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Englishmen have always travelled. According to French Abbé Le Blanc, they travelled more than other people of Europe because `they look upon their isle as a sort of prison; and the first use they make of their liberty is to get out of it'.(1) For young elite males who travelled to France and Italy for up to five years, the Grand Tour was, most historians agree, ‘intended to provide the final ed
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.
A Guide to the History of the Salient
Historically, wars have always witnessed reports of ghostly sightings and visions. However, the First World War is of particular interest as such phenomena occurred in a more modern, secular environment, at a time when science and secularisation had emerged as predominant ways of thinking about the world. In addition, the number of lives being lost due to conflict was unprecedented.
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.
There were times during the resurgence of the economic crisis in 2015 when it seemed as if ‘Greek-bashing’ had become a pan-European pastime.
The general outline for this project, when the call for papers first appeared in June 2013, requested contributions for essays on the entertainments and popular culture of the First World War, offering a lot of promise for the study of humour in an historical context, which has, it would seem, only recently become of interest to cultural historians.(1) As a self-procla
Endless books have attempted to answer the question as to why the First World War broke out in summer 1914, and the centenary of the July crisis will no doubt prompt historians and popular audiences to further revisit the circumstances in which European leaders ‘sleepwalked’ into a military conflict of unprecedented proportions.
While there has been sustained focus on modern women’s relationship to their culture and society, and, with the upcoming centennial commemorations of the First World War a surge of renewed interest in the art generated by the conflict, war-related imagery produced by women artists remains largely overlooked.