Over The Canadian Battlefields Notes Of A Little Journey In France In March 1919

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Reproduction of the original: Over the Canadian Battlefields by John W. Dafoe

Over the Canadian Battlefields

Excerpt from Over the Canadian Battlefields: Notes of a Little Journey in France, in March, 1919 HE articles which go to make up this little book were written for news paper publication immediately fol lowing the journey over the battlefields, in France in March, 1919, which I had been enabled to make, through the courtesy and kindness of the Canadian Corps Comman der. They were published in April, 1919, in the Manitoba Free Press, Winnipeg; and are now republished at the request of many friends who have asked that they be made available in more permanent form. Though the articles reveal their journal istic origin alike in their form and in a certain evanescent timeliness, already part ly out of date it has not been considered ad visable, under the circumstances, to re-cast them into more permanent form. They are. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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Reproduction of the original: Over the Canadian Battlefields by John W. Dafoe

In the aftermath of the Great War, a wave of tourists and pilgrims visited the battlefields, cemeteries and memorials of the war. The cultural history of this 'battlefield tourism' is chronicled in this absorbing and original book, which shows how the phenomenon served to construct memory in Britain, as well as in Australia and Canada. The author demonstrates that high and low culture, tradition and modernism, the sacred and the profane were often inter-related, rather than polar opposites. The various responses to the actual and imagined landscapes of battlefields are discussed, as well as bereavement and how this was shaped by gender, religion and the military experience. Individual memory and experience combined with nationalism and 'imperial' identity as powerful forces informing the pilgrim experience.But this book not only analyzes travel to battlefields, which unsurprisingly paralleled the growth of the modern tourist industry; it also looks closely at the transformation of national war memorials into pilgrimage sites, and shows how responses both to battlefields and memorials, which continue to serve as potent symbols, evolved in the years after the Great War.

For Canadian impressionist Mary Riter Hamilton, capturing the emotional landscape of battlefields and graveyards in the months after the Great War's armistice became an artistic calling and defined her work. A woman alone after the storm had passed, she found that her life after the war was indelibly marked by the experience. Undeterred by a rejection from the Canadian War Memorials Fund, who nominated only male war artists abroad, in 1919 Hamilton received a commission from the Amputation Club of British Columbia (now the War Amps) to commemorate those lost at war. She travelled from Victoria to the pre-reconstruction battlefields and towns of the Somme, Vimy Ridge, and the Ypres Salient where amid harsh conditions - inadequate shelter and food, surroundings littered with unexploded shells - she recorded with determination, pride, and grace the ruins of war. Based on intensive archival research in Canada, France, and Belgium, and using many previously unpublished letters, I Can Only Paint offers an insider's view of the artist's vast, underexplored body of war work and the conditions in which she created it. It places this period, central though it was, in the context of a full understanding of her life and restores the work she created there to its proper place in the canon of war art in Canada and abroad. Irene Gammel argues that Hamilton's work encoded a female perspective that distinguishes her paintings from the work of official Canadian war artists. The first reliable account of Hamilton's impressions of Canada's most haunting sites of conflict, I Can Only Paint captures with detail and sensitivity an experience that defined her life and recovers a body of work that stands as a unique and enduring portrait of the effects of the Great War.