The Crimean War (1853-1856) was the first modern war. A vicious struggle between imperial Russia and an alliance of the British, French and Ottoman Empires, it was the first conflict to be reported first-hand in newspapers, painted by official war artists, recorded by telegraph and photographed by camera. In her new short history, Trudi Tate discusses the ways in which this novel representation itself became part of the modern war machine. She tells forgotten stories about the war experience of individual soldiers and civilians, including journalists, nurses, doctors, war tourists and other witnesses. At the same time, the war was a retrograde one, fought with the mentality, and some of the equipment, of Napoleonic times. Tate argues that the Crimean War was both modern and old-fashioned, looking backwards and forwards, and generating optimism and despair among those who lived through it. She explores this paradox while giving full coverage to the bloody battles (Alma, Balaklava, Inkerman), the siege of Sebastopol, the much-derided strategies of the commanders, conditions in the field and the cultural impact of the anti-Russian alliance.

This is the first book to study the cultural impact of the Armistice of 11 November 1918. It contains 14 new essays from scholars working in literature, music, art history and military history. The Armistice brought hopes for a better future, as well as sadness, disappointment and rage. Many people in all the combatant nations asked hard questions about the purpose of the war. These questions are explored in complex and nuanced ways in the literature, music and art of the period. This book revisits the silence of the Armistice and asks how its effect was to echo into the following decades. The essays are genuinely interdisciplinary and are written in a clear, accessible style. -- .

Now available in paperback, this study of the cultural impact of the Armistice of 11 November 1918 contains fourteen new essays from scholars working in literature, music, art history and military history. The Armistice brought hopes for a better future, as well as sadness, disappointment and rage. Many people in all the combatant nations asked hard questions about the purpose of the war. These questions are explored in complex and nuanced ways in the literature, music and art of the period. This book revisits the silence of the Armistice and asks how its effect was to echo into the following decades. The essays are genuinely interdisciplinary and are written in a clear, accessible style. -- .

"A wide ranging, challenging and constantly surprising collection ... focusing on the divisions the war created between men and women." Pat Barker This is an anthology of short stories of World War I from 25 classic writers. Gertrude Stein, Virginia Woolf and Katherine Mansfield are among the women writers whose works account for half the volume. The stories are by turn poignant, violent, harsh, tender and desolating. -- .

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914-19.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914-19.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914-19.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914-19.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914-19.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914-19.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914-19.

Given the popular and scholarly interest in the First World War it is surprising how little contemporary literary work is available. This five-volume reset edition aims to redress this balance, making available an extensive collection of newly-edited short stories, novels and plays from 1914-19.

The essays in this volume on women's writing of the First World War are written from an explicitly theoretical and academic feminist perspective. The contributors - including a number of leading female academics - challenge current thinking about women's responses to the First World War and explore the differences between women writers of the period, thus questioning the very categorization of `women's writing'. The Great War stimulated a sudden growth in the novel industry. Well known writers such as Mrs Humphrey Ward and Edith Wharton found themselves jostled by authors like Ruby M. Ayres, Kate Finzi, and Olive Dent. The trauma of the war continued to reverberate through much of the fiction published in the years that followed its inglorious end. This volume considers some of the best known, and some of the least known, women writers on whose work the war left its shadow. The writing of some of the most famous 'modernist' women writers - including Virginia Woolf, Katherine Mansfield, and H. D. - is reassessed as war literature, and the work of long-neglected authors such as Vernon Lee, Frances Bellerby, and Mary Butts is given serious attention for the first time.

The Great War stimulated a sudden growth in the novel industry, and the trauma of the war continued to reverberate through much of the fiction published in the years that followed its inglorious end. The essays in this volume, by a number of leading critics in the field, consider some of the best-known, and some of the least-known, women writers on whose work the war left its shadow.

This book presents fourteen new essays by leading British and American writers on literature, science, and psychoanalysis. Written in honour of Gillian Beer, the collection pays homage to her major contribution to the theory and practice of interdisciplinary studies, with particular emphasis on the evolutionary sciences in nineteenth-century Britain, on psychoanalysis from Freud through to the late 1930s, and on the cultural contexts of science in the first half of the twentieth century.

Contributors: Rachel Bowlby, Kate Flint, Mary Jacobus, Maroula Joannou, E. F. Keller, Nigel Leask, George Levine, Suzanne Raitt, Harriet Ritvo, Jacqueline Rose, Sally Shuttleworth, Helen Small, Trudi Tate, Alison Winter

Drawing upon medical journals, newspapers, propaganda, military histories, and other writings of the day, Modernism, History and the First World War reads such writers as Woolf, HD, Ford, Faulkner, Kipling, and Lawrence alongside fiction and memoirs of soldiers and nurses who served in the war. This ground breaking blend of cultural history and close readings shows how modernism after 1914 emerges as a strange but important form of war writing, and was profoundly engaged with its own troubled history. Trudi Tate s a Fellow and Tutor of Clare Hall, Cambridge, and author of The Silent Morning: Culture and Memory After the Armistice (2013). 'Essential reading for anyone interested in modernist fiction and war writing.'-Jane Potter, Oxford Brookes University. 'This superb book opened up literary studies of the conflict to a range of issues and approaches that have since become crucial to the field'-Santanu Das, King's College London.

The Crimean War (1853-1856) was the first modern war. A vicious struggle between imperial Russia and an alliance of the British, French and Ottoman Empires, it was the first conflict to be reported first-hand in newspapers, painted by official war artists, recorded by telegraph and photographed by camera. In her new short history, Trudi Tate discusses the ways in which this novel representation itself became part of the modern war machine. She tells forgotten stories about the war experience of individual soldiers and civilians, including journalists, nurses, doctors, war tourists and other witnesses. At the same time, the war was a retrograde one, fought with the mentality, and some of the equipment, of Napoleonic times. Tate argues that the Crimean War was both modern and old-fashioned, looking backwards and forwards, and generating optimism and despair among those who lived through it. She explores this paradox while giving full coverage to the bloody battles (Alma, Balaklava, Inkerman), the siege of Sebastopol, the much-derided strategies of the commanders, conditions in the field and the cultural impact of the anti-Russian alliance.