This is an important reassessment of British and Italian grand strategies during the First World War. Stefano Marcuzzi sheds new light on a hitherto overlooked but central aspect of Britain and Italy's war experiences: the uneasy and only partial overlap between Britain's strategy for imperial defence and Italy's ambition for imperial expansion. Taking Anglo-Italian bilateral relations as a special lens through which to understand the workings of the Entente in World War I, he reveals how the ups-and-downs of that relationship influenced and shaped Allied grand strategy. Marcuzzi considers three main issues - war aims, war strategy and peace-making - and examines how, under the pressure of divergent interests and wartime events, the Anglo-Italian 'traditional friendship' turned increasingly into competition by the end of the war, casting a shadow on Anglo-Italian relations both at the Peace Conference and in the interwar period.

Originally published in 1994, This Working-Day World is lively collection of essays presenting a social, political and cultural view of British women's lives in the period 1914-45. The volume describes women's activities in many different areas, ranging from the weekly wash to the rescue of child refugees. Each essay, from an international list of contributors, is based on new research which will complement existing studies in a range of disciplines by adding information on, among other topics, women's teacher training colleges, and women in the BBC, in medical laboratories and in Art schools. The book does not, however, idealise women: the militarism and racism of the period infected women too, and this is revealed in the account of women in the British Union of Fascists, and the analysis of the Pankhursts' merging of patriotism and gender issues. Through studies and personal accounts, This Working-Day World reveals past issues that are still pertinent to debates in today's society. As we read the chapter on the recently discovered Diary of Doreen Bates which outlines possibly the first female civil servant campaign for rights as a single mother, we hear echoes of issues being discussed today. Indeed, as we approach the end of the century it is a good moment to look back and re-evaluate areas and degrees of progress - or the reverse - in society, and in British women's lives in particular. With its unusual photographs, this accessible and informative collection provides a rich resource for students in twentieth century social and cultural history, and women's studies courses, and an enlightening volume for general readers.

First published in 1914, this is a systematic treatment of the people whose contribution to civilization of the Nile Valley was for so long a source of controversy.

In 1914, the Associated Newspapers sent correspondent Herbert Corey to Europe on the day Great Britain declared war on Germany. During the Great War that followed, Corey reported from France, Britain, and Germany, visiting the German lines on both the western and eastern fronts. He also reported from Greece, Italy, Switzerland, Holland, Belgium, and Serbia. When the Armistice was signed in November 1918, Corey defied the rules of the American Expeditionary Forces and crossed into Germany. He covered the Paris Peace Conference the following year. No other foreign correspondent matched the longevity of his reporting during World War I. Until recently, however, his unpublished memoir lay largely unnoticed among his papers in the Library of Congress. With publication of Herbert Corey's Great War, coeditors Peter Finn and John Maxwell Hamilton reestablish Corey's name in the annals of American war reporting. As a correspondent, he defies easy comparison. He approximates Ernie Pyle in his sympathetic interest in the American foot soldier, but he also told stories about troops on the other side and about noncombatants. He is especially illuminating on the obstacles reporters faced in conveying the story of the Great War to Americans. As his memoir makes clear, Corey didn't believe he was in Europe to serve the Allies. He viewed himself as an outsider, one who was deeply ambivalent about the entry of the United States into the war. His idiosyncratic, opinionated, and very American voice makes for compelling reading.

The Politics of Wounds explores military patients' experiences of frontline medical evacuation, war surgery, and the social world of military hospitals during the First World War. The proximity of the front and the colossal numbers of wounded created greater public awareness of the impact of the war than had been seen in previous conflicts, with serious political consequences. Frequently referred to as 'our wounded', the central place of the soldier in society, as a symbol of the war's shifting meaning, drew contradictory responses of compassion, heroism, and censure. Wounds also stirred romantic and sexual responses. This volume reveals the paradoxical situation of the increasing political demand levied on citizen soldiers concurrent with the rise in medical humanitarianism and war-related charitable voluntarism. The physical gestures and poignant sounds of the suffering men reached across the classes, giving rise to convictions about patient rights, which at times conflicted with the military's pragmatism. Why, then, did patients represent military medicine, doctors and nurses in a negative light? The Politics of Wounds listens to the voices of wounded soldiers, placing their personal experience of pain within the social, cultural, and political contexts of military medical institutions. The author reveals how the wounded and disabled found culturally creative ways to express their pain, negotiate power relations, manage systemic tensions, and enact forms of 'soft resistance' against the societal and military expectations of masculinity when confronted by men in pain. The volume concludes by considering the way the state ascribed social and economic values on the body parts of disabled soldiers though the pension system.

How the Great War came to the cinema screen
Everyone familiar with motion picture footage of the First World War on the Western Front will certainly have witnessed the talent, daring, uniquely invaluable and enduring work of the author of this book, Geoffrey Malins. Malins was one of two 'Official War Office Kinematographers' authorised to film the allied armies in action in France. There have been comments detrimental to Malins' character, he might have been guilty of embellishment as regards his own actions (no strange phenomenon in a military memoir) and he certainly downplayed the role of his colleague J. B. McDowell to the point of invisibility, but it is pointless to concentrate on the imperfections of the man when balanced against his indisputable achievements. One thing is certain, our knowledge of the Great War would be poorer without Malins. Here was a 'movie man' prepared to go into the danger zone to record the reality of the war of wire, the blood and trenches the ordinary 'Tommy' knew, while dragging around the most cumbersome equipment. His most famous film, 'The Battle of the Somme, ' filmed in 1916 and considered to be excessively graphic by many at the time, was viewed by over 20 million people and is shown on television to the present day. Despite producing some now well known fake 'over the top' sequences, Malins was responsible for the iconic footage of the blowing of the Hawthorn Crater and anyone interested in the Great War and the earliest days of war cinematography will be fascinated to read the story of how it came about. The exploits of Malins and his colleagues make no less gripping reading.
Leonaur editions are newly typeset and are not facsimiles; each title is available in softcover and hardback with dustjacket; our hardbacks are cloth bound and feature gold foil lettering on their spines and fabric head and tail bands.

On a summer morning in Sarajevo a hundred years ago, a teenage assassin named Gavrilo Princip fired not just the opening shots of the First World War but the starting gun for modern history, when he killed Archduke Franz Ferdinand. Yet the events Princip triggered were so monumental that his own story has been largely overlooked, his role garbled and motivations misrepresented. The Trigger puts this right, filling out as never before a figure who changed our world and whose legacy still has an impact on all of us today. Born a penniless backwoodsman, Princip's life changed when he trekked through Bosnia and Serbia to attend school. As he ventured across fault lines of faith, nationalism and empire, so tightly clustered in the Balkans, radicalisation slowly transformed him from a frail farm boy into history's most influential assassin. By retracing Princip's journey from his highland birthplace, through the mythical valleys of Bosnia to the fortress city of Belgrade and ultimately Sarajevo, Tim Butcher illuminates our understanding both of Princip and the places that shaped him. Tim uncovers details about Princip that have eluded historians for a century and draws on his own experience, as a war reporter in the Balkans in the 1990s, to face down ghosts of conflicts past and present. The Trigger is a rich and timely work that brings to life both the moment the world first went to war and an extraordinary region with a potent hold over history.

This is the first ever major study examining of the views of the Conservative Party towards the key aspects of Anglo-German relations from 1905 to 1914. Drawing on a wide variety of original sources, it examines the Conservative response to the German threat, and argues that the response of the Conservative Party towards Germany showed a marked absence of open hostility towards Germany. Overall, this important new study provides a powerful and overdue corrective to the traditional depiction of the Conservative Party in opposition as 'Scaremongers' and the chief source of Germanophobic views among the British political parties.

The war of the French volunteers
This book does not concern the Battle of Verdun in 1916--widely considered to be the largest battle in world history, rather it positions the action geographically for the reader. Written during wartime this account concerns the personal experiences of a young officer of the French infantry from the earliest days of the Great War through a period of comparative fluidity of movement before the stalemate of trench warfare. The fighting concerns the actions about the Meuse and the Marne in the first year of the war from a French perspective and concludes as the 'armies go to earth' in the early part of 1915. Genevoix takes the reader into the heart of his enthusiastic young group of comrades and soldiers on campaign to provide valuable insights into the opening phases of the great conflict the French infantry knew. Available in soft cover and hard cover with dust jacket.

This is the compelling story of West Belfast's involvement fighting on the Western Front throughout the First World War. This is the story of men from either side of West Belfast's sectarian divide during the Great War. This dramatic book tells the story of the volunteers of the 36th and 16th divisions who fought on the Somme and side-by-side at Messines. Grayson also brings in forgotten West Belfast men from throughout the armed forces, from the retreat at Mons to the defeat of Germany and life post-war. In so doing, he tells a new story which challenges popular perceptions of the war and explains why remembrance remains so controversial in Belfast today.

Why, despite the appalling conditions in the trenches of the Western Front, was the British army almost untouched by major mutiny during the First World War? Drawing upon an extensive range of sources, including much previously unpublished archival material, G. D. Sheffield seeks to answer this question by examining a crucial but previously neglected factor in the maintenance of the British army's morale in the First World War: the relationship between the regimental officer and the ordinary soldier.

The Remembered Dead explores the ways poets of the First World War - and later poets writing in the memory of that war - address the difficult question of how to remember, and commemorate, those killed in conflict. It looks closely at the way poets struggled to meaningfully represent dying, death, and the trauma of witness, while responding to the pressing need for commemoration. The authors pay close attention to specific poems while maintaining a strong awareness of literary and philosophical contexts. The poems are discussed in relation to modernism and myth, other forms of commemoration (such as photographs and memorials), and theories of cultural memory. There is fresh analysis of canonical poets which, at the same time, challenges the confines of the canon by integrating discussion of lesser-known figures, including non-combatants and poets of later decades. The final chapter reaches beyond the war's centenary in a discussion of one remarkable commemoration of Wilfred Owen.