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A comparative study of European cultural and social history during the First World War.
Jay Winter's powerful 1998 study of the 'collective remembrance' of the Great War offers a major reassessment of one of the critical episodes in the cultural history of the twentieth century. Dr Winter looks anew at the culture of commemoration and the ways in which communities endeavoured to find collective solace after 1918. Taking issue with the prevailing 'modernist' interpretation of the European reaction to the appalling events of 1914 18, Dr Winter instead argues that what characterised that reaction was, rather, the attempt to interpret the Great War within traditional frames of reference. Tensions arose inevitably. Sites of Memory, Sites of Mourning is a profound and moving book of seminal importance for the attempt to understand the course of European history during the first half of the twentieth century."
The First World War has been described as the "primordial catastrophe of the twentieth century." Arguably, Italian Fascism, German National Socialism and Soviet Leninism and Stalinism would not have emerged without the cultural and political shock of World War I. The question why this catastrophe happened therefore preoccupies historians to this day. The focus of this volume is not on the consequences, but rather on the connection between the Great War and the long 19th century, the short- and long-term causes of World War I. This approach results in the questioning of many received ideas about the war's causes, especially the notion of "inevitability."
This 'collective remembrance' of the Great War reassesses one of the critical episodes in twentieth-century cultural history.
Italy and the Cultural Politics of World War I dialogues with the variety of texts recently published to commemorate the Great War. It explores Italian socialist pacifism, the role of women during the conflict and a dominant cultural movement, Futurism, whose leader, Filippo Tommaso Marinetti, glorified war and enlisted in the fight. Other soldiers created documents about the war that differ from the heroic and virile endeavor that Marinetti placed at the center of his works on war. Italy and the Cultural Politics of World War I pays attention to the representations of the soldiers through an analysis of their letters, dominated by descriptions of the terrible hunger they suffered. In contrast, popular film absorbed the cultural lessons in Marinetti's writings and represented soldiers as modernist heroes in comedies and dramas. However, film did not shy away from representing cowards who could only be baffoons and fools in propaganda films. In another medium, the concern was to publish texts that would serve the fighting soldier and inform readers about ideological and historical motivations for the conflict. The publishing industry supported national propaganda efforts. Only socialism could endanger anti-war publication, but after its initial opposition to the conflict, socialists occupied a neutral position. Italian socialism still remained the only European socialist party that did not renege its pacifism in order to embrace nationalism and the war, but it was also not in favor of actions that would sabotage in the Italian war industry. ltalian socialism is only one feature of Italian culture that was dramatically changed during the war. WWI impacted every aspect of Italian and of European cultures. For instance, as an essay in Italy and the Cultural Politics of World War I explores, the war industry needed workers. The solution was to bring Chinese men France to contribute in the war effort. After the war, they moved to other countries and in Milan, Italy, they founded one of the oldest Chinatowns in Europe, dramatically changing the human landscape of Italy as they later moved to other Italian cities. Italy and the Cultural Politics of World War I supplies essential research articles to the construction of an inclusive portrayal of WWI and Italian culture by deepening our understanding of the transformative role it played in 20th century Italy and Europe.
This Very Short Introduction provides a concise and insightful history of the Great War--from the state of Europe in 1914, to the role of the US, the collapse of Russia, and the eventual surrender of the Central Powers. Examining how and why the war was fought, as well as the historical controversies that still surround the war, Michael Howard also looks at how peace was ultimately made, and describes the potent legacy of resentment left to Germany.
This 'collective remembrance' of the Great War reassesses one of the critical episodes in twentieth-century cultural history.
When war broke out in Europe in 1914, it surprised a European population enjoying the most beautiful summer in memory. For nearly a century since, historians have debated the causes of the war. Some have cited the assassination of Archduke Franz Ferdinand; others have concluded it was unavoidable. In Europe’s Last Summer, David Fromkin provides a different answer: hostilities were commenced deliberately. In a riveting re-creation of the run-up to war, Fromkin shows how German generals, seeing war as inevitable, manipulated events to precipitate a conflict waged on their own terms. Moving deftly between diplomats, generals, and rulers across Europe, he makes the complex diplomatic negotiations accessible and immediate. Examining the actions of individuals amid larger historical forces, this is a gripping historical narrative and a dramatic reassessment of a key moment in the twentieth-century.
This book is about the history of Europe in the twentieth century and concentrates on two particular aspects. First, it examines the impact of the Great War on Europe; secondly it is concerned with European civilization and with ideas of what is meant to be 'European'. The approach is interdisciplinary, including integrated analyses from politics, international relations, political ideas, literature, and the visual arts. The common focus, which links all the chapters, is the effect of the Great War on a European mentality, or European identity. It targets reactions to the First World War up to 1939, but extends its coverage in many areas up to the 1990s, offering a wide-ranging view of Europe in the twentieth century.
This volume presents a series of chapters about the Great War and memory in Central and South-Eastern Europe which will widen the insufficient and spotty representations of the Great War in that region. The contributors deliver an important addition to present-day scholarship on the more or less unknown war in the Balkans and at the Italian fronts. Although it might not completely fill the striking gap in the historical representations of the situation between the Slovene-Italian Soča-Isonzo river in the North-West and the Greek-Macedonian border mountains around Mount Kajmakčalan in the South-East, it will add significantly to the scholarship on the Balkan theatre of war and provide a much-needed account of the suffering of civilians, ideas, loyalties and cultural hegemonies, as well as memories and the post-war memorial landscape. The contributors are Vera Gudac Dodić, Silviu Hariton, Vijoleta Herman Kaurić, Oto Luthar, Olga Manojlović Pintar, Ahmed Pašić, Ignác Romsics, Daniela Schanes, Fabio Todero, Nikolai Vukov and Katharina Wesener.