Aerial Propaganda and the Wartime Occupation of France, 1914-1918 explores the combined role played by the French and British Governments and Armies in creating and distributing millions of aerial newspapers and leaflets aimed at the French population trapped behind German lines. Drawing on extensive research and French, German and British primary sources, the book highlights a previously unknown aspect of psychological warfare that challenges the established interpretation that the occupied populations lived in a state of total isolation and that the Allied governments had no desire to provide them with morale support. Instead a very different picture emerges from this study, which demonstrates that aerial propaganda not only played a fundamental role in raising morale in the occupied territories but also fuelled resistance and clandestine publications. This book demonstrates that the existing historiographical portrayal of the occupied civilian as an uninformed victim must be replaced by a more nuanced interpretation.

Many believed the twentieth century would be the century of the child: an era in which modern societies would value and protect children, sheltering them from violence and poverty. Yet this hopeful vision was marred by the harsh realities of migration, displacement, and armed conflict. Small Stories of War grapples with the meanings and memories of childhood and wartime by asking new questions about lived experience. Spanning the First World War to the early twenty-first century and featuring chapters about Canada, Australia, Germany, the former Yugoslavia, Rwanda, and northern Uganda, this volume asks how young people encountered and responded to armed conflict. How did children, youth, and their families make sense of war in the violent twentieth century? How have they shared their stories and experiences of violence and trauma? Analyzing a broad range of sources including family letters, oral history, and children’s artwork, contributors offer important insights into the production of historical knowledge with and about young people. Engaging with cutting-edge debates about emotions, temporality, space, and young people as political actors, Small Stories of War offers compelling new research and an interpretive toolkit that will benefit scholars from across the social sciences and humanities.

Over the past years, studies have begun not only to identify the factors that impeded the full participation of women artists in French cultural life, such as women’s limited access to professional art education, but also to bring to light the considerable artistic accomplishments of women occluded by historians for over a century. A similar effort at historical revision has been under way for French women writers. Works of fiction that enjoyed many editions in the nineteenth-century receded from our field of vision for almost a century before being rediscovered and reissued during the last decades of the twentieth century. Such efforts have resulted in scholarship that has helped revise the history of both artistic and literary expression in nineteenth-century France. Similarly, many women in nineteenth-century France had their art criticism published both in journal reviews and in book form, often for decades, in a number of the most influential venues of their day. However, it is perplexing that they remain almost totally invisible in histories of French culture. Women Art Critics in Nineteenth-Century France: Vanishing Acts is the first sustained effort to bring these prolific and influential critics out from the shadows. Although each of the chapters in this volume results from an interdisciplinary approach, the fact that they are written by scholars in art history and in literature means that there will be inevitable differences in approach and methodology. Thus, we study the women’s reception of specific artworks and aesthetic movements, discuss intersections of aesthetics and politics in their essays and the literary styles and rhetorical strategies of individual critics, explore the social conditions that allowed or impeded their successes, and suggest reasons for their all but disappearance in the twentieth century. In bringing to light for twenty-first-century readers the “vanished” writings of heretofore unrecognized or underrecognized women art critics, the authors hope to contribute to the ongoing revision of women’s role in cultural history. The multifaceted approaches to word/image studies modeled in this book, and the many avenues for further research it identifies, will inspire scholars in a number of disciplines to continue the work of reinscribing women in the history of cultural life.