Postcards From The Trenches Elektronische Ressource

German art student Otto Schubert was 22 years old when he was drafted into the Great War. As the conflict unfolded, he painted a series of postcards that he sent to his sweetheart, Irma. During the battles of Ypres and Verdun, Schubert filled dozens of military-issued 4†? x 6†? cards with vivid images depicting the daily realities and tragedies of war. Beautifully illustrated with full-color reproductions of his exquisite postcards, as well as his wartime sketches, woodcuts, and two lithograph portfolios, Postcards from the Trenches is Schubert's war diary, love journal, and life story. His powerful artworks illuminate and document in a visual language the truths of war. Postcards from the Trenches offers the first full account of Otto Schubert, soldier-artist of the Great War, rising art star in the 1920s, prolific graphic artist and book illustrator, one of the "degenerate†? artists defamed by the Nazis, and a man shattered by the Second World War and the Cold War. Created in the midst of enormous devastation, Schubert's haunting visual missives are as powerful and relevant today as they were a century ago. His postcards are both a young man's token of love and longing and a soldier's testimony of the Great War. **Please note that this will work best on a colour device**

The unprecedented magnitude of death during World War I forever altered how people perceived their world and how they represented those perceptions. In Postcards from the Trenches, Allyson Booth traces the complex relationship between British Great War culture and modernist writings. She shows that, through the experience of the Great War, both civilian and combatant modernist writers found that language could no longer represent experience. She goes on to identify and contextualize several of the resulting modernist tropes: she links the dissolving modernist self to soldiers' familiarity with corpses, the modernist mistrust of factuality to the apparent inaccessibility of facts regarding the "rape of Belgium," and the modernist interest in multiple viewpoints to the singularity of perspective with which generals studied battlefield maps. Though her emphasis is on literary works by Robert Graves, E.M. Forster, and Vera Brittain, among others, Booth's analysis extends to memorials, posters, and architecture of the Great War. This interdisciplinary quality of Booth's study results in a much deeper understanding of how the Great War affected cultural representations and how that culture represented the War.

The First World War was unique in being fought largely in trenches. Men ate, slept, fought, played, sang, prayed, and died in the trenches. This book brings together a collection of postcards which portray this strange subterranean world in its various manifestations.The cards have been selected to show how life progressed from day to day in and out of the trenches. We see wounded men smiling obligingly for the camera; others appear to be suffering from the onslaught of boredom. Some take part in a mock party with very meagre provisions. One image shows a group of men kneeling to receive communion before going into battle.The tone of postcards encompasses the range of human experience, from sombre realism to light-hearted humour. There is also the soldier's good-natured lightly smutty card.This is a fascinating insight into the everyday lives and behaviour of the men who fought one of the most gruesome wars in history.

During World War I, the picture postcard was the most important means of communication for the soldiers in the field and their loved ones at home, with an estimated 30 billion of them sent between 1914 and 1918. A Postcard from home offered the soldier in the trenches a short escape from their daily hell, while receiving a postcard from the man on the front-line was literally a sign of life. These postcards create a vivid record of life at home and abroad during the Great War, both from the messages they carries and the pictures on the cards themselves. The dipiction of war on the contemporary postcards is extremely diverse: The ways in which the postcards depict the war differs greatly; from simple enthusiasm, patriotism and propaganda to humour, satire and bitter hatred. Other portray the wishes and dreams (nostalgia, homesickness and pin-ups) of the soldiers, the technological developments of the armies, not to mention the daily life and death on the battlefield, including the horrific reality of piles of bodied and mass-graves Altogether, this extraordinarily vivid contemporary record of the Great War offers a unique and details insight on the minds and mentality of the soldiers and their families who lived and died in the war to end all wars.

This five-volume documentary collection--culled from an international archival search that turned up over 14,000 letters, speeches, pamphlets, essays, and newspaper editorials--reveals how black abolitionists represented the core of the antislavery movement. While the first two volumes consider black abolitionists in the British Isles and Canada (the home of some 60,000 black Americans on the eve of the Civil War), the remaining volumes examine the activities and opinions of black abolitionists in the United States from 1830 until the end of the Civil War. In particular, these volumes focus on their reactions to African colonization and the idea of gradual emancipation, the Fugitive Slave Law, and the promise brought by emancipation during the war.

This volume presents the preliminary results of the work carried out by the interdisciplinary cultural techniques research lab at the University of Erfurt. Taking up an impulse from media studies, its contributions examine —from a variety of disciplinary perspectives—the interplay between the formative processes of knowledge and action outlined within the conceptual framework of cultural techniques. Case studies in the fields of history, literary (and media) studies, and the history of science reconstruct seemingly fundamental demarcations such as nature and culture, the human and the nonhuman, and materiality and the symbolical order as the result of concrete practices and operations. These studies reveal that particularly basic operations of spatialization form the very conditions that determine emergence within any cultural order. Ranging from manual and philological "paper work" to practices of opening up and closing off spaces and collective techniques of assembly, these case studies replace the grand narratives of cultural history focusing on micrological examinations of specific constellations between human and nonhuman actors.