"Views" Issue 51, Autumn 2014
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The Oxford Democrat
The Oxford Democrat. NUMBER 24 VOLUME 80. SOUTH PARIS, MAINE, TUESDAY, JUNE 17, 1913. where hit the oat "Hear Hear The drearily. "That's you look out for that end of the business. to an extent. low Voted Out the Saloons called ye! ye! poll· D. *ΆΚΚ. increase the aupply quite They he said. on | are now closed." Everyone drew a aigb nail on the head," "Mouey. ▲11 I want you to do 1b to pass this AMONG THE FARMERS. Some Kansas experiment· show an in- The following extract from λ lettei Auctioneer, DON'T HURRY OR WORRY of and went borne to aopper, ex- the mean and dirty thing that can here note." Lictjnsed crease after a crop of clover was turned 'rom Mrs. Benj. H. Fiab of Santa Bar relief, — who ate theirs world—that's «"»«· At Meals Follows. TH* cept tbe election board, the best man In the "Colonel Tod hunter," replied tlie »IU>. Dyspepsia "SPKED PLOW." under. The yield of corn was Increased >ara, Calif., may be of interest bott whip âû0TH and oat of pail· and boxes, and afterwards Thurs." "the Indorsement and the col- Moderate- 20 bushel· an acre, oats 10 bushels, rom the temperance and tbe suffrage Colonel the trouble. banker, Tera» I went to A serene mental condition and time began counting votes. aleep other man's mon- a Correspondence on practical agricultural topics potatoes 30 bushel*. itand point. "Ifs generally the lateral make this note good, and it's to chow your food is more la bearing them count. thoroughly aollcHed. -
'Music and Remembrance: Britain and the First World War'
City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War. -
Re-Shaping a First World War Narrative : a Sculptural Memorialisation Inspired by the Letters and Diaries of One New Zealand
Copyright is owned by the Author of the thesis. Permission is given for a copy to be downloaded by an individual for the purpose of research and private study only. The thesis may not be reproduced elsewhere without the permission of the Author. Re-Shaping a First World War Narrative: A Sculptural Memorialisation Inspired by the Letters and Diaries of One New Zealand Soldier David Guerin 94114985 2020 A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Fine Arts Massey University, Wellington, New Zealand (Cover) Alfred Owen Wilkinson, On Active Service in the Great War, Volume 1 Anzac; Volume 2 France 1916–17; Volume 3 France, Flanders, Germany (Dunedin: Self-published/A.H. Reed, 1920; 1922; 1924). (Above) Alfred Owen Wilkinson, 2/1498, New Zealand Field Artillery, First New Zealand Expeditionary Force, 1915, left, & 1917, right. 2 Dedication Dedicated to: Alfred Owen Wilkinson, 1893 ̶ 1962, 2/1498, NZFA, 1NZEF; Alexander John McKay Manson, 11/1642, MC, MiD, 1895 ̶ 1975; John Guerin, 1889 ̶ 1918, 57069, Canterbury Regiment; and Christopher Michael Guerin, 1957 ̶ 2006; And all they stood for. Alfred Owen Wilkinson, On Active Service in the Great War, Volume 1 Anzac; Volume 2 France 1916–17; Volume 3 France, Flanders, Germany (Dunedin: Self-published/A.H. Reed, 1920; 1922; 1924). 3 Acknowledgements Distinguished Professor Sally J. Morgan and Professor Kingsley Baird, thesis supervisors, for their perseverance and perspicacity, their vigilance and, most of all, their patience. With gratitude and untold thanks. All my fellow PhD candidates and staff at Whiti o Rehua/School of Arts, and Toi Rauwhārangi/ College of Creative Arts, Te Kunenga ki Pūrehuroa o Pukeahu Whanganui-a- Tara/Massey University, Wellington, especially Jess Richards. -
'Art of a Second Order': the First World War from the British Home Front Perspective
‘ART OF A SECOND ORDER’ The First World War From The British Home Front Perspective by RICHENDA M. ROBERTS A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham September 2012 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 Little art-historical scholarship has been dedicated to fine art responding to the British home front during the First World War. Within pre-war British society concepts of sexual difference functioned to promote masculine authority. Nevertheless in Britain during wartime enlarged female employment alongside the presence of injured servicemen suggested feminine authority and masculine weakness, thereby temporarily destabilizing pre-war values. Adopting a socio-historical perspective, this thesis argues that artworks engaging with the home front have been largely excluded from art history because of partiality shown towards masculine authority within the matrices of British society. Furthermore, this situation has been supported by the writing of art history, which has, arguably, followed similar premise. -
Mud Blood and Futility RUAE
PASSAGE 1 The passage is taken from the introduction to Peter Parker’s book “The Last Veteran”, published in 2009. The book tells the life story of Harry Patch, who fought in the First World War, and eventually became the last surviving soldier to have fought in the trenches. He died in 2009, aged 111. Mud, Blood and Futility At 11 a.m. on Monday 11 November 1918, after four and quarter years in which howitzers boomed, shells screamed, machine guns rattled, rifles cracked, and the cries of the wounded and dying echoed across the battlefields of France and Belgium, everything suddenly fell quiet. A thick fog had descended that 5 morning and in the muffled landscape the stillness seemed almost palpable. For those left alive at the Front – a desolate landscape in which once bustling towns and villages had been reduced to piles of smoking rubble, and acre upon acre of woodland reduced to splintered and blackened stumps – there was little cause for rejoicing. The longed-for day had finally arrived but most 10 combatants were too enervated to enjoy it. In the great silence, some men were able to remember and reflect on what they had been through. Others simply felt lost. The war had swallowed them up: it occupied their every waking moment, just as it was to haunt their dreams in the future. There have been other wars since 1918 and in all of them combatants have 15 had to endure privation, discomfort, misery, the loss of comrades and appalling injuries. Even so, the First World War continues to exert a powerful grip upon our collective imagination. -
World War I Photography As Historical Record Kimberly Holifield University of Southern Mississippi
SLIS Connecting Volume 7 Article 9 Issue 1 SLIS Connecting Special Issue: British Studies 2018 Through the Lens: World War I Photography as Historical Record Kimberly Holifield University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/slisconnecting Part of the Archival Science Commons, Collection Development and Management Commons, Information Literacy Commons, Scholarly Communication Commons, and the Scholarly Publishing Commons Recommended Citation Holifield, Kimberly (2018) "Through the Lens: World War I Photography as Historical Record," SLIS Connecting: Vol. 7 : Iss. 1 , Article 9. DOI: 10.18785/slis.0701.09 Available at: https://aquila.usm.edu/slisconnecting/vol7/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized editor of The Aquila Digital Community. For more information, please contact [email protected]. Through the Lens: World War I Photography as Historical Record By Kimberly Holifield British Studies Research Paper July 2016 Readers: Dr. Matthew Griffis Dr. Teresa Welsh Figure 1. Unidentified German Official Photographer in a Shallow Trench, June 1917 (Imperial War Museum Collection, www.iwm.org.uk) Figure 2. First World War Exhibit, Imperial War Museum (Holifield, 2016) “Photography takes an instant out of time, altering life by holding it still.”—Dorothea Lange Introduction However, a shift toward photography as historical Quotations fill vacant spaces along the walls of the record has slowly begun to make its way through the First World War exhibit at the Imperial War Museum world of scholarship. In their 2009 article, Tucker and of London. -
A Christmas Truce-Themed Assembly 53
TEACHING THE 1914 CHRISTMAS TRUCES Lesson, assembly and carol service plans to help RESOURCE PACK teachers commemorate the 1914 Christmas Truces for the centenary of World War 1 TABLE OF CONTENTS Activity Plans Key Stage 3/4 31 How to use these resources 4 Creating Truce Images to the track of ‘Silent Night’ 32 Art / Music Introduction: A hopeful bit of history 6 Interrupting the War 34 The Martin Luther King Peace Committee 8 English / Creative Writing Christmas Truces Powerpoint: Information for Teachers 11 Christmas Truce Street Graffiti 37 Section 1: The War 12 Art Section 2: Opposing the War 13 Section 3: Combat and Trench Warfare 13 Research Local Participants via Letters to Newspapers 38 Section 4: The December 1914 Christmas Truces 14 History Activity Plans Key Stage 2/3 17 What’s the Point of Christmas Today? 40 Introduction to the Christmas Truces 18 RE / Ethics / PSE History / Moral Reflection Court Martial 41 Writing a Letter Home 20 History / Ethics / PSE English / History Overcoming Barbed Wire 44 Christmas Truces Game 22 Art P. E. Perceptions and Images of the Enemy 45 The Handshake 23 Art / PSE / History Art / Literacy Truce Words: Dominic McGill 46 Multi-session: Christmas Truce Re-enactment 24 Art History / P. E. / Ethics / Music / Languages / Drama Shared Elements of the Truces 47 Christmas Cakes for the Truces 26 Modern Languages Cookery Christianity and World War 1 48 Learning about Countries in 1914 28 RE / History / Ethics Geography The Christmas Gift 30 Fighting or Football 51 Art / Literacy History 2 A Christmas Truce-Themed Assembly 53 A School Carol Service 55 Appendices 60 Appendix 1: Images 60 Appendix 2: Eyewitness Testimonies 62 Appendix 3: Further Resources for Teachers 64 Appendix 4: Multi - Lingual Resources 65 3 HOW TO USE THESE RESOURCES The purpose of this pack is to provide teachers with concrete lesson plans as well as pointers and ideas for developing their own ways of bringing elements of the 1914 Christmas Truces to their schools’ programme between 2014 and 2018. -
Green Park Buckingham Palace Gardens Hyde Park
10 PARK LANE A4202 PARK LANE A4202 Her Majesty The Queen inaugurated The Memorial Gates in 2002. 9 They are situated at the Hyde Park Corner end of Constitution Hill, close to Buckingham Palace in London and commemorate the Armed Forces of the British Empire from Africa, the Caribbean and Hyde Park the five regions of the Indian subcontinent – Bangladesh, India, Nepal, Pakistan and Sri Lanka who served in the Two World Wars. Built: 2002 Design: Liam O’Connor. We hope that you will find this guide helpful, whether as part of an educational project or simply to discover some of the most evocative memorials in London all a short walk from The Memorial Gates. 7 SERPENTINE ROAD www.memorial-gates-london.org.uk A4202 8 A4 PICCADILLY PICCADILLY 1 SOUTH CARRIAGE DRIVE 2 0 50m 100m 150m 200m Hyde Park Corner 3 Green A302 underground station Park E (approx) 6 C G A 4 L MG KNIGHTSBRIDGE A4 R P 11 O S N V O T CONSTITUTION HILL E G MG N N O 5 LI R R L O E N T P F W E N L O V E A KE S C C U S E D Buckingham Palace Gardens O E R R (Not open to the public) G C 1 RAF Bomber Command 5 Australian War Memorial 9 7 July Memorial Memorial To commemorate the 102,000 A permanent memorial to Commemorating the aircrews Australian dead of the First honour the victims of the who embarked on missions and Second World Wars 7 July 2005 London Bombings during the Second World War Built: 2003 Built: 2009 Built: 2012 Design: Tonkin Zulaikha Greer Design: Carmody Groarke Design: Liam O’Connor and Janet Laurence and Arup and Philip Jackson 6 Royal Artillery Memorial 10 Animals -
Towards a Cultural Geography of Modern Memorials Andrew M
Architecture and Interpretation Essays for Eric Fernie Edited by Jill A. Franklin, T. A. Heslop & Christine Stevenson the boydell press Architecture.indb 3 21/08/2012 13:06 © Contributors 2012 All Rights Reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2012 The Boydell Press, Woodbridge isbn 978-184383-781-7 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk ip12 3df, UK and of Boydell & Brewer Inc. 668 Mount Hope Ave, Rochester, ny 14620-2731, USA website: www.boydellandbrewer.com A catalogue record for this book is available from the British Library The publisher has no responsibility for the continued existence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate Papers used by Boydell & Brewer Ltd are natural, recyclable products made from wood grown in sustainable forests Designed and typeset in Adobe Arno Pro by David Roberts, Pershore, Worcestershire Printed and bound by CPI Group (UK) Ltd, Croydon, cr0 4yy Architecture.indb 4 21/08/2012 13:06 Towards a Cultural Geography of Modern Memorials Andrew M. Shanken t is virtually impossible to move through a European or I American city without passing memorials that prompt us – if we notice them at all – merely to scratch at some fading memory. -
Oh What a Lovely War Program
OH WHAT A LOVELY WAR by Theatre Workshop, Charles Chilton and the members of the original cast Oh What a Lovely War was first performed at the Theatre Royal, Stratford East, London on 19 March 1963. The idea for a chronicle of the First World War, told through the songs and documents of the time, was given flesh and blood in Joan Littlewood’s Theatre Workshop, where every produc- tion was the fruit of close co-operation between writer, actor and director. The whole team participated in detailed research into the period and in the creative task of bringing their material to life in theatrical terms. There is one intermission of 15 minutes THE ‘SHARPSTERS’ COMPANY Kevin Bartz Anthony Vessels Bryan “Boots” Connolly Sean M. Cummings Willa Bograd Jeff Garland Sophia M. Guerrero-Murphy Dustin Harvey Kaitlyn Jaffke Will Lehnertz Holly Marks Roger Miller Kelly Oury Bryan C. Nydegger Leihoku Pedersen Jeff Schreiner Phoebe Piper Scott Sharp Meredith Salimbeni SONGS - ACT I Row, Row, Row – Company We Don’t Want To Lose You – Women Belgium Put the Kibosh on the Kaiser – Willa Bograd (& Kevin Bartz, Jeff Garland, Roger Miller) Are We Downhearted? – Kevin Bartz, Bryan “Boots” Connolly, Jeff Schreiner, Tony Vessels Hold Your Hand Out, Naughty Boy – Women I’ll Make A Man Of You – Leihoku Pedersen & Women We’re ‘ere Because We’re ‘ere – Kevin Bartz, Bryan “Boots” Connolly, Holly Marks, Roger Miller, Will Lehnertz, Jeff Schreiner, Anthony Vessels Pack Up Your Troubles – Kevin Bartz, Bryan “Boots” Connolly, Roger Miller, Will Lehnertz, Jeff Schreiner, Anthony Vessels Hitchy Koo – Kelly Oury & Jeff Schreiner (Dancer) Heilige Nacht – Kevin Bartz, Sean M. -
The Green Park GATES OLD PARK LANE DOWN STREET 9.10.14.19.22 PARK LANE PARK LANE BRICK ST 52.74.137.144 HOTEL ATHENAEUM PARK PLACE HOTEL
Cartography by Nick Gibbard, Roger Stewart & Paul McEwan | www.postermaps.co.uk | McEwan Paul & Stewart Roger Gibbard, Nick by Cartography ALBERMARLE STREET 8 DOVER STREET CLARGES ST STREET HYDE PARK BERKELEY STREET CHESTERFIELD GARDENS UEEN Q CHESTERFIELD STREET REET 9.14.19 22.38 CURZON REET STREET ST STRATTON STREET 2.10.16.36.73 ST ST 74.82.137.148 414.436 DEVONSHIRE PICCADILLY 8 HOUSE 2.10.16.36.38 BOLTON STREET DERBY MAY FAIR 73.74.82.137 TREBECK THE RITZ MARKET MEWS HERTFORD 148.414.436 CURZON GATE HOTEL LONDON HILT ON ARLINGTON STREET HOTEL SHEPHERD STREET HALF MOON STREET GREEN PARK STANHOPE ROW ST ST 2.10.16.36.73 HERTFORD 8.9.14.19.22.38 JERMYN STREET 74.82.137.148 2.10.16.36.73 PARK LANE ST. JAMES’S STREET 414.436 74.82.137.148 WHITE HORSE STREET WILLIAM KENT 414.436 HOUSE BENNETT ST 8.9.14 CARRINGTON ACHILLES WAY 19.22.38 HYDE PARK CORNER DEVONSHIRE 3 mins walk from The Green Park GATES OLD PARK LANE DOWN STREET 9.10.14.19.22 PARK LANE PARK LANE BRICK ST 52.74.137.144 HOTEL ATHENAEUM PARK PLACE HOTEL HAMILTON PLACE RYDER ST QUEEN’S WALK INTERCONTINENTAL HOTEL BLUE BALL YARD APSLEY HOUSE WELLINGTON RAF CLUB MUSEUM 14.19 HYDE PARK 22.38 ST. JAMES’S PLACE INFORMATION CENTRE HARD ROCK CAFÉ THE BROAD WALK 8.9 PICCADILLY SPENCER HOUSE LITTLE ST. JAMES’S PLACE 8.9.14 HYDE PARK CORNER 19.22.38 THE CONSTANCE FUND FOUNTAIN MACHINE PICCADILLY UNDERPASS GUN CORPS MEMORIAL WELLINGTON RUSSELL COURT STATUE WELLINGTON NEW ZEALAND THE GREEN PARK ROYA L ARCH WAR MEMORIAL ARTILLERY MEMORIAL LUGSMOOR LANE STORNAWAY HOUSE AUSTRALIAN WAR MEMORIAL MEMORIAL GATES S T . -
Stocktonian 1968-1969
1968-69 OLD STOCKTONIANS' ASSOCIATION^ (Founded by Evan Baldwin 24th January, 1913) AN ASSOCIATION of Old Boys of Grangefield Grammar School, Stockton-on-Tees, formerly known as Stockton Secondary School, and originally as Stockton Higher Grade School. ANNUAL SUBSCRIPTION : 4/- First Subscription from those leaving School: 2/6d. LIFE SUBSCRIPTION: £2. (This may he paid by a maximum of four equal instalments, in consecutive years) Communications should be addressed to: MR. J. G. RATTENBURY, (Hon. Secretary), Old Stocktonians' Association, GRANGEFIELD GRAMMAR SCHOOL FOR BOYS, OXBRIDGE AVENUE, Tel. Stockton 67457. STOCKTON-ON-TEES, TEESSIDE. Subscriptions should be paid to the Hon. Sec. Cheques and Postal Orders should be made payable to : " OLD STOCKTONIANS' ASSOCIATION " and crossed. For Advertising space in future Year Books apply to: The Hon. Secretary. ^iMake the "i^^ ^'^^i Special Grade with the Midland It'll pay you handsomely If you are a personable young man with a good G.C.E., join the Midland Bank. Holding'A'levels in certain subjects will entitle you to an immediate year's seniority on the basic saiary scale. And you will qualify for "Study leave" to prepare for the Institute of Bankers Examinations. Show that you are able, and you will be put In the Special Grade. This means that your saiary could go up by as much as £200 a year; and you would be sure that you were being marked out for a management role in the Bank. Make a note of this About 50% of present-day entrants to the Midland Bank will reach managerial rank. You can do this in your early 30's, earning at feast £2,150, rising to £5,000 and more.