The Odd Case of the Welcome Refugee in Wartime Britain: Uneasy Numbers, Disappearing Acts and Forgetfulness Regarding Belgian Refugees in the First World War
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The Purpose of the First World War War Aims and Military Strategies Schriften Des Historischen Kollegs
The Purpose of the First World War War Aims and Military Strategies Schriften des Historischen Kollegs Herausgegeben von Andreas Wirsching Kolloquien 91 The Purpose of the First World War War Aims and Military Strategies Herausgegeben von Holger Afflerbach An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org Schriften des Historischen Kollegs herausgegeben von Andreas Wirsching in Verbindung mit Georg Brun, Peter Funke, Karl-Heinz Hoffmann, Martin Jehne, Susanne Lepsius, Helmut Neuhaus, Frank Rexroth, Martin Schulze Wessel, Willibald Steinmetz und Gerrit Walther Das Historische Kolleg fördert im Bereich der historisch orientierten Wissenschaften Gelehrte, die sich durch herausragende Leistungen in Forschung und Lehre ausgewiesen haben. Es vergibt zu diesem Zweck jährlich bis zu drei Forschungsstipendien und zwei Förderstipendien sowie alle drei Jahre den „Preis des Historischen Kollegs“. Die Forschungsstipendien, deren Verleihung zugleich eine Auszeichnung für die bisherigen Leis- tungen darstellt, sollen den berufenen Wissenschaftlern während eines Kollegjahres die Möglich- keit bieten, frei von anderen Verpflichtungen eine größere Arbeit abzuschließen. Professor Dr. Hol- ger Afflerbach (Leeds/UK) war – zusammen mit Professor Dr. Paul Nolte (Berlin), Dr. Martina Steber (London/UK) und Juniorprofessor Simon Wendt (Frankfurt am Main) – Stipendiat des Historischen Kollegs im Kollegjahr 2012/2013. Den Obliegenheiten der Stipendiaten gemäß hat Holger Afflerbach aus seinem Arbeitsbereich ein Kolloquium zum Thema „Der Sinn des Krieges. Politische Ziele und militärische Instrumente der kriegführenden Parteien von 1914–1918“ vom 21. -
US-World War I
World War One (The Great War) 1914 - 1918 http://www.bbc.co.uk/remembrance/img/gassed_446x251.jpg “Gassed,” John Singer Sargent (1919) Quick Overview The war began in August 1914 When war broke out, the U. S. declared itself neutral The U.S. entered the war on April 6, 1917 The fighting ended with a cease-fire agreement on November 11, 1918 Approximately 9 million soldiers were killed. At least 21 million soldiers were wounded. MAIN Causes of the War MILITARISM The Glorification of military power An Arms Race (Competition to build the most powerful weapons) took place - lead to fear MAIN Causes of the War Alliances Suspicions about other nations led to the formation of alliances Triple Alliance Germany, Austria-Hungary, and Italy Triple Entente Britain, France and Russia MAIN Causes of the War Imperialism Competition between European nations over land and resources created rivalries in Africa American imperialism in Latin America and Asia was also a source of concern & tension MAIN Causes of the War Nationalism A deep pride in one’s own country - believing that it is better than all nations European nations competed to prove the superiority of their cultures U.S. - “God’s Chosen People” http://web.viu.ca/davies/H482.WWI/poster.US.DestroyThisMadBrute.jpg Archduke Franz Ferdinand and His Family He was to be the next emperor of Austria-Hungary The Assassination Franz Ferdinand was killed by a Serbian nationalist in Sarajevo June 28, 1914 This event “sparked” war in Europe The Fighting Begins Austria-Hungary declared war on Serbia on July 28, -
Belgian Refugees, Prisoners-Of-War, Enemy Aliens and War Casualties
¿ .ö . I p National University of Ireland Maynooth THE IRISH HOME FRONT 1914-18 WITH PARTICULAR REFERENCE TO THE TREATMENT OF BELGIAN REFUGEES, PRISONERS-OF-WAR, ENEMY ALIENS AND WAR CASUALTIES. by CLARE O’NEILL THESIS FOR THE DEGREE OF PH.D. DEPARTMENT OF HISTORY NATIONAL UNIVERSITY OF IRELAND MAYNOOTH Supervisor of Research: Dr Filipe Meneses October 2006 Contents Contents i Acknowledgements iii Abbreviations iv Introduction 1 Memory and remembrance 7 Wartime mobilisation 16 Purpose of the thesis and methodology 18 Chapter 1 - Ireland at the outbreak of war 24 Ireland within the Union 24 Home Rule 25 An Irish refugees support committee 30 Europe erupts 32 Local Government Board 35 Legislating for aliens 37 Laws concerning war wounded and prisoners of war 46 Chapter 2 - Belgian Refugees 52 The formation of the Belgian Refugees Committee in London 54 Belgian Refugees Committee in Ireland 57 The role of the Local Government Board 67 Michel Schepers - The director of Dunshaughlin colony 72 Education and the churches’ response 74 Belgian customs 79 Taking advantage of refugees 80 Recruitment 81 Reasons for supporting Belgian refugees 82 Refugees as Propaganda 83 Chapter 3 Captivity - ‘a side-show story’ 87 Self mobilisation - humanitarian support for aliens 91 Legislation 92 Detention of enemy aliens 94 Military prisoners 103 Departure from Templemore 106 Treatment of aliens 107 Self-interest 109 Case study 1 - Harry Premperl 110 Case Study 2 - Frederick Vogelsang 111 Chapter 4 - War Wounded 115 Transporting the wounded 132 Funding volunteer -
Chapter Six the War Grinds to a Gruesome End
Chapter Six The War Grinds to a Gruesome End 5 The Armistice came, the day we had dreamed of. The guns stopped, the fighting stopped. Four years of noise and bangs ended in silence. The killings had stopped. We were stunned. I had been out since 1914. I should have been happy. I was sad. I thought of the slaughter, the hardships, the waste, and the friends I had lost.1 —British sergeant-major Richard Tobin of the Army’s Royal Naval Division ussia’s withdrawal from the Great War in late 1917 was a major benefit to Germany and the other Central Powers. True, the Germans would have R to leave some manpower in place in the East in order to keep an eye on Ukraine, Poland, Finland, and Baltic states that it had received according to the terms of the Treaty of Brest-Litovsk. But with Russia no longer a concern, Ger- man military commanders could still shift huge numbers of troops, guns, and other military resources to the Western Front, where the enemy remained for- midable. The only question that remained, according to German strategists, was whether this additional muscle would enable them to defeat reeling French and British armies before Americans troops began pouring into Europe. A Race Against Time for Germany In early 1918 Kaiser Wilhelm II remained Germany’s emperor and the offi- cial commander-in-chief of its military. In reality, however, the war had elevat- ed the country’s generals to positions of influence that eclipsed the Kaiser. From 1916 to 1918, in fact, Germany operated under an unoffical military dictator- 89 Defining Moments: World War I and the Age of Modern Warfare ship—a “silent dictatorship” in the words of some historians—led by two men, Chief of the General Staff Paul von Hindenburg and his deputy, First Quar- termaster-General Erich Ludendorff (see biography, p. -
The Impact of World War I
IMPACTIMPACT OF OF WORLD WORLD WAR WAR I I •• WorldWorld War War I I has has been been called called a a ““warwar with with many many causes causes but but no no objectivesobjectives..”” •• ThisThis profound profound sense sense of of wastewaste andand pointlessness pointlessness willwill shape shape EuropeanEuropean politics politics in in the the post post-- warwar period. period. NewNew Horrors Horrors for for a a New New Century Century •• TotalTotal WarWar •• IndustrialIndustrial weaponsweapons ofof massmass--killingkilling •• ExtremeExtreme NationalismNationalism •• CiviliansCivilians targetedtargeted •• Genocide:Genocide: TurksTurks slaughterslaughter ArmeniansArmenians •• CommunistCommunist RevolutionRevolution •• TerrorismTerrorism AftermathAftermath ofof WorldWorld WarWar I:I: ConsequencesConsequences SocialSocial:: •• almostalmost 1010 millionmillion soldierssoldiers werewere killedkilled andand overover 2020 millionmillion areare woundedwounded •• millionsmillions ofof civilianscivilians dieddied asas aa resultresult ofof thethe hostilities,hostilities, famine,famine, andand diseasedisease •• thethe worldworld waswas leftleft withwith hatred,hatred, intolerance,intolerance, andand extremeextreme nationalism.nationalism. WorldWorld War War I I Casualties Casualties 10,000,000 9,000,000 Russia 8,000,000 Germany 7,000,000 Austria-Hungary 6,000,000 France 5,000,000 4,000,000 Great Britain 3,000,000 Italy 2,000,000 Turkey 1,000,000 US 0 TheThe Spanish Spanish Flu Flu (Influenza) (Influenza) -- 19181918 •• StruckStruck inin thethe -
Agatha Christie
book & film club: Agatha Christie Discussion Questions & Activities Discussion Questions 1 For her first novel,The Mysterious Affair at Styles, Agatha Christie wanted her detective to be “someone who hadn’t been used before.” Thus, the fastidious retired policeman Hercule Poirot was born—a fish-out-of-water, inspired by Belgian refugees she encountered during World War I in the seaside town of Torquay, where she grew up. When a later Poirot mystery, The Murder of Roger Ackroyd, was adapted into a stage play, Christie was unhappy that the role of Dr. Sheppard’s spinster sister had been rewritten for a much younger actress. So she created elderly amateur detective Jane Marple to show English village life through the eyes of an “old maid”—an often overlooked and patronized character. How are Miss Marple and Monsieur Poirot different from “classic” crime solvers such as police officials or hard-boiled private eyes? How do their personalities help them to be more effective than the local authorities? Which modern fictional sleuths, in literature, film, and television, seem to be inspired by Christie’s creations? 2 Miss Marple and Poirot crossed paths only once—in a not-so-classic 1965 British film adaptation of The ABC Murders called The Alphabet Murders (played, respectively, by Margaret Rutherford and Tony Randall). In her autobiography, Christie writes that her readers often suggested that she should have her two iconic sleuths meet. “But why should they?” she countered. “I am sure they would not enjoy it at all.” Imagine a new scenario in which the shrewd amateur and the egotistical professional might join forces. -
Belgian Refugees; Worthing's
West Sussex & the Great War Project www.westsussexpast.org.uk Belgian Refugees; Worthing’s “Guests” Image from Worthing Gazette 28 October 1914 p6 cols de by Angela Levy © Angela Levy and West Sussex County Council 1 West Sussex & the Great War Project www.westsussexpast.org.uk Belgian Refugees; Worthing’s “Guests” Germany had been hatching plans to invade France for a long time before the First World War. There was the Schlieffen Plan when Count Alfred von Schlieffen was German Chief of Staff in 1891 and when Helmuth von Moltke succeeded him in 1906 he pursued the same objective. The small, neutral country of Belgium, sandwiched between France and Germany, stood in the way. Because of Belgium’s position at the centre of the continent, when her neighbours quarrelled, as they frequently had over the centuries, she inevitably suffered and was known as “the battleground of Europe”. 1 In 1914, Belgium had a population of about 7.5 million people and was affluent. Her economy was based on trade and industry for she had good iron and coal resources and an efficient railway system. Germany demanded free passage through Belgium across the plains of Flanders in order to attack France swiftly before her ally, Russia, had time to mobilise. Belgium refused permission. The Belgian Government was “firmly resolved to repel, by all the means in their power, every attack upon their rights”.2 The Belgian King, Albert I, famously said, “Belgium is a nation, not a road!” 3 Nevertheless, on 2 August 1914 the German Army marched into Luxembourg and crossed into Belgium on the morning of 4 August. -
Of the Modern Age
1 1 Interior with a Table, 1921. Vanessa Bell. Oil on canvas. 21 /4 x 25 /4 inches. Tate Gallery, London. ©1961 Estate of Vanessa Bell. Courtesy of Henrietta Garnett. 1028 Tate Gallery, London/Art Resource, NY 1028-1042 UOU6-845482.indd 1028 1/29/07 1:43:43 PM UNIT SIX THE MODERN AGE 1901–1950 Looking Ahead When the twentieth century began, Britain was at the height of its power. During the next half century, the British endured bitter class conflict, two world wars, global economic depression, and growing demands for independence among the colonial peoples they ruled. This period of profound change also witnessed the emergence of powerful Modernist writers, who modified and broke with the forms and traditions of British literature. Keep the following questions in mind as you read: ▲▲▲ ▲ How did World Wars I and II impact British literature? How was class conflict represented in British literature? How did attitudes toward the British Empire begin to change during this period? What were some major characteristics of Modernism? OBJECTIVES In learning about the Modern age, you will focus on the following: • analyzing the characteristics of modern literature and how issues of the period influenced writers • evaluating the influences of the historical forces that shaped literary characters, plots, settings, and themes in modern literature • connecting modern literature to historical contexts, current events, and your own experiences 1029 11028-1042028-1042 UOU6-845482.inddUOU6-845482.indd 10291029 11/10/07/10/07 8:29:258:29:25 AMAM TIMELINE 1901–1950 BRITISH LITERATURE 1900 1920 1901 1914 1917 1920 Rudyard Kipling publishes Modernist journal Blast William Butler Yeats Wilfred Owen’s Collected Kim begins publication ▼ publishes The Wild Swans Poems is published at Coole 1907 1922 Rudyard Kipling wins Nobel 1918 Katherine Mansfield Prize in Literature Siegfried Sassoon publishes publishes The Garden Party Counter-Attack 1913 1922 George Bernard Shaw’s T. -
Sasha Massey St Patrick's College
THE Simpson PRIZE A COMPETITION FOR YEAR 9 AND 10 STUDENTS 2017 Winner Tasmania Sasha Massey St Patrick's College "The experience of Australian soldiers on the Western Front in 1916 has been largely overlooked in accounts of the First World War." To what extent would you argue that battles such as Fromelles and Pozières should feature more prominently in accounts of the First World War? It has been engraved into our national identity to commemorate the sacrifice of those who have participated in conflict, but perhaps one of the greatest tragedies of how we remember World War 1 is that details of battles on the Western Front have eluded the Australian public. Gallipoli, ANZAC Cove and Lone Pine usually dominate the national conversation on ANZAC Day, but the Western Front deserves greater recognition. The loss of a loved one on the Western Front is not an uncommon story, with approximately 45,000 Australian’s being killed.1 The Australian soldiers faced a monumental struggle in France and Belgium, with an immense death toll and unspeakable conditions. It is not only the conditions that were faced that justify the need for a more prominent commemoration of the battles on the Western Front, but they are also very important in the formation of the ANZAC spirit. When Australians think of the ANZACs, we think of tremendous courage, mateship and heroism, qualities that were displayed in abundance on the Western Front, especially at Fromelles and Pozieres. By preserving the legacy of those who served at Pozieres and Fromelles we can remember the lessons they taught us and strive for the qualities they demonstrated. -
The Great War and the United States Home Front Exhibit Guide
The Great War and the United States Home Front Exhibit Guide Pequot Library Special Collections 10/1/2018 CONTENTS Thoughts ............................................................................................................................................................... 2 Discussion Topics .................................................................................................................................................. 5 Vocabulary ............................................................................................................................................................ 6 Suggested Reading ................................................................................................................................................ 8 Internet Resources .............................................................................................................................................. 10 Videos ............................................................................................................................................................. 12 Timeline .............................................................................................................................................................. 13 World War I Casualties ....................................................................................................................................... 18 WWI Background ............................................................................................................................................... -
Cesifo Working Paper No. 9006
A Service of Leibniz-Informationszentrum econstor Wirtschaft Leibniz Information Centre Make Your Publications Visible. zbw for Economics Ciccone, Antonio Working Paper Gibrat's Law for Cities: Evidence from World War I Casualties CESifo Working Paper, No. 9006 Provided in Cooperation with: Ifo Institute – Leibniz Institute for Economic Research at the University of Munich Suggested Citation: Ciccone, Antonio (2021) : Gibrat's Law for Cities: Evidence from World War I Casualties, CESifo Working Paper, No. 9006, Center for Economic Studies and Ifo Institute (CESifo), Munich This Version is available at: http://hdl.handle.net/10419/235376 Standard-Nutzungsbedingungen: Terms of use: Die Dokumente auf EconStor dürfen zu eigenen wissenschaftlichen Documents in EconStor may be saved and copied for your Zwecken und zum Privatgebrauch gespeichert und kopiert werden. personal and scholarly purposes. Sie dürfen die Dokumente nicht für öffentliche oder kommerzielle You are not to copy documents for public or commercial Zwecke vervielfältigen, öffentlich ausstellen, öffentlich zugänglich purposes, to exhibit the documents publicly, to make them machen, vertreiben oder anderweitig nutzen. publicly available on the internet, or to distribute or otherwise use the documents in public. Sofern die Verfasser die Dokumente unter Open-Content-Lizenzen (insbesondere CC-Lizenzen) zur Verfügung gestellt haben sollten, If the documents have been made available under an Open gelten abweichend von diesen Nutzungsbedingungen die in der dort Content Licence (especially -
Closer Roomcard-Hodgkins.Indd
“May Peace soon allow our guests in St Ives to return home; but since Fate has decreed that they celebrate this important holiday abroad, may the sympathy of us all here surround them and be a consolation in their ordeal and a source of comfort in their moments of sadness!” —Martin Cock, editor of the St Ives Times, off ers the Belgian Colony in St Ives his best wishes for Christmas “ February, . My dearest Mother … Tomorrow is the day the German blockade of England commences. The British fl esh doesn’t creep very easily—but I fancy people are uneasy and anxious … You can imagine it’s not easy to paint in the circumstances. And yet I am—I drive myself to it but the feeling of insecurity weighs one down with depression & dark doubts. … I fi nd I am too modern for people down here & I am conscious of the cold eye of distrust and disapproval by the older members of St Ives.” —Frances Hodgkins, February After the war ended in November , Frances Hodgkins moved to London Take a closer look at and eventually back to the south of France. She gave up her studio in St Ives, telling her mother that she was burning her boats and defi nitely turning her Frances Hodgkins’s back on the place. It’s wonderful what one lives through, she said. One of Hodgkins’s fi rst oil paintings, Unshatterable was exhibited in London Unshatterable in , and bought by her friend the painter Cedric Morris who sold it to Dr Rodney Wilson, director of the Robert McDougall Art Gallery in Christchurch, in .