Communities in Exile

2020 ◽  
pp. 180-202
Author(s):  
Alex Dowdall
Keyword(s):  
Significant Contribution ◽  
First World War ◽  
The State ◽  
World War ◽  
Front Line ◽  
Forced Displacement ◽  
Left Behind ◽  
The First World War ◽  
History Of ◽  
First World

Chapter 6 discusses the relationships of refugees from the front-line towns to the bombarded communities they left behind. It outlines the size of the refugee populations from the front-line towns, and maps their destinations within the French interior. It demonstrates that most refugees from the front-line towns experienced forced displacement alongside others from their home communities, and that this geography of displacement allowed refugees to remain socially, emotionally, and imaginatively involved in their bombarded home communities. In this way, refugees remained members of the front-line communities, even while displaced. To date, the refugee history of the First World War has focused on the attitudes of the state and host communities in the interior towards refugees. This chapter, in contrast, makes a significant contribution to the historiography by focusing on the attitudes and actions of refugees themselves. Using refugee newspapers, diaries, and a previously unknown collection of letters, it argues that refugees from the front-line towns were not merely the passive recipients of state and charitable aid, but could actively shape the conditions of their exile by remaining invested in their abandoned home towns and making appeals based on their French citizenship.

scholarly journals Czech Film After 1989

1997 ◽  
Author(s):  
Jiří Voráč
Keyword(s):  
Social Systems ◽  
First World War ◽  
The State ◽  
Nazi Germany ◽  
World War ◽  
The First World War ◽  
Entire Country ◽  
History Of ◽  
Czech Lands ◽  
First World

CZECH FILM AFTER 1989: THE WAVE OF THE YOUNG NEWCOMERS THE history of Czech cinema has been frequently marked and stigmatized, more than the non- industrial and more individual art disciplines, by large historical social upheavals which the Czech lands experienced in this century. During its hundred-year-long history, the Czech film survived five different social systems. Its origins (the first films on the Czech soil were presented by Jan Kříženecký in 1898) are rooted in the era of the Austro-Hungarian Empire. After the First World War, it continued its development in a free and democratic Czechoslovak Republic which was after two decades destroyed by the Nazi Germany. A fundamental systemic change occurred in 1945 when the Czechoslovak film was nationalized i.e., that the state (and after 1948 the Communist establishment) completely controlled all film activities in the entire country.(1) After the demise of the Communist dictatorship in...

scholarly journals National Identity and pacifsm: two sides of the same military memory

Inter ◽  
2019 ◽  
Vol 11 (17) ◽  
pp. 76-81
Author(s):  
Veronique Jobert
Keyword(s):  
National Identity ◽  
First World War ◽  
The State ◽  
State Agencies ◽  
World War ◽  
The First World War ◽  
History Of ◽  
Two Sides ◽  
First World

The article is devoted to the analysis of the memorializing strategy of the heroes and victims of the First World War in France. It is revealed on the examples of the history of several monuments in various provincial departments. The article shows that some of these monuments have been established not as the state agencies initiative, but by grass-route activists, and, in contrast to common militaristic messages, the commemoration of soldiers and victims by this monuments has frankly pacifist features.

Socio-political and confessional preconditions of the birth of the Ukrainian Evangelical-Reformed Church in Western Ukraine (20-30 years of the twentieth century)

2000 ◽  
pp. 67-75
Author(s):  
R. Soloviy
Keyword(s):  
Public Life ◽  
First World War ◽  
World War ◽  
Reformed Church ◽  
Religious Influences ◽  
The First World War ◽  
Western Ukraine ◽  
History Of ◽  
Religious Factor ◽  
First World

In the history of religious organizations of Western Ukraine in the 20-30th years of the XX century. The activity of such an early protestant denominational formation as the Ukrainian Evangelical-Reformed Church occupies a prominent position. Among UCRC researchers there are several approaches to the preconditions for the birth of the Ukrainian Calvinistic movement in Western Ukraine. In particular, O. Dombrovsky, studying the historical preconditions for the formation of the UREC in Western Ukraine, expressed the view that the formation of the Calvinist cell should be considered in the broad context of the Ukrainian national revival of the 19th and 20th centuries, a new assessment of the religious factor in public life proposed by the Ukrainian radical activists ( M. Drahomanov, I. Franko, M. Pavlik), and significant socio-political, national-cultural and spiritual shifts caused by the events of the First World War. Other researchers of Ukrainian Calvinism, who based their analysis on the confessional-polemical approach (I.Vlasovsky, M.Stepanovich), interpreted Protestantism in Ukraine as a product of Western cultural and religious influences, alien to Ukrainian spirituality and culture.

Ale na razie tu cisza” – fotografie sprzed katastrofy w wybranych zapisach literackich (Stefan Chwin, Ryszard Kapuściński, Wisława Szymborska)

2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk
Keyword(s):  
Time Perspective ◽  
Terrorist Attack ◽  
First World War ◽  
General Concept ◽  
Literary Texts ◽  
World War ◽  
The Past ◽  
The First World War ◽  
History Of ◽  
First World

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.

A New History for a New Channel: The Great War and the Launch of BBC2

2017 ◽  
Vol 14 (3) ◽  
pp. 283-297 ◽  
Author(s):  
Taylor Downing
Keyword(s):  
First World War ◽  
Great War ◽  
World War ◽  
Front Line ◽  
Television History ◽  
The First World War ◽  
The Great War ◽  
First World ◽  
Intense Debate ◽  
Do So

This article considers the making of the BBC2 series, The Great War, and examines issues around the treatment and presentation of the First World War on television, the reception of the series in 1964 and its impact on the making of television history over the last fifty years. The Great War combined archive film with interviews from front-line soldiers, nurses and war workers, giving a totally new feel to the depiction of history on television. Many aspects of The Great War were controversial and raised intense debate at the time and have continued to do so ever since.

From the history of the military past of composer and conductor Boris Galaev

2020 ◽  
pp. 39-44
Author(s):  
Felix S. Kireev
Keyword(s):  
First World War ◽  
World War ◽  
Documentary Sources ◽  
Musical Activity ◽  
Russian State ◽  
The First World War ◽  
History Of ◽  
The Military ◽  
First Time ◽  
First World

Boris Alexandrovich Galaev is known as an outstanding composer, folklorist, conductor, educator, musical and public figure. He has a great merit in the development of musical culture in South Ossetia. All the musical activity of B.A. Galaev is studied and analyzed in detail. In most of the biographies of B.A. Galaev about his participation in the First World War, there is only one proposal that he served in the army and was a bandmaster. For the first time in historiography the participation of B.A. Galaev is analyzed, and it is found out what positions he held, what awards he received, in which battles he participated. Based on the identified documentary sources, for the first time in historiography, it occured that B.A. Galaev was an active participant in the First World War on the Caucasian Front. He went on attacks, both on foot and horse formation, was in reconnaissance, maintained communication between units, received military awards. During this period, he did not have time to study his favorite music, since, according to the documents, he was constantly at the front, in the battle formations of the advanced units. He had to forget all this heroic past and tried not to mention it ever after. Therefore, this period of his life was not studied by the researchers of his biography. For writing this work, the author uses the Highest Orders on the Ranks of the Military and the materials of the Russian State Military Historical Archive (RSMHA).

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