equality, and international understanding led the organization in its response to two of the most egregious civil rights violations in U.S. history: racial segregation and Japanese internment.


Author(s):  
Bronwyn Jaques

In recent years, Canadian peacekeeping and UN involvement has assumed a place of high regard, reverence, and veneration, often at the expense of Canada’s military past. While its glorification is in many ways justified, the mythology surrounding Canada’s peacekeeping role has compelled many Canadians to view Canada solely as a peacekeeping nation. As a result, peacekeeping has become the “touchstone of our identity.” This mythology distorts the reality of Canadian military action to the point where Canadian veterans of NATO conflicts are often forgotten and it ignores the fact that many of the first peacekeepers left Canada “virtually unnoticed,” without the recognition and support of their nation. The mythology of peacekeeping misrepresents Canadian military conflicts and ignores that, in spite of the characterization of peacekeepers as nonviolent and unbiased actors, the majority of them were first and foremost Canadian soldiers, many of whom veterans of World War II. For the soldiers who came of age on the battlefields of Europe, the role of peacekeeping was a frustrating and politically charged experience, whereby they held no power and they felt they made very little positive impact. Despite the virtually universal glorification and celebration of peacekeepers in recent years, investigation of the “Cold War Home Front” demonstrates the difficulties faced by Canadian NATO soldiers, U.N. peacekeepers and their families in a society that wanted to move beyond the years of struggle, pain and sacrifice in war time and had little sympathy for the men and women who ‘chose’ to leave their families to serve in wars their nation was not fighting.


Author(s):  
Robert L. McLaughlin ◽  
Sally E. Parry

The American theater was not ignorant of the developments brought on by World War II, and actively addressed and debated timely, controversial topics for the duration of the war, including neutrality and isolationism, racism and genocide, and heroism and battle fatigue. Productions such as Watch on the Rhine (1941), The Moon is Down (1942), Tomorrow the World (1943), and A Bell for Adano (1944) encouraged public discussion of the war's impact on daily life and raised critical questions about the conflict well before other forms of popular media. American drama of the 1940s is frequently overlooked, but the plays performed during this eventful decade provide a picture of the rich and complex experience of living in the United States during the war years. McLaughlin and Parry's work fills a significant gap in the history of theater and popular culture, showing that American society was more divided and less idealistic than the received histories of the WWII home front and the entertainment industry recognize.


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