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There are important archives of french martial courts in the Service Historique de la Défense, located in the city of Vincennes near Paris. These archives are very precisous for the history of justice, crime and army. If we take the exemple of feminicids during the First World War in Paris, we could understand how this archives are usefull. Maybe too avoid in France so far, this archives could open new questions about links between war violence and ordinary violence, as well as the differences among military and civil justice.

The paper discusses the key problem of the Serbian artillery in 1914: the lack of ammunition. The focus of analysis has been placed on the different strategies the Serbian state used to find artillery ammunition and additional weapons. Special attention has been dedicated to the collaboration with France and its shipment of the ’wrong ammunition’ in November 1914. It has been shown that the ammunition crisis was overcome by combining a multitude of resources which included abundant assistance from the Entente, Greece, and the Serbia’s industrial capacities. The problem of the ammunition crisis has been treated as a global phenomenon, enabling placing Serbian theater of operations into a wider perspective.

The status granted to foreigners across the Spanish territory, whether domiciled or transient, for various reasons has been an element of attention for government authorities since at least the early 18th century. The Spanish-American war, which ended in 1898, and, above all, the First World War – the effects of which overwhelmed Spain despite its proclaimed neutrality – represented key moments. The presence in the territory of citizens of other States, especially European ones, and the consideration of their contribution to the nation, also through the processes of naturalisation, acquired special public importance and significantly influenced the relevant legislation in this regard.

The article proposes an incursion into the Romanian poetry of the First World War, following the verses of civilian poets such as Nicolae Iorga, Alexandru Vlahuță or George Ranetti, in the attempt of showing the ethical profile and the esthetic constants of a creation that thematizes the armed conflict at a distance. The article is thus questioning the commitment of those intellectuals who affirm that their pen is a bayonet, recognizing meanwhile that they belong to an old contingent, factually ineffective, but discursively effective in times of war.

Birinci Dünya Savaşı’nda Başkumandan Vekili Enver Paşa’nın talebi üzerine, Almanya ve Avusturya-Macaristan İmparatorluğu’nun, Osmanlı ordusunu takviye etmek için gönderdikleri ve bazı kaynaklarda “Paşa Teşkilatı” olarak ifade edilen birliklerle ilgili, mevcut olan bilgiler oldukça yetersizdir. Var olan bilgiler parça parça ve sınırlı olup, bir kısmında da bazı farklılıklar görülmektedir. Ayrıca bu konuda özel olarak yapılmış bir çalışma da bulunmamaktadır. Dolayısıyla bu makalenin amacı, Paşa Teşkilatı’nın ve bu ifadeden türetilen “Paşa Kolu”, “Paşa I”, “Paşa II” gibi isimlendirmelerin tam olarak neyi ifade ettiğini tespit etmektir. Bu çerçevede yapılan çalışmada, bu isimlerin ne anlama geldiği, teşkillerin hangi ülkelere ait hangi birlikleri kapsadığı, ne zaman oluşturulduğu, nerede kullanıldığı ve bu teşkillerin komuta bağlantılarının nasıl olduğu sorularına cevap aranmıştır. Yapılan araştırma neticesinde, bu soruların cevaplarına ilave olarak; Paşa Teşkilatı’nın Alman Asya Kolu ile bağlantısı, hangi dönemde Osmanlı topraklarına sevk edildiği, ne zaman, nasıl ve hangi şartlar altında cepheye gönderildiği ve Osmanlı ordusunun bu teşkilata katkılarının neler olduğu konularında birtakım sonuçlara ulaşılmıştır.

Clemenceau’s favorable predispositions to the cause of nationalities and to the revenge on Germany favored Romania’s national aspirations even before the First World War. During the war, until he accedded to power in November 1917, he exerted intense pressure in favor of Romania’s entry into the conflict on the side of the Entente, then, once it occurred in August 1916, its (difficult) maintening in the fight. At the Paris Peace Conference, he favored its territorial aspirations in exchange for integration into the French post-war security system that Anglo-Americans viewed with suspicion.

Between 1914 and 1940, the fight against espionage is undergoing major changes, firstly due to a changing context and the emergence of new threats. While the police, military and political aspects of this fight have been the subject of several works, this contribution aims at a synthesis on the judicial repression of espionage and related offenses. The military justice is mobilized during the First World War do to this. Despite a great severity and sometimes expeditious trials on the front, it nevertheless manages on several occasions to resist to the moral panics linked to spying. The return to peacetime is marked by the frustration of intelligence actors confronted to criminal courts whose sentences are not considered as sufficiently exemplary. This led to several legislative changes in the 1930s, along with an increase in the number of trials.

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Ottokar Czernin was, since 1913, the plenipotentiary minister of the Austro-Hungarian Empire in Bucharest, with the mission of easing tensions between the two states. The main problem was the attitude and actions of the Budapest government towards the Romanians in Transylvania (forced Hungarianization, the abolition of Romanian language schools, lack of rights etc.). After World War I (1914) outbreak, the Hungarian government mobilized and sent many minority members (Romanians, Slovaks, Serbs, Croats) to the front, which displeased neighbouring states. Against this background, Czernin was given the mission to do everything possible for Romania to remain neutral, as it was clear that it would not join the Central Powers. One of his intimates was Alexandru Marghiloman, the president of the Conservative Party, to whom he confessed and who showed him the reasons why Romania could not join Austria-Hungary.

The First World War brought radical changes to the political map of Europe and took more than 15 million lives on both warring sides. This conflict of unprecedented proportions has left deep traces on the lives of people who found themselves in a whirlwind of war. Therefore, it is no wonder that the theme of war was present in various types of human creativity - through literature (especially autobiographical genres), art, but also popular culture, where movies rightly took centre stage. Even during the period 1914-1918, the film became the main weapon of propaganda. Through this instrument, the message was able to reach quickly a large number of people, regardless of their social status and level of education. After 1918, the film served as a popular medium through which the memory of war events was preserved. The first movies exuded the anti-war spirit at the moment when post-war Europe was facing long-term economic consequences that had surfaced. Pacifist messages could be seen in different film productions, which to a large extent looked up to Hollywood, the most significant film industry in the world. The same was in the case of smaller allied countries such as Greece and Serbia, which both paved a different path of development due to the complexity of historical processes conducted in these Balkan countries. This paper aims to point out these different developments and shed light on lesser-known facts about Yugoslav and Greek WWI cinematography.

In this article, Ford Madox Ford’s writings about Provençal culinary practices are considered in the perspective of the nationalist ideas, which had become popular in France at the turn of the 20th century. A comparison between Ford and French writers such as Maurice Barrès and Charles Maurras leads to the emergence of different conceptions of the land and helps understand the former’s attachment to Provence, as well as his humanity and his generosity. This article also discusses right-wing attitudes to the land in Great Britain during the Twenties and Thirties.

This article presents a model and method for investigating hotels on the British home front during and after the First World War. It explores the roles of hotels and other places of commercial accommodation in wartime—as shapers of the contours of conflict and its aftermath, as well as conduits for, and sites of, political, economic and social contest. In so doing, it adopts an innovative and influential theoretical model used for exploring the roles of hotels in more recent conflicts developed by Fregonese and Ramadan (2015). The wider study highlights how hotels were implicated within the infrastructure of war and details how the machinery of the British central government grappled with programmes of hotel requisition, adaptation and compensation. In particular, it argues for the value of identifying establishments and districts in which hotels were enrolled for wartime uses and outlines a project that is systematically comparing their functions and operations in wartime and the transition to peace.

After the end of the First World War, one of the pressing issues in Romania and other involved states was the organization of military cemeteries and mausoleums as a tribute to those fallen during the war. In the Romanian case, the cause was supported and popularized by the state and the community, as well as by the journal Cultul Eroilor Noºtri (The Cult of Our Heroes) (1920--1935). Alongside cemeteries, monuments were the most powerful and suggestive symbols of remembrance for a lost generation. The biggest issue with the military monuments was the financial dependence on the community that had the initiative. On the other hand, it was expected that the artistic aspect would not play such an important role. The typology of these monuments is difficult to establish, despite the fact that the Cultul Eroilor (The Cult of Heroes) Society did its best to impose a certain typology. [ABSTRACT FROM AUTHOR]

This article analyses a small selection of texts by Filippo Tommaso Marinetti with the aim to shed new light on the role that the experience of combat during the First World War played in the evolution of the narrative of the body in Marinetti’s imagination. Different pre-war narratives of the body will be first analysed and then placed against the backdrop of the cultural productions of the war years. Specific attention will be paid to the images of the prosthetic body with a wider look onto other social discourses (medical science, politics, propaganda). The article will argue that Marinetti re-writes and adjust his earlier narratives of the body and highlight the ambivalences and social fantasies, mostly relevant to gender and sexuality, underlying them.

Simon Armitage, perhaps in part owing to his formidable popularity as a plain-speaking poet, has been, throughout his recent poetic career, particularly sought after by memorial commissions. Before his appointment as Poet Laureate in 2019, his consecration as public poet came with the commission of Still in 2016, an intermedial collection commemorating the centenary of the Battle of the Somme. This Poetic Response to Photographs of the Somme Battlefield, encapsulates and highlights the tensions that can already be sensed under the everyday, effortless verse (Armitage, 2010) of his previous commemorative poems written in the 2000s. How to write history when one is not a primary witness, and what issues of authority and legitimacy inevitably arise from poetry commissioned for memorial purposes? Simon Armitage’s artistic solution to these questions is to veer away from his usual plain-speaking style and rely in Still on strategies of indirection and distanciation. Offering “manipulations”, in his own words, of Virgil’s Georgics rather than first-hand poems, his versions of the classical Latin text, rife with echoes of the First World War poets, allow Armitage to renegotiate his relationship with memorial poetry and reveal the ambiguities of his public voice.

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One of the still poorly studied problems related to the participation of the Bulgarian army in the First World War is the desertion of its ranks. The number of deserters is not to be underestimated --according to official figures, it was nearly 7,000 people. While there is some evidence of this phenomenon in the battles in Dobrudja against the Russian army, there is a complete lack of research on the Thessaloniki front and the reasons, scale and peculiarities that characterized the desertion to the French side. The purpose of this article is to fill this gap and analyze the various reasons for this action. It examines the gradual change in the ethnic composition of the army with the recruitment of more and more ethnic minorities from Bulgaria and the occupied territories, the poor conditions and supplies, the fatigue of war, which lead to a weakening of discipline and morale, Russophilism among some soldiers and officers. The study also provides data on the methods of propaganda used by the French command to incite Bulgarian soldiers and officers to surrender, as well as on the treatment of deserters. Particular attention is paid to a specific structure -- the "Organization of Bulgarian Workers", as well as to the problems faced by the authorities in the use of the soldiers and officers enlisted in it. [ABSTRACT FROM AUTHOR]

This paper analyses the image of home in memoirs of members of the Czechoslovak Legion. It focuses not only on retrospective memories recorded during the service, but also on introductory, biographical and closing sections that are a part of many memoirs, as well as on the visions of the future free state and home they hoped to return to. The paper utilizes sampling method, picking three memoirs of members of the Legion and submitting to comparison the temporary and situationally diverse ideas of home found in them, as well as their development in time. Upon this sample are then demonstrated the repetitive motives and development tendencies observed in memoirs of members of the Legion and hypotheses are drawn to identify the background and causality of such tendencies. The article concludes with summarizing the results and outlining the possible further research in this yet sparsely researched field.

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Copyright of SYMPOSIUM CULTURE@KULTUR is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of SYMPOSIUM CULTURE@KULTUR is the property of Sciendo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Among the traumas associated with the First World War, Giraudoux was particularly sensitive to amnesia, to the point of making it the main subject of a novel: Siegfried et le Limousin. Adapted to the scene in 1928, this novel contributed to author’s fame and inaugurated his collaboration with Louis Jouvet. In fact, the principle of forgetfulness persists throughout the whole Giraudoux’s work: comical, dramatic or poetic, and it is also the main pretext for a meditation on memory.

As the first woman to be elected to Congress in 1916, Jeannette Rankin was faced with two challenges: as the only woman in an environment associated with men's voices and male representation and also as a suffragist and a Progressive activist in a legislative body. This essay focuses on her strategies in order to make her voice heard and to normalize her presence, placing these withinthe long history of women’s engagement with politics in the United States.

Copyright of Revue Historique (0035-3264) is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revue Historique (0035-3264) is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The First World War was a global media event. Several magazines with different aims and takes reported about the occurencies in texts and images. This also was the case in Spain and Mexico. The information was disseminated both in an informative context and with the intention to evoke emotions in accordance with the publications focus. RESUMEN: La Primera Guerra Mundial fue un acontencimiento mediático mundial. Diversas revistas con distintos objetivos y posturas publicaron al respecto desde el texto y los gráficos. Este es el caso de España y México, en donde la información se transmitía en un contexto más informativo o más destinado a despertar emociones dependiendo de las intensiones de la publicación.

How did the French Television cover the Iran-Iraq War (1980-1988)? What imaginary did the TV journalists refer to? Why and how has the political, economic and social context in France also interfered in reading the conflict? Based on a systematic study of the eight years of this War as shown by French TV, this article aims to analyze the shifts that have taken place, ranging from a presentation of a conventional and distant war, with its parallel with the First World War and for then, leading to the appearance of a great fear of Islam. It also aims to complete studies on the crystallization of representations of an "Islamic threat" in France in the 1980s.

During the war years 1915-1918, in which René Schickele was the editor of the pacifist journal Die Weißen Blätter, the literary productivity of the Alsatian author considerably decreases. Nevertheless Schickele publishes in Die Weißen Blätter two important cycles of poems, Gebete (1916) and Zeitsprüche (1918-1919). The present article is dedicated to the second cycle, its poetic structure and function, in particular the famous pacifist poem Abschwur, one of the highlights of Expressionist poetry. The analyses also brings into question the situation, limits and significance of poetry in times of war.

The present essay deals with the representation of the First World War in Italian cinema of the 1930s. Approaching the subject from a new and different perspective, the essay aims to specifically discuss the way in which the Austro-German enemy has been depicted in Marco Elter’s film Le scarpe al sole and Oreste Biancoli’s Piccolo alpino . The essay’s purpose is to shed new light on these films, which stand exemplarily for the changing representation of the First World War in Italian films in the 1930s.

This paper seeks to examine the outlook of the Serbian Minister in London, Mateja Mata Bošković, during the first half of the Great War on the South Slav (Yugoslav) question - a unification of all the Serbs, Croats and Slovenes in a single state, which was Serbia’s war aim. He found himself in close contact with the members of the Yugoslav Committee, an organisation of the irredentist Yugoslav émigrés from Austria-Hungary in which two Croat politicians, Frano Supilo and Ante Trumbić, were leading figures. In stark contrast to other Serbian diplomats, Bošković was not enthusiastic about Yugoslav unification. He suspected the Croat émigrés, especially Supilo, of pursuing exclusive Croat interests under the ruse of the Yugoslav programme. His dealings with them were made more difficult on account of the siding of a group of British “friends of Serbia”, the most prominent of which were Robert William Seton-Watson and Henry Wickham Steed, with the Croat émigrés. Though not opposed in principle to an integral Yugoslav unification, Bošković preferred staunch defence of Serbian Macedonia from Bulgarian ambitions and the acquisition of Serb-populated provinces in southern Hungary, while in the west he seems to have been content with the annexation of Bosnia-Herzegovina, part of Slavonia and an outlet to the Adriatic Sea in Dalmatia. Finally, the reception of and reaction to Bošković’s reports on the part of the Serbian Prime Minister, Nikola Pašić, clearly shows that the latter was determined to persist in his Yugoslav policy, despite the Treaty of London which assigned large parts of the Slovene and Croat lands to Italy and made the creation of Yugoslavia an unlikely proposition. In other words, Pašić did not vacillate between the “small” and the “large programme”, between Yugoslavia and Greater Serbia, as it has been often alleged in historiography and public discourse. [177011: History of political ideas and institutions in the Balkans in the 19th and 20th centuries]

Thomas Mann and the historian of the Late Empire Otto Seeck corresponded from 1911 until at least 1917. While all of Seeck’s letters to Mann appear to have been lost, there are five surviving letters from Mann to Seeck, four of which are being published here for the first time. Between 1911 and 1917, Mann generally professed conservative political ideas, and during the First World War he enthusiastically supported his country’s war efforts. A similar conservative and nationalistic trait can be found in Seeck’s popularising works at the time. Thus, before Mann turned to a republican allegiance, he had had an affinity with Seeck, and mentioned the writing of his conservative essay Betrachtungen eines Un­politischen in two letters to him. On 24 January 1911, Mann thanked Seeck for his hospitality on a visit to Münster and sent an autograph for one of Seeck’s daughters. In a letter dated 9 April 1916, Mann outlined the qualities and weak­nesses of his own essay on Frederick the Great, mentioned its reception among scholars and the wider public, and gave his opinion on historical fiction. On 16 February 1917, he thanked Seeck for sending him one of his essays, and, just over a month later (24 March 1917), for sending him a new essay, and men­tioned his own forthcoming book, Aufzeichnungen eines Unpolitischen (not yet entitled Betrachtungen).

The German press in Romania during the Occupation, only occasionally found its way into historical research. About Rumänien in Wort und Bild, very little has been written. What is known is that, shortly after Bucharest was occupied, the German Headquarters worked to reorganise its propaganda. One of the military occupation newspapers was Rumänien im Wort und Bild, a weekly magazine used intensively as an information instrument. The first issue of the magazine (12 May 1917) stated that the publication aimed to serve the German officers and the soldiers of the allied armies as a would‑be guide to the conquered territory. Meanwhile, it targeted the local German inhabitants and the subjects of the allied powers, who were offered the opportunity to recount to the “German fatherland” their experiences in a country that the “victorious campaign” hoped to make rich and fertile again. To the Romanians, the magazine would show how compassionate the Germans, the exponents of a foreign culture, had been in their dealings with the locals. This study analyses the main topics of the publication, attempting to place it in the Romanian context of the occupation press and of the frontline newspapers.

ABSTRACT: The First World War broke out in Europe in 1914, and was the result of a number of accumulating factors that encompassed the political, the economic, the social and the military. The conflict involved the participation of different countries, and the neutrality of others; among the neutral countries was the United States of America (USA). However, its implication in the conflict against Germany was inevitable mainly because it saw its economic interests threatened in Europe. Therefore, this article tackles the context of the First World War and why the USA took part in the conflict. الملخص: اندلعت الحرب العالمية الأولى في أوروبا عام 1914 ، وكانت نتيجة لعدد من العوامل المتراكمة التي شملت العوامل السياسية والاقتصادية والاجتماعية والعسكرية. تضمن الصراع مشاركة مختلف البلدان ، وحياد الآخرين. من بين الدول المحايدة كانت الولايات المتحدة الأمريكية. ومع ذلك ، فإن آثارها في الصراع ضد ألمانيا كانت حتمية بشكل رئيسي لأنها رأت أن مصالحها الاقتصادية مهددة في أوروبا. لذلك ، يتناول هذا المقال سياق الحرب العالمية الأولى ولماذا شاركت الولايات المتحدة في الصراع

The First World War brought epochal innovations in military, political, socio-economic and terms cultural also for the prodigies that scientific-technological progress has produced: enormous logistical systems and technological predisposed almost exclusively to destroy. The Verena fort, built on the homonymous one peak overlooking the Assa valley, it represented the most efficient Italian response to fortification Austrian-Hungarian. It was built according to the nineteenth-century principles of Enrico Rocchi: with fire mouths effective for long-distance shooting. By reading the correspondence from the Commission of Inquiry, yes design errors of permanent works are avoided. Today, the ruins of the Verena fort, in a area of extraordinary landscape value, are easily accessible through the chairlift which, from the Verenetta refuge below, it climbs to the top of Mount Verena. The current appearance is that of a ruin and as such is placed on the line between the search for immortality of matter and the inevitable action of time.

Ford Madox Ford said of the year 1914 that it “seem[ed] to be cut in half” by the First World War (“Literary Portraits – LXIX”, 15). This phrase, one may argue, also largely applies to Ford’s personal timeline. Both his private life and his literary career were profoundly disrupted by the global conflict. In the early months of the First World War, Ford wrote prolifically about the future of literature and on a broader scope, of civilisation and human psychology; in his “Literary Portraits” that were published in Outlook, he showed remarkable prescience when it came to the consequences that the war would bear on the arts and on what he termed “the mind”. Yet when one examines the chronology of Ford’s non-fictional writing, and indeed of his literary work, one can sense a sharp dividing line that coincides with the moment when Ford enrolled in the British army in 1915, and was no longer a spectator from afar, but a direct witness of the unprecedented mass killing that was taking place on the front. His pre-war assertions gave way to questions; and as was the case with many other writers who took directly part in the hostilities, a decade elapsed before Ford succeeded in rendering his war experience in a novelistic form, through the Parade’s End tetralogy. This paper aims to examine Ford’s critical writing during the First World War, and to analyse the way in which he attempted to come to terms with the representational aporia that was triggered by his first-hand experience of battle. It focuses on Ford’s “Literary Portraits”; the pair of essays “A Day of Battle”, written in the Ypres Salient; “War and the Mind”, composed shortly after Ford’s return from the front; and the dedicatory letters to No More Parades, A Man Could Stand Up—, and Last Post. These allow us to explore how the impressionist technique which Ford started to theorise before the war, came to be renewed and refined in his post-war writing, trying as it does to render the inexpressible experience of the war.

On October 13, 2017, Babylon Berlin, a new TV series was broadcasted in two seasons of eight episodes each on the Sky 1, a channel of the pay-TV-company Sky Deutschland. A year later, the series is available in clear on the first public German channel, the ARD; and in France, on Canal +. This series is part of an interesting television moment, renewing the relationship of TV-producer to the German national history. The series is in fact not primarily about the Nazism narrative. Like others TV-series (Deutschland 83 and 86 or Ku'Damm 56 and 59), it is about a moment in German history, taken in its social complexity and specific temporality, inverting the common national narrative of the period. Babylon Berlin gets rid of the Weimar Komplex that marked the historiography after 1945 and tackles the collective memories of the Weimar Republic and the First World War. The story of a police action in Berlin in 1929 is not the announcement of the future success of the National Socialists, but addresses the complexity of political struggles, the effects of the First World War on socialization and political memories as the social transformations of urban modernity in Berlin. The script makes the choice of a renewed historiography. The Weimar Republic is re-articulated to its own temporality and not directed towards its end. The memory of the Great War is omnipresent and unsuspectingly discussed in relation to a "nationalist" reading. It structures oppositions as much as it shapes the protagonists of the series. Moreover, the series does not remain confined to politics. It address the social history of the Berlin metropolis through the cinematographic and cultural imaginary, giving it a reality effect.

This article examines how Katherine Mansfield’s literary ethics and aesthetics were challenged by the First World War. Mainly focusing on her non-fictional writings, it suggests that the conflict led Mansfield to develop and call for an ethical responsibility towards her entire generation – a disposition that finds its expression in her fragmented literary technique. Dwelling on what Stephen Ross calls a modernist “ethical impulse to improve upon the status quo”, this article aims at showing how the war progressively led Mansfield to draw a modernist manifesto that advocated a “new word”.

Sound scholars and historians have made much of the noise of warfare. In the trenches of the Western Front, however, there was more to hear than the unprecedented noise of shelling, and the cultivation of listening for danger and for safety brought other sounds to the ear that could offer relief from the intensity of the conflict. Often these were the sounds of nature: birdsong, trees and the stillness of the heavens above the battlefields. Soldiers’ writing (letters, diaries, memoirs and poems) reveals a deep engagement with these sounds as part of an effort to make sense of the fearsome environment in which men were contained. Birdsong in particular gave harmony and rhythm to a fractured and unpredictable sound-world. It made coherent, if only for a moment, the possibility of continuity and survival. High above the trenches, it was the cascading song of the lark that cleansed the air and drew eyes further upwards to an imaginative cosmic escape.

This study deals with the view of Václav Červinka, son-in-low of František Ladislav Rieger, administrator of Rieger's estate Maleč and a man of many intellectual interests, on radical changes of the Central Europe at the turn of the 20th century, especially destruction of traditional political, economic, social and cultural structures, outbreak of the First World War, collapse of the Austria-Hungary and estabilishment of the independent Czechoslovakia. It is shown, how Červinka, as a man who was closely tied to the traditional conservative policy and politicians of the end of the 19th century, evaluated all these changes and what was his reaction, e. g. in his literary work.

The history of the Spanish flu which occurred a century ago presents an exemplary case of the renewal of the historians’ questionnaire concerning an event of the past. Several historiographic interests have transformed the understanding of this pandemic since the 1970s. This article traces these interpretative trends conferring to this event a plurality of meanings using different documentation. I distinguish three layers: the construction of a global catastrophic event from a mosaic of local case studies; the fragmentation of this event by focusing on the experience of the individuals and the context of the Great War; the Spanish flu as an episode in the long history of this disease. These layers are inextricably linked to the transformations of the relationship between societies and infections since 1918. What is at stake in the historiographical debate and its reception must be resituated in the battle to tell the past and mobilize its meaning in the present.

Since August 1914 in Braşov the actions in support of the army were often held; they were organized at different levels and intensified as the war progressed. A huge role in this belonged to the local elites, considered an example for society. Donations of money, clothes and food for soldiers and families who were left without means of subsistence were held, charitable concerts for widows and orphans of war were organized. In addition, the collection of metal for military purposes was organized. “Gold gab ich für Eisen” (“I give gold for iron”) is the motto of a charity action in support of the Austro-Hungarian army, which was initiated by the Austrian Society “Silver Cross” (“Crucea de argint”). In Braşov, the action was led by Countess Mikes and the director of the local branch of the National Bank Hugo Beer. The townspeople were called upon to donate gold jewelry; in exchange they were given iron rings with the engraved motto “Gold gab ich für Eisen 1914”.

Changes in warfare, new weaponry and the absence of protective equipment meant that facial injuries were common during the First World War. The negative perceptions surrounding such wounds, described as “the worst loss of all” (Anon 1918), and the widespread expectation that facially disfigured combatants would be outcast from society, partly explain why facially injured combatants are rarely represented in wartime and interwar literature. This article however shows that the way in which the wounded combatants’ fates are portrayed in fiction differs significantly from these bleak predictions. Drawing upon popular fiction such as Florence Ethel Mills Young’s Beatrice Ashleigh (1918) and Muriel Hine’s The Flight (1922), this article explores literary representations of disfigurement and depictions of the physical, psychological and social consequences of disfiguring injuries. In a context in which anxieties over the masculinity of disabled veterans were increasing, the depictions of fictional mutilated ex-servicemen’s reintegration into society are discussed with special emphasis on the agency of women, who appear to have the power, in Macdonald’s words, to make men “whole” again (Macdonald 2016: 54).

During the First World War Serbian soldiers were encamped or fought in different parts of Greece. Many of them died there of diseases or exhaustion or were killed in battle. This paper looks at the issue of cemeteries of and memorials to the dead Serbian soldiers (primarily in the area of Corfu, Thessaloniki and Florina) in the context of post-war relations between Greece and the Kingdom of Serbs, Croats and Slovenes (Yugoslavia), at the attitude of post-Second World War Yugoslavia towards them, and the Serbs’ revived interest in their First World War history. It also takes a look at the image of Serbs in the memory of local people.

A sensitive topic for decades (for ideological reasons), Dobruja is still a challenge for many Romanian and Bulgarian historians. A peripheral and hardly populated region, this territory lying between the Danube and the Black Sea became the major source of dispute between Bucharest and Sofia at the dawn of the last century. After 1878, legal history and statistics were the pillars of the new identity of this former Ottoman territory di­vided between Romania and Bulgaria, as a result of a decision made by the Great Powers. In order to meet the specific requirements of young national states, Dobruja underwent a colonisation process (whose intensity differed in the two parts of the region). Ethnic diversity caused much concern, particularly in the critical moments that endangered the relations between the two neighbouring countries. The Balkan Wars represented the moment when the Dobruja question officially emerged. Romania’s decision to annex South­ern Dobruja would traumatise Bulgarian society, which would look forward to retaliating. This moment occurred earlier than many Romanian politicians expected. The spirit of revenge explains why the fighting on the Dobrujan front was so intense in the autumn of 1916. Dobruja was the first province of the Romanian Kingdom that fell under the Central Powers’ occupation. The documents stored in Romanian archives are too few to make it possible to accurately reconstruct the history of this province during its military occu­pation by the Central Powers. This is not an easy challenge: Romania, Bulgaria, Russia, Serbia, Germany, Turkey and Austro-Hungary were in some way involved in the events in Dobruja in the autumn of 1916.

Among the traumas associated with the First World War, Giraudoux was particularly sensitive to amnesia, to the point of making it the main subject of a novel: Siegfried et le Limousin. Adapted to the scene in 1928, this novel contributed to author's fame and inaugurated his collaboration with Louis Jouvet. In fact, the principle of forgetfulness persists throughout the whole Giraudoux's work: comical, dramatic or poetic, and it is also the main pretext for a meditation on memory. [ABSTRACT FROM AUTHOR]

The paper focuses on three stories by Liviu Rebreanu: "Catastrofa" (The catastrophe), "Hora morpi" (The death hora), "Ific §trul, dezertor" (Ipc §trul, deserter)--all dedicated to the First World War. Unlike Padurea spînzurmpilor (Forest of the hanged), which helped lay the foundations of the modern Romanian literary canon, the short stories were disregarded by 20lh-century historical literary criticism, even if they presented important clues as to how the author structured the representation of a national identity vet to be defined. In particular, the analysis will focus on the process of building characters with plural identities, tracking the genesis of the author's first literary productions. [ABSTRACT FROM AUTHOR]

Before 1919, the involvement of the military personnel in the Romanian cultural-scientific associations in Hungary, and in particular in the astra (the flagship cultural association), was limited to a small number of members, generally retired officers or officers' spouses, and to a rather narrow range of activities. The First World War brought no changes, but beginning with 1919 their number increased steeply, reaching several hundred a year later, not only officers and their spouses, but also nCos--a professional category completely uninvolved with cultural associations before the First World War. The range of their cultural and social activities also widened significantly. Our paper follows the relations between the astra and the officer corps before, during, and immediately after the war, aiming to explain the abovementioned change of attitude, whose origins seem to be linked, at first sight, with the enthusiasm generated by the Romanian political and military success of the years 1918-1919, but which we assume had deeper social roots. The findings highlight the fact that the key element in understanding the sudden interest shown by the officers in cultural associative life had to do with the development of a strong institutionalized relation between the astra and the army, which started as early as December 1918 and was mediated both by the senior officers of the units garrisoned throughout Transylvania, and by enthusiastic junior officers who persuaded their comrades to join the association. [ABSTRACT FROM AUTHOR]

Деребуш К. Национальности в империальном контексте (Ливиу Ребряну «Лес повешенных»). Создателем румынского психологического романа рядом с Камилем Петреску и Гортензией Пападат-Бенеску был Ливиу Рябряну. В романе «Лес повешенных» описано драматическое событие казни авторового брата Емиля Ребряну, офицера авcтровенгерской армии за попытку бегства. Цель статьи – проанализировать эволюцию национальной идеи в контексте исторической ментальности в романе румынского писателя. Отмечено, что несмотря на все нововведения в нарративном искусстве упомянутого жанра, автор остается «промоутером геометрических архитектур». Как признает сам Ребряну, вопросы, поднятые в художественном труде, превышали частную сферу и стали символической драмой для румын из Трансильвании, вынужденных поднять оружие против своих собратьев. Литература того периода, как депозитарий времени и пространства, изображает все аспекты эпохи. Выводы. Писатель определил символы эпохи, которые и осуждает как движущие в конфликте между румынами Трансильвании и Юга Карпат.Darabus C. Nationalities in the imperial context (Liviu Rebreanu «Forest of hanged»). Aim of investigation. The evolution of the idea of the nation in the context of the history of mentalities has juggled between the overbid of ethnos in shaping collective identity or in his supra-national identities melt of Communist origin, more recently-corporate, and the sources of diversity have changed along the time, contemporary ones being the rivers especially the phenomenon of migration and ethno-political division, diversification which force to consider the multinational democracy. Not that stood on top of things, in a Central Europe contorted by interests they had lost under the impulse of coagulation during the 19th century, century of exacerbation of the idea of nation based on ethnic factor. Creator of the psychological Romanian novel, alongside Camil Petrescu and Hortensia PapadatBengescu, Liviu Rebreanu evokes, in the novel Forest of the Hanged the dramatic event of his brother's execution, Emil Rebreanu, an officer in the Austro-Hungarian army, for attempted escape. The method of this research it is a socio-literary one, based on the concepts of "nation" and "multiculturalism" in the beginning of the 20th century. The report collectivity/ individuality, sociopolitical landscape/consciousness acquires different consistency in the context of World War I. The dominance of the normative multiculturalism not facilitates the communication and the homogenization of interests, but contrary, accentuates them. These generalizations are customized through an individual experience that of the Romanian officer Apostol Bologa, forced to obey to fight on the military camp against the others Romanians, located at the south of Carpathians. The others characters belong, also, to others ethnic groups, placed at the beginning of the 20th century, in the AustroHungarian Empire, and living, in turn, the limits of this normative multiculturalism.Some of them prefer prudence and concealing, and some of them, as Svoboda and Bologa, are choosing radical solutions by desertion. It's the only way to solve the problems of conscience. The key point of the novel is the discussion in the military canteen, between officers, a miniature debating of the inhabitants of the Empire, concerning the notion of authority.Scientific novelty: the article proposes an interdisciplinary approach, at the intersection of the literary studies with the sociology (especially the behavior of the multiethnic group) and the psychology. Conclusion: in a context of crises, the characters valued the importance of humanity; Apostol Bologa shall be released of anguish by death, rescaling which heroism means