Widows of the Great War is the first major account of the experience of women who had to cope with the death of their husbands during the conflict and then rebuild their lives. It explores each stage of their bereavement, from the shock of receiving the news that their husband had been killed, through grief and mourning to the practical issues of compensation and a widow's pension. The way in which the state and society treated the widows during this process is a vital theme running through the book as it reveals in vivid detail how the bureaucracy of war helped and hindered them as they sought to come to terms with their loss. Andrea Hetherington also describes often overlooked aspects of bereavement, and she features many telling first-hand accounts from the widows themselves which show how they saw their situation and how they reacted to it. Her study gives us a fascinating insight into the way in which the armed services and the government regarded war widows during the early years of the twentieth century.

The Second World War widows were the 'forgotten women', largely ignored by the government and the majority of the population. The men who died in the service of their country were rightly honoured, but the widows and orphans they left behind were soon forgotten. During the war and afterwards in post-war austerity Britain their lives were particularly bleak. The meagre pensions they were given were taxed at the highest rate and gave them barely enough to keep body and soul together, let alone look after their children. Through their diaries, letters and personal interviews we are given an insight into post-war Britain that is a moving testament to the will to surviv of a generation of women. The treatment of these war widows was shameful and continued right up to 1989. This is their story.

Widows of the Great War is the first major account of the experience of women who had to cope with the death of their husbands during the conflict and then rebuild their lives. It explores each stage of their bereavement, from the shock of receiving the news that their husband had been killed, through grief and mourning to the practical issues of compensation and a widow's pension. The way in which the state and society treated the widows during this process is a vital theme running through the book as it reveals in vivid detail how the bureaucracy of war helped and hindered them as they sought to come to terms with their loss. Andrea Hetherington also describes often overlooked aspects of bereavement, and she features many telling first-hand accounts from the widows themselves which show how they saw their situation and how they reacted to it. Her study gives us a fascinating insight into the way in which the armed services and the government regarded war widows during the early years of the twentieth century.

Using extensive data - mostly gleaned from the National Archives - this book examines the way in which British widows of servicemen who died in the First World War were represented in society and by themselves, exploring the intertwining discourses of social welfare, national identity, and morality that can be identified in these texts. Focusing on two widows, the book encourages their individual stories to emerge and gives a voice to an otherwise forgotten group of women whose stories have been lost under the literary tomes of middle-class writers such as Vera Brittain and May Wedderburn Cannon. The discussion is further informed by a wider reading of 300 other such files, which allows wider observations to be made about the nature of the discourses examined, and offers the most complete possible picture for such data. Offering a streamlined adaptation of the Discourse-Historical Approach to critical discourse analysis, Discourses Surrounding British Widows of the First World War demonstrates how this model of analysis can be used to investigate a large body of data from a wide variety of sources, covering a long period of time. As such it will be useful to all scholars in their analysis of historical corpa.

Essays analyze the two world wars in respect to gender politics and reassesses the differences between men and women in relation to war

An examination of German women's art produced during the First World War that places the artists' visual responses within the civilian war experience. Traces the thematic evolution of women's art from visual expressions of support for the national war effort to more nuanced and distraught representations of grief over wartime death.

The story of First World War deserters who were shot at dawn, then pardoned nearly a century later has often been told, but these 306 soldiers represent a tiny proportion of deserters. More than 80,000 cases of desertion and absence were tried at courts martial on the home front but these soldiers have been ignored. Andrea Hetherington, in this thought-provoking and meticulously researched account, sets the record straight by describing the deserters who disappeared from camps and barracks within Great Britain at an alarming rate. She reveals how they employed a range of survival strategies, some ridding themselves of all connection with the military while others hid in plain sight. Their reasons for desertion varied. Some were already living a life of crime whilst others were conscientious objectors who refused to respond to their call-up papers. Boredom, protest, troubles at home or physical and mental disabilities all played their part in men deciding to go on the run. Andrea Hetherington’s timely book gives us a vivid insight into a hitherto overlooked aspect of the First World War.

The first full-length study to explore the impact of the Great War on the lives of women in Ireland. Fionnuala Walsh examines women's mobilisation for the war effort, and the impact of the war on their employment opportunities, family and domestic life, social morality and politicisation.

The National Archives' celebrated First World War holdings include personal files of officers and other ranks, campaign medals, gallantry and meritorious service awards, courts martial and casualty lists. Its remarkable collection has records of Dominion forces and the Indian Army, the WAAC, the Royal Flying Corps and RAF, as well as auxiliary and nursing services. Over 10,000 individual unit war diaries cover all operational theatres of the British Army, while original trench maps illustrates areas from the Western Front to Salonica, Gallipoli to Mesopotamia, Palestine to Italy.

Released in 1969, the film Battle of Britain went on to become one of the most iconic war movies ever produced. The film drew many respected British actors to accept roles as key figures of the battle, including Sir Laurence Olivier as Hugh Dowding and Trevor Howard as Keith Park. It also starred Michael Caine, Christopher Plummer and Robert Shaw as squadron leaders. As well as its large all-star international cast, the film was notable for its spectacular flying sequences which were on a far grander scale than anything that had been seen on film before. At the time of its release, Battle of Britain was singled out for its efforts to portray the events of the summer of 1940 in great accuracy. To achieve this, Battle of Britain veterans such as Group Captain Tom Gleave, Wing Commander Robert Stanford Tuck, Wing Commander Douglas Bader, Squadron Leader Bolesław Drobiński and Luftwaffe General Adolf Galland were all involved as consultants. This detailed description of the making of the film is supported by a mouth-watering selection of pictures that were taken during the production stages. The images cover not only the many vintage aircraft used in the film, but also the airfields, the actors, and even the merchandise which accompanied the film’s release in 1969 – plus a whole lot more. There are numerous air-to-air shots of the Spitfires, Messerschmitts, Hurricanes and Heinkels that were brought together for the film. There are also images that capture the moment that Battle of Britain veterans, some of whom were acting as consultants, visited the sets. Interviews with people who worked on the film, such as Hamish Mahaddie, John Blake and Ron Goodwin, among others, bring the story to life.