ATHENA (Academic Tournament for High School Education N’ Achievement) II
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Gallipoli: the Landing
Gallipoli: The Landing Using a Historical Graphic Text in the Classroom Teacher’s Guide Australian Teachers of Media Gallipoli: The Landing Colour Comic ATOM Teacher Guide 26 September 2014 Page 1 of 35 Overview Gallipoli: The Landing (Z Beach True Comics 2014 colour version) is a graphic text about the Landing at Gallipoli on 25 April 1915. This day, Anzac Day, remains a keystone of Australian identity. We all think we know what happened on that day. A very common view is that: • the landing was poorly planned • it was at the wrong beach, • it was bungled, • it was unsuccessful, • it resulted in heavy casualties on the beach, • it demonstrated poor leadership, • the Anzacs fought magnificently against the odds and proved themselves effective soldiers even though they were a civilian army, • and they were only defeated because of the extraordinary leadership of Mustafa Kemal. Gallipoli: The Landing challenges many aspects of this common view. The Australian Curriculum History at Year 9 specifically requires students to investigate Gallipoli, and to consider its place in the Anzac Legend. It is important therefore that teachers present these ideas to students, and allow them to decide for themselves if they accept them. Students can then compare this view of the landing at Gallipoli with those in the textbooks they commonly use. The engaging comic or graphic text format makes the argument very accessible to students, but they still need to be guided through a complex and detailed series of stages to the argument. This Teacher Guide shows how to make most effective use of this graphic text in the history classroom so that students can know, understand and critically evaluate the revisionist ideas being put. -
General Sir William Birdwood and the AIF,L914-1918
A study in the limitations of command: General Sir William Birdwood and the A.I.F.,l914-1918 Prepared and submitted by JOHN DERMOT MILLAR for the degree of Doctor of Philosophy University of New South Wales 31 January 1993 I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of advanced learning, except where due acknowledgement is made in the text of the thesis. John Dermot Millar 31 January 1993 ABSTRACT Military command is the single most important factor in the conduct of warfare. To understand war and military success and failure, historians need to explore command structures and the relationships between commanders. In World War I, a new level of higher command had emerged: the corps commander. Between 1914 and 1918, the role of corps commanders and the demands placed upon them constantly changed as experience brought illumination and insight. Yet the men who occupied these positions were sometimes unable to cope with the changing circumstances and the many significant limitations which were imposed upon them. Of the World War I corps commanders, William Bird wood was one of the longest serving. From the time of his appointment in December 1914 until May 1918, Bird wood acquired an experience of corps command which was perhaps more diverse than his contemporaries during this time. -
The Riddles of Anzac
CHAPTER I THE RIDDLES OF ;\NZXC THESEevents happened a number of years ago. Their hitherto unwritten story lies in the faded diaries and rain-and-mud-staiiied field-books beside me as I work. It is the story of an attempt to decipher, iiiainly from iiinrks left for several years 011 the ground. some of the events of a famous campaign; to trace them from relics which we came upon-sometimes exactly where we ex- pected to find them. soiiietiiiies quite unexpectedly-a pierced water-bottle in the scrub 011 this ridge, a line of spent cartridges or clips ~iithat, some hurriedly scratched rifle-pits, barely begun. on a third: at one or two points a length of parapet stuclded with bullets like a cake with currants: often the poor relics of a line of men of one side or the other, lying where they died. Our Mission happened in this way: When the Allies left Gallipoli at the turn of the year 19 I 5-1G after from five to nine months’ occupation of the narrow footholds at Cape Helles, Anzac and Suvla, they had already sent away with their regimental war diaries much of the material for writing the history of that famous episode. Yet they left behind them many riddles which no one could there answer. For 11s who had been at Anzac, these uncertainties dated from the first hour of the campaign. There was no exact record of where the first troops-the first wave of the covering force which was to seize a foothold for the rest--had landed, though of course the general location 2 GALLIPOLI MISSION was well established; nor was it known how far this ad- vanced force thrust or how the foremost parts fared. -
The Forgotten Fronts the First World War Battlefield Guide: World War Battlefield First the the Forgotten Fronts Forgotten The
Ed 1 Nov 2016 1 Nov Ed The First World War Battlefield Guide: Volume 2 The Forgotten Fronts The First Battlefield War World Guide: The Forgotten Fronts Creative Media Design ADR005472 Edition 1 November 2016 THE FORGOTTEN FRONTS | i The First World War Battlefield Guide: Volume 2 The British Army Campaign Guide to the Forgotten Fronts of the First World War 1st Edition November 2016 Acknowledgement The publisher wishes to acknowledge the assistance of the following organisations in providing text, images, multimedia links and sketch maps for this volume: Defence Geographic Centre, Imperial War Museum, Army Historical Branch, Air Historical Branch, Army Records Society,National Portrait Gallery, Tank Museum, National Army Museum, Royal Green Jackets Museum,Shepard Trust, Royal Australian Navy, Australian Defence, Royal Artillery Historical Trust, National Archive, Canadian War Museum, National Archives of Canada, The Times, RAF Museum, Wikimedia Commons, USAF, US Library of Congress. The Cover Images Front Cover: (1) Wounded soldier of the 10th Battalion, Black Watch being carried out of a communication trench on the ‘Birdcage’ Line near Salonika, February 1916 © IWM; (2) The advance through Palestine and the Battle of Megiddo: A sergeant directs orders whilst standing on one of the wooden saddles of the Camel Transport Corps © IWM (3) Soldiers of the Royal Army Service Corps outside a Field Ambulance Station. © IWM Inside Front Cover: Helles Memorial, Gallipoli © Barbara Taylor Back Cover: ‘Blood Swept Lands and Seas of Red’ at the Tower of London © Julia Gavin ii | THE FORGOTTEN FRONTS THE FORGOTTEN FRONTS | iii ISBN: 978-1-874346-46-3 First published in November 2016 by Creative Media Designs, Army Headquarters, Andover. -
Before Zen: the Nothing of American Dada
Before Zen The Nothing of American Dada Jacquelynn Baas One of the challenges confronting our modern era has been how to re- solve the subject-object dichotomy proposed by Descartes and refined by Newton—the belief that reality consists of matter and motion, and that all questions can be answered by means of the scientific method of objective observation and measurement. This egocentric perspective has been cast into doubt by evidence from quantum mechanics that matter and motion are interdependent forms of energy and that the observer is always in an experiential relationship with the observed.1 To understand ourselves as in- terconnected beings who experience time and space rather than being sub- ject to them takes a radical shift of perspective, and artists have been at the leading edge of this exploration. From Marcel Duchamp and Dada to John Cage and Fluxus, to William T. Wiley and his West Coast colleagues, to the recent international explosion of participatory artwork, artists have been trying to get us to change how we see. Nor should it be surprising that in our global era Asian perspectives regarding the nature of reality have been a crucial factor in effecting this shift.2 The 2009 Guggenheim exhibition The Third Mind emphasized the im- portance of Asian philosophical and spiritual texts in the development of American modernism.3 Zen Buddhism especially was of great interest to artists and writers in the United States following World War II. The histo- ries of modernism traced by the exhibition reflected the well-documented influence of Zen, but did not include another, earlier link—that of Daoism and American Dada. -
Century British Photography and the Case of Walter Benington by Robert William Crow
Reputations made and lost: the writing of histories of early twentieth- century British photography and the case of Walter Benington by Robert William Crow A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Technology January 2015 Abstract Walter Benington (1872-1936) was a major British photographer, a member of the Linked Ring and a colleague of international figures such as F H Evans, Alfred Stieglitz, Edward Steichen and Alvin Langdon Coburn. He was also a noted portrait photographer whose sitters included Albert Einstein, Dame Ellen Terry, Sir Arthur Conan Doyle and many others. He is, however, rarely noted in current histories of photography. Beaumont Newhall’s 1937 exhibition Photography 1839-1937 at the Museum of Modern Art in New York is regarded by many respected critics as one of the foundation-stones of the writing of the history of photography. To establish photography as modern art, Newhall believed it was necessary to create a direct link between the master-works of the earliest photographers and the photographic work of his modernist contemporaries in the USA. He argued that any work which demonstrated intervention by the photographer such as the use of soft-focus lenses was a deviation from the direct path of photographic progress and must therefore be eliminated from the history of photography. A consequence of this was that he rejected much British photography as being “unphotographic” and dangerously irrelevant. Newhall’s writings inspired many other historians and have helped to perpetuate the neglect of an important period of British photography. -
The War to End War — the Great War
GO TO MASTER INDEX OF WARFARE GIVING WAR A CHANCE, THE NEXT PHASE: THE WAR TO END WAR — THE GREAT WAR “They fight and fight and fight; they are fighting now, they fought before, and they’ll fight in the future.... So you see, you can say anything about world history.... Except one thing, that is. It cannot be said that world history is reasonable.” — Fyodor Mikhaylovich Dostoevski NOTES FROM UNDERGROUND “Fiddle-dee-dee, war, war, war, I get so bored I could scream!” —Scarlet O’Hara “Killing to end war, that’s like fucking to restore virginity.” — Vietnam-era protest poster HDT WHAT? INDEX THE WAR TO END WAR THE GREAT WAR GO TO MASTER INDEX OF WARFARE 1851 October 2, Thursday: Ferdinand Foch, believed to be the leader responsible for the Allies winning World War I, was born. October 2, Thursday: PM. Some of the white Pines on Fair Haven Hill have just reached the acme of their fall;–others have almost entirely shed their leaves, and they are scattered over the ground and the walls. The same is the state of the Pitch pines. At the Cliffs I find the wasps prolonging their short lives on the sunny rocks just as they endeavored to do at my house in the woods. It is a little hazy as I look into the west today. The shrub oaks on the terraced plain are now almost uniformly of a deep red. HDT WHAT? INDEX THE WAR TO END WAR THE GREAT WAR GO TO MASTER INDEX OF WARFARE 1914 World War I broke out in the Balkans, pitting Britain, France, Italy, Russia, Serbia, the USA, and Japan against Austria, Germany, and Turkey, because Serbians had killed the heir to the Austrian throne in Bosnia. -
Imperial Ghosts
Colonial ideas, modern warfare: how British perceptions affected their campaign against the Ottomans, 1914-1916 by Cameron Winter A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in History Guelph, Ontario, Canada © Cameron Winter, April, 2017 ABSTRACT COLONIAL IDEAS, MODERN WARFARE: HOW BRITISH PERCEPTIONS AFFECTED THEIR CAMPAIGN AGAINST THE OTTOMANS, 1914-1916 Cameron Winter Advisor: University of Guelph, 2017 Professor R Worringer This thesis is an investigation of British campaign against the Ottoman Sultanate during the first two years of WWI. Despite Britain’s purported superiority in all things military and technological, the Ottomans dealt the British several stinging reverses at the Dardanelles and in Mesopotamia, culminating in the capture of a British division at Kut. It is the argument of this thesis that these failures on the part of the British were the direct result of Britain’s colonialist attitudes towards Muslims, and that a reading of both the secondary literature and available primary materials demonstrates this thoroughly. By examining memoirs, diaries, cabinet documents and minutes of War Council meetings, it becomes clear that Lord Kitchener, Winston Churchill, Austen Chamberlain, and other British leaders suffered from a fundamental misunderstanding about the nature of Islam and of the Ottoman Army, and that this misunderstanding underwrote all of their subsequent failures over the 1914-1916 period. iii Table of Contents Introduction: One Debacle -
Catalogue: May #2
CATALOGUE: MAY #2 MOSTLY OTTOMAN EMPIRE, THE BALKANS, ARMENIA AND THE MIDDLE EAST - Books, Maps & Atlases 19th & 20th Centuries www.pahor.de 1. COSTUMES OF THE OTTOMAN EMPIRE A small, well made drawing represents six costumes of the Ottoman Empire and the Middle East. The numeration in the lower part indicates, that the drawing was perhaps made to accompany a Anon. [Probably European artist]. text. S.l., s.d. [Probably mid 19th century] Pencil and watercolour on paper (9,5 x 16,5 cm / 3.7 x 6.5 inches), with edges mounted on 220 EUR later thick paper (28 x 37,5 cm / 11 x 14,8 inches) with a hand-drawn margins (very good, minor foxing and staining). 2. GREECE Anon. [Probably a British traveller]. A well made drawing represents a Greek house, indicated with a title as a house between the port city Piraeus and nearby Athens, with men in local costumes and a man and two young girls in House Between Piraeus and Athens. central or west European clothing. S.l., s.d. [Probably mid 19th century]. The drawing was perhaps made by one of the British travellers, who more frequently visited Black ink on thick paper, image: 17 x 28 cm (6.7 x 11 inches), sheet: 27 x 38,5 cm (10.6 x 15.2 Greece in the period after Britain helped the country with its independence. inches), (minor staining in margins, otherwise in a good condition). 160 EUR 3. OTTOMAN GEOLOGICAL MAP OF TURKEY: Historical Context: The Rise of Turkey out of the Ottoman Ashes Damat KENAN & Ahmet Malik SAYAR (1892 - 1965). -
University of Cincinnati
UNIVERSITY OF CINCINNATI Date:May 15, 2007 I, Katie Esther Landrigan, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: The Photographic Vision of John O. Bowman, “The Undisputed Box-Camera Champion of the Universe” This work and its defense approved by: Chair: Theresa Leininger-Miller, Ph.D. Mikiko Hirayama, Ph.D. Jane Alden Stevens The Photographic Vision of John O. Bowman (1884-1977), “The Undisputed Box-Camera Champion of the Universe” A thesis submitted to the Art History Faculty of the School of Art/College of Design, Architecture, Art, and Planning University of Cincinnati In candidacy for the degree of Master of Arts in Art History Katie Esther Landrigan B.A., Ohio State University April 2006 Thesis Chair: Dr. Theresa Leininger-Miller Abstract In 1936, John Oliver Bowman (1884-1977) purchased his first box camera with seventy- five cents and six coffee coupons. In his hometown of Jamestown, New York, located in the Chautauqua Lake Region, Bowman spent his free time photographing a wide range of subjects, including farmers plowing the fields or the sun setting over Chautauqua Lake from the 1930s until the end of his life. He displayed a Pictorialist sensibility in his photographs of small town living and received worldwide recognition with a solo exhibition of ninety-nine prints at the New York World’s Fair of 1939-1940, as well as nationwide praise in the popular press. Within forty years, Bowman produced an estimated 8,000 gelatin silver prints. This thesis marks the first in- depth, scholarly study of Bowman’s life and work. -
Die Kunst in Der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908
Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908 A thesis submitted to the faculty of the University of Cincinnati College of Design, Architecture, Art, and Planning in partial fulfillment of the requirements for the degree of Master of Arts in Art History Emily Bauman March 2016 M.A., University of Cincinnati, 2008 B.A., University of Cincinnati, 2002 Committee members: Chair: Dr. Morgan Thomas Dr. Mikiko Hirayama Dr. Valerie Weinstein Abstract Die Kunst in der Photographie was an early art photography journal published in Berlin from 1897 to 1908. The photographs in its pages are predominantly nostalgic, with landscape and genre scenes that offer sentimentalized or ruralized depictions of contemporary life. This tendency to turn away from industrialization and to embrace a certain rusticity resonates with the Romantic ideals that saw their peak in the early half of the nineteenth century, seeming to imply that Die Kunst in der Photographie fixed a stubborn eye on the past. Yet portrait photographs in the journal reveal a focus on intersubjectivity—an attempt to put the viewer into contact with the distinct personality of the subject—which demonstrates a break from what had become the traditional conventions of photographic portraiture. Rather than emphasizing what the sitter looked like, these portraits display an inwardness of composition, depicting the sitter in shadows and with down-turned eyes. This inwardness cuts against the theatricality, and perhaps pompousness, of contemporaneous photographs that depicted the sitter surrounded by lavish objects, staring back at the viewer. These portraits provide a modern counterpart to the journal’s nostalgic landscape and genre scenes. -
Daniel Taylor
165: Daniel Taylor Basic Information [as recorded on local memorial or by CWGC] Name as recorded on local memorial or by CWGC: Daniel Taylor Rank: Private Battalion / Regiment: 6th Bn. South Lancashire Regiment Service Number: 11692 Date of Death: 10 August 1915 Age at Death: ? Buried / Commemorated at: Helles Memorial, Gallipoli, Canakkale, Turkey Additional information given by CWGC: None Daniel Taylor was the son of collier Thomas and Mary Taylor of Little Neston and he was baptised at Neston 16 March 1894. In the 1881 census Thomas, 25, was an unmarried collier lodging with labourer Thomas and Sarah Johnson on Burton Road and it was probably him (with others) who, on 5 October 1883, was fined 10 shillings with costs at Neston Petty Sessions for being drunk and disorderly in Neston. Thomas married Mary Livens at Our Lady & St Nicholas & St Anne, the Liverpool Parish Church, in late 1887. Mary was a granddaughter of labourer Thomas and Hannah Livens of Bridge Street (her parentage is uncertain) and Mary had given birth to two illegitimate children: John baptised at Neston on 1 June 1883 Anne Jane baptised at Neston on 12 December 1884. In the 1891 census Thomas, Mary and Annie were living off Bridge Street, Neston: 1891 census (extract) – Pear Tree Crescent, Bridge Street, Neston Thomas Taylor 37 coalminer born Little Neston Mary 29 born Neston Annie J. Livens 6 step-daughter born Neston John Livens, Mary’s illegitimate son, has not been located in the 1891 or 1901 census returns but it is believed that he died, aged 50, on Wirral in mid-1936.