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America and World War I, the first volume in the new Routledge Research Guides to American Military Studies series, provides a concise, annotated guide to the vast amount of resources available on the Great War. With over 2,000 entries selected from a wide variety of publications, manuscript collections, databases, and online resources, this volume will be an invaluable research tool for students, scholars, and military history buffs alike. The wide range of topics covered include war films and literature, to civil-military relations, to women and war. Routledge Research Guides to American Military Studies will include concise, easy-to-use bibliographic volumes on different American military campaigns throughout history, as well as tackling timely subjects such as women in the military and terrorism.
When the Handbook for Research in American History was first published, reviewers called it "an excellent tool for historians of all interests and levels of experience . . . simple to use, and concisely worded" (Western Historical Quarterly) and "an excellent work that fulfills its title in being portable yet well-filled" (Reference Reviews). The Journal of American History added, "It is not easy to produce a reference work that is utilitarian and enriching and does not duplicate existing works. Professor Prucha has done the job very well." This second, revised edition takes account of the revolution that is occurring in bibliographic science as printed reference works extend to electronic databases, CD-ROMs, and online networks such as the Internet. Focusing on and expanding the major section of the original Handbook, it provides information on traditional printed works, describes new guides and updated versions of old ones, notes the availability of reference works and of some full-text sources in electronic form, and discusses the usefulness to researchers of different kinds of material and the forms in which they are available. Extensive cross-referencing and a detailed index that includes authors, subjects, and titles enhance the book's usefulness.
After such conflicts as World War II, Vietnam, and now the Persian Gulf, the First World War seems a distant, almost ancient event. It conjures up images of trenches, horse-drawn wagons, and old-fashioned wide-brimmed helmets--a conflict closer to the Civil War than to our own time. It hardly seems an American war at all, considering we fought for scarcely over a year in a primarily European struggle. But, as Ronald Schaffer recounts in this fascinating new book, the Great War wrought a dramatic revolution in America, wrenching a diverse, unregulated, nineteenth-century society into the modern age. Ranging from the Oval Office to corporate boardroom, from the farmyard to the battlefield, America in the Great War details a nation reshaped by the demands of total war. Schaffer shows how the Wilson Administration used persuasion, manipulation, direct control, and the cooperation of private industries and organizations to mobilize a freewheeling, individualist country. The result was a war-welfare state, imposing the federal government on almost every aspect of American life. He describes how it spread propaganda, enforced censorship, and stifled dissent. Political radicals, religious pacifists, German-Americans, even average people who voiced honest doubts about the war suffered arrest and imprisonment. The government extended its control over most of the nation's economic life through a series of new agencies--largely filled with managers from private business, who used their new positions to eliminate competition and secure other personal and corporate gains. Schaffer also details the efforts of scholars, scientists, workers, women, African- Americans, and of social, medical, and moral reformers, to use the war to advance their own agendas even as they contributed to the drive for victory. And not the least important is his account of how soldiers reacted to the reality of war--both at the front lines and at the rear--revealing what brought the doughboys to the battlefield, and how they went through not only horror and disillusionment but felt a fervent patriotism as well. Some of the upheavals Schaffer describes were fleeting--as seen in the thousands of women who had to leave their wartime jobs when the boys came home--but others meant permanent change and set precedents for such future programs as the New Deal. By showing how American life would never be the same again after the Armistice, America in the Great War lays a new foundation for understanding both the First World War and twentieth-century America.
Poised to become a significant player in the new world order, the United States truly came of age during and after World War I. Yet many Americans think of the Great War simply as a precursor to World War II. Americans, including veterans, hastened to put experiences and memories of the war years behind them, reflecting a general apathy about the war that had developed during the 1920s and 1930s and never abated. In Remembering World War I in America Kimberly J. Lamay Licursi explores the American public's collective memory and common perception of World War I by analyzing the extent to which it was expressed through the production of cultural artifacts related to the war. Through the analysis of four vectors of memory--war histories, memoirs, fiction, and film--Lamay Licursi shows that no consistent image or message about the war ever arose that resonated with a significant segment of the American population. Not many war histories materialized, war memoirs did not capture the public's attention, and war novels and films presented a fictional war that either bore little resemblance to the doughboys' experience or offered discordant views about what the war meant. In the end Americans emerged from the interwar years with limited pockets of public memory about the war that never found compromise in a dominant myth.
This is the first book to relate to the literature and art of the First World War to the literature and art produced by the Second World War and by earlier wars. A Muse of Fire is also the first serious attempt to examine the whole range of war poetry and war fiction in English in its relation to the work of German, French, Italian and - to a lesser extent - Russian, Danish, and Hungarian authors. Before 1914 few authors wrote about or experienced war. War, especially its reality, was not the proper subject of literature; while writers seldom served in the armed forces and were almost never in battle. More than half this book deals with the First World War. In successive chapters A.D. Harvey discusses what sort of people, in what sort of physical and psychological conditions, wrote about the war; or painted it; how they handled the challenge of describing their experiences with complete honesty; what literary and artistic techniques they employed; how other forms of creative talent were fostered by the war; and how far memoirs of the war prepared the way for the next one. The account given of the Second World War in the final section, like the chapters on pre-1914 war literature, provides far more than simply an introduction and conclusion to the central part of the book. It is an important contribution to an understanding of how literature and art relate to the psychological and social structures of the communities within which they are produced. This is the first book to relate to the literature and art of the First World War to the literature and art produced by the Second World War and by earlier wars. A Muse of Fire is also the first serious attempt to examine the whole range of war poetry and war fiction in English in its relation to the work of German, French, Italian and - to a lesser extent - Russian, Danish, and Hungarian authors. Before 1914 few authors wrote about or experienced war. War, especially its reality, was not the proper subject of literature; while writers seldom served in the armed forces and were almost never in battle. More than half this book deals with the First World War. In successive chapters A.D. Harvey discusses what sort of people, in what sort of physical and psychological conditions, wrote about the war; or painted it; how they handled the challenge of describing their experiences with complete honesty; what literary and artistic techniques they employed; how other forms of creative talent were fostered by the war; and how far memoirs of the war prepared the way for the next one. The account given of the Second World War in the final section, like the chapters on pre-1914 war literature, provides far more than simply an introduction and conclusion to the central part of the book. It is an important contribution to an understanding of how literature and art relate to the psychological and social structures of the communities within which they are produced.
A broadly interdisciplinary work, this handbook discusses the best and most enduring literature related to the major topics and themes of World War II. Military historiography is treated in essays on the major theaters of military operations and the related themes of logistics and intelligence, while political and diplomatic history is covered in chapters on international relations, resistance movements, and collaboration. The volume analyzes themes of domestic history in essays on economic mobilization, the home fronts, and women in the military and civilian life. The book also covers the Holocaust. This handbook approaches each topic from a global viewpoint rather than focusing on individual national communities. Except for nonprint material, the literature, research, and sources surveyed are primarily those available in English. The volume is aimed at both experts on the war and the general academic community and will also be useful to students and serious laymen interested in the war.