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The study of war and memory has been popular amongst cultural historians for over two decades, yet scholarly interest in the subject shows no sign of abating. Indeed, as this collection demonstrates, memory remains a fruitful area of research, particularly if approached from a comparative perspective.
In an article for The Times Magazine published earlier this year, the novelist Sebastian Faulks characterized relations between soldiers of the First World War (whose monolithic perspective he takes on in the article) and British civilians thus: ‘When you return home, on leave, wounded or, with luck, demobilised in 1918, you will find that people have little idea of what you have endur
In 1919, Douglas C. McMurtrie, Director of the Red Cross Institute for Crippled and Disabled Men, remarked that, ‘beyond reaches of history, the disabled man has been a castaway of society’.
Timing counts for so much in publishing and that is never clearer than when a major anniversary approaches. With the centenary of the First World War not yet actually upon us, there has already been a rush of publications. Meanwhile, just as many of the grandest television and radio programmes promised by the BBC have already been aired. Do we know anything we did not know a year or two ago?
Donald Hankey was – and has remained – one of the most enigmatic personalities to feature in the narrative of the Great War.
‘World War I is one of the most studied topics of modern scholarship.
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.