This is the first scholarly volume to offer an insight into the less known stories of women, children, and international volunteers in the Spanish Civil War. Special attention is given to volunteers of different historical experiences, especially Jews, and voices from less researched countries in the context of the Spanish war, such as Palestine and Turkey. Of an interdisciplinary nature, this volume brings together historians and literary scholars from different countries. Their research is based on newly found primary sources in both national and private archives, as well as on post-essentialist methodological insights for women’s history, Jewish history, and studies on belonging. By bringing together a group of emerging and senior scholars from different countries, we highlight the polyphony of voices of diverse individuals drawn into the Spanish Civil War. Contributors to this volume have explored new or little researched primary sources found in archives and documentary centers, including papers held by relatives of the people we study. The volume is aimed at both scholarly and non-scholarly public, including any readers interested in the Spanish Civil War, twentieth-century European history, Jewish studies, women’s history, or anti-Fascism. The volume can be used in both undergraduate college courses and in postgraduate university seminars.

Gerald Howson argues that the victory of fascism in Spain in 1936 was caused by the non-fascist European nations.

"This is the first scholarly volume to offer an insight into the less known stories of women, children, and international volunteers in the Spanish Civil War. Special attention is given to volunteers of different historical experiences, especially Jews, and voices from less researched countries in the context of the Spanish war, such as Palestine and Turkey. Of an interdisciplinary nature, this volume brings together historians and literary scholars from different countries. Their research is based on newly found primary sources in both national and private archives, as well as on post-essentialist methodological insights for women's history, Jewish history, and studies on belonging. By bringing together a group of emerging and senior scholars from different countries, we highlight the polyphony of voices of diverse individuals drawn into the Spanish Civil War. Contributors to this volume have explored new or little researched primary sources found in archives and documentary centers, including papers held by relatives of the people we study. The volume is aimed at both scholarly and non-scholarly public, including any readers interested in the Spanish Civil War, twentieth-century European history, Jewish studies, women's history, or anti-Fascism. The volume can be used in both undergraduate college courses and in postgraduate university seminars"--

The inspiring story of the first African American soldiers to serve during the postslavery eraMany have heard how Teddy Roosevelt and the Rough Riders charged up San Juan Hill during the Spanish-American War. But often forgotten in the great swamp of history is that Roosevelt's success was ensured by a dedicated corps of black soldiers—the so-called Buffalo Soldiers—who fought by Roosevelt's side during his legendary campaign. This book tells their story. They fought heroically and courageously, making Roosevelt's campaign a great success that added to the future president's legend as a great man of words and action. But most of all, they demonstrated their own military prowess, often in the face of incredible discrimination from their fellow soldiers and commanders, to secure their own place in American history.

Forgetting about Spain’s civil war (1936–9) and subsequent dictatorship was long seen as a necessary safeguard for the democracy that emerged after General Francisco Franco’s death in 1975. Since the early 2000s, however, public discussion of historical memory has awakened efforts to remember this past through the personal testimonies of Spaniards who experienced it firsthand. Untold Stories expands accounts of twentieth-century Spain by presenting an ethnography of an ignored population: the impoverished men and women who fled Franco’s dictatorship in the 1960s, participating in a wave of labour migration to northern Europe. Now in their eighties, they were born around the time of the civil war and came of age during its repressive aftermath before leaving Spain as young adults. The book features a community of such Spaniards, who gather regularly at a senior centre on the outskirts of Paris. Drawing on concepts from linguistic anthropology, David Divita analyses conversational encounters recorded among the seniors to demonstrate how a turbulent past shapes mundane moments of social interaction in the present. Documenting what is said as well as what is not, Divita reveals through detailed textual analysis how silence can pervade the creation of social meanings – such as belonging, authority, and legitimacy. Untold Stories illuminates the impact of a harrowing historical period on some of Spain’s most marginal citizens in the early years of the dictatorship.

Of the few historical shortlists women make as influencers in the arts; the same few names are recognized; making the catalogue of powerful and gifted females feel like an small and exclusive club. The truth is; however; that far more women than we know can be credited with contributions to the industries in which they honed their crafts. In 1940; when the world was at war and the Civil Rights Movement had yet to turn the page of history; Hattie McDaniel became the first black woman to win an Academy Award. She and Anna May Wong fought hard to pave the way for actresses of color and fight against racial stereotypes. Maria Tallchief was the first; and one of the only; Native American prima ballerinas to push past the stage wings toward the limelight. More than just performers; these women were people as well. In Hidden in History: The Untold Stories of Female Artists; Musicians; and Writers; the lives of many of these artists are explored; from Edmonia Lewis' wrongful expulsion from higher learning to the boundary-breaking talents of the International Sweethearts of Rhythm and their untraditional start as a school band. This book is an open door to the lives of 10 female artists; wordsmiths and performers whose work has often been overlooked in the dusty pages of an often male-dictated narration.

The war that won’t die charts the changing nature of cinematic depictions of the Spanish Civil War. In 1936, a significant number of artists, filmmakers and writers – from George Orwell and Pablo Picasso to Joris Ivens and Joan Miró – rallied to support the country’s democratically-elected Republican government. The arts have played an important role in shaping popular understandings of the Spanish Civil War and this book examines the specific role cinema has played in this process. The book’s focus is on fictional feature films produced within Spain and beyond its borders between the 1940s and the early years of the twenty-first century – including Hollywood blockbusters, East European films, the work of the avant garde in Paris and films produced under Franco’s censorial dictatorship. The book will appeal to scholars and students of Film, Media and Hispanic Studies, but also to historians and, indeed, anyone interested in why the Spanish Civil War remains such a contested political topic.

A collection of “first-rate frontline journalism” from the Spanish Civil War to US actions in Central America “by a woman singularly unafraid of guns” (Vanity Fair). For nearly sixty years, Martha Gellhorn’s fearless war correspondence made her a leading journalistic voice of her generation. From the Spanish Civil War in 1937 through the Central American wars of the mid-eighties, Gellhorn’s candid reporting reflected her deep empathy for people regardless of their political ideology. Collecting the best of Gellhorn’s writing on foreign conflicts, and now with a new introduction by Lauren Elkin, The Face of War is a classic of frontline journalism by “the premier war correspondent of the twentieth century” (Ward Just, The New York Times Magazine). Whether in Java, Finland, the Middle East, or Vietnam, she used the same vigorous approach. “I wrote very fast, as I had to,” she says, “afraid that I would forget the exact sound, smell, words, gestures, which were special to this moment and this place.” As Merle Rubin noted in his review of this volume for The Christian ScienceMonitor, “Martha Gellhorn’s courageous, independent-minded reportage breaks through geopolitical abstractions and ideological propaganda to take the reader straight to the scene of the event.”