This is a detailed study of an important figure whose differing perceptions of the Great War throw valuable light on the way in which war is remembered and narrated.

Karen Petrone shatters the notion that World War I was a forgotten war in the Soviet Union. Although never officially commemorated, the Great War was the subject of a lively discourse about religion, heroism, violence, and patriotism during the interwar period. Using memoirs, literature, films, military histories, and archival materials, Petrone reconstructs Soviet ideas regarding the motivations for fighting, the justification for killing, the nature of the enemy, and the qualities of a hero. She reveals how some of these ideas undermined Soviet notions of military honor and patriotism while others reinforced them. As the political culture changed and war with Germany loomed during the Stalinist 1930s, internationalist voices were silenced and a nationalist view of Russian military heroism and patriotism prevailed.

The Great War continues to play a prominent role in contemporary consciousness. With commemorative activities involving seventy-two countries, its centenary is a titanic undertaking: not only 'the centenary to end all centenaries' but the first truly global period of remembrance. In this innovative volume, the authors examine First World War commemoration in an international, multidisciplinary and comparative context. The contributions draw on history, politics, geography, cultural studies and sociology to interrogate the continuities and tensions that have shaped national commemoration and the social and political forces that condition this unique international event. New studies of Western Europe, Australia, New Zealand and the South Pacific address the relationship between increasingly fractured grand narratives of history and the renewed role of the state in mediating between individual and collective memories. Released to coincide with the beginning of the 2014-2018 centenary period, this collection illuminates the fluid and often contested relationships amongst nation, history and memory in Great War commemoration.

This is a masterful volume on remembrance and war in the twentieth century. Jay Winter locates the fascination with the subject of memory within a long-term trajectory that focuses on the Great War. Images, languages, and practices that appeared during and after the two world wars focused on the need to acknowledge the victims of war and shaped the ways in which future conflicts were imagined and remembered. At the core of the “memory boom” is an array of collective meditations on war and the victims of war, Winter says. The book begins by tracing the origins of contemporary interest in memory, then describes practices of remembrance that have linked history and memory, particularly in the first half of the twentieth century. The author also considers “theaters of memory”—film, television, museums, and war crimes trials in which the past is seen through public representations of memories. The book concludes with reflections on the significance of these practices for the cultural history of the twentieth century as a whole.

The Second World War is omnipresent in contemporary memory debates. As the war fades from living memory, this study is the first to systematically analyze how Second World War museums allow prototypical visitors to comprehend and experience the past. It analyzes twelve permanent exhibitions in Europe and North America – including the Bundeswehr Military History Museum in Dresden, the Museum of the Second World War in Gdańsk, the House of European History in Brussels, the Imperial War Museums in London and Manchester, and the National WWII Museum in New Orleans – in order to show how museums reflect and shape cultural memory, as well as their cognitive, ethical, emotional, and aesthetic potential and effects. This includes a discussion of representations of events such as the Holocaust and air warfare. In relation to narrative, memory, and experience, the study develops the concept of experientiality (on a sliding scale between mimetic and structural forms), which provides a new textual-spatial method for reading exhibitions and understanding the experiences of historical individuals and collectives. It is supplemented by concepts like transnational memory, empathy, and encouraging critical thinking through difficult knowledge.

What did war look like in the cultural imagination of 1914? Why did men in Scotland sign up to fight in unprecedented numbers? What were the martial myths shaping Scottish identity from the aftermath of Bannockburn to the close of the nineteenth century, and what did the Scottish soldiers of the First World War think they were fighting for? Scotland and the First World War: Myth, Memory and the Legacy of Bannockburn is a collection of new interdisciplinary essays interrogating the trans-historical myths of nation, belonging and martial identity that shaped Scotland’s encounter with the First World War. In a series of thematically linked essays, experts from the fields of literature, history and cultural studies examine how Scotland remembers war, and how remembering war has shaped Scotland.

Anyone who tours the famous battlefields of 1914-1918 finds that most traces of the fighting have disappeared. An expert on World War I teams with a battle photographer to uncover thousands of these lost details. Hundreds of full-color, oversized photos dramatize what once were bloody landscapes. Then close-ups detail the all but invisible bullet marks, tank tracks, and rusty relics of bunkers, craters, fortifications, and tunnels—from the Marne, Flanders, and the Argonne, to Artois, Verdun, and Ypres.