British Humour And The Second World War

This book skilfully combines cutting-edge historical research by leading and emerging researchers in the field to investigate the utilization of British humour during the Second World War as well as its legacy in British popular culture. Juliette Pattinson and Linsey Robb bring together case studies that address a variety of situations in which humour was generated, including wartime jokes, films, radio, cartoons and private drawings, as well as post-war recollections, museum exhibitions and television comedy. By adopting an original interpretative framework of various wartime and post-war sites, this books opens up the possibility for a more variegated, richer analysis of Britain's wartime experience and its place thereafter in the cultural imagination. Through the lens of humour, this book promises to add critical nuance to our understanding of the functioning of British wartime society. Covering sources such as The British Cartoon Archive, BBC World War II People's War Archive and The Ministry of Information, and including analysis of the lasting role of comedy in Britain's memories and depictions of the war, the result is a rich addition to existing literature of use to students and scholars studying the cultural history of war.

This book skilfully brings together cutting-edge historical research by leading and emerging researchers in the field to investigate the utilisation of British humour both during the Second World War and its legacy in British popular culture. Linsey Robb and Juliette Pattinson lead a cast of esteemed academics and early career scholars to address a wide variety of situations in which humour was generated and a diverse range of groups for whom it was important. By addressing the overarching topic of humour from a breadth of different perspectives (naval, intelligence, Conscientious Objectors, medical artists) and by adopting an original interpretative framework of home front sites (including the Channel Islands), this books opens up the possibility for a more variegated, richer analysis of Britain during the Second World War. By using the lens of humour to scrutinize the social and cultural history of Britain during the Second World War, it promises to add critical nuance to our understanding of the functioning of British wartime society. The result is a rich addition to existing literature of use to students and scholars studying the cultural history of war.

Few historical events have resonated as much in modern British culture as the Second World War. It has left a rich legacy in a range of media that continue to attract a wide audience: film, TV and radio, photography and the visual arts, journalism and propaganda, architecture, museums, music and literature. The enduring presence of the war in the public world is echoed in its ongoing centrality in many personal and family memories, with stories of the Second World War being recounted through the generations. This collection brings together recent historical work on the cultural memory of the war, examining its presence in family stories, in popular and material culture and in acts of commemoration in Britain between 1945 and the present.

Cheer Up, Mate! is a compilation of comical tales and anecdotes from World War Two. Between 1939 and 1945 the world witnessed what is generally agreed to be the most horrific war in history. Millions died and millions more were physically or psychologically wounded by the conflict. Yet amidst the pain and devastation, people were not only able to survive, they also managed to maintain a sense of humour. For some, it was precisely this ability to laugh at their misfortunes (and those of the other side) that enabled them to solider on. This was especially true of the British, a nation whose reaction to more or less anything, up to and including someone’s house being bombed to rubble, tended to be, ‘never mind, have a cup of tea’. In this collection of stories, which covers the armed forces and civilians from both sides, Alan Weeks demonstrates how humour can survive even in the most unlikely of circumstances.

This volume challenges the traditional view that the First World War represents a pivotal turning point in the long history of monarchy, suggesting the picture is significantly more complex. Using a comparative approach, it explores the diverse roles played by monarchs during the Great War, and how these met the expectations of the monarchic institution in different states at a time of such crisis. Its contributors not only explore less familiar narratives, including the experiences of monarchs in Belgium and Italy, as well as the Austro-Hungarian, Japanese and Ottoman Empires, but also cast fresh light on more familiar accounts. In doing so, this book moves away from the conventional view that monarchy showed itself irrelevant in the Great War, by drawing on new approaches to diplomatic and international history - ones informed by cultural contextualization for instance - while grounding the research behind each chapter in a wide range of contemporary sources The chapters provide an innovative revisiting of the actual role of monarchy at this crucial period in European (indeed, global) history, and are framed by a substantial introductory chapter where the key factors explaining the survival or collapse of dynasties, and of the individuals occupying these thrones, are considered in a wide-ranging set of reflections that highlight the extent of common experiences as well as the differences.

We Can Take It explores how the memory of the Second World War continues to affect British contemporary life and why the war effort holds an important place in British culture, history and national identity. Connelly explores the way in which the British memory of the Second World War was created during the war, and maintained after it through cultural artifacts such as films, comics, art, literature and toys. Connelly moves away from recent interpretations of the British war effort which have suggested that the rosy vision of cohesion, solidarity and unity is little more than a myth. Britain's role in the war is seen as something that we should be proud of, and need to come to terms with in order to eradicate problems in our national self-perception.

How well did civilian morale stand up to the pressures of total war and what factors were important to it? This book rejects contentions that civilian morale fell a long way short of the favourable picture presented at the time and in hundreds of books and films ever since. While acknowledging that some negative attitudes and behaviour existed-panic and defeatism, ration-cheating and black-marketeering-it argues that these involved a very small minority of the population. In fact, most people behaved well, and this should be the real measure of civilian morale, rather than the failing of the few who behaved badly. The book shows that although before the war, the official prognosis was pessimistic, measures to bolster morale were taken nevertheless, in particular with regard to protection against air raids. An examination of indicative factors concludes that moral fluctuated but was in the main good, right to the end of the war. In examining this phenomenon, due credit is accorded to government policies for the maintenance of morale, but special emphasis is given to the 'invisible chain' of patriotic feeling that held the nation together during its time of trial.

In 1914, Ypres was a sleepy Belgian city admired for its magnificent Gothic architecture. The arrival of the rival armies in October 1914 transformed it into a place known throughout the world, each of the combatants associating the place with it its own particular palette of values and imagery. It is now at the heart of First World War battlefield tourism, with much of its economy devoted to serving the interests of visitors from across the world. The surrounding countryside is dominated by memorials, cemeteries, and museums, many of which were erected in the 1920s and 1930s, but the number of which are being constantly added to as fascination with the region increases. Mark Connelly and Stefan Goebel explore the ways in which Ypres has been understood and interpreted by Britain and the Commonwealth, Belgium, France, and Germany, including the variants developed by the Nazis, looking at the ways in which different groups have struggled to impose their own narratives on the city and the region around it. They explore the city's growth as a tourist destination and examine the sometimes tricky relationship between local people and battlefield visitors, on the spectrum between respectful pilgrims and tourists seeking shocks and thrills. The result of new and extensive archival research across a number of countries, this new volume in the Great Battles series offers an innovative overview of the development of a critical site of Great War memory.