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, Christopher 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, maps and a companion website to aid further study and research.
The political control of music in the Third Reich has been analysed from several perspectives, and with ever increasing sophistication. However, music in Germany after 1945 has not received anything like the same treatment. Rather, there is an assumption that two separate musical cultures emerged in East and West alongside the division of Germany into two states with differing economic and political systems. There is a widely accepted view of music in West Germany as 'free', and in the East subject to party control. Toby Thacker challenges these assumptions, asking how and why music was controlled in Germany under Allied Occupation from 1945-1949, and in the early years of 'semi-sovereignty' between 1949 and 1955. The 're-education' of Germany after the Hitler years was a unique historical experiment and the place of music within this is explored here for the first time. While emphasizing political, economic and broader social structures that influenced the production and reception of different musical forms, the book is informed by a sense of human agency, and explores the role of salient individuals in the reconstruction of music in post-war Germany. The focus is not restricted to any one kind of music, but concentrates on those aspects of music, professional and amateur, live and recorded, which appeared to be the mostly highly charged politically to contemporaries. Particular attention is given to 'denazification' and to the introduction of international music. Thacker traces the development of a divide between Communist and liberal-democratic understandings of the place of music in society. The contested celebrations of the Bach Year in 1950 are used to highlight the role of music in the broader cultural confrontation between East and West. Thacker examines the ways in which central governments in East and West Germany sought to control and influence music through mechanisms of censorship and positive support. The book will therefore be of interest not only
The political control of music in the Third Reich has been analysed from several perspectives, and with ever increasing sophistication. However, music in Germany after 1945 has not received anything like the same treatment. Rather, there is an assumption that two separate musical cultures emerged in East and West alongside the division of Germany into two states with differing economic and political systems. There is a widely accepted view of music in West Germany as 'free', and in the East subject to party control. Toby Thacker challenges these assumptions, asking how and why music was controlled in Germany under Allied Occupation from 1945-1949, and in the early years of 'semi-sovereignty' between 1949 and 1955. The 're-education' of Germany after the Hitler years was a unique historical experiment and the place of music within this is explored here for the first time. While emphasizing political, economic and broader social structures that influenced the production and reception of different musical forms, the book is informed by a sense of human agency, and explores the role of salient individuals in the reconstruction of music in post-war Germany. The focus is not restricted to any one kind of music, but concentrates on those aspects of music, professional and amateur, live and recorded, which appeared to be the mostly highly charged politically to contemporaries. Particular attention is given to 'denazification' and to the introduction of international music. Thacker traces the development of a divide between Communist and liberal-democratic understandings of the place of music in society. The contested celebrations of the Bach Year in 1950 are used to highlight the role of music in the broader cultural confrontation between East and West. Thacker examines the ways in which central governments in East and West Germany sought to control and influence music through mechanisms of censorship and positive support. The book will therefore be of interest not only
It was called the London Season, and for three centuries it had been a time of fashionable suppers and brilliant balls that introduced England's most aristocratic and eligible girls to society. Though by 1939 the stately gavottes and minuets had long since given way to waltzes and fox-trots, the cream of young womanhood still curtsied low before the Queen and then went out to dance the night away with the young men they would one day marry. But the Season of 1939 was different: it was to be the last. And like many a finale, it lives on in memory as a lovely, enchanted dream, all the more beautiful for the horror and destruction that would follow so soon. Based on a wealth of first-hand reminiscences, press clippings, and memorabilia, "1939: The Last Season of Peace" is a fascinating portrait of this fairy tale about to end. Itcaptures the end of an era as it recreates a world whose inhabitants still believed in empire and tradition. It is a vivid picture of a generation suspended in a brief moment of sunlit summer glory, before the gathering storm of World War II swept it all away.
The political control of music in the Third Reich has been analysed from several perspectives, and with ever increasing sophistication. However, music in Germany after 1945 has not received anything like the same treatment. Rather, there is an assumption that two separate musical cultures emerged in East and West alongside the division of Germany into two states with differing economic and political systems. There is a widely accepted view of music in West Germany as 'free', and in the East subject to party control. Toby Thacker challenges these assumptions, asking how and why music was controlled in Germany under Allied Occupation from 1945-1949, and in the early years of 'semi-sovereignty' between 1949 and 1955. The 're-education' of Germany after the Hitler years was a unique historical experiment and the place of music within this is explored here for the first time. While emphasizing political, economic and broader social structures that influenced the production and reception of different musical forms, the book is informed by a sense of human agency, and explores the role of salient individuals in the reconstruction of music in post-war Germany. The focus is not restricted to any one kind of music, but concentrates on those aspects of music, professional and amateur, live and recorded, which appeared to be the mostly highly charged politically to contemporaries. Particular attention is given to 'denazification' and to the introduction of international music. Thacker traces the development of a divide between Communist and liberal-democratic understandings of the place of music in society. The contested celebrations of the Bach Year in 1950 are used to highlight the role of music in the broader cultural confrontation between East and West. Thacker examines the ways in which central governments in East and West Germany sought to control and influence music through mechanisms of censorship and positive support. The book will therefore be of interest not only
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, Christopher 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, maps and a companion website to aid further study and research.
Dead Men Risen, winner of the prestigious Orwell Prize for Books, is the epic story of a beleaguered British battle group fighting desperately to prevent the Taliban from seizing Afghanistan's Helmand province just as the U.S. Marines arrive to take over. Bestselling author Toby Harnden describes how men from the coal mining valleys and slate quarry villages of Wales found themselves in the most intense combat faced by British troops for a generation. Underequipped and overstretched, the fighting prowess of the Welsh Guards in the killing fields of Sangin and Nawa awed the U.S. Marines. NATO commander General Stanley McChrystal, who was awaiting a response to his urgent request to President Barack Obama for more troops, hailed their "burn-in-your-gut passion." Harnden was on the ground with the Welsh Guards in Helmand in 2009. He gained access to a trove of secret military documents and conducted nearly three hundred interviews in Afghanistan, England, Wales, and the United States to produce this timeless and profound account of men at war. Commanding the Welsh Guards was Lieutenant Colonel Rupert Thorneloe, a passionate believer in the justness of the war who was dismayed by the military and political incompetence surrounding it. In chilling detail, Harnden reveals how and why Thorneloe—the first British battalion commander to die in action since the 1982 Falklands War—was killed by an IED during Operation Panther’s Claw. By the time the fighting was over, almost no rank had been spared. From the searing heat of the poppy fields and the mud compounds of Helmand to the dreaded knock on the door back home, the reader is transported there. Harnden weaves the experiences of the soldiers, their historical forbears and the flawed NATO strategy into a masterly narrative. No other book about modern conflict succeeds on so many levels. Dead Men Risen is essential for anyone who wants to understand the reality of the Afghan war for the U.S and its allies.
The Living and the Dead examines the boundaries between the worlds of life and death. The text draws upon philosophy, ethnography, literature and natural science to suggest that life and death are best understood not in opposition, but as continuous tendencies acting upon one another. Austin Locke argues that the failure to give nuanced consideration to the connections between the living and nonliving devalues both life and death. In doing so, he suggests that our ability to respond to the challenges of environmental degradation, technological advancement, and the dominance of economic logic depend in part on more fluid understandings of the relationship between life and death.
Sound Pressure reveals how speaker systems mounted in public, employment, military and entertainment environments have played a pivotal role in the way that humans have been physiologically and psychologically organised and disciplined throughout the past century. The networked Wired Radio speakers of the 1920’s industrialised factory, acoustically anchor a narrative based on the functional utilisation of sound systems for insidious purposes; from the surround-sound techniques of the Waco siege, to the application of sonic torture in Guantánamo and Abu Ghraib. Crucially, Sound Pressure identifies the logic behind the miniaturisation and disappearance of visible sound system technologies as they transmute into the ultrasonic dynamics of the Hypersonic Sound System and covert bone conduction techniques of Whispering Windows. The book charts an evolution of speaker technology that has been, and will be, used to influence, manipulate and torture the collective and isolated body. It amplifies the connections between LRADs, iPods, Mosquitos, Intonarumori, loudhailers, and Sequential Arc Discharge Acoustic Generators - the meta-network of speaker systems through which rhythms and cadences of power are transmitted, connected, and modulated.
The Making of England' seeks to challenge the established narrative of the inevitable rise of the unified Christian state. England was not exceptional in its governance, parliaments, religion or monarchy: it was a European state.
Replay: Classic Modern Drama Reimagined spans over a century of great theatre to explore how iconic plays have been adapted and versioned by later writers to reflect or dissect the contemporary zeitgeist. Starting with A Doll's House, Ibsen's much-reprised masterpiece of marital relations from 1879, Toby Zinman explores what made the play so controversial and shocking in its day before tracing how later reimaginings have reworked Ibsen's original. The spine of plays then includes such landmark works as Strindberg's Miss Julie, Oscar Wilde's comic The Importance of Being Earnest, Chekhov's Three Sisters and Uncle Vanya, Hansberry's A Raisin in the Sun, the Rattigan centenary revivals, Thornton Wilder's Our Town, ultimately arriving at Beckett's Waiting for Godot. Taking each modern play as the starting point, Zinman explores the diverse renderings and reworkings by subsequent playwrights and artists –including prominent directors and their controversial productions as well as acknowledging reworkings in film, opera and ballet.Through the course of this groundbreaking study we discover not only how theatrical styles have changed but how society's attitude towards politics, religion, money, gender, sexuality and race have radically altered over the course of the century. In turn Replay reveals how theatre can serve as both a reflection of our times and a provocation to them.
The political control of music in the Third Reich has been analysed from several perspectives, and with ever increasing sophistication. However, music in Germany after 1945 has not received anything like the same treatment. Rather, there is an assumption that two separate musical cultures emerged in East and West alongside the division of Germany into two states with differing economic and political systems. There is a widely accepted view of music in West Germany as 'free', and in the East subject to party control. Toby Thacker challenges these assumptions, asking how and why music was controlled in Germany under Allied Occupation from 1945-1949, and in the early years of 'semi-sovereignty' between 1949 and 1955. The 're-education' of Germany after the Hitler years was a unique historical experiment and the place of music within this is explored here for the first time. While emphasizing political, economic and broader social structures that influenced the production and reception of different musical forms, the book is informed by a sense of human agency, and explores the role of salient individuals in the reconstruction of music in post-war Germany. The focus is not restricted to any one kind of music, but concentrates on those aspects of music, professional and amateur, live and recorded, which appeared to be the mostly highly charged politically to contemporaries. Particular attention is given to 'denazification' and to the introduction of international music. Thacker traces the development of a divide between Communist and liberal-democratic understandings of the place of music in society. The contested celebrations of the Bach Year in 1950 are used to highlight the role of music in the broader cultural confrontation between East and West. Thacker examines the ways in which central governments in East and West Germany sought to control and influence music through mechanisms of censorship and positive support. The book will therefore be of interest not only
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