front cover of The Art of Staying Neutral
The Art of Staying Neutral
The Netherlands in the First World War, 1914-1918
Maartje Abbenhuis
Amsterdam University Press, 2006
An insightful account of the challenges of neutrality in an era of total war, The Art of Staying Neutral shows how the Netherlands remained peaceful throughout World War I. This sustained neutrality, Maartje Abbenhuis demonstrates, was the result of many factors, including masterly diplomacy, careful adherence to international laws and a decisive measure of good fortune. Neutrality, however, did not come without considerable costs to the nation’s economy and security. 

This book is a major contribution both to the study of neutrality and the domestic history of the Netherlands.

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Between Nation and State
Serbian Politics in Croatia Before the First World War
Nicholas J. Miller
University of Pittsburgh Press, 1997
Nicholas Miller chronicles the politics in Croatia (1903-1914,) prior to the first World War. He examines the failures of the Croat-Serbian Coalition that led to their future inability to create a cohesive civic/democratic union during the war years. The Serb-Croat differences—political, ethnic, and regional—prevail to this day.
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Caught in the Middle
Neutrals, Neutrality and the First World War
Edited by Johan Den Hertog and Samuel Kruizinga
Amsterdam University Press, 2011

During World War I, aggressive countries infringed on the rights and privileges of neutral nations such as the Netherlands and Switzerland as they had been defined in prior international agreements. The essays in this critical collection provide comparisons of the history of neutrality in several countries involved in World War I and analyze the concept of neutrality from multiple perspectives: political, economic, cultural, and legal.

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The Egyptian Labor Corps
Race, Space, and Place in the First World War
Kyle J. Anderson
University of Texas Press, 2021

During World War I, the British Empire enlisted half a million young men, predominantly from the countryside of Egypt, in the Egyptian Labor Corps (ELC) and put them to work handling military logistics in Europe and the Middle East. British authorities reneged on their promise not to draw Egyptians into the war, and, as Kyle Anderson shows, the ELC was seen by many in Egypt as a form of slavery. The Egyptian Labor Corps tells the forgotten story of these young men, culminating in the essential part they came to play in the 1919 Egyptian Revolution.

Combining sources from archives in four countries, Anderson explores Britain’s role in Egypt during this period and how the ELC came to be, as well as the experiences and hardships these men endured. As he examines the ways they coped—through music, theater, drugs, religion, strikes, and mutiny—he illustrates how Egyptian nationalists, seeing their countrymen in a state akin to slavery, began to grasp that they had been racialized as “people of color.” Documenting the history of the ELC and its work during the First World War, The Egyptian Labor Corps also provides a fascinating reinterpretation of the 1919 revolution through the lens of critical race theory.

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Filmfront Weimar
Representations of the First World War in German Films from the Weimar Period (1919-1933)
Bernadette Kester
Amsterdam University Press, 2003
How was Germany's experience of World War I depicted in film during the following years? Drawing on analysis of the films of the Weimar era—documentaries and feature films addressing the war's causes, life at the front, war at sea, and the home front—Bernadette Kester sketches out the historical context, including reviews and censors' reports, in which these films were made and viewed, and offers much insight into how Germans collectively perceived World War I during its aftermath and beyond.
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The First World War and Its Aftermath
The Shaping of the Middle East
Edited by T. G. Fraser
Gingko, 2015
Think of a map of World War I and chances are that map will be of Europe—but the First World War had just as heavy an impact on the Middle East, shaping the region into what we know it as today. This book gathers together leading scholars in the field to examine this impact, which is crucial to understanding the region’s current problems and the rise of groups like the Islamic State.

In addition to recounting the crucial international politics that drew fierce lines in the sands of the Middle East—a story of intrigue between the British, Russians, Ottomans, North Africans, Americans, and others—the contributors engage topics ranging from the war’s effects on women, the experience of the Kurds, sectarianism, the evolution of Islamism, and the importance of prominent intellectuals like Ziya Gökalp and Michel ‘Aflaq. They examine the dissolution of the Ottoman empire, the exploitation of notions of Islamic unity and pan-Arabism, the influences of Woodrow Wilson and American ideals on Middle East leaders, and likewise the influence of Vladimir Lenin’s vision of a communist utopia. Altogether, they tell a story of promises made and promises broken, of the struggle between self-determination and international recognition, of centuries-old empires laying in ruin, and of the political poker of the twentieth century that carved up the region, separating communities into the artificial states we know today.   
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The First World War and Popular Cinema
1914 to the Present
Paris, Michael
Rutgers University Press, 2000

The Great War played an instrumental role in the development of cinema, so necessary was it to the mobilization efforts of the combatant nations. In turn, after the war, as memory began to fade, cinema continued to shape the war's legacy and eventually to determine the ways in which all warfare is imagined.

The First World War and Popular Cinema provides fresh insight into the role of film as an historical and cultural tool. Through a comparative approach, essays by contributors from Europe, Australia, Canada, and the United States enrich our understanding of cinematic depictions of the Great War in particular and combat in general. New historical research on both the uses of propaganda and the development of national cinemas make this collection one of the first to show the ways in which film history can contribute to our study of national histories. The contributors to the volume monitor popular perceptions of the war, the reshaping of the war's legacy, and the evolution of cinematic clichés that are perpetuated in filmmaking through the century. Some of the films they discuss are All Quiet on the Western Front, Gallipoli, The Grand Illusion, The Big Parade, Battle of the Somme, J'Accuse, Regeneration, and many more. The First World War and Popular Cinema is a vital addition to film studies and history, two fields only recently united in a productive way.

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For King and Kanata
Canadian Indians and the First World War
Timothy C. Winegard
University of Manitoba Press, 2012

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Mobilizing Minerva
American Women in the First World War
Kimberly Jensen
University of Illinois Press, 2007
Mobilizing Minerva: American Women in the First World War analyzes the strategies of female physicians, nurses, and women-at-arms who linked military service with the opportunity to achieve professional and civic goals. Since women armed to defend the state during war could also protect themselves, Kimberly Jensen argues, Americans began to focus on women's relationship to violence--both its wielding against women and women's uses of it. Intense discussions of rape, methods of protecting women, and proper gender roles abound as Jensen draws from rich case studies to show how female thinkers and activists wove wartime choices into long-standing debates about woman suffrage, violence against women, gender-based discrimination, and economic parity. The war created new urgency in these debates, and Jensen forcefully presents the case of women participants and activists: women's involvement in the obligation of citizens to defend the state validated their right of full female citizenship.
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On the Battlefield of Memory
The First World War and American Remembrance, 1919–1941
Steven Trout
University of Alabama Press, 2010

This work is a detailed study of how Americans in the 1920s and 1930s interpreted and remembered the First World War. Steven Trout asserts that from the beginning American memory of the war was fractured and unsettled, more a matter of competing sets of collective memories—each set with its own spokespeople— than a unified body of myth. The members of the American Legion remembered the war as a time of assimilation and national harmony. However, African Americans and radicalized whites recalled a very different war. And so did many of the nation’s writers, filmmakers, and painters.

Trout studies a wide range of cultural products for their implications concerning the legacy of the war: John Dos Passos’s novels Three Soldiers and 1919, Willa Cather’s One of Ours, William March’s Company K, and Laurence Stallings’s Plumes; paintings by Harvey Dunn, Horace Pippin, and John Steuart Curry; portrayals of the war in The American Legion Weekly and The American Legion Monthly; war memorials and public monuments like the Tomb of the Unknown Soldier; and commemorative products such as the twelve-inch tall Spirit of the American Doughboy statue.

Trout argues that American memory of World War I was not only confused and contradictory during the ‘20s and ‘30s, but confused and contradictory in ways that accommodated affirmative interpretations of modern warfare and military service. Somewhat in the face of conventional wisdom, Trout shows that World War I did not destroy the glamour of war for all, or even most, Americans and enhanced it for many.

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Pandora’s Box
A History of the First World War
Jörn Leonhard
Harvard University Press, 2020

Winner of the Norman B. Tomlinson, Jr. Prize

“The best large-scale synthesis in any language of what we currently know and understand about this multidimensional, cataclysmic conflict.”
—Richard J. Evans, Times Literary Supplement


In this monumental history of the First World War, Germany’s leading historian of the period offers a dramatic account of its origins, course, and consequences. Jörn Leonhard treats the clash of arms with a sure feel for grand strategy. He captures the slow attrition, the race for ever more destructive technologies, and the grim experiences of frontline soldiers. But the war was more than a military conflict and he also gives us the perspectives of leaders, intellectuals, artists, and ordinary men and women around the world as they grappled with the urgency of the moment and the rise of unprecedented political and social pressures. With an unrivaled combination of depth and global reach, Pandora’s Box reveals how profoundly the war shaped the world to come.

“[An] epic and magnificent work—unquestionably, for me, the best single-volume history of the war I have ever read…It is the most formidable attempt to make the war to end all wars comprehensible as a whole.”
—Simon Heffer, The Spectator

“[A] great book on the Great War…Leonhard succeeds in being comprehensive without falling prey to the temptation of being encyclopedic. He writes fluently and judiciously.”
—Adam Tooze, Die Zeit

“Extremely readable, lucidly structured, focused, and dynamic…Leonhard’s analysis is enlivened by a sharp eye for concrete situations and an ear for the voices that best convey the meaning of change for the people and societies undergoing it.”
—Christopher Clark, author of The Sleepwalkers

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Planning Armageddon
British Economic Warfare and the First World War
Nicholas A. Lambert
Harvard University Press, 2012

Before the First World War, the British Admiralty conceived a plan to win rapid victory in the event of war with Germany-economic warfare on an unprecedented scale.This secret strategy called for the state to exploit Britain's effective monopolies in banking, communications, and shipping-the essential infrastructure underpinning global trade-to create a controlled implosion of the world economic system.

In this revisionist account, Nicholas Lambert shows in lively detail how naval planners persuaded the British political leadership that systematic disruption of the global economy could bring about German military paralysis. After the outbreak of hostilities, the government shied away from full implementation upon realizing the extent of likely collateral damage-political, social, economic, and diplomatic-to both Britain and neutral countries. Woodrow Wilson in particular bristled at British restrictions on trade. A new, less disruptive approach to economic coercion was hastily improvised. The result was the blockade, ostensibly intended to starve Germany. It proved largely ineffective because of the massive political influence of economic interests on national ambitions and the continued interdependencies of all countries upon the smooth functioning of the global trading system.

Lambert's interpretation entirely overturns the conventional understanding of British strategy in the early part of the First World War and underscores the importance in any analysis of strategic policy of understanding Clausewitz's "political conditions of war."

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Portraits of Remembrance
Painting, Memory, and the First World War
Edited by Margaret Hutchison and Steven Trout
University of Alabama Press, 2020
Interdisciplinary collection of essays on fine art painting as it relates to the First World War and commemoration of the conflict
 
Although photography and moving pictures achieved ubiquity during the First World War as technological means of recording history, the far more traditional medium of paint­ing played a vital role in the visual culture of combatant nations. The public’s appetite for the kind of up-close frontline action that snapshots and film footage could not yet pro­vide resulted in a robust market for drawn or painted battle scenes.
 
Painting also figured significantly in the formation of collective war memory after the armistice. Paintings became sites of memory in two ways: first, many governments and communities invested in freestanding pan­oramas or cycloramas that depicted the war or featured murals as components of even larger commemorative projects, and second, certain paintings, whether created by official artists or simply by those moved to do so, emerged over time as visual touchstones in the public’s understanding of the war.
 
Portraits of Remembrance: Painting, Memory, and the First World War examines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale, including modernist masterpieces and crowd-pleasing expressions of sentimentality or spiritualism. Contribu­tors raise a host of topics in connection with the volume’s overarching focus on memory, including national identity, constructions of gender, historical accuracy, issues of aesthetic taste, and connections between painting and literature, as well as other cultural forms.
 
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front cover of The Russian Origins of the First World War
The Russian Origins of the First World War
Sean McMeekin
Harvard University Press, 2011

The catastrophe of the First World War, and the destruction, revolution, and enduring hostilities it wrought, make the issue of its origins a perennial puzzle. Since World War II, Germany has been viewed as the primary culprit. Now, in a major reinterpretation of the conflict, Sean McMeekin rejects the standard notions of the war’s beginning as either a Germano-Austrian preemptive strike or a “tragedy of miscalculation.” Instead, he proposes that the key to the outbreak of violence lies in St. Petersburg.

It was Russian statesmen who unleashed the war through conscious policy decisions based on imperial ambitions in the Near East. Unlike their civilian counterparts in Berlin, who would have preferred to localize the Austro-Serbian conflict, Russian leaders desired a more general war so long as British participation was assured. The war of 1914 was launched at a propitious moment for harnessing the might of Britain and France to neutralize the German threat to Russia’s goal: partitioning the Ottoman Empire to ensure control of the Straits between the Black Sea and the Mediterranean.

Nearly a century has passed since the guns fell silent on the western front. But in the lands of the former Ottoman Empire, World War I smolders still. Sunnis and Shiites, Arabs and Jews, and other regional antagonists continue fighting over the last scraps of the Ottoman inheritance. As we seek to make sense of these conflicts, McMeekin’s powerful exposé of Russia’s aims in the First World War will illuminate our understanding of the twentieth century.

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Secrets in a Dead Fish
The Spying Game in the First World War
Melanie King
Bodleian Library Publishing, 2014
How did German intelligence agents use a dead fish to convey critical information to their operatives? What did an advertisement for a dog in the Times have to do with the movement of British troops into Egypt? And why did British officers suddenly become suspicious of the trousers hanging on a Belgian woman’s washing line?

Throughout World War I, spymasters and their networks of secret agents developed many clever—and sometimes comical—methods of covert communication. Stacks of bread in a bakery window, puffs of smoke from a chimney, and even woolen pullovers were all used to pass on secret messages that were decipherable only to the well-trained eye. Drawing on the memoirs of eight spies, Melanie King divulges these and other tricks of the trade while sharing details from their astonishing stories. Among her informants are British intelligence officers working undercover in Germany and France, including a former Metropolitan police officer who once hunted Jack the Ripper; a German secret service officer codenamed “Agricola;” an American newspaperman; and an Austrian agent who disguised himself during his career as everything from a Jewish peddler to a Russian officer.

A fascinating compendium of clever and long-forgotten ruses—interspersed with the stories of the spies themselves—Secrets in a Dead Fish sheds new light on the shadowy world of Great War espionage.
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States of Belonging
German-American Intellectuals and the First World War
Phyllis Keller
Harvard University Press, 1979

front cover of Tennessee's Experience during the First World War
Tennessee's Experience during the First World War
Michael E. Birdwell
University of Tennessee Press, 2023

“On the day that Archduke Franz Ferdinand, heir to the Austrian throne, was assassinated, Tennesseans worried about the weather,” Carole Bucy writes. Indeed, the war that began in Europe in 1914 was unimaginably remote from Tennessee—until it wasn’t.

Drawing on a depth of research into a wide array of topics, this vanguard collection of essays aims to conceptualize World War I through the lens of Tennessee. The book begins by situating life in Tennessee within the greater context of the war in Europe, recounting America’s growing involvement in the Great War. As the volume unfolds, editor Michael E. Birdwell and the contributors weave together soldier narratives, politics and agribusiness, African American history, and present-day recollections to paint a picture of Tennessee’s Great War experience that is both informative and gripping.

An essential addition to the broader historiography of the American experience during World War I, this collection of essays presents Tennessee stories that are close to home in more than just geography and lineage. By relating international conflict through the eyes of Tennessee’s own, editor Michael E. Birdwell and the contributing authors provide new opportunities for academics and general readers alike to engage with the Great War from a unique and—until now—untold perspective.

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