Sir Philip Gibbs was one of the most widely read English journalists of the first half of the twentieth century. This coverage of his writing offers a broad insight into British social and political developments, government and press relations, propaganda, and war reporting during the First World War.

This book takes a fresh look at the history of war reporting to understand how new technology, new ways of waging war and new media conditions are changing the role and work of today’s war correspondent. Focussing on the mechanics of war reporting and the logistical and institutional pressures on correspondents, the book further examines the role of war propaganda, accreditation and news management in shaping the evolution of the specialism. Previously neglected conflicts and correspondents are reclaimed and wars considered as key moments in the history of war reporting such as the Crimean War (1854-56) and the Great War (1914-18) are re-evaluated. The use of objectivity as the yardstick by which to assess the performance of war correspondents is questioned. The emphasis is instead placed on war as a messy business which confronts reporters and photographers with conditions that challenge the norms of professional practice. References to the ‘demise of the war correspondent’ have accompanied the growth of the specialism since the days of William Howard Russell, the so-called father of war reporting. This highlights the fragile nature of this sub-genre of journalism and emphasises that continuity as much as change characterises the work of the war correspondent. A thematically organised, historically rich introduction, this book is ideal for students of journalism, media and communication.

This handbook explores a diverse range of artistic and cultural responses to modern conflict, from Mons in the First World War to Kabul in the twenty-first century. With over thirty chapters from an international range of contributors, ranging from the UK to the US and Australia, and working across history, art, literature, and media, it offers a significant interdisciplinary contribution to the study of modern war, and our artistic and cultural responses to it. The handbook is divided into three parts. The first part explores how communities and individuals responded to loss and grief by using art and culture to assimilate the experience as an act of survival and resilience. The second part explores how conflict exerts a powerful influence on the expression and formation of both individual, group, racial, cultural and national identities and the role played by art, literature, and education in this process. The third part moves beyond the actual experience of conflict and its connection with issues of identity to explore how individuals and society have made use of art and culture to commemorate the war. In this way, it offers a unique breadth of vision and perspective, to explore how conflicts have been both represented and remembered since the early twentieth century.

Spanning the colonial campaigns of the Victorian age to the War on Terror after 9/11, this study explores the role sport was perceived to have played in the lives and work of military personnel, and examines how sporting language and imagery were deployed to shape and reconfigure civilian society’s understanding of conflict. From 1850 onwards war reportage – complemented and reinforced by a glut of campaign histories, memoirs, novels and films – helped create an imagined community in which sporting attributes and qualities were employed to give meaning and order to the chaos and misery of warfare. This work explores the evolution of the Victorian notion that playing-field and battlefield were connected and then moves on to investigate the challenges this belief faced in the twentieth century, as combat became, initially, industrialised in the age of total warfare and, subsequently, professionalised in the post-nuclear world. Such a longitudinal study allows, for the first time, new light to be shed on the continuities and shifts in the way the ‘reality’ of war was captured in the British popular imagination. Drawing together the disparate fields of sport and warfare, this book serves as a vital point of reference for anyone with an interest in the cultural, social or military history of modern Britain.

This book deals with an aspect of the Great War that has been largely overlooked: the war reportage written based on British and American authors’ experiences at the Western Front. It focuses on how the liminal experience of the First World War was portrayed in a series of works of literary journalism at different stages of the conflict, from the summer of 1914 to the Armistice in November 1918. Sara Prieto explores a number of representative texts written by a series of civilian eyewitness who have been passed over in earlier studies of literature and journalism in the Great War. The texts under discussion are situated in the ‘liminal zone’, as they were written in the middle of a transitional period, half-way between two radically different literary styles: the romantic and idealising ante bellum tradition, and the cynical and disillusioned modernist school of writing. They are also the product of the various stages of a physical and moral journey which took several authors into the fantastic albeit nightmarish world of the Western Front, where their understanding of reality was transformed beyond anything they could have anticipated.

The book title comes from Aubrey Bells Portugal of the Portuguese (1916): Since the murder of King Carlos and of the Crown Prince Luis Felipe on the 1st of February 1908. A swarm of writers have descended like locusts on the land The methodology is to connect a specific group of critics in the years before the First World War to a constellation of general attitudes about Portugal and the Portuguese-speaking world. Intersecting personal narratives are used, not as an argument for individual agency as dominant cause of historical change, but as contrasting discourses upon revisited events. The primary focus is to explain how the critical context of Portugals history that incubated The Locusts crystalised into the pressure group to free political prisoners. A key part of that context was the extant campaign against Portuguese slavery in West Africa. E. M. Tenison, the Secretary of the British Protest Committee, left a unique 200-page unpublished personal memoir, previously unconsulted by any published historian. The historiography of the First Republic in English is slight. There are no comparative studies in book form, just a few scholarly articles on diplomacy alone (for example. by Glyn Stone, Richard Langhorne). And likewise, there is no study of Anglo-Portuguese relations from below, i.e. popular pressure to influence government policy. British Critics of Portugal before the First World War problematises Anglo-Portuguese relations around the concept forwarded by Amilcar Cabral, and others, that Portuguese colonialism was the colonialism of the semi-colonised. It makes a broader contribution to the study of empires, and to the causes of the First World War in AngloPortugueseGerman relations.

Montreal at War tells the story of how citizens in Canada's largest city responded to the challenges of the First World War. Drawing from newspapers, journals, government reports, and archival records, Terry Copp - one of Canada's leading military historians - raises important questions about how the Canadian war experience has been interpreted, and the ways in which hindsight has privileged some voices over others. Painting a picture of life in Montreal during the first years of the twentieth century, Montreal at War addresses responses to the outbreak of war in Europe and the process of raising an army for service overseas. It details the shock of intense combat and heavy casualties, studies the mobilization of volunteers, and follows the experience of battalions from Montreal to the Battle of Vimy Ridge. The crisis of conscription is described in the context of national and local developments, and great attention is paid to the experiences of both the army overseas and civilians at home. Challenging long-held assumptions, Montreal at War aims to understand the war experience as it unfolded, approaching history from the perspective of those who lived through it.

Special features, such as syndicate directories, annual newspaper linage tabulations, etc., appear as separately paged sections of regular issues.