The present volume provides a critical insight into the relationship of art and war. It shows how artists perceive war and how they depict it, to warn the spectator but to cure their own trauma at the same time.
War causes destruction, loss, and trauma. Many artists have used their art to express feelings and memories related to these losses and their own traumatic experiences. The artwork that came into existence due to such processes reflects on events of our past, but should be considered a warning at the same time. To deal with human suffering means to fully engage with the artist remains of human war experiences. The present volume aims to provide a critical insight into the relationship between art and war, showing how artists dealt with human losses, destruction, and personal trauma.
War creates veterans and societies are reminded by their existence that violent conflicts had been waged in the past. Even when the wars have been long forgotten by many, veterans are the ones whose fate has been tied to war and destruction.
Societies often struggle with their veterans, especially when they have to address the former soldiers’ traumatic experiences and acknowledge the wounds that hurt beyond the body. While veterans are a steady reminder of violent conflicts of the past, they are often ignored by their societies, once peace is achieved. Nevertheless, veterans play an important role in post-war contexts as well and this role, their influence and impact in the supposedly non-violent world need to be addressed. This volume discusses the role of veterans in the aftermath of war and shows how they had been treated by their societies and how the latter ones tried to reintegrate them into their own narratives of the past.
A crucial collection of new insights into a topic too often ignored in military history: the close interrelationship between cities and warfare throughout modern history. Scenes of Aleppo’s war-torn streets may be shocking to the world’s majority urban population, but such destruction would be familiar to urban dwellers as early as the third millennium BCE. While war is often narrated as a clash of empires, nation-states, and ‘civilizations’, cities have been the strategic targets of military campaigns, to be conquered, destroyed, or occupied. Cities have likewise been shaped by war, whether transformed for the purposes of military production, reconstructed after bombardment, or renewed as sites for remembering the costs of war. This conference volume draws on the latest research in military and urban history to understand the critical intersection between war and cities.
Hitlers Generalstabschef zwischen Weltkriegsplanung und Widerstand – die maßgebliche Darstellung. Generaloberst Franz Halder, der Nachfolger Ludwig Becks als Generalstabschef des Heeres, hat erhebliche Bedeutung für die Vorgeschichte und die erste Phase des Zweiten Weltkriegs – ihm oblagen Planung, Vorbereitung und Durchführung aller Operationen des Heeres, vom Überfall auf Polen über den Westfeldzug bis zu 'Barbarossa', dem Angriff auf die Sowjetunion, und zur Offensive des Ostheeres 1942 in Richtung Stalingrad und Kaukasus. Maßgeblicher Organisator der deutschen Angriffskriege, das war die eine, die sichtbare Rolle Halders. Frondeur, ja zeitweise führender Verschwörer gegen Hitler, das war die andere, verborgene, nie zu Ende geführte. Wie kam es, dass er schließlich als militärischer Erfüllungsgehilfe eines Diktators endete, der das deutsche Heer und mit ihm die Nation in die Katastrophe führte?