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Waged for a just cause and culminating in total victory, World War II was America’s “good war.” Yet for millions of GIs overseas, the war did not end with Germany and Japan’s surrender. The Good Occupation chronicles America’s transition from wartime combatant to postwar occupier, by exploring the intimate thoughts and feelings of the ordinary servicemen and women who participated—often reluctantly—in the difficult project of rebuilding nations they had so recently worked to destroy. When the war ended, most of the seven million Americans in uniform longed to return to civilian life. Yet many remained on active duty, becoming the “after-army” tasked with bringing order and justice to societies ravaged by war. Susan Carruthers shows how American soldiers struggled to deal with unprecedented catastrophe among millions of displaced refugees and concentration camp survivors while negotiating the inevitable tensions that arose between victors and the defeated enemy. Drawing on thousands of unpublished letters, diaries, and memoirs, she reveals the stories service personnel told themselves and their loved ones back home in order to make sense of their disorienting and challenging postwar mission. The picture Carruthers paints is not the one most Americans recognize today. A venture undertaken by soldiers with little appetite for the task has crystallized, in the retelling, into the “good occupation” of national mythology: emblematic of the United States’ role as a bearer of democracy, progress, and prosperity. In real time, however, “winning the peace” proved a perilous business, fraught with temptation and hazard.
Reconstruction (1939-1951) --- Soldiers --- History --- United States --- Foreign relations
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As the Second World War neared its conclusion, Germany was a nation reduced to rubble: 3.6 million German homes had been destroyed leaving 7.5 million people homeless; an apocalyptic landscape of flattened cities and desolate wastelands. In May 1945 Germany surrendered, and Britain, America, Soviet Russia and France set about rebuilding their zones of occupation. Most urgent for the Allies in this divided, defeated country were food, water and sanitation, but from the start they were anxious to provide for the minds as well as the physical needs of the German people. Reconstruction was to be cultural as well as practical: denazification and re-education would be key to future peace and the arts crucial in modelling alternative, less militaristic, ways of life. Germany was to be reborn; its citizens as well as its cities were to be reconstructed; the mindset of the Third Reich was to be obliterated. When, later that year, twenty-two senior Nazis were put in the dock at Nuremberg, writers and artists including Rebecca West, Evelyn Waugh, John Dos Passos and Laura Knight were there to tell the world about a trial intended to ensure that tyrannous dictators could never again enslave the people of Europe. And over the next four years, many of the foremost writers and filmmakers of their generation were dispatched by Britain and America to help rebuild the country their governments had spent years bombing. Among them, Ernest Hemingway, Martha Gellhorn, Marlene Dietrich, George Orwell, Lee Miller, W.H. Auden, Stephen Spender, Billy Wilder and Humphrey Jennings. The Bitter Taste of Victory traces the experiences of these figures and through their individual stories offers an entirely fresh view of post-war Europe. Never before told, this is a brilliant, important and utterly mesmerising history of cultural transformation.
Denazification. --- Reconstruction (1939-1951) --- Dénazification --- Reconstruction, 1939-1951 --- Europe --- Europe --- Europe --- Europe --- Intellectual life --- Social conditions --- Vie intellectuelle --- Conditions sociales
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This volume makes available some of the most exciting research currently underway into Greek society after Liberation. Together, its essays map a new social history of Greece in the 1940s and 1950s, a period in which the country grappled--bloodily--with foreign occupation and intense civil conflict. Extending innovative historical approaches to Greece, the contributors explore how war and civil war affected the family, the law, and the state. They examine how people led their lives, as communities and individuals, at a time of political polarization in a country on the front line of the Cold War's division of Europe. And they advance the ongoing reassessment of what happened in postwar Europe by including regional and village histories and by examining long-running issues of nationalism and ethnicity. Previously neglected subjects--from children and women in the resistance and in prisons to the state use of pageantry--yield fresh insights. By focusing on episodes such as the problems of Jewish survivors in Salonika, memories of the Bulgarian occupation of northern Greece, and the controversial arrest of a war criminal, these scholars begin to answer persistent questions about war and its repercussions. How do people respond to repression? How deep are ethnic divisions? Which forms of power emerge under a weakened state? When forced to choose, will parents sacrifice family or ideology? How do ordinary people surmount wartime grievances to live together? In addition to the editor, the contributors are Eleni Haidia, Procopis Papastratis, Polymeris Voglis, Mando Dalianis, Tassoula Vervenioti, Riki van Boeschoten, John Sakkas, Lee Sarafis, Stathis N. Kalyvas, Anastasia Karakasidou, Bea Lefkowicz, Xanthippi Kotzageorgi-Zymari, Tassos Hadjianastassiou, and Susanne-Sophia Spiliotis.
Greeks --- Reconstruction (1939-1951) --- Ethnology --- Mediterranean race --- World War, 1939-1945 --- Postwar reconstruction --- Social conditions --- Political aspects --- Reconstruction --- Greece --- History --- History of Greece --- anno 1940-1949 --- anno 1950-1959 --- anno 1960-1969
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"As an Official Army Photographer, "Mac" Fleming's assignment was to take motion pictures of significant wartime events for the U.S. Army. In the first-aid kit on his belt, he also carried a small personal camera, which he used to take pictures of the people and places that interested him, capturing in his field notes details of the life he observed. From these records, Fleming has assembled this absorbing private chronicle of war and peace. Assigned to the European Theater in February 1945, he filmed the action from the battle for the Remagen Bridge across the Rhine, to the fighting in the Hartz Mountains, on to the linkup with the Russian forces at the Elbe River. After the armistice, Fleming helped document how the Allied Expeditionary Force established a military government in Germany to cope with masses of POWs, establish control of the country, deal with the atrocities committed by the German army, and help thousands of newly released slave laborers return home to Poland, France, and Russia. He also recorded how the army provided rest, recreation, and rehabilitation to the remaining U.S. soldiers and sent them home by truck, train, and ship. Awaiting shipment home, Fleming explored postwar German town and country life and toured some famous castles and historic spots. The foreword by historian James H. Madison describes the important role of photography in war and the special contribution of Fleming's photographic diary"--
World War, 1939-1945 --- War photographers --- Cinematographers --- War photography --- Military cinematography --- Reconstruction (1939-1951) --- Photography. --- Campaigns --- Fleming, Malcolm L. --- United States. --- Germany --- Social conditions --- Cinematography --- Photography, Military --- Combat photography --- Photography, Combat --- Photography, War --- Documentary photography --- Photojournalism --- Military applications --- U.S. Army --- US Army
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