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There is nothing like Keith Vaughan's Journals. They represent one of the greatest pieces of confessional writing of the twentieth-century. Keith Vaughan was a painter and belonged to the Neo-Romantic group, other members including Graham Sutherland, John Minton, Michael Ayrton, Ceri Richards, John Piper and John Craxton. He was also gay and much troubled by his sexuality. 'Faced at the age of 27 with what then seemed the likelihood of imminent extinction before I had properly got started', he began the Journals in 1939 and only finished them at the very moment of his suicide in 1977. The Journals are edited by Alan Ross, and in his words they are 'a self-portrait of astonishing honesty: devoid of disguise in any shape or form, or hypocrisy. It is difficult to think of anything in literature they resemble.' The earlier Journals, covering his war and his period of greatest creativity in the late 1940s and 1950s, 'are revealing for the light they shed on a painter's character and, to a lesser extent, working methods.' The last Journals chronicle 'a descent into hell . . . redeemed by their frankness, spleen and dry humour.' First published in 1966 and then reissued in amplified form in 1989, it is the latter version Faber Finds is reissuing. The fuller edition itself has been out of print for a long time, so its renewed availability will be welcome.
In Travis Elborough's expertly curated collection of diaries, letters and journals, the great and the good rub shoulders with the obscure, the unsung and the everyday to bring us a unique top down and bottom up history of Britain during the twentieth century.
This comprehensive reader provides an overview of research in the study of the Second World War and includes chapters by some of the best known and most innovative scholars working today. It gives attention to the fighting of the war throughout the world.
Drawing on a wide range of material, including primary sources, Frank McDonough re-examines the controversial policy of appeasement, and argues that appeasement was part of a broad consensus in British society at the time.
Assembled by the editors of glbtq.com, the online encyclopedia of gay, lesbian, bisexual, and transgender art, music and popular culture, this print version of the popular reference to gay life and culture includes more than two hundred entries. Original.
Keith Vaughan (1912-77) was a major figure in post-war British art who is known for his searching portraits of the male nude and his association with the Neo-Romantic painters. This book provides for the first time a definitive, illustrated account of his life and work, exploring his wide-ranging achievement as a modern British artist.
"This remarkable book should be the standard work for a long time. A true comparative study, it relates the experience of all the main countries (and sometimes others) to a series of key issues that are deftly analyzed and not just described. In addition to the basics--production, consumption, food, finance and organization--the book deals with such famous themes as war as the bringer-of-growth and stimulus-to-technology, and such special questions as the exploitation of occupied areas and economic warfare. Throughout, Professor Milward of Manchester relates economics to strategy in an illuminating way."--Foreign Affairs "An admirable state-of-the-arts report on what we know about how agriculture, population, technology, labor, industrial production, and public finance were affected by the war. He also sets out some highly challenging findings concerning the rationale and effectiveness of economic strategy as applied b the main powers. And he has tentatively advanced some large concepts about the nature of advanced economies as revealed by the manner in which they strove to cope with the war. His approach is broadly comparative: he gives us an account not only of the relative economic performance of individual European powers, but also of the Japanese and American war economies, plus a few observations on the situation in many smaller countries from Australia to Yugoslavia. The book is a mine of information and arresting concepts."--American Historical Review "Milward displays an impressive mastery of his material, both from a historical and economic point of view. He uses quantification effectively, but the book can be read with ease and pleasure by those who are neither trained in nor interested in econometrics. Lucidly written, this superb work deserves a much wider audience than merely specialists."--Journal of Economic Literature "Milward's portrayal of events operates on the proposition that strategic deicions cannot be understood apart from the economic considerations which each leader or government had to take into account. . . . a permanent contribution to our understanding of World War II. Henceforth it will be hard to escape his contention that the big battalions that counted were those on the production line."--Journal of Interdisciplinary History
In this book, Gregory Salter traces how artists represented home and masculinities in the period of social and personal reconstruction after the Second World War in Britain. Salter considers home as an unstable entity at this historical moment, imbued with the optimism and hopes of post-war recovery while continuing to resonate with the memories and traumas of wartime. Artists examined in the book include John Bratby, Francis Bacon, Keith Vaughan, Francis Newton Souza and Victor Pasmore. Case studies featured range from the nuclear family and the body, to the nation. Combined, they present an argument that art enables an understanding of post-war reconstruction as a temporally unstable, long-term phenomenon which placed conceptions of home and masculinity at the heart of its aims. Art and Masculinity in Post-War Britain sheds new light on how the fluid concepts of society, nation, masculinity and home interacted and influenced each other at this critical period in history and will be of interest to anyone studying art history, anthropology, sociology, history and cultural and heritage studies.