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How did the world of nation-states come about? What happened to the world of empires that preceded it? How did the transition take place and how inevitable was it? These may seem (and indeed are) old questions.
This is an edited collection consisting of 11 articles, plus an introduction and an epilogue, about the role of martial masculinities in British society and culture from the French Revolution to the beginning of the Great War. It originated in a conference held at the University of Hull in 2015. The majority of the authors teach in either a History or an English department.
During the interwar period, the figure of the ‘New Man’ constituted a powerful symbol of the promise and potential of a thorough-going political and anthropological revitalisation of society, which could effectively counteract widely-perceived notions of crisis and decline in the aftermath of the Great War.
A Guide to the History of the Salient
There are few historical events with a cultural legacy as enduring as that connected to the Second World War. The conflict occupies an important place within many personal, as well as national, narratives. Those interested in its history and heritage are confronted by an enormous range of writing, on a wide variety of themes.
The British Library’s new exhibition ‘Anglo-Saxon Kingdoms: Art, Word, War’ is a celebration of Anglo-Saxon culture and learning, mainly represented though the texts produced during that period.
The BBC began broadcasting television programmes from its own studios in 1932 and launched a regular TV service in 1936, only to shut it down when, three years later, Great Britain declared war on Germany. Edward Stourton’s Auntie’s War: The BBC during the Second World War is therefore about radio, and in particular the tug of war within the corporation between 1939 and 1945.
Lesley Milne’s Laughter and War: Humorous-Satirical Magazines in Britain, France, Germany and Russia 1914–1918, offers a well written overview of the humour of four nations during the Great War, and in turn, four satirical magazines that provoked laughter in these combatant countries.
Sonya Rose’s initial interest in national identity was sparked by the patriotic fervor that burst forth following the declaration of the first Iraq War (1990–1). ‘I wondered at how easily patriotic sentiment and the sense of belonging to a nation under threat – even if that threat was so far away – could be aroused’ (p. 285).
‘We are not enemies, but friends. We must not be enemies’.(1) These famous lines from Abraham Lincoln’s first inaugural address serve as a stark point of contrast in the introduction of Damn Yankees! Demonization and Defiance in the Confederate South. For whilst Lincoln implored the nation to avoid violent confrontation, the war of words had already begun.