The East Wind

2018 ◽  
pp. 179-192
Author(s):  
Andrew Glazzard
Keyword(s):  
Cultural Memory ◽  
First World War ◽  
World War ◽  
Western Front ◽  
East Wind ◽  
The First World War ◽  
First World

Holmes’s words to Watson at the end of ‘His Last Bow’ (1917) express an idea of warfare that sits uneasily with our contemporary perception of the First World War. Today we are accustomed to associate that war with the horrors of the Western Front: the battles of the Somme (1916) and Passchendaele (1917) loom large in our cultural memory as paradigms of unnecessary bloodshed and strategic incompetence. But this was not how Conan Doyle saw it – and he saw the Western Front at first hand, while both his brother, Brigadier-General Innes ‘Duff’ Doyle, and his son Kingsley were in the thick of the action. At the invitation of the War Office, Doyle toured the British, Italian and French Fronts in 1916, and the Australian Front in 1918, using his authority as Deputy Lieutenant of Surrey to don an improvised khaki uniform ‘which was something between that of a Colonel and Brigadier, with silver roses instead of stars or crowns upon the shoulder-states’.1

From Ober Ost to Ostland?

2018 ◽  
pp. 245-262
Author(s):  
Vejas Gabriel Liulevicius
Keyword(s):  
Civil War ◽  
Cultural Memory ◽  
First World War ◽  
World War ◽  
Western Front ◽  
Eastern Front ◽  
The First World War ◽  
The World ◽  
First World ◽  
Vast Area

Igor Narskij examines the experience of Russian soldiers on the eastern front, an experience significantly different from that undergone by soldiers on the western front because of the vast area of the eastern theater of war and the fact that it was largely fought as a mobile war, not a static one. Maintaining that prevalent arguments put forward by historians to explain Russia’s failure in the war―including the alleged backwardness of the country’s peasant soldiers and the lack of adequate supplies―have been overstated, the chapter posits that the war actually had a significant civilizing and disciplining effect. The chapter also argues that because for Russia the First World War segued into internal dissension in the Revolution of 1917 and the Civil War of 1918–1920, Russians never completely integrated the experience of the world war into its cultural memory.

‘A Wave on to Our Shores’: The Exile and Resettlement of Refugees from the Western Front, 1914–1918

2007 ◽  
Vol 16 (4) ◽  
pp. 427-444 ◽  
Author(s):  
PIERRE PURSEIGLE
Keyword(s):  
Great Britain ◽  
Collective Memory ◽  
Western Europe ◽  
First World War ◽  
World War ◽  
Western Front ◽  
The First World War ◽  
Social Mobilisation ◽  
First World

AbstractIn the wake of the German invasion of Belgium and France in August 1914, four million persons went into exile. While such a displacement of population testified to a dramatic change in the character of war in western Europe, historiography and collective memory alike have so far concurred in marginalising the experience of refugees during the First World War. This article examines their unprecedented encounter with host communities in France and Great Britain. It demonstrates that the refugees' plight reveals the strengths as well as the tensions inherent in the process of social mobilisation that was inseparable from the First World War.

scholarly journals Photographic Censorship In The First World War : A Comparison Between The Realistic Travels Stereograph Set And British Personal Photograph Albums From The Collection Of The Art Gallery Of Ontario

2021 ◽  
Author(s):  
Emma Leverty
Keyword(s):  
First World War ◽  
World War ◽  
Art Gallery ◽  
Public And Private ◽  
Photograph Albums ◽  
Western Front ◽  
The First World War ◽  
Art Gallery Of Ontario ◽  
First World

This thesis compared a group of personal photograph albums compiled by British soldiers during the First World War to a set of stereographs produced during the war and published after by the British company Realistic Travels, both from the collection of the Art Gallery of Ontario. The development of British censorship restrictions during the First World War had a profound effect on who, what, where and how individuals were able to photograph the conflict. This thesis examines how these restrictions affected stereograph photographers and soldiers as they documented the war in order to ascertain how these effects shaped the construction of each type of photographic object. By comparing and analyzing both bodies of work as they were produced in three theatres of war -- the Western Front, Gallipoli and within Britain -- we see that objects created for public and private audiences are more similar than they initially appear.

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