Vor dem Hintergrund der erinnerungskulturellen Aufarbeitung des Ersten und Zweiten Weltkriegs wie auch der Kontextualisierung dieser bedeutenden Einschnitte in der Epoche der Moderne Westeuropas wurde deutlich, dass ein wesentliches Desiderat in der diachronen Erforschung der sogenannten "Heimatfronten" als zivile, aber dennoch rückwärtige Kriegsresonanzräume besteht.
As part of its 2017 Research Programme, the RAF Museum is seeking proposals from postgraduate students, early-career and established researchers for their lecture series.
These series consists of: The Trenchard Lectures in Air Power Studies held in conjunction with the Royal Aeronautical Society and the University of Wolverhampton in London and Wolverhampton respectively; The First World War in the Air Lunchtime Lectures at RAF Museum London; and The Cold War Lunchtime Lectures at RAF Museum Cosford.
In 1919, black activist and scholar W. E. B. Du Bois rendered a startling observation about the American landscape after World War One. After returning from Europe where he witnessed the employment of black soldiers in Europe, the venerable editor of the NAACP’s Magazine the Crisis published an editorial in which he chronicled the American racial politics and attitudes toward African Americans during the war.
Der Erste Weltkrieg ist im historischen Bewusstsein in erster Linie mit dem Stellungskrieg an der Westfront sowie mit der Staatenordnung der Pariser Friedenskonferenz verbunden. Die einschneidenden Kriegsereignisse im Osten und die Auswirkungen des Konflikts auf das östliche Europa sind hingegen weit weniger präsent.
The Meiji Restoration since 1868 changed Japan as a whole, including the Japanese Army, whose soldiers should resemble a modernized and strong nation state. Trained by French and later Prussian officers the armed forces of the Japanese Empire became emblematic for the progress the country went through. In the West, the Japanese soldiers were seen as an expression of Western superiority, especially when the forces of the island empire were victorious against China in 1894/95.
We are now into the second century in which aerial warfare is commonplace in a range of forms, and the second decade in which drone warfare is routinized. As paradigm, strategy, and tactic, violence-at-a-distance has become a predominant model of military engagement.
Over the past century, paintings of the Great War have played an important role in shaping and expressing public memory of the conflict. Indeed, many canvases—think, for example, of the Panthéon de la Guerre or John Singer Sargent’s iconic Gassed—have enjoyed just as much cultural prominence as photographs or works of cinema. The Great War represents a “last hurrah” for painting as a significant form of cultural war remembrance.
The First World War started in Europe, and quickly spread to encompass large parts of the world. Throughout the war, European Powers used their territorial possessions outside Europe as rich sources of material and manpower. Most of the warring parties, from Britain to the Ottoman Empire, made extensive use of their citizens and subjects from around the globe in their war efforts.
Donald Stoker of the U.S. Naval War College’s Program at the Naval Postgraduate School in Monterey, California, and Edward Westermann of Texas A&M University-San Antonio, are editing a book on air force advising and assistance for British publisher Helion & Company.