Defence Against the Indefensible: The Gas Mask, the State and British Culture during and after the First World War

2014 ◽  
Vol 25 (3) ◽  
pp. 418-434 ◽  
Author(s):  
S. R. Grayzel
2017 ◽  
pp. 91-103
Author(s):  
Clinton Rossiter ◽  
William J. Quirk

Vulcan ◽  
2018 ◽  
Vol 6 (1) ◽  
pp. 1-15
Author(s):  
David Ritchie

What was it about the First World War that brought on Modernism? Like the simplified poppy form and the sword-within-a-cross which both came to memorialize the First World War in British culture, materiel from that era—shells, rifle stocks, helmets, bullets, bunkers— have a thoroughly modern, almost Bauhaus aesthetic. This was not entirely new in the history of weapons; the common soldier had often fought with unadorned weapons. In this war, however, there was nothing else to see; soldiers could safely regard only the sky, their comrades, their weapons and—viewed through a periscope’s framing—a landscape stripped of nature’s adornments. The inference is that this limited vision and consequent focus on unadorned form were key to the modern aesthetic taking hold.


1975 ◽  
Vol 1 (1) ◽  
pp. 48-59 ◽  
Author(s):  
P. Savigear

Bernard Bosanquet spent the First World War at his cottage in Oxshott, in Surrey, and from here he measured the implications of the conflict for his philosophy of the state. The result of this reflection is available to us in the letters which he wrote during the war, and a variety of lectures and papers. His ideas, therefore, have a general interest to students of international theory.


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