Cryptanalysis in World War II —and Mathematics Education

1984 ◽  
Vol 77 (7) ◽  
pp. 548-552
Author(s):  
Peter Hilton
Keyword(s):  
World War Ii ◽  
Mathematics Education ◽  
First World War ◽  
World War ◽  
The First World War ◽  
And Mathematics ◽  
Armed Services ◽  
Effective Use ◽  
First World

One tragic aspect of the First World War (1914-18), so far as Britain was concerned, was that no effective use was made of the skills and talents of young British scientists, mathematicians, engineers, and experts in other relevant areas. Such people simply entered the armed services, usually the army, and fought in the infantry and other combat battalions.

David Jones’ In Parenthesis as an Intercultural Space

Tekstualia ◽  
2017 ◽  
Vol 4 (51) ◽  
pp. 63-74
Author(s):  
Jean Ward
Keyword(s):  
World War Ii ◽  
World War I ◽  
Roman Catholic ◽  
First World War ◽  
World War ◽  
The First World War ◽  
Visual Artist ◽  
In Parenthesis ◽  
First World ◽  
Poetic Work

In the epic poetic work In Parenthesis, published just before the outbreak of World War II, the forgotten British modernist David Jones, better known as a visual artist, presented a semi-fi ctional account of his experiences as a rank-and-fi le soldier in the London- Welsh Battalion of the British army during World War I. The author, like one of the heroes of his work, was at the front from December 1915 to July 2016, when he was wounded on the fi rst day of the long offensive on the Somme. By origin Jones was half- -Londoner and half-Welsh – and both of these „halves”, which were refl ected in the composition of his battalion, were important to him. He was also by upbringing an Anglican but by choice a Roman Catholic. The offi ces of the Catholic chaplain and the faith of the ordinary Catholics to which he was witness as a soldier played a considerable part in his conversion. He strove to embody in words the particular character of the speech and culture of all the members of the battalion, regardless of their origin or religious affi liation. He also showed respect and tenderness not only towards the culture of the country in which the battles were fought – France – but also even towards „the enemy front-fi ghters”, to whom, along with his friends from the British side, he dedicated In Parenthesis. Under his hand, the trenches of the First World War become a truly intercultural space.

Britain and the Middle East, 1944–1950

1951 ◽  
Vol 13 (1) ◽  
pp. 21-38 ◽  
Author(s):  
M. A. Fitzsimons
Keyword(s):  
World War Ii ◽  
Middle East ◽  
First World War ◽  
Suez Canal ◽  
World War ◽  
The Past ◽  
The First World War ◽  
British Policy ◽  
The Mediterranean ◽  
First World

Since the end of World War II British Policy in the Middle East has been plagued by the devils of the past, joined by a more formidable company of contemporary devils, some of whom bear a mocking resemblance to still earlier ones. Most of this region was once largely in the weak hands of the Turkish Empire. In this area, strategic for the control of the Mediterranean and the security of the Suez Canal, British policy had been to support the Turkish Empire against the heavy pressure of Tsarist Russia, until Turkey's association with Germany drove Britain to moderate its rivalry with Russia, to accept her partnership in Persia (1907), following a similar accommodation of differences with France (1904).During the First World War the British sponsored the Arab Revolt against Turkey, thus shattering the feeble union of those lands, and creating in the Middle East a parody of the Habsburg succession states, complicated by concessions to France (the Sykes-Picot Agreement) and to Zionism (the Balfour Declaration).

Raising an ‘industrial army’: the policy of reservation in the First and Second World Wars

2017 ◽  
Author(s):  
Juliette Pattinson ◽  
Arthur Mcivor ◽  
Linsey Robb
Keyword(s):  
First World War ◽  
Home Front ◽  
Government Control ◽  
World War ◽  
Total War ◽  
The First World War ◽  
The Government ◽  
Armed Services ◽  
The Military ◽  
First World

This chapter provides an examination of the policy of reservation in the two world wars. In total war, industry was in direct competition with the military for a limited supply of men. The state needed to mobilise labour just as much as it did combatants to fill the ranks of the armed services. Both wars witnessed increased government control to direct manpower to where it was needed. Despite attempts to retain men with essential skills on the home front during the First World War, too many skilled men were able to enlist into the forces. Those men who remained on the home front were derided as shirkers and cowards. Civilian men therefore had to negotiate their relegation to the subordinate status of unmanly ‘other’. Whereas errors were made during the First World War, with the government lurching from one manpower crisis to another, a more systematic approach was adopted in the Second with a Schedule of Reserved Occupations. The raising of an ‘industrial army’, which was merely rhetoric in the First World War, became a reality in the Second.

Effects of World War II on the development of knowledge in the biological sciences

1975 ◽  
Vol 342 (1631) ◽  
pp. 537-548 ◽  
Keyword(s):  
Biological Sciences ◽  
Developmental Biology ◽  
World War Ii ◽  
Young Men ◽  
First World War ◽  
World War ◽  
The First World War ◽  
Public Money ◽  
The Many ◽  
First World

This lecture is not based on any thorough survey of literature about the war or its effects, but rather on personal impressions both by myself and by the many biologists who have been good enough to write to me. Although the published version has been supplemented by information given to me after the discussion, the account is inevitably incomplete and apologies are due to people whose work is inadvertantly omitted from the account. The symposium as a whole is supposed to survey the effects of two world wars. I have little information about the effect of the first world war, but I do know that biology suffered considerably from the loss of some of its most promising young men. Physiology might have advanced more quickly with Keith Lucas; developmental biology would have been different with the help of John Wilfred Jenkinson. I mention only these two, because I myself have seen the effects of their loss at Cambridge and Oxford respectively, but there must have been many others. My impression is that for biology the first world war was almost wholly detrimental and that the indiscrimate slaughter damaged this science no less than it did the development of many other branches of knowledge. I know that a lot more public money was channelled into science after the first world war, but that in no way compensated for the loss of genius.

The war and influenza: the impact of the First World War on the 1918–19 influenza pandemic in Ulster

2016 ◽  
Author(s):  
Patricia Marsh
Keyword(s):  
Influenza Pandemic ◽  
Medical Personnel ◽  
First World War ◽  
Similar Degree ◽  
World War ◽  
Preventative Measures ◽  
The First World War ◽  
War Effort ◽  
Effective Use ◽  
First World

The closing months of the First World War coincided with one of the most virulent pandemics of the twentieth century. In Ireland, at least 23,000 people died from influenza between 1918 and 1919. This chapter suggests that Ireland suffered to a similar degree to other regions of the British Isles. It investigates popular beliefs that war itself was directly accountable for the influenza pandemic and its subsequent spread across Ireland. Moreover, international conflict suppressed contemporary reportage of the disease in Ireland, contributing to a subsequent amnesia with respect to influenza across the country. Making effective use of case studies from Ulster, the chapter details how war impacted on medical and welfare responses to influenza as the pandemic struck amidst ongoing shortages in medical personnel and supplies. In addition, the chapter suggests that an absence of effective state recommendations on preventative measures (a consequence of prioritising the war effort) had detrimental consequences for the Irish population.

scholarly journals “Where Butchers Sing Like Angels,” Of Captive Bodies and Colonized Minds (With a Little Help from Louise Erdrich)

2020 ◽  
Vol 13 (1) ◽  
pp. 123-144
Author(s):  
Małgorzata Poks
Keyword(s):  
World War Ii ◽  
Animal Studies ◽  
Adult Life ◽  
Louise Erdrich ◽  
First World War ◽  
Western World ◽  
World War ◽  
Critical Animal Studies ◽  
The First World War ◽  
First World

The Master Butchers Signing Club – Louise Erdrich’s “countehistory” (Natalie Eppelsheimer) of the declared and undeclared wars of Western patriarchy–depicts a world where butchering, when done with precision and expertise, approximates art. Fidelis Waldvogel, whose name means literally Faithful Forestbird, is a sensitive German boy turned the first-rate sniper in the First World War and master butcher in his adult life in America. When Fidelis revisits his homeland after the slaughter of World War II, Delphine, his second wife, has a vision of smoke and ashes bursting out of the mouths of the master butchers singing onstage in a masterful harmony of voices. Why it is only Delphine, an outsider in the Western world, that can see the crematorium-like reality overimposed on the bucolic scenery of a small German town? Drawing on decolonial and Critical Animal Studies, this article tries to demystify some of the norms and normativities we live by.  

scholarly journals The unfulfilled museum collection of works by G. S.Vereiskiy: The artist’s autobiography as a key to his creative heritage

2021 ◽  
Vol 12 (1) ◽  
pp. 94-107
Author(s):  
Oksana B. Vakhromeeva ◽  
Keyword(s):  
World War Ii ◽  
First World War ◽  
Still Life ◽  
World War ◽  
The Arts ◽  
The First World War ◽  
The Subject ◽  
First Time ◽  
Artistic Heritage ◽  
First World

In 2021, the 135th anniversary of George Semenovich Vereiskiy (1886–1962) was celebrated. Vereiskiy was a talented, methodical, and self-disciplined artist who focused on the subject of his work. He was a member of the “World of Art” association, curator of the State Hermitage’s Department of Engravings, teacher of painting, laureate of the second degree of the Stalin Prize (1946), People’s Artist of the RSFSR (1962), honored worker of the arts, and member of the Academy of Arts. Vereiskiy was involved in various forms of art, especially drawing and painting. He worked in many genres (portrait, landscape, interior, still life, residential and industrial genres). In his drawings and lithographs in the 1920–30s, he was a pioneer of industrial themes. The main source of his work was love for Russian nature (his landscapes are imbued with a soft lyricism). His clarity of perception of the surrounding reality and high civil position enabled him to make the most important aspect of art — a portrait. Without exaggeration, it can be argued that Vereiskiy for more than half a century created a large portrait gallery of his contemporaries, from science and artists to the Knights of St. George from the First World War and military officials of World War II (1941–1945). Vereiskiy’s artistic heritage is very extensive and it is still waiting for its explorer. This article was created in order to establish a precursor for the study of the artist’s creative heritage, fragmentarily concentrated in a number of museum collections, which are discussed below. The reference point to the artist’s creative heritage is his autobiography, which the article introduces into scientific circulation for the first time.

“Bilali of Faransekila”: A West African Hunter and World War I Hero According to a World War II Veteran and Hunters' Singer of Mali

1989 ◽  
Vol 16 ◽  
pp. 41-70
Author(s):  
David C. Conrad
Keyword(s):  
World War Ii ◽  
World War I ◽  
Oral History ◽  
First World War ◽  
West African ◽  
World War ◽  
The First World War ◽  
History Of ◽  
World War Ii Veteran ◽  
First World

“An only son must never die in war until the end of the world.”(Seydou Camara, “Bilali of Faransekila,” 1:396)Discussing the significance of Kande Kamara's oral history of West African experiences in the First World War, Joe Harris Lunn observes that, although historians have begun to examine the effects of that war on west Africa, their studies are mostly based on written sources, “and therefore shed little light on the lived reality of the war for the African masses whose perceptions of their experiences were never recorded.” Of particular value then, is the oral history provided by the Guinean veteran Kande Kamara, offering as it does an opportunity for assessing the European war's impact on west Africans. Lunn finds, however, that west African soldiers who served in France during the First World War have left very few records of either their wartime experiences or its effects on their later lives. The text by the late Malian hunters' singer Seydou Camara that is presented here helps to redress this lamentable deficiency because, although it is a step or two removed from the sort of firsthand eyewitness account offered by Kande Kamara, it provides valuable support for and confirmation of certain elements of Kande Kamara's testimony. Composed and sung by Seydou Camara, “Bilali of Faransekila” provides us with an oral traditional counterpart to Kande Kamara's firsthand account.

Military, Folklore, Eigensinn: Folkloric Militarism in Germany and France, 1871–1914

2000 ◽  
Vol 33 (4) ◽  
pp. 487-504 ◽  
Author(s):  
Jakob Vogel
Keyword(s):  
World War Ii ◽  
First World War ◽  
World War ◽  
Habsburg Empire ◽  
German Empire ◽  
The First World War ◽  
Massive Scale ◽  
Stereotypical Image ◽  
Grand Public ◽  
First World

In his poem “Our Military!” published in 1919, Kurt Tucholsky describes the great enthusiasm that he, or rather his pseudonym Kaspar Hauser, felt as a boy before World War II for the sis–boom–bah of martial music when the soldiers marched by. Only when he was a soldier himself “in the Russian wind” of the First World War were the young man's eyes opened to the barbarity, desperation, and despair of war and the actual power relations in the army. While the poem's antimilitaristic intentions are readily apparent, Tucholsky nevertheless also managed to capture a view widely held during the interwar years: that before 1914 there still existed in the population an unbroken enthusiasm for the army and its colorful displays, but that the experience during the war of death on such a massive scale put an end to it. Walter Rathenau echoed precisely these sentiments in his 1919 treatise Der Kaiser: Eine Betrachtung, seeing the prewar society of the German Empire as a “militarily-drilled mass” that sought “to display their acquired military arts in grand public spectacles.” The stereotypical image of a bygone prewar era of military glory and pageantry received a more popular, less “critical” treatment in the 1934 film “Frühjahrsparade,” a musical that evoked “the good old days” of the Habsburg Empire and the k. u. k. army, and not least the passion of women for “the man in uniform.”

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