Joseph Fitzgerald Jordan Moriarty WWI Relative
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Bergt 1 Siena Sofia Bergt Professor Insdorf Analysis of Film Language 26 February 2018 Colored Perspectives: Shading World War II Onscreen Films that deal with World War II—whether their narratives are concerned primarily with the war itself, the aura from which it emerged, or the ethos of its aftermath—have a particularly charged relationship to the presence or abjuration of color. As representations of a period that produced its own black-and-white archival footage, these worKs recKon with color not simply as an aesthetic choice, but also as a tool through which to define their own relationship to perspectival subjectivity and claims of historical authenticity. By examining the role of color in three vastly different World War II films— Andrzej Wajda’s black-and-white 1958 rendition of the war’s last 24 hours in “Ashes and Diamonds,” the Harlequin prewar chaos of Bob Fosse’s 1972 “Cabaret,” and the delicate balance of color and blacK-and-white characterizing the postwar divided Germany of Wim Wenders’ 1987 “Wings of Desire”—we may access a richer understanding, not simply of the films’ stylistic approaches, but also (and perhaps more significantly) of their relationship to both their origins and audience. Color, that is, acts in these three films as a chromatic guide by which to untangle each respective text’s taKe on both subjectivity and objectivity. Bergt 2 The best “entry point” into these stylistically and temporally distinct films’ chromatic motifs is through three strikingly analogous crowd scenes—each of which uses communal participation in a diegetically well-known song to highlight a moment of dramatic urgency or volatility. -
The Battle of Moreuil Wood
The Battle of Moreuil Wood By Captain J.R. Grodzinski, LdSH(RC) On 9 October 1918, Lord Strathcona's Horse (Royal Canadians) fought their last battle of the First World War. Having been in reserve since August 1918, the Strathconas and the other two cavalry Regiments of the Canadian Cavalry Brigade were rushed to the front to exploit a penetration made in the German defences. In just one day, the Brigade advanced ten kilometers on a five kilometer front, capturing four hundred prisoners and numerous weapons. A spirited charge by the Strathconas over 1500 yards of open ground helped clear the village of Clary, southeast of Cambrai. This battle, which commenced at 0930 hours and finished by 1100 hours, assisted in clearing the neighboring Bois de Gattigny and the Bois du Mont-Auxvilles, Where two hundred prisoners were taken and a howitzer and forty machine guns captured. Several squadron-sized charges were made as the Regiments raced forward. The battle moved faster than senior commanders could react to and issue new instructions. This was mobile warfare, the type the cavalry longed for throughout the war. To those in the Canadian Cavalry Brigade and particularly the Strathconas this final action, known as the Battle of Le Cateau, probably brought recollection of a similar, yet more intense fight the previous spring: The Battle of Moreuil Wood on 30 March 1918. January 1918. The war was in its fourth year. Initially a mobile conflict, it quickly became a static slugging match. Intense fighting gave little advantage to either side while the numbers of casualties increased. -
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. -
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 WESTERN FRONT World War
INTRODUCTORY NOTES movement in their efforts to win. Also there is the opportunity to examine other aspects of life on the By 1907 Europe was divided into two armed camps Western Front which affected the life of the ordinary that involved all the major European powers, the Triple Alliance and the Triple Entente. While the alliances soldier, such as living conditions, food, medical problems, army routine, discipline and humour. were meant to increase the security of each country, instead they ensured that a war that involved any of these powers would probably involve all of them. WAR PLANS Between the Anglo-French Cordiale of 1904 and the outbreak of war in 1914, there were a number of There had not been major war in Europe since 1870. Teacher's Notes crises in Morocco and the Balkans, any of which Much had changed since then. Population growth meant could have sparked a war. more men were available to be conscripted, industrial advancements meant armies could be equipped with It was the assassination of the Austrian heir to the more devastating weapons, railways meant armies could throne, the Archduke Franz Ferdinand on June 28, be more easily moved and supplied. Every army had a 1914, that finally ignited the European powder keg. general staff, whose job it was to ensure their nations THE WESTERN Following the declaration of war on Serbia by Austria- army was properly equipped and organised for war and to Hungary on July 28, 1914, the Russian Government prepare plans to cover the most likely scenario. ordered its army to mobilise. -
Otto Dix (1891-1969) War Triptych, 1929-32
Otto Dix (1891-1969) War Triptych, 1929-32 Key facts: Date: 1929-32 Size: Middle panel: 204 x 204 cm; Left and right wing each 204 x 102 cm; Predella: 60 x 204 cm Materials: Mixed media (egg tempera and oil) on wood Location: Staatliche Kunstammlungen, Dresden 1. ART HISTORICAL TERMS AND CONCEPTS Subject Matter: The Great War is a history painting within a landscape set out over four panels, a triptych with a predella panel below. The narrative begins in the left panel, the soldiers in their steel helmets depart for war through a thick haze, already doomed in Dix’s view. In the right panel, a wounded soldier is carried from the battlefield, while the destructive results of battle are starkly depicted in the central panel. This is a bleak and desolate landscape, filled with death and ruin, presided over by a corpse. Trees are charred, bodies are battered and torn and lifeless. War has impacted every part of the landscape. (This panel was a reworking on an earlier painting Dix had done entitled The Trench, 1920-3. David Crocket wrote: “many, if not most, of those who saw this painting in Cologne and Berlin during 1923-24 knew nothing about this aspect of the war.” The predella scene shows several soldiers lying next to one another. Perhaps they are sleeping in the trenches, about to go back into the cycle of battle when they awake, or perhaps they have already fallen and will never wake again. Dix repeatedly depicted World War I and its consequences after having fought in it himself as a young man. -
Republic of Violence: the German Army and Politics, 1918-1923
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-09-11 Republic of Violence: The German Army and Politics, 1918-1923 Bucholtz, Matthew N Bucholtz, M. N. (2015). Republic of Violence: The German Army and Politics, 1918-1923 (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27638 http://hdl.handle.net/11023/2451 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Republic of Violence: The German Army and Politics, 1918-1923 By Matthew N. Bucholtz A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN HISTORY CALGARY, ALBERTA SEPTEMBER, 2015 © Matthew Bucholtz 2015 Abstract November 1918 did not bring peace to Germany. Although the First World War was over, Germany began a new and violent chapter as an outbreak of civil war threatened to tear the country apart. The birth of the Weimar Republic, Germany’s first democratic government, did not begin smoothly as republican institutions failed to re-establish centralized political and military authority in the wake of the collapse of the imperial regime. Coupled with painful aftershocks from defeat in the Great War, the immediate postwar era had only one consistent force shaping and guiding political and cultural life: violence. -
Fall K: German Offensive Plans Against the Netherlands
Chapter 4 W. Klinkert: Fall K. German Offensive Plans against the Netherlands 1916-1918 1 The Netherlands at the time of the First World War offers an inviting case-study of a small country’s freedom of movement in the close proximity of large, warring states. Important research into this has already been done, particularly in studies by Marc Frey1, Hubert van Tuyll2 and Maartje Abbenhuis3. They have made it clear, on the one hand, that the Entente and Central Powers had an interest in Dutch neutrality for economic as well as military reasons, and, on the other, that Dutch politicians, military leaders and entrepreneurs were in constant contact with those making government policy or those influencing it in the belligerent states, to defend Dutch interests and to steer a middle course between the contradictory and increasingly exacting demands of the warring states as the war progressed. The most powerful weapons the Netherlands could dispose of were of an economic nature and making it clear in word and deed that no party was favoured above the other. Any pretence of one of the belligerents to take preventive action against the Netherlands had to be taken away. Little has current research so far elaborated on the military interpretation of the Dutch policy of neutrality. Did the Dutch military effort– there were more than 200,000 troops at the ready for a period of four years – play any role of significance? Could the Dutch Government use this military element to make its policy of neutrality stronger and more credible? Did the Dutch army constitute a factor in the belligerents’ considerations concerning their policy towards the Netherlands? In other words, did the military effort of a small state really matter? To answer these questions, it may serve as a first step to have a closer look at German offensive plans, referred to as Fall K4 since October 1916, in relation with the matter of 1 M. -
Ark Atwood Year 6 Knowledge Organiser World War One
Ark Atwood Year 6 Knowledge Organiser World War One Glossary The Alliance system Many countries had made alliances with one other. They agreed to protect 1 Alliance when countries join forces or work together to each other. If one was attacked, the others would defend them. achieve a certain goal The war was fought between: 2 Armistice a formal agreement of warring parties to stop fighting The Triple Alliance: Germany, Austria-Hungary and their allies. 3 Conscription the requirement by law to join the armed forces The Triple Entente: Great Britain, France and Russia. 4 Front Line the area where the armies are engaged in fighting 5 The Great War the name used for World War One at the time 6 No Man’s Land the area of land between two enemy trench systems 7 Treaty a written agreement between two or more countries 8 Trench long ditches dug into the ground where soldiers lived Trench Warfare Many battles were fought using trench warfare. Long ditches were dug in the ground. Soldiers lived in the trenches and some- times climbed out to attack. A famous example of trench war was the Battle of the Somme which started in July 1916. Archduke Franz Ferdinand The assassination of Franz Ferdinand (Archduke of Austria) sparked the outbreak of World War One. Key Dates The Treaty of Versailles New Technology June 1914: Assassination of Franz Ferdinand World War One ended at 11am on There were major developments in technology during 11 November, 1918—this became World War One. New weapons and machines August 1914: Germany invades Belgium. -
'Feed the Troops on Victory': a Study of the Australian
‘FEED THE TROOPS ON VICTORY’: A STUDY OF THE AUSTRALIAN CORPS AND ITS OPERATIONS DURING AUGUST AND SEPTEMBER 1918. RICHARD MONTAGU STOBO Thesis prepared in requirement for the Degree of Doctor of Philosophy School of Humanities and Social Sciences University of New South Wales, Canberra June 2020 Thesis/Dissertation Sheet Surname/Family Name : Stobo Given Name/s : Richard Montagu Abbreviation for degree as given in the : PhD University calendar Faculty : History School : Humanities and Social Sciences ‘Feed the Troops on Victory’: A Study of the Australian Corps Thesis Title : and its Operations During August and September 1918. Abstract 350 words maximum: (PLEASE TYPE) This thesis examines reasons for the success of the Australian Corps in August and September 1918, its final two months in the line on the Western Front. For more than a century, the Corps’ achievements during that time have been used to reinforce a cherished belief in national military exceptionalism by highlighting the exploits and extraordinary fighting ability of the Australian infantrymen, and the modern progressive tactical approach of their native-born commander, Lieutenant-General Sir John Monash. This study re-evaluates the Corps’ performance by examining it at a more comprehensive and granular operational level than has hitherto been the case. What emerges is a complex picture of impressive battlefield success despite significant internal difficulties that stemmed from the particularly strenuous nature of the advance and a desperate shortage of manpower. These played out in chronic levels of exhaustion, absenteeism and ill-discipline within the ranks, and threatened to undermine the Corps’ combat capability. In order to reconcile this paradox, the thesis locates the Corps’ performance within the wider context of the British army and its operational organisation in 1918. -
The Museum of Modern Art 14 West 49Th Street, New York Telephone: Circle 7-7470 for Immediate Release
37917 ~ *- 7 THE MUSEUM OF MODERN ART 14 WEST 49TH STREET, NEW YORK TELEPHONE: CIRCLE 7-7470 FOR IMMEDIATE RELEASE Believing that American veterans would be interested in seeing how the World War looked tc a German veteran, the Museum of Modern Art will open Tuesday, September 21, in its tenporary galler ies at 14 West 49 Street, an exhibition of war etchings by Otto Dix. The exhibition has been arranged to coincide with the American Legion Convention the week of September 20 butwill extend for sev eral weeks longer, possibly until November 1st. The Dix etchings are from a folio of »ixty under the title Per Krieg (The War). It was not necessary for the artist totdraw on his imagination to represent war in a grimly realistic light. He needed only to transfer to copper plate the actual scenes etched on his memory by his four years on the Western Front. After the war Otto Dix became the leader of the German movement toward extreme realism. Until 1935 he was a professor of painting at the Dresden Academy. To form a contrast with the actual horrors of war which Dix reveals so realistically in his etchings, a painting, Armored ^rain by Gin© Severini, the Italian Futurist, is exhibited.' The Italian Futurists announced that war was both hygienic and beautiful. Armored Train,painted in 1915, glorifies in a semi-abstract style the exciting dynamics of war. In presenting these two diametrically opposite ideas of the same thing-—in this case, the World War—the Museum is continuing its method begun early in the summer of showing by dramatic contrast the many different points of view expressed in modern art. -
Otto Dix, Letters, Vol.1
8 Letters vol. 1 1904–1927 Translated by Mark Kanak Translation © 2016 Mark Kanak. .—ıst Contra Mundum Press Edition Otto Dix, Briefe © 2014 by 290 pp., 6x 9 in. Wienand Verlag GmbH isbn 9781940625188 First Contra Mundum Press Edition 2016. I. Dix, Otto. II. Title. All Rights Reserved under III. Kanak, Mark. International & Pan-American IV. Translator. Copyright Conventions. V. Ulrike Lorenz, Gudrun No part of this book may be Schmidt. reproduced in any form or by VI. Introduction. any electronic means, including information storage and retrieval 2016943764 systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Library of Congress Cataloguing-in-Publication Data Dix, Otto, 1891–1969 [Briefe. English.] Letters, Vol. 1, 1904–1927 / Otto Dix; translated from the original German by Mark Kanak ToC Introduction 0–xxvii About This Edition xxviii–xlv Letters 0–215 Object Shapes Form 218–220 8 Introduction Ulrike Lorenz An Artist’s Life in Letters “I’ve never written confessions since, as closer inspection will reveal, my paintings are confessions of the sincerest kind you will find, quite a rare thing in these times.” — Otto Dix to Hans Kinkel (March 29, 1948) An Artist without Manifestœs A man of words, this letter writer never was. In re- sponse to art critic Hans Kinkel’s request to contribute to a collection of self-testimonials of German painters, Dix gruffly rebuked him, surly calling such pieces noth- ing but “vanity, subjective chatter.”1 And this in the precarious postwar situation, as the 57-year-old —.