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Although the impact of the Great War on Brighton was profound, the seaside town was spared any direct attack by the enemy. The fear of spies and sabotage, however, was widespread at first and aliens were an issue which had to be swiftly resolved under new legislation. Allies, of course, were warmly welcomed, and accommodation was soon provided for those fleeing the catastrophic events in Belgium. Between 1914 and 1918, Brighton made major contributions to the war effort in many ways: by responding readily to the call to arms, by caring for great numbers of wounded (the story of the exotic Royal Pavilion being used as a hospital for Indian casualties is widely known locally) and by simply being itself an oPen & welcoming resort that offered sanctuary, respite and entertainment to besieged Londoners and to other visitors, from every stratum of society.
In 1914 almost one quarter of the earth's surface was British. When the empire and its allies went to war in 1914 against the Central Powers, history's first global conflict was inevitable. It is the social and cultural reactions to that war and within those distant, often overlooked, societies which is the focus of this volume. From Singapore to Australia, Cyprus to Ireland, India to Iraq and around the rest of the British imperial world, further complexities and interlocking themes are addressed, offering new perspectives on imperial and colonial history and theory, as well as art, music, photography, propaganda, education, pacifism, gender, class, race and diplomacy at the end of the pax Britannica.
Long before war was declared on 3 September 1939, Brighton had steadily and carefully prepared for the coming conflict by building shelters, organising defence and rescue services, and providing the population with advice of its own or from government sources. These precautions stood the town in good stead when the first bombs fell on it in mid-1940 and during the many subsequent attacks. The resort did not, admittedly, suffer as grievously as some others on the South Coast, yet civilian casualties totalled nearly 1,000, of whom over 200 were killed, 357 were seriously injured and 433 slightly injured. This is not the first book to reveal the toll of the bombs locally, but it is the first to describe, in parallel, day-to-day events and societal responses during the nearly six years of conflict. As elsewhere, restrictions often made life arduous for residents. Yet despite the hardship, the town’s citizens even marshalled sufficient resources to ‘adopt’ two battleships and generously saved towards assisting with other wartime causes, such as help to our ally, Russia. The hospitality trade and resort-related services suffered greatly during the periods when the defence ban on entering the town was enforced. In many respects, however, life went on largely as before, particularly in the spheres of entertainment, leisure and some sports. Douglas d’Enno, an authority on the history of Brighton and environs, shows in meticulous detail, in absorbing text and numerous pictures, how life in wartime Brighton was a struggle for many, but never dull.
In Patton, Montgomery, Rommel, one of Britain's most accomplished military scholars presents an unprecedented study of the land war in the North African and European theaters, as well as their chief commanders—three men who also happened to be the most compelling dramatis personae of World War II. Beyond spellbinding depictions of pivotal confrontations at El Alamein, Monte Cassino, and the Ardennes forest, author-scholar Terry Brighton illuminates the personal motivations and historical events that propelled the three men's careers: how Patton's, Montgomery's, and Rommel's Great War experiences helped to mold their style of command—and how, exactly, they managed to apply their arguably megalomaniacal personalities (and hitherto unrecognized political acumen and tact) to advance their careers and strategic vision. Opening new avenues of inquiry into the lives and careers of three men widely profiled by scholars and popular historians alike, Brighton definitively answers numerous lingering and controversial questions: Was Patton really as vainglorious in real life as he was portrayed to be on the silver screen?—and how did his tireless advocacy of "mechanized cavalry" forever change the face of war? Was Monty's dogged publicity-seeking driven by his own need for recognition or by his desire to claim for Britain a leadership role in postwar global order?—and how did this prickly "commoner" manage to earn affection and esteem from enlisted men and nobility alike? How might the war have ended if Rommel had had more tanks?—and what fundamental philosophical difference between him and Hitler made such an outcome virtually impossible? Abetted by new primary source material and animated by Terry Brighton's incomparable storytelling gifts, Patton, Montgomery, Rommel offers critical new interpretations of the Second World War as it was experienced by its three most flamboyant, controversial, and influential commanders—and augments our understanding of each of their perceptions of war and leadership.
A comprehensive, illustrated history of World War I, its causes, impact on global politics and economy, military and political strategies, and the legacy it left behind.
The Great War in Irish Poetry explores the impact of the First World War on the work of W. B. Yeats, Robert Graves, and Louis MacNeice in the period 1914-45, and on three contemporary Northern Irish poets, Derek Mahon, Seamus Heaney, and Michael Longley. Its concern is to place their work, andmemory of the Great War, in the context of Irish politics and culture in the twentieth century. The historical background to Irish involvement in the Great War is explained, as are the ways in which issues raised in 1912-20 still reverberate in the politics of remembrance in Northern Ireland,particularly through such events as the Home Rule cause, the loss of the Titanic, the Battle of the Somme, the Easter Rising. While the Great War is perceived as central to English culture, and its literature holds a privileged position in the English literary canon, the centrality of the Great War to Irish writing has seldom been recognised. This book shows first, that despite complications in Irish domestic politicswhich led to the repression of memory of the Great War, Irish poets have been drawn throughout the century to the events and images of 1914-18. This engagement is particularly true of those writing in the 'troubled' Northern Ireland of the last thirty years. The second main concern is the extent towhich recognition of the importance of the Great War in Irish writing has itself become a casualty of competing versions of the literary canon.
Contested Objects explores the social worlds of First World War material culture, and investigates its archaeological and anthropological intersections with identity, memory, landscape and heritage.