French-Speaking Catholics in Quebec and the First World War

Author(s):  
Simon Jolivet
Author(s):  
Bruno De Wever

On the eve of the First World War, Belgium boasted a long tradition of stable civil democracy. Between the two wars, however, its government was challenged by fascist movements, which nevertheless did not succeed in destabilizing the country. In that respect, fascism in Belgium developed in a similar way to that in other West European democracies. Belgian liberal democracy and its nation state came under the pressure of two movements that were at odds with Belgian society as it developed after the First World War. In the first place, there was a reactionary Catholic and French-speaking Belgian nationalist movement that could not resign itself to the increased power of anticlerical and left-wing political forces in general, and of the socialist labour movement in particular. In the second place, there was a Flemish nationalist movement that was looking for confrontation with the Belgian state.


2007 ◽  
pp. 91-115
Author(s):  
Nadia Malinovich

This chapter highlights the impact of the First World War and the changes in French Jewish society that paved the way for the expansion of Jewish associational and cultural life in the 1920s. It discusses how the war marked an important moment at which antisemitism subsided and Jewish belonging to the French nation was confirmed. It also talks about how Jewish participation in the war helped to popularize the notion that Jews were no less French for proudly affirming their unique spiritual and cultural heritage. The chapter outlines the link between issues of Jewish identity and national minority rights at the 1919 Peace Conference, the growth of the Zionist movement, and increase in Jewish immigration from eastern Europe. It describes the diversity within French-speaking natives and impoverished, Yiddish-speaking immigrants.


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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