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European War 1914-1919, the War Reserve Collection (WRA -WRE) from Cambridge University Library
Adam Matthew Publications is an imprint of Adam Matthew Digital Ltd, Pelham House, London Road, Marlborough, Wiltshire, SN8 2AG, ENGLAND Telephone: +44 (1672) 511921 Fax: +44 (1672) 511663 Email: [email protected] The First World War: A Documentary Record Series One: European War 1914-1919, the War Reserve Collection (WRA -WRE) from Cambridge University Library Part 2: Trench Journals, Personal Narratives and Reminiscences PUBLISHER'S NOTE The First World War: A Documentary Record is a major microfilm series which is making available for the first time the riches of the Cambridge War Reserve Collection. This collection is acknowledged to be one of the finest sources of documentation concerning the First World War in the world, with much unique, rare and ephemeral material. Dr J M Winter, of Pembroke College, Cambridge, is the Consultant Editor for the microfilm edition. The emphasis is on the inclusion of materials unlikely to be held in most libraries. Part 1 made available the complete card catalogue and manuscript listing of the War Reserve Collection, which highlights the great range of the material held at Cambridge, and provides an invaluable bibliographical source for all aspects of the war. Part 2 commences coverage of the collection itself and focuses on Trench Journals, Personal Narratives and Reminiscences. These sources provide an immediate and personal perspective on the war. They bring home the realities of trench warfare and describe the experiences of infantrymen, officers, airmen, the medical corps, those at training camps, the tank corps, sappers, captured troops, soldiers on their way home and soldiers new to the front. -
The Western Front the First World War Battlefield Guide: World War Battlefield First the the Westernthe Front
Ed 2 June 2015 2 June Ed The First World War Battlefield Guide: Volume 1 The Western Front The First Battlefield War World Guide: The Western Front The Western Creative Media Design ADR003970 Edition 2 June 2015 The Somme Battlefield: Newfoundland Memorial Park at Beaumont Hamel Mike St. Maur Sheil/FieldsofBattle1418.org The Somme Battlefield: Lochnagar Crater. It was blown at 0728 hours on 1 July 1916. Mike St. Maur Sheil/FieldsofBattle1418.org The First World War Battlefield Guide: Volume 1 The Western Front 2nd Edition June 2015 ii | THE WESTERN FRONT OF THE FIRST WORLD WAR ISBN: 978-1-874346-45-6 First published in August 2014 by Creative Media Design, Army Headquarters, Andover. Printed by Earle & Ludlow through Williams Lea Ltd, Norwich. Revised and expanded second edition published in June 2015. Text Copyright © Mungo Melvin, Editor, and the Authors listed in the List of Contributors, 2014 & 2015. Sketch Maps Crown Copyright © UK MOD, 2014 & 2015. Images Copyright © Imperial War Museum (IWM), National Army Museum (NAM), Mike St. Maur Sheil/Fields of Battle 14-18, Barbara Taylor and others so captioned. No part of this publication, except for short quotations, may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, without the permission of the Editor and SO1 Commemoration, Army Headquarters, IDL 26, Blenheim Building, Marlborough Lines, Andover, Hampshire, SP11 8HJ. The First World War sketch maps have been produced by the Defence Geographic Centre (DGC), Joint Force Intelligence Group (JFIG), Ministry of Defence, Elmwood Avenue, Feltham, Middlesex, TW13 7AH. United Kingdom. -
The New Age Under Orage
THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G. -
THE PRODUCTION of BELGIAN, BRITISH and FRENCH TRENCH JOURNALS in the FIRST WORLD WAR by CEDRIC VAN DIJCK, MARYSA DEMOOR, SARAH POSMAN
BETWEEN THE SHELLS: THE PRODUCTION OF BELGIAN, BRITISH AND FRENCH TRENCH JOURNALS IN THE FIRST WORLD WAR by CEDRIC VAN DIJCK, MARYSA DEMOOR, SARAH POSMAN When a new journal appears, it is common for the editor to ¡ȱ¢ȱȱȱǰȱȱȱȱȱȱęȱǰȱ ȱ the journal will endeavour (ce que sera ce journal) and why it was ȱǻpourqoui il est né). The reader, who does not care about ǰȱ¢ȱȱȱȱȱǰȱ ȱȱȱȱȱ ȱ ȱȱȱDzȱȱ ȱȱ ȱȱȱȱ ǯȱ ȱ ȱȱȱǵȱ ȂȱǷȱ¢ȱȱȱǵȱ ȱ ȱȱĴǷȱȱȱȱȱȱȱǯ1 ȱ ȱ ȱ ȱ ȱ ȬȬȱ ȱ ȱ řŘnd infantry division of the French army launched Bellica, a bellicose monthly £ȱ Ĵȱȱȱȱȱȱȱȱȱȱǯȱ ȱ ęȱȱȱȱȱŗşŗśǰȱȱȱ ȱ¢ȱ¡ǰȱ ȱȱȱȱȱȱȱȱȱȱȱȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ £ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ¦ȬȬǰȱȱȱȱǯȱ ȱǰȱȱȱ ȱ ȱȱǰȱȱȁȱȱȂǰȱȱ ȱȱȱǯŘ That the trench press became an invaluable expression of its time and place is ȱ ȱ ȱ Ȃȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱȱȱȱ·ǰȱȂȱȱȱȱ ȱȱȱȱȱȱǯȱȱȱ ȱ ȱǯȱȱȱ ǰȱȱȱȱǰȱ·ȱ·ǰȱȱ ȱȱȱǯř 1 ȁȱ ȱ ȱ ȱ Éǰȱ ȱ ȱ Ȃȱ ȱ ȱ ·ȱ ȱ ȱ¡ȱ¡ȱǰȱȱȱȱȱ¸ȱǰȱȱȱȱ ȱȱȱȱȱȱ·ǯȱȱȱȱȂȱęȱȱȱ··ȱȱȱ ȱȱȱȱȱȱȂȬȱȂȱDzȱȱȱȱȱȂȱ ȱȱȱȱȬǯȱȱȱȱȱǵȱ ȱȱǷȱȱȱȱ·ǵȱ ȱȱǷȱȱ³ǰȱȂȱȂěȱȱ¡ǯȂȱǰȱȁȬȂǰȱBellica ŗȱǻȱŗşŗśǼDZȱŚǯ ȱŘȱ Editor, ‘Les Petits “Trésor et Postes” de Bellica’, BellicaȱŘȱǻ ¢ȱŗşŗŜǼDZȱŗřǯ ȱřȱ ȱ ¡ȱ¢ǰȱȁȱȱȱ·ȂǰȱȱHistoire de La Presse Française II: De 1881 à nos jours, ed. ·ȱȱȱǻDZȱȱȱȱȱǰȱŗşŜśǼǰȱŚŘŘǯ 64 / Publishing History 77: 2017 ȱȂȱȱ ȱȱ ¢ȱȱ ȱ¢ȱȱ ȱȱȱȱ¢ȱȱȱǯȱȱȱȱǰȱ ȱ¡ȱȱȱȱȱȱȱȁȱȱȂȱȱ ȱȱȱȱ¡ȱ ¢ȱȱȱȱęǰȱȱ¢ȱ into the politics of endurance that opens Robert Nelson’s impressive study of German trench journalism.Ś The answer to that question is the trench press, which existed to maintain morale and cohesion, and which ¢ȱȱȱȱȱȱȱȱȱȱȱ of an army community. -
A Version of This Article Appeared in Two Issues of the Online Newsletter Esense in 2017
A version of this article appeared in two issues of the online newsletter eSense in 2017. Translating the Great War: A glimpse behind the scenes (Part 1) Last year, Ragini Werner invited me to contribute a piece about a day in the life of an arts translator to the next issue of eSense. I liked the idea, but I'd already written an article on translating for museums, which I've recently added to the SENSE Library on the website. Since much of my recent work has been literary translation, I wanted to focus on that topic instead. Ragini kindly gave me permission to write about a subject of my choice. Around that time, War and Turpentine —my translation of the First World War novel by Flemish author Stefan Hertmans—was beginning to attract attention from critics and readers. I thought some SENSE members might enjoy a behind-the-scenes account of how I tackled the descriptions of life in the trenches and other translation challenges in the book. I wrote a short piece about the first sentence last year: https://www.athenaeum.nl/nieuws/2016/david-mckay-on-translating-the-first-sentence-of- stefan-hertmans-oorlog-en-terpentijn-war-and-turpentine/. But the constraints of the assigned topic kept me from telling the most interesting stories about my experiences. Although War and Turpentine is a novel, the middle section—the part set in wartime—is closely based on unpublished memoirs written by Hertmans's grandfather about his experiences as a soldier. I was nervous about getting the war scenes right, so I called in the cavalry. -
Claremen & Women in the Great War 1914-1918
Claremen & Women in The Great War 1914-1918 The following gives some of the Armies, Regiments and Corps that Claremen fought with in WW1, the battles and events they died in, those who became POW’s, those who had shell shock, some brothers who died, those shot at dawn, Clare politicians in WW1, Claremen courtmartialled, and the awards and medals won by Claremen and women. The people named below are those who partook in WW1 from Clare. They include those who died and those who survived. The names were mainly taken from the following records, books, websites and people: Peadar McNamara (PMcN), Keir McNamara, Tom Burnell’s Book ‘The Clare War Dead’ (TB), The In Flanders website, ‘The Men from North Clare’ Guss O’Halloran, findagrave website, ancestry.com, fold3.com, North Clare Soldiers in WW1 Website NCS, Joe O’Muircheartaigh, Brian Honan, Kilrush Men engaged in WW1 Website (KM), Dolores Murrihy, Eric Shaw, Claremen/Women who served in the Australian Imperial Forces during World War 1(AI), Claremen who served in the Canadian Forces in World War 1 (CI), British Army WWI Pension Records for Claremen in service. (Clare Library), Sharon Carberry, ‘Clare and the Great War’ by Joe Power, The Story of the RMF 1914-1918 by Martin Staunton, Booklet on Kilnasoolagh Church Newmarket on Fergus, Eddie Lough, Commonwealth War Grave Commission Burials in County Clare Graveyards (Clare Library), Mapping our Anzacs Website (MA), Kilkee Civic Trust KCT, Paddy Waldron, Daniel McCarthy’s Book ‘Ireland’s Banner County’ (DMC), The Clare Journal (CJ), The Saturday Record (SR), The Clare Champion, The Clare People, Charles E Glynn’s List of Kilrush Men in the Great War (C E Glynn), The nd 2 Munsters in France HS Jervis, The ‘History of the Royal Munster Fusiliers 1861 to 1922’ by Captain S. -
Mortem Obierunt
Mortem Obierunt Looking Back 100 Years From the Garton Archive: Item of Interest 57 Compiled by Peter Harrod December 2017 “The Crucible of War” The Battle of Passchendaele, one of the bloodiest and most controversial of the Great War, has recently been in the news as part of the commemoration of those dark days of 1917. The battle ended just over one hundred years ago, and the name Passchendaele, along with Ypres and Somme, has come to symbolise the Great War itself. Wikipedia informs us that the Battle, also known as the Third Battle of Ypres, was a First World War campaign fought by the Allies on the Western Front against the German Empire from July to November 1917. It formed part of a strategy designed to gain control of the ridges south and east of the Belgian city of Ypres. Passchendaele lay on the final ridge east of Ypres near to a railway junction at Roulers, vital to the supply system of the German 4th Army. A recent article in the Daily Telegraph reported that the Allied assault was launched in the early hours of 31 July 1917. Because of the torrential rain, the British and Canadian troops found themselves fighting not only the Germans, but a quagmire of stinking mud that swallowed up men, horses and tanks. The article reported that, after three months, one week and three days of brutal trench warfare, the Allies finally recaptured the village of Passchendaele, but by then around a third of a million British and Allied soldiers had been killed or wounded in some of the most horrific trench warfare battles of the long conflict. -
British 8Th Infantry Division on the Western Front, 1914-1918
Centre for First World War Studies British 8th Infantry Division on the Western Front, 1914-18 by Alun Miles THOMAS Thesis submitted to The University of Birmingham For the Degree of DOCTOR OF PHILOSOPHY School of History and Cultures College of Arts & Law January 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT Recent years have seen an increasingly sophisticated debate take place with regard to the armies on the Western Front during the Great War. Some argue that the British and Imperial armies underwent a ‘learning curve’ coupled with an increasingly lavish supply of munitions, which meant that during the last three months of fighting the BEF was able to defeat the German Army as its ability to conduct operations was faster than the enemy’s ability to react. This thesis argues that 8th Division, a war-raised formation made up of units recalled from overseas, became a much more effective and sophisticated organisation by the war’s end. It further argues that the formation did not use one solution to problems but adopted a sophisticated approach dependent on the tactical situation. -
Disillusionment in World War I
Through Dread of Crying You Will Laugh Instead: Disillusionment in World War I Catherine Gomez he beliefs with which one is raised and in which one trusts unquestioningly are often the most difficult to change. Usually beliefs are reinforced by one’s community, schools, Tfamily and friends and as long as nothing occurs to bring the beliefs into question, they remain unchanged and unquestioned. Such was the belief in the nobility and glory of war prior to World War I. War and self-sacrifice were the obligations of the patriotic, the chivalrous, and the strong.’ It was with such firmly established beliefs that the young men of the “generation of 1914” enlisted in the war against Germany.2 But World War I would prove to be unlike any previous war: it lasted longer, took more lives and was carried out under more horrifying conditions than anyone could have anticipated in 1914. So unexpected were the conditions and horrors of this war, and so unheroic were the deaths of young men, that any illusions of war that the soldiers may have held were slowly stripped away. Disillusionment with the war, however, did not lead large numbers of soldiers to escape from the front. Rather, disillusionment created a state for which coping mechanisms proved necessary and the war proved to be a rich source for the grim humor of the trench journals — a useful outlet for soldiers’ pent up dismay. Thus, rather than pulling soldiers away from their duties, disillusionment created a situation in which soldiers were forced to find creative ways to fulfill their obligations despite the inglorious conditions of war. -
Limp Lavender Leather
Plum Lines The quarterly newsletter of The Wodehouse Society Vol. 2 i No. i Spring 2000 LIMP LAVENDER LEATHER By Tony Ring A talk delivered at the Houston convention of The Wodehouse Society, October 1999- Tony’s rendition of the first poem was appallingly —and appropriately—earnest. He kindly supplied, at my request, copies of poems from newspapers almost a century old for reproduction here. The newspapers were, of course, part of Tony’s vast collection of Wodehousiana. — OM Be! ender leather volume which you see before Be! you contains a hundred and fifty o f his po The past is dead, ems, and is a long way from being com Tomorrow is not born. plete. The editor o f the only collection of Be today! his poems so far published, The P a rro t, Today! which emerged from the egg in 1989, made Be with every nerve, an elementary mistake by failing to list the With every fibre, source of any of its twenty-seven offerings. With every drop of your red blood! Wodehouse contrasted writing light verse Be! with the production o f lyrics, another skill Be! which he was to demonstrate with com mendable felicity, mainly in the subsequent These lines, together with a further three decade. He helpfully explained that he pre verses whose secrets Plum Wodehouse did ferred to have a melody around which to cre not reveal, earned Rocky Todd a hundred dollars in 1916 ate his lyric, otherwise he would find himself producing money and enabled him to stay in bed until four o’clock songs with the regular metre and rhythms o f light verse. -
Reveille – November 2020
Reveille – November 2020 Reveille – No.3 November 2020 The magazine of Preston & Central Lancashire WFA southribble-greatwar.com 1 Reveille – November 2020 In Flanders fields the poppies blow Between the crosses, row on row, That mark our place; and in the sky The larks, still bravely singing, fly Scarce heard amid the guns below. We are the Dead. Short days ago We lived, felt dawn, saw sunset glow, Loved and were loved, and now we lie, In Flanders fields. Take up our quarrel with the foe: To you from failing hands we throw The torch; be yours to hold it high. If ye break faith with us who die We shall not sleep, though poppies grow In Flanders fields. John McCrae Cover photograph by Charlie O’Donnell Oliver at the Menin Gate 2 Reveille – November 2020 Welcome… …to the November 2020 edition of our magazine Reveille. The last few months have been difficult ones for all of us particularly since we are not able to meet nor go on our usual travels to the continent. In response the WFA has been hosting a number of online seminars and talks – details of all talks to the end of the year and how they can be accessed are reproduced within this edition. The main theme of this edition is remembrance. We have included articles on various War Memorials in the district and two new ones this branch has had a hand in creating. The branch officers all hope that you are well and staying safe. We wish you all the best for the holiday season and we hope to meet you again in the new year. -
The Wipers Times Education Pack
The Wipers Times Education Pack 1 Contents Introduction ............................................................................................................................................ 3 The Wipers Times: From Page to Stage ................................................................................................... 4 The Men Behind The Wipers Times ........................................................................................................ 7 Ypres in 1914 ........................................................................................................................................... 8 WWI and Ypres ..................................................................................................................................... 10 Life in the Trenches ............................................................................................................................... 13 British Art and Literature ...................................................................................................................... 15 during WWI ........................................................................................................................................... 15 The Journey of a Production ................................................................................................................. 19 Rehearsal Blog ....................................................................................................................................... 21 Meet the Cast .......................................................................................................................................