This edited collection explores and develops representations of war experience from 1914 to the ongoing conflicts of the 21st century, through the specific lens of memory. It builds on recent explorations of the importance of war experience in shaping cultural memory that have focused on the aftermath of the First World War and the Second World War, particularly through Holocaust studies. These essays, by a range of international and interdisciplinary scholars, broaden the scope considerably, examining the alternate spaces of the First World War and those that followed it through a range of different media, offering an artistic trajectory to the centennial commemorations of 2014-18.

This collection provides a transnational, interdisciplinary perspective on artistic responses to war from 1914 to the present, analysing a broad selection of the rich, complex body of work which has emerged in response to conflicts since the Great War. Many of the creators examined here embody the human experience of war: first-hand witnesses who developed a unique visual language in direct response to their role as victim, soldier, refugee, resister, prisoner and embedded or official artist. Contributors address specific issues relating to propaganda, wartime femininity and masculinity, women as war artists, trauma, the role of art in soldiery, memory, art as resistance, identity and the memorialisation of war.

A comparative study of the cultural impact of the Great War on British and German societies. Taking medievalism as a mode of public commemorations as its focus, this book unravels the British and German search for historical continuity and meaning in the shadow of an unprecedented human catastrophe.

In its multidisciplinary approach and wide-ranging contributions, the book looks at trench art and postcards through museum collections to prosthetic limbs, and examines the First World War and its significance through the things it left behind.

From the Treaty of Versailles to the 2018 centenary and beyond, the history of the First World War has been continually written and rewritten, studied and contested, producing a rich historiography shaped by the social and cultural circumstances of its creation. Writing the Great War provides a groundbreaking survey of this vast body of work, assembling contributions on a variety of national and regional historiographies from some of the most prominent scholars in the field. By analyzing perceptions of the war in contexts ranging from Nazi Germany to India’s struggle for independence, this is an illuminating collective study of the complex interplay of memory and history.

Why has the 'people's war' been such a durable and attractive myth? Creating the people's war examines how civil defence personnel engaged with this narrative during the war and in the following decades to answer this question. Civil defence was the most significant voluntary organisation of the Second World War, involving millions of men and women of every class, generation and locality in Britain. This book shows how local communities of civil defence personnel co-developed narratives about the value of their work which challenged hierarchies of war service. In their social groups volunteers wrote themselves into the 'people's war' and invested it with meaning, creating national identity from the bottom up. Community was both central to these representations and vital for their production.

This is a masterful volume on remembrance and war in the twentieth century. Jay Winter locates the fascination with the subject of memory within a long-term trajectory that focuses on the Great War. Images, languages, and practices that appeared during and after the two world wars focused on the need to acknowledge the victims of war and shaped the ways in which future conflicts were imagined and remembered. At the core of the “memory boom” is an array of collective meditations on war and the victims of war, Winter says. The book begins by tracing the origins of contemporary interest in memory, then describes practices of remembrance that have linked history and memory, particularly in the first half of the twentieth century. The author also considers “theaters of memory”—film, television, museums, and war crimes trials in which the past is seen through public representations of memories. The book concludes with reflections on the significance of these practices for the cultural history of the twentieth century as a whole.

The First World War has given rise to a multifaceted cultural production like no other historical event. This handbook surveys British literature and film about the war from 1914 until today. The continuing interest in World War I highlights the interdependence of war experience, the imaginative re-creation of that experience in writing, and individual as well as collective memory. In the first part of the handbook, the major genres of war writing and film are addressed, including of course poetry and the novel, but also the short story; furthermore, it is shown how our conception of the Great War is broadened when looked at from the perspective of gender studies and post-colonial criticism. The chapters in the second part present close readings of important contributions to the literary and filmic representation of World War I in Great Britain. All in all, the contributions demonstrate how the opposing forces of focusing and canon-formation on the one hand, and broadening and revision of the canon on the other, have characterised British literature and culture of the First World War.

The First World War has been mythologized since 1918, and many paradigmatic views of it - that it was pointless, that brave soldiers were needlessly sacrificed - are deeply embedded in the British consciousness. More than in any other country, these collective British memories were influenced by the experiences and the work of writers, painters and musicians. This book revisits the British experience of the War through the eyes and ears of a diverse group of carefully selected novelists, poets, composers and painters. It examines how they reacted to and portrayed their experiences in the trenches on the Western Front, in distant theatres of war and on the home front, in words, pictures and music that would have a profound influence on subsequent British perceptions of the war. Rupert Brooke, Vera Brittain, Richard Nevinson, Paul Nash, Edward Elgar and T. E. Lawrence are amongst the figures discussed in this original exploration of the First World War and British collective memory. The book includes illustrations and maps to aid further study and research.