London 1914 17

Ian Castle tells the story of Germany's air offensive against Britain in World War I (1914-1918), in which, from May 1915 until October 1917, zeppelins dropped thousands of tons of bombs on London. Initially the city was woefully unprotected but an integrated air defense system was progressively developed in response to the early months' destruction and casualties. Over a year was to pass before the first zeppelin was downed over British soil by the Royal Flying Corps but successes then steadily mounted as observation and communication networks improved and new tactics were learned. In his revealing account of a terrifying campaign which was to be repeated only decades later in the Luftwaffe's Blitz, the author describes the birth of a new arena of warfare, "the home front."

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The First World War claimed over 995,000 British lives, and its legacy continues to be remembered today. Great War Britain: London offers an in-depth portrait of the capital and its people during the 'war to end all wars'. It describes the reaction to the war's outbreak; charts the experience of individuals who enlisted; shares many first-hand experiences, including tales of the Zeppelin raids and anti-German riots of the era; examines the work of local hospitals; and explores how the capital and its people coped with the transition to life in peacetime. Vividly illustrated with evocative images from the newspapers of the day, it commemorates the extraordinary bravery and sacrifice of London's residents between 1914 and 1918.

This book conveys the excitement, diversity and richness of London at a time when the city was arguably at the height of its power, uniqueness and attraction. Balancing the social, the topographical and the visible aspects of the great city, author Andrew Saint uses buildings, architecture, literature and art as a way into understanding social and historical phenomena. While many volumes on Victorian London focus on poverty (an issue which is included in this book), the author here provides a broader picture of life in the city. It is enlivened with a rich line-up of colourful characters, including Baron Albert Grant; Henry Mayers Hyndman and his connections with Karl Marx, William Morris and George Bernard Shaw; John Burns; Octavia Hill; Aubrey Beardsley and the artistic bohemians; Alfred Harmsworth and the Garrett sisters, and includes insightful quotes on London by esteemed authors such as Trollope, Henry James and Rudyard Kipling. Topics covered include: the creation of new neighbourhoods and roads; how the Victorians dealt with their housing crisis; why certain architectural styles were preferred; and the fashion for focusing on certain types of building.

This volume focuses on a formative period in the history and archaeology of northern Greece. The decade following 1912, when Thessaloniki became part of Greece, was a period marked by an extraordinary internationalism as a result of the population movements caused by the shifting of national borders and the troop movements which accompanied the First World War. The papers collected here look primarily at the impact of the discoveries of the Army of the Orient on the archaeological study of the region of Macedonia. Resulting collections of antiquities are now held in Thessaloniki, London, Paris, Edinburgh and Oxford. Various specialists examine each of these collections, bringing the archaeological legacy of the Macedonian Campaign together in one volume for the first time. A key theme of the volume is the emerging dialogue between the archaeological remains of Macedonia and the politics of Hellenism. A number of authors consider how archaeological interpretation was shaped by the incorporation of Macedonia into Greece. Other authors describe how the politics of the Campaign, in which Greece was initially a neutral partner, had implications both for the administration of archaeological finds and their subsequent dispersal. A particular focus is the historical personalities who were involved and the sites they discovered. The role of the Greek Archaeological Service, particularly in the protection of antiquities, as well as promoting excavation in the aftermath of the 1917 Great Fire of Thessaloniki, is also considered.

This is the first truly definitive history of the First World War, the war that has done most to shape the twentieth century. The first generation of its historians had access to only a limited range of sources, and their focus was primarily on military events. More recent approaches have embraced cultural, diplomatic, economic, and social history. In Hew Strachan's authoritative and readable history these fresh perspectives are incorporated with the military and strategic narrative. The result is an account that breaks the bounds of national preoccupations to become both global and comparative. To Arms, the first of three volumes in this magisterial study, examines not only the causes of the war and its opening clashes on land and sea, but also the ideas that underpinned it, and the motivations of the people who supported it. It provides full and pioneering accounts of the war's finances, of the war in Africa, and of the Central Powers' bid to widen the war outside Europe.

Drawing on untapped archives, as well as aggregating a wide range of existing published sources, this book recalibrates the understanding of women artists’ roles, outputs and receptions in London during what was indubitably a vibrant and innovative period in the history of British art, and in which the work of their male contemporaries is so well understood. The book takes its starting point from Alicia Foster’s article “Gwen John’s Self-Portrait: Art, Identity and Women Students at the Slade School,” published in 2000, where the expression “a talented and decorative group” was coined to describe common attitudes towards women artists in the late 19th and early 20th century London. This pejorative attribution strongly implied a status less significant to that of their male counterparts. The author challenges this statement's basic tenet by casting a wide net in examining women’s art education from the Slade School of Fine Art, through to the role of its graduates within a selection of London’s exhibition groups, societies and publications. This book also reconstructs ‘from scratch’ the role of the Women’s International Art Club (WIAC), hitherto entirely overlooked in art historical studies of the era. This book will be of interest to students and researchers in art and cultural history, gender studies,and in sociological studies of pre-War World War Britain.