Senate House, London
5 – 6 September 2018
The extraordinary death tolls suffered on the fighting fronts of the First World War gave rise to unprecedented levels of loss for individuals and communities across Europe and the wider world. Indeed, bereavement became so widespread during the conflict that it can rightly be regarded as one of the defining experiences of the war. Historians have had relatively little to say about wartime loss, however, and the bereaved have not been widely acknowledged or remembered during the centenary commemorations of the conflict.
In order to shed light on this much-overlooked theme, a conference will be held at the Institute of Historical Research, Senate House, London on 5 and 6 September that will bring historians and community groups together to explore maternal bereavement as a result of the war, an experience that was understood to be particularly painful and difficult to come to terms with. The conference will be held as part of an ongoing community project, Motherhood, Loss and the First World War, funded by the Ministry of Housing, Communities and Local Government and led by Big Ideas, the London Centre for Public History and the Institute of Historical Research.
Proposals for papers on relevant themes in the form of 400-word abstracts should be sent to email@example.com by 20 June 2018.
Download poster: CFP Motherhood Loss and the First World War
An edited volume, entitled Mars and Minerva: International Artistic and Cultural Responses to War, is seeking chapters from UK authors.
For further information, please contact Dr Martin Kerby (Martin.Kerby@usq.edu.au)
The editors are looking to group the chapters under the general headings of Commemoration (Chapters 2, 4, 6, 10, 14) Loss, Grief and Resilience (3, 12, 13, 15) and Identity (5, 7, 8, 9, 11). It will be a 12 month project so there is plenty of time to submit work. Chapters will be about 7000 words.
Current planned chapters:
Chapter 1 – Introduction
Chapter 2 – The Fabric of History: An exploration of the Bayeux Tapestry, Overlord Embroidery and the Boer Trekker Tapestry – Margaret Baguley
Chapter 3 – The Theatre of War: Translating War Horse – Janet McDonald
Chapter 4 – Touring the battlefields of the Somme with the Michelin and Somme Tourisme guidebooks – Caroline Winter
Chapter 5 – Children’s Picture Books: Conflict and Identity – Eloise Tuppurainen-Mason
Chapter 6 – A Fusion of Art and History: Dioramas – Martin Kerby
Chapter 7 – Do You See What I See? International Perspectives on World War II through Textbooks – Susan Santoli
Chapter 8 – Between Little Truths and Good Lies: The Use of Mythology in Second World War Narratives and Contemporary Art – Beata Batorowicz and Jason Castro
Chapter 9 – Indigenous Protest Art – Robert Barton
Chapter 10 – Australian War Memorials: An artistic interpretation – Malcom Bywaters
Chapter 11 – Landscape of War – Australian War Artists 1914 – 1918 – Margaret Baguley, Abbey MacDonald and Martin Kerby
Chapter 12 – Write propaganda, shut up, or fight: Philip Gibbs and the Western Front in 1917 – Martin Kerby
Chapter 13 – The Soldier as Artist: Memories of War – Michael Armstrong
Chapter 14 – Combat Cinematography and the Hollywood connection – Daniel Maddock
Chapter 15 – The Stamps-Baxter G. I. School – Dr Jeannette Fresne