New Histories of the Origins of the First World War: What Happened to the “Primacy of Domestic Politics?”

2015 ◽  
Vol 61 (1) ◽  
pp. 121-127
Author(s):  
Andrew G. Bonnell
2001 ◽  
Vol 95 (2) ◽  
pp. 517-518
Author(s):  
D. Scott Bennett

Hein Goemans develops and tests a rationalist model of war termination that incorporates domestic politics, focusing on leader tenure and survival in expected postwar political environments. The book is one of a growing number of works that look beyond the initiation of conflict to its conclusion, examine the dynamics of conflict over time, and incorporate domestic political factors through a multimethod analysis.


1982 ◽  
Vol 25 (1) ◽  
pp. 147-166 ◽  
Author(s):  
Peter Fraser

In spite of occasional protests Lord Beaverbrook's narrative of British domestic politics during the first world war seems to retain the authority of a primary source. This is particularly true of the passages in Politicians and the war, 1914–1916 which cover the events in which he, then Sir Max Aitken, claimed to have taken an influential part. Mr A. J. P. Taylor in his appraisal of Beaverbrook's second volume covering the fall of Asquith in 1916 declares: ‘ It provides essential testimony for events during a great political crisis — perhaps the most detailed account of such a crisis ever written from the inside... The narrative is carried along by rare zest and wit, yet with the detached impartiality of the true scholar. ‘ Beaverbrook's apparent advantages might well seem conclusive. He was a contemporary agent as well as observer, summed up in his jaunty ‘ I was there!’. He was supposed to have enjoyed the complete confidence of Bonar Law, to have run a newspaper and to have kept a diary. An M.P. and virtual parliamentary private secretary to Bonar Law, whose rise to the Commons party leadership he appeared to have engineered, Aitken could be presumed to be politically on the ‘inside’. A tycoon of Canadian business ‘mergers’ and a self-made millionaire at a young age, he was esteemed by Law to be one of the cleverest men he knew.


2000 ◽  
pp. 67-75
Author(s):  
R. Soloviy

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.


2020 ◽  
pp. 65-80
Author(s):  
Magdalena Strąk

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.


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