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Using the ecosystem concept as his starting point, the author examines the complex relationship between premodern armed forces and their environment at three levels: landscapes, living beings, and diseases. The study focuses on Europe's Meuse Region, well-known among historians of war as a battleground between France and Germany. By analyzing soldiers' long-term interactions with nature, this book engages with current debates about the ecological impact of the military, and provides new impetus for contemporary armed forces to make greater effort to reduce their environmental footprint.
This book explores the image and identity of émigré painters, sculptors and graphic artists from Nazi Germany in Britain between 1933 and 1945. It focuses on a neglected field of Exile Studies, that of exiled artists in Britain. Methodologies used in this study have been developed by Exile Studies and History of Art, but also by Postcolonialism, scholars of which usually apply their ideas to the Afro-Asian emigration of the second part of the twentieth century. Thus this study represents methodologically a new way of looking at the emigration from Nazi Germany. Identity and Image is divided into five chapters: After an introductory Chapter One (historiography of the topic, methodology of the study, structure of the book), Chapter Two establishes socio-political patterns of emigration and provides an historical framework for Chapters Three and Four, which concentrate on the image and identity of the refugee artist, the former based on written sources and the latter on visual material. In detail, Chapter Three analyses the British image of the refugee artists and their works on the one hand and the émigrés' self-representations on the other, the latter exemplified by refugee organisations (the Free German League of Culture/Freier Deutscher Kulturbund, the Austrian Centre, the Anglo-Sudeten Club and the Czech Institute) and institutions founded by émigré artists (Jack Bilbo's Modern Art Gallery and Arthur Segal's Painting School). Chapter Four examines the works produced in internment and those exhibited and produced for the refugee organisations discussed in Chapter Three. Chapter Five discusses the results of this study in the light of three postcolonial concepts: diaspora communities, the notion of home and the gendered identity of the refugee. The appendix lists all painters, sculptors and graphic artists from Nazi Germany in Britain with biographical details. Apart from visual and written sources discussed for the first time, there are two major results of the study: First, although the artists were united as refugees, this unity did not lead to a unity in art - "refugee art" is a construction put forward by the British press and the refugee organisations, particularly the Free German League of Culture. Second, contrary to claims that modern art was international and formed a universal unity that "transgressed" nationality, neither the West/Europe nor modernism form unities; instead, in the 1930s and 1940s, cultures in Europe constructed conceptions of other European cultures on the basis of nation-state identities.
Previous studies of African poetry have tended to concentrate either on its political content or on its relationship to various European schools. This book examines West African poetry in English and French against the background of oral poetry in the vernacular. Do the roots of such poetry lie in Africa or in Europe? In committing their work to writing, do poets lose more than they gain? Can the immediacy of oral performance ever be recovered? Robert Fraser's account of two centuries of West African verse examines its subjugation to a succession of international styles: from the heroic couplet to the austerity of experimental Modernism. Successive chapters take us through the Négritude movement and the emergence of anglophone free verse in the 1950s to the rediscovery in recent years of the neglected springs of orality, which is the subject of the concluding chapter.
"This is the colorful and dramatic biography of two of America's most controversial entrepreneurs: Moses Louis Annenberg, 'the racing wire king, ' who built his fortune in racketeering, invested it in publishing, and lost much of it in the biggest tax evasion case in United States history; and his son, Walter, launcher of TV Guide and Seventeen magazines and former ambassador to Great Britain."--Jacket.