Pearl   James , editor. Picture This: World War I Posters and Visual Culture . (Studies in War, Society, and the Military.) Lincoln : University of Nebraska Press . 2009 . Pp. xi, 398. $30.00.

2010 ◽  
Vol 115 (2) ◽  
pp. 647-647
Keyword(s):  
World War I ◽  
Visual Culture ◽  
World War ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
The Military ◽  
Lincoln University

Cinema's Military Industrial Complex

2018 ◽  
Keyword(s):  
World War Ii ◽  
World War I ◽  
Mobile Technologies ◽  
Industrial Complex ◽  
Physical And Mental Health ◽  
World War ◽  
Film Exhibition ◽  
Record Keeping ◽  
Military Industrial Complex ◽  
The Military

Cinema’s Military Industrial Complex examines how the American military has used cinema and related visual, sonic, and mobile technologies to further its varied aims. The essays in this book address the way cinema was put to work for purposes of training, orientation, record keeping, internal and external communication, propaganda, research and development, tactical analysis, surveillance, physical and mental health, recreation, and morale. The contributors examine the technologies and types of films that were produced and used in collaboration among the military, film industry, and technology manufacturers. The essays also explore the goals of the American state, which deployed the military and its unique modes of filmmaking, film exhibition, and film viewing to various ends. Together, the essays reveal the military’s deep investment in cinema, which began around World War I, expanded during World War II, continued during the Cold War (including wars in Korea and Vietnam), and still continues in the ongoing War on Terror.

he designs of the Russian war memorials from the World War I in the Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia: Ideas, symbols, realization

2020 ◽  
pp. 204-227
Author(s):  
Milana Živanović ◽  
Keyword(s):  
World War I ◽  
World War ◽  
War Memorials ◽  
The World ◽  
The Will ◽  
Kingdom Of Yugoslavia ◽  
The Military

The paper deals with the actions undertaken by the Russian emigration aimed to commemorate the Russian soldiers who have been killed or died during the World War I in the Kingdom of Serbs, Croats and Slovenes / Kingdom of Yugoslavia. The focus is on the erection of the memorials dedicated to the Russian soldiers. During the World War I the Russian soldiers and war prisoners were buried on the military plots in the local cemeteries or on the locations of their death. However, over the years the conditions of their graves have declined. That fact along with the will to honorably mark the locations of their burial places have become a catalyst for the actions undertaken by the Russian émigré, which have begun to arrive in the Kingdom of Serbs, Croats and Slovenes (Kingdom of SCS) starting from the 1919. Almost at once after their arrival to the Kingdom of SCS, the Russian refugees conducted the actions aimed at improving the conditions of the graves were in and at erecting memorials. Russian architects designed the monuments. As a result, several monuments were erected in the country, including one in the capital.

Transition of the Rusins of Austria-Hungary to the bosom of Orthodoxy in the end of 19th - beginning of 20th century: Lost perspective for Russia

2020 ◽  
Vol 2020 (10-4) ◽  
pp. 196-205
Author(s):  
Vadim Mikhailov ◽  
Konstantin Losev
Keyword(s):  
World War I ◽  
Cultural Identity ◽  
Russian Empire ◽  
Orthodox Church ◽  
Negative Consequences ◽  
World War ◽  
The Russian Empire ◽  
The 19Th Century ◽  
The Military ◽  
Church Policy

The article is devoted to the issue of Church policy in relation to the Rusyn population of Austria-Hungary and the Russian Empire. In the second half of the 19th century, the policy of the Austro-Hungarian administration towards the Rusyn Uniate population of the Empire underwent changes. Russia’s victories in the wars of 1849 and 1877-1878 aroused the desire of the educated part of the Rusyns to return to the bosom of the Orthodox Church. Nevertheless, even during the World War I, when the Russian army captured part of the territories inhabited by Rusyns, the military and officials of the Russian Empire were too cautious about the issue of converting Uniates to Orthodoxy, which had obvious negative consequences both for the Rusyns, who were forced to choose a Ukrainophile orientation to protect their national and cultural identity, and for the future of Russia as the leader of the Slavic and Orthodox world.

scholarly journals History of the Military Nurse Corps and the 1918 Influenza Pandemic: Lessons for the 2019 Coronavirus Pandemic

2020 ◽  
Author(s):  
Laura A Talbot ◽  
E Jeffrey Metter ◽  
Heather King
Keyword(s):  
World War I ◽  
Patient Outcomes ◽  
Influenza Pandemic ◽  
Treatment Options ◽  
Primary Therapy ◽  
World War ◽  
Military Nursing ◽  
History Of ◽  
1918 Influenza ◽  
The Military

ABSTRACT During World War I, the 1918 influenza pandemic struck the fatigued combat troops serving on the Western Front. Medical treatment options were limited; thus, skilled military nursing care was the primary therapy and the best indicator of patient outcomes. This article examines the military nursing’s role in the care of the soldiers during the 1918 flu pandemic and compares this to the 2019 coronavirus pandemic.

scholarly journals A descriptive mode in art and the issue of a representation

2020 ◽  
pp. 11-17
Author(s):  
O. V. Bezzubova ◽  
Keyword(s):  
Visual Culture ◽  
Art History ◽  
American Art ◽  
Pictorial Representation ◽  
Research Approach ◽  
Work Of Art ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Wide Range ◽  
New Research

The predominant for XX century art studies tradition was seriously reconsidered during the 1970– 1980s during the so called «new art history» development, when many received concepts were called into question. A notion of descriptiv e mode of painting proposed by an American art historian S. Alpers is of great interest in this context because it allows us to revise the homogeneous development of European art. While elaborating the concept of descriptive mode of painting, Alpers took under consideration a wide range of historical and cultural sources thus contributed to the new research approach nowadays known under the title of visual culture studies. It is not less important that she also focused on the issue of pictorial representation, which inquires the essence of the work of art.

scholarly journals Temptation, Resistance, and Art Objects: On the Lack of Material Theory within Art History before the Material Turn

2019 ◽  
pp. 5-23
Author(s):  
Charolotta Krispinsson
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Scientific Discipline ◽  
Self Control ◽  
Simple Fact ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Art Historians ◽  
History Of ◽  
Material Turn

Niccolò di Pietro Gerini's painting “The Temptation of Saint Anthony” (1390-1400) serves as a point of departure for this essay. It depicts Saint Anthony during a lapse of self-control as he attempts to resist an alluring mound of gold. Since the mound is in fact made of genuine gold leaves applied to the painting's surface, it works both as a representation of temptation as well as an object of desire affecting the beholder. The aim of this essay is to explore different approaches to materiality before the material turn within the art history discipline by examining two opposing directions within the writing and practice of art history:  the tradition of connoisseurship; and the critique of the fetish within the theoretical apparatus of new art history and visual culture studies of the 1980s and 90s. As an expression of positivism within art history, it is argued that connoisseurship be considered within the context of its empirical practices dealing with objects. What is commonly described as the connoisseur's “taste” or “love for art” would then be just another way to describe the intimate relationship formed between art historians and the very objects under their scrutiny. More than other humanist disciplines, art history is, with the possible exception of archaeology, an object-based discipline. It is empirically anchored in the unruly, deep sea of objects commonly known as the history of art. Still, there has been a lack of in-depth theoretical reflection on the materiality of artworks in the writings of art historians before the material turn. The question however, is not ifthis is so, but rather, why?In this essay, it is suggested that the art history discipline has been marked by a complicated love-hate relationship with the materiality of which the very objects of study, more often than not, are made of; like Saint Anthony who is both attracted to and repelled by the shapeless mass of gold that Lucifer tempts him with. While connoisseurship represents attraction, resistance to the allure of objects can be traced to the habitual critique of fetishism of the first generations of visual culture studies and new art history. It reflects a negative stance towards objects and the material aspect of artworks, which enhanced a conceived dichotomy between thinking critically and analytically in contrast to managing documents and objects in archives and museum depositories. However, juxtaposing the act of thinking with the practice of manual labour has a long tradition in Western intellectual history. Furthermore, it is argued that art history cannot easily be compared to the history of other disciplines because of the simple fact that artworks are typically quite expensive and unique commodities, and as such, they provoke not just aesthetic but also fetishist responses. Thus, this desire to separate art history as a scientific discipline from the fetishism of the art market has had the paradoxical effect of causing art historians to shy away from developing methodologies and theory about materiality as an act of resistance. 

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