Conclusion

Author(s):  
Jon B. Mikolashek

Prior to the Great War, George S. Patton was a lowly lieutenant known more for his personal wealth than for military ability. World War I changed all that. Always a driven and intrepid solider, Patton was a decent peacetime officer, but in peace he had no chance to rise through the ranks. World War I offered Patton a chance to prove his abilities to his superiors, his family, and, more important, himself. The war taught Patton how to organize, how to command, and how to lead men in battle and make them do things they did not want to do. Without his experience in World War I, Patton would never have learned how to prepare and lead men for war, and without this knowledge there would have been no dashing Third Army commander to help win World War II.

2019 ◽  
pp. 97-114
Author(s):  
Jeffrey Magee

Irving Berlin’s all-soldier World War I revue, Yip Yip Yaphank, made a unique impact on Broadway in 1918 and in Berlin’s work for decades to come. The show forged a compelling and comic connection between theatrical conventions and military protocols, using elements from minstrelsy, the Ziegfeld Follies, and Berlin’s distinctive songs. Featuring such Berlin standards as “Sterling Silver Moon” (later revised as “Mandy”) and “Oh! How I Hate to Get Up in the Morning,” it was revised for World War II as This Is the Army, and scenes from it reappear, transformed, in Berlin’s films Alexander’s Ragtime Band and White Christmas.


2017 ◽  
Vol 28 (2) ◽  
pp. 141-158
Author(s):  
Beverly J. Evans

Wartime music provides clear testimonial to the importance of melody and text in times of conflict. In the case of the Great War, which introduced the world to weapons of nightmarish capability, carefree popular ballads often stood shoulder to shoulder with sombre lyrics that called attention to the tragedy unfolding in the trenches. The first part of this article surveys the themes of French songs of the WWI era itself, such as ‘Ah! C’est la guerre’, ‘La Madelon’ and ‘La Chanson de Craonne’. The second concentrates on ‘La Madelon’, which underwent numerous transformations in response to events during the interwar years and World War II. The final section explores why the Great War took hold as a focus of French popular music in the late 1950s and continues to assert its presence to this day. A surprising number of contemporary artists have recorded World War I-themed songs, such as ‘La Guerre de 14–18’, ‘Jaurès’, ‘Verdun’, ‘Le No Man’s Land’, ‘Tranchée 1914’ and ‘La Chanson de Craonne’. What cultural phenomena might account for this in addition to the urge to memorialise? Examination of the internal and external forces that continue to fuel the ‘Grand débat sur l’identité nationale’ makes clear why songs of the Great War appeal to a citizenry determined to preserve the values of ‘Frenchness’ in the face of evolving demographics and increasing ‘Europeanisation’.


2021 ◽  
Vol 88 (3) ◽  
pp. 525-568
Author(s):  
Johann Strauss

This article examines the functions and the significance of picture postcards during World War I, with particular reference to the war in the Ottoman Lands and the Balkans, or involving the Turkish Army in Galicia. After the principal types of Kriegspostkarten – sentimental, humorous, propaganda, and artistic postcards (Künstlerpostkarten) – have been presented, the different theatres of war (Balkans, Galicia, Middle East) and their characteristic features as they are reflected on postcards are dealt with. The piece also includes aspects such as the influence of Orientalism, the problem of fake views, and the significance and the impact of photographic postcards, portraits, and photo cards. The role of postcards in book illustrations is demonstrated using a typical example (F. C. Endres, Die Türkei (1916)). The specific features of a collection of postcards left by a German soldier who served in Turkey, Syria, and Iraq during World War I will be presented at the end of this article.


2021 ◽  
Vol 20 (2) ◽  
pp. 216-235
Author(s):  
Olga S. Porshneva

This article examines how the historical memory of World War I emerged and developed in Russia, and also compares it to how Europeans have thought about the conflict. The author argues that the politics of memory differed during the Soviet and post-Soviet periods. In the wake of the 1917 Revolution, Bolshevik efforts to re-format the memory of the Great War were part of its attempt to create a new society and new man. At the same time, the regime used it to mobilize society for the impending conflict with the 'imperialist' powers. The key actors that sought to inculcate the notion of the war with imperialism into Soviet mass consciousness were the Central Committee of the Bolshevik Communist Party, the Department of Agitation and Propaganda, and, in particular, the Red Army and Comintern. The latter two worked together to organize the major campaigns dedicated to war anniversaries, which were important both to reinforce the concept of imperialist war as well as to involve the masses in public commemorations, rituals and practices. The Soviet state also relied on organizations of war veterans to promote such commemorative practices while suppressing any alternative narratives. The article goes on to explain how, under Stalin, the government began to change the way it portrayed the Great War in the mid-1930s. And after the Second World War, Soviet politics of memory differed greatly from those in the West. In the USSR the Great Patriotic War was sacralized, while the earlier conflict remained a symbol of unjust imperialist wars.


2020 ◽  
pp. 206-214
Author(s):  
Michael Geheran

The book closes with a short glimpse into the history of Jewish veterans after 1945, as the survivors of the camps returned to Germany, outlining ruptures and continuities in comparison with the pre-Nazi period. Jewish veterans imposed different narratives on their experiences under National Socialism. As the past receded into the distance, it became a concern for the survivors to engage with the past, which they variously looked back on with nostalgia, disillusionment, or bitter anger. Although National Socialism threatened to erase everything that Jewish veterans of World War I had achieved and sacrificed, sought to destroy the identity they had constructed as soldiers in the service of the nation, as well as bonds with gentile Germans that had been forged under fire during the war, threatened to sever their connections to the status they had earned as soldiers of the Great War and defenders of the fatherland, their minds, their values and their character remained intact. Jewish veterans preserved their sense of German identity.


Author(s):  
Irene Gammel

Born Erich Paul Remark in Osnabrück, Germany, Erich Maria Remarque is best known for his influential anti-war novel Im Westen nichts Neues (1929, All Quiet on the Western Front). First serialized in the Vossische Zeitung in 1928, All Quiet was launched with an unprecedented advertising campaign. Hailed as ‘the great war novel’, the book spawned a world-wide readership with translations into over twenty-five languages, and a film (directed by Lewis Milestone) in 1930. Written within just a few months in 1927, All Quiet on the Western Front toys with autobiographical references. The protagonist Paul Bäumer is a nineteen-year old war veteran whose seemingly non-consequential death in October 1918, on a ‘quiet’ day on the Western front, stands for the shared fate of millions of soldiers obscured by the unprecedented violence and horror of World War I. Remarque changed his name after the war, dropping his middle name Paul, and adopting his mother’s name, Maria, while also Gallicizing the spelling of his last name, thereby blurring national boundaries.


2019 ◽  
Vol 60 (1) ◽  
pp. 339-371
Author(s):  
Max Graff

Wilhelm Klemm, Expressionist poet and military surgeon on the Western front during World War I, published approximately 60 war poems, both in his collection Gloria! (1915) and in several literary magazines such as Franz Pfemfert’s Aktion. Some of them were soon hailed as eminently critical of common, glorifying poetic visions of war. This is certainly adequate; a closer scrutiny of the entire corpus of Klemm’s war poems, however, reveals a peculiar diversity which requires an awareness for their ambivalences. The article therefore considers three fields of inquiry: the poems’ depiction of the human body, their relation to lyrical paradigms focussed on nature and Stimmung, and ways of transcending both these paradigms and naturalistic representations of war and its effects. It thus identifies Klemm’s different modes of perceiving, interpreting and processing the experience of the Great War.


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