British Theatre and the Great War examines how theatre in its various forms adapted itself to the new conditions of 1914-1918. Contributors discuss the roles played by the theatre industry. They draw on a range of source materials to show the different kinds of theatrical provision and performance cultures in operation not only in London but across parts of Britain and also in Australia and at the Front. As well as recovering lost works and highlighting new areas for investigation (regional theatre, prison camp theatre, troop entertainment, the threat from film, suburban theatre) the book offers revisionist analysis of how the conflict and its challenges were represented on stage at the time and the controversies it provoked. The volume offers new models for exploring the topic in an accessible, jargon-free way, and it shows how theatrical entertainment of the time can be seen as the `missing link’ in the study of First World War writing.

Colonel G.W.L. Nicholson's Canadian Expeditionary Force, 1914-1919 was first published by the Department of National Defence in 1962 as the official history of the Canadian Army’s involvement in the First World War. Immediately after the war ended Colonel A. Fortescue Duguid made a first attempt to write an official history of the war, but the ill-fated project produced only the first of an anticipated eight volumes. Decades later, G.W.L. Nicholson - already the author of an official history of the Second World War - was commissioned to write a new official history of the First. Illustrated with numerous photographs and full-colour maps, Nicholson’s text offers an authoritative account of the war effort, while also discussing politics on the home front, including debates around conscription in 1917. With a new critical introduction by Mark Osborne Humphries that traces the development of Nicholson’s text and analyzes its legacy, Canadian Expeditionary Force, 1914-1919 is an essential resource for both professional historians and military history enthusiasts.

While a plethora of studies have discussed why so many men decided to volunteer for the army during the Great War, the experiences of those who were called up under conscription have received relatively little scrutiny. Even when the implementation of the respective Military Service Acts has been investigated, scholars have usually focused on only the distinct minority of those eligible who expressed conscientious objections. It is rare to see equal significance placed on the fact that substantial numbers of men appealed, or were appealed for, on the grounds that their domestic, business, or occupational circumstances meant they should not be expected to serve. David Littlewood analyses the processes undergone by these men, and the workings of the bodies charged with assessing their cases, through a sustained transnational comparison of the British and New Zealand contexts.

Numbering over five million men, Britain's army in the First World War was the biggest in the country's history. Remarkably, nearly half those men who served in it were volunteers. 2,466,719 men enlisted between August 1914 and December 1915, many in response to the appeals of the Field-Marshal Lord Kitchener. How did Britain succeed in creating a mass army, almost from scratch, in the middle of a major war ? What compelled so many men to volunteer ' and what happened to them once they had taken the King's shilling ? Peter Simkins describes how Kitchener's New Armies were raised and reviews the main political, economic and social effects of the recruiting campaign. He examines the experiences and impressions of the officers and men who made up the New Armies. As well as analysing their motives for enlisting, he explores how they were fed, housed, equipped and trained before they set off for active service abroad. Drawing upon a wide variety of sources, ranging from government papers to the diaries and letters of individual soldiers, he questions long-held assumptions about the 'rush to the colours' and the nature of patriotism in 1914. The book will be of interest not only to those studying social, political and economic history, but also to general readers who wish to know more about the story of Britain's citizen soldiers in the Great War.

This book challenges scholarship which presents charity and voluntary activity during World War I as marking a downturn from the high point of the late Victorian period. Charitable donations rose to an all-time peak, and the scope and nature of charitable work shifted decisively. Far more working class activists, especially women, became involved, although there were significant differences between the suburban south and industrial north of England and Scotland. The book also corrects the idea that charitably-minded civilians’ efforts alienated the men at the front, in contrast to the degree of negativity that surrounds much previous work on voluntary action in this period. Far from there being an unbridgeable gap in understanding or empathy between soldiers and civilians, the links were strong, and charitable contributions were enormously important in maintaining troop morale. This bond significantly contributed to the development and maintenance of social capital in Britain, which, in turn, strongly supported the war effort. This work draws on previously unused primary sources, notably those regarding the developing role of the UK’s Director General of Voluntary Organizations and the regulatory legislation of the period.

This book provides an overview of the various forms and trajectories of Great Power policy towards Central Europe between 1914 and 1945. This involves the analyses of diplomatic, military, economic and cultural perspectives of Germany, Russia, Britain, and the USA towards Hungary, Poland, the Baltic States, Czechoslovakia and Romania. The contributions of established, as well as emerging, historians from different parts of Europe enriches the English language scholarship on the history of the international relations of the region. The volume is designed to be accessible and informative to both historians and wider audiences. Contributors: Sorin Arhire, Ivan Basenko, Agne Cepinskyte, Oleg Ken, Tamás Magyarics, Halina Parafianowicz, Alexander Rupasov, Ignác Romsics and Artem Zorin.