The Dead, Battlefield Burials and the Unveiling of War Memorials in Films of the Great War Era

2011 ◽  
pp. 145-159 ◽  
Author(s):  
Toby Haggith
Keyword(s):  
Great War ◽  
War Memorials ◽  
The Dead ◽  
The Great War

scholarly journals Notre-Dame du Raincy and the Great War

2019 ◽  
Vol 78 (4) ◽  
pp. 454-471
Author(s):  
Etien Santiago
Keyword(s):  
World War I ◽  
Great War ◽  
World War ◽  
War Memorials ◽  
Bell Tower ◽  
The Dead ◽  
The Great War ◽  
The Church

In Notre-Dame du Raincy and the Great War, Etien Santiago explores how the 1923 church of Notre-Dame du Raincy, designed by Auguste and Gustave Perret, resonated with other French buildings erected during or soon after World War I. Officially designated a monument to a significant battle and the soldiers who died there, the church contains only two overt commemorative symbols, both of which are relatively discreet. Yet original sources reveal that the Perrets' contemporaries saw additional allusions to the war in the building's exposed concrete and bell tower, the latter of which evoked the “lanterns of the dead” typical of contemporaneous French Great War memorials. Moreover, to build Notre-Dame du Raincy, the Perrets drew direct inspiration from utilitarian wartime constructions. Contextualizing the church amid these related structures allows us to chart some of the multiple and often contradictory ways in which French citizens and designers grappled with the war and its legacy.

A Byzantine Song for Simeon: The Fourth Kontakion of St. Romanos

Traditio ◽  
1968 ◽  
Vol 24 ◽  
pp. 409-420
Author(s):  
Eva Catafygiotu Topping
Keyword(s):  
Great War ◽  
The Dead ◽  
The Great War

Every epoch sings its own song of Simeon, its spirit mirrored in the figure of the old man who is but a step distant from death. T. S. Eliot in 1928 wrote ‘A Song for Simeon’ expressing the disillusionment, the hollow weariness of the years following the Great War. A pallid, cold lifelessness envelops his poem, which heavy with death proceeds through images of ‘the mountain of desolation,’ ‘winter sun,’ ‘snow hills’ and ‘dust in sunlight.’ Simeon looks wearily backward as he waits ‘for the wind that chills towards the dead land.’

scholarly journals Conflict and the Australian commemorative landscape

2021 ◽  
Vol 8 (3) ◽  
pp. 13-26
Author(s):  
Alison Bedford ◽  
◽  
Richard Gehrmann ◽  
Martin Kerby ◽  
Margaret Baguley ◽  
...  
Keyword(s):  
Nation Building ◽  
Great War ◽  
War Memorials ◽  
Marginalised Groups ◽  
The Great War ◽  
Over Time

Australian war memorials have changed over time to reflect community sentiments and altered expectations for how a memorial should look and what it should commemorate. The monolith or cenotaph popular after the Great War has given way to other forms of contemporary memorialisation including civic, counter or anti-memorials or monuments. Contemporary memorials and monuments now also attempt to capture the voices of marginalised groups affected by trauma or conflict. In contrast, Great War memorials were often exclusionary, sexist and driven by a nation building agenda. Both the visibility and contestability of how a country such as Australia pursues public commemoration offers rich insights into the increasingly widespread efforts to construct an inclusive identity which moves beyond the cult of the warrior and the positioning of war as central to the life of the nation.

The First World War and the Lake District

2020 ◽  
pp. 155-180
Author(s):  
Saeko Yoshikawa
Keyword(s):  
Cultural Landscape ◽  
First World War ◽  
Great War ◽  
Free Access ◽  
Lake District ◽  
World War ◽  
War Memorials ◽  
The First World War ◽  
The Great War ◽  
First World

Chapter 5 reveals how the Great War of 1914–1918 produced a remarkable upturn in Wordsworth’s reputation, and how it had an inescapable impact on the cultural landscape of the Lake District. For obvious reasons, Wordsworth’s sonnets on liberty and independence had strong public appeal, and his sense of crisis during the war with Napoleonic France was shared by many who stood against Germany. Equally, Wordsworth’s poetry and the Lake scenery offered consolation and relief at a time of widespread tension, anxiety, and horror. When hostilities ended, Wordsworth’s association with the Lake scenery, combined with his patriotic revival during the war, produced the idea of the Lakeland mountains as a stronghold of national liberty. Twelve mountains were donated to the National Trust to be preserved as war memorials, and public free access to them were also secured.

scholarly journals Medieval motives in memorialization of the Great War

2021 ◽  
pp. 67-71
Author(s):  
Sergei A. Mankov ◽  
Keyword(s):  
World War I ◽  
Middle Ages ◽  
Great War ◽  
World War ◽  
Medieval Architecture ◽  
War Memorials ◽  
European Experience ◽  
The Social ◽  
The Great War ◽  
The Middle Ages

The article examines the European experience of creating war memorials dedicated to the World War I, using the motives of medieval architecture. The fascination with the Middle Ages, spread through the art and literature of the Neo-Gothic and national Romanism period, was emotionally rethought by the generation that survived the catastrophe of the global conflict of 1914–1918. At the new stage, the symbolic harsh images of the Middle Ages turned out to be more consonant with the social creation of former front-line soldiers than the classical antique forms used in the memorialization of wars in the 18th–19th centuries. This process was reflected in the commemoration of the Great War in Great Britain, France, Germany and other countries, where the monuments to the fallen began to give the appearance characteristic of the towers, fortresses and castles of the long-gone Middle Ages, giving them a new interpretative meaning.

scholarly journals The Sorry Steel: Trophy Guns in New Zealand’s World War One Commemoration

2014 ◽  
Author(s):  
Peter Cooke
Keyword(s):  
New Zealand ◽  
Great War ◽  
World War ◽  
World War One ◽  
War Memorials ◽  
The Great War

In relation to WWI war memorials, we traditionally we have had a picture of earnest committees raising funds to build an obelisk, and dedicating it in a ceremony filled with poignancy and regret, sorrow and pride. And while that is essentially correct, the picture Jock Philips and Chris McLean painted (in their 1990 book) was skewed in one salient aspect – virtually all New Zealand communities also commemorated their fallen with a trophy gun. Hundreds of captured artillery pieces, mortars and machine guns were brought back from the front and distributed – to every city, town, borough, suburb and almost every school. This paper explores a slightly different view our commemorating the sacrifices of the Great War, one that added an element of ‘cold steel’ to the marble statuary. So what did we see in these trophy guns? Were they a triumphal statement or a reminder of loss? And what happened to them and the mode of commemoration they signified?

Cultural Memory and the Great War: Medievalism and Classicism in British and German War Memorials

2012 ◽  
Author(s):  
STEFAN GOEBEL
Keyword(s):  
Case Studies ◽  
Middle Ages ◽  
Cultural Memory ◽  
Great War ◽  
War Memorials ◽  
The Great War ◽  
The Middle Ages

This chapter investigates the overlaps between the ‘cultural memory’ of the distant past and the memory of the Great War in Britain and Germany between 1914 and 1939, looking in particular at the use of medieval(ist) images in war memorials. There was a certain tension between advocates of medievalism and supporters of classicist images, but often, they reached a compromise. The chapter combines a discussion of the concept of ‘cultural memory’ with case studies on the reception of antiquity and the Middle Ages in the era of the Great War.

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