The Holy War in Syria: Cemal Pasha and the Ottoman Plan to conquer Egypt in the First World War

This article aims to analyse the importance of the Egyptian campaign to Ottoman policy in the First World War. It seeks to add to our knowledge of the Ottoman war experience by putting the focus on the empire’s preparations for conquering Egypt and by giving priority to understand the aims of the expedition. The expedition itself is placed within the context of the jihad policy adopted at the beginning of the war and which sought to put an end to the Entente’s colonial domination of Muslim countries. The Ottomans’ propaganda initiatives in support of the measures were meant to motivate support among the Syrian population through the idea of holy war.     

抗战初期杨杰等赴法寻求军援与孔祥熙等来往文电选(上)

1、王宠惠致李石曾电 (1937年8月9日) 介公意:为便于接洽计,拟由政府予公特使名义,如赞成,乞电示。宠惠。佳。 2、李石曾致宋子文、王宠惠电 (1937年8月30日) 文公并转亮公:前两公电,介公使弟与霍等接洽,又拟授弟特使或相当名谊[义],弟已随时与霍等进行。霍参加国联文化合作,弟若参加,与霍同其性质,表面似甚自然,内容可收相当之效,避去特使名谊[义],免敌人注意,致碍行动。且庸公留欧,则特使名谊[义]尤不宜重复。故弟为此建议,若兄等谓然,乞陈介公决定。瀛。卅。     

Civil War Iron and the H.L. Hunley Iron Ballast

At the beginning of the American Civil War in 1861, the Union greatly outpaced the Confederacy in industrial manufacturing capabilities. The Confederacy's economy prior to the conflict was largely based on agriculture, and the Southern states lacked the facilities and skilled labourers to produce iron on the scale necessary to compete with the Union. The possibility of importing products was greatly diminished when President Lincoln instituted a naval blockade around major Southern ports, limiting the amount of cargo that could be imported from Europe. Consequently, the Confederacy was forced to adapt ironworks to wartime purposes. Despite these adaptations, the Confederacy suffered from iron shortages throughout the war. This paper uses the iron ballast found on the Confederate submarine H.L. Hunley as a case study for the manufacturing processes, labour relationships and social significance of iron production and usage in the Confederacy.     

Mimi Pinson Goes to War: Taste,Class and Gender in France, 1900–18

In the years leading up to the First World War, the Frenchwomen of a free performing‐arts programme for female workers, known as the Mimi Pinsons, began to appear frequently in popular stories, articles, poems and songs as cultural shorthand for a renovated social vision of France. Founded by composer and philanthropist Gustave Charpentier in 1900, the Oeuvre de Mimi Pinson taught its worker–students elementary music, song and dance, and gradually expanded to include a charitable organisation and social network. A closer examination of the OMP reveals that its members were also used to reconcile early twentieth‐century French anxieties about working‐class militancy and even war by way of a potent cultural association of female sexuality, aesthetic refinement and labour. In the years before the First World War, the Mimi Pinsons were defined by journalists, government officials and the OMP's own organisers according to a formulaic type which at once modernised and constrained the role of the female Parisian worker. Associated almost exclusively with the luxury‐garment trades – seamstresses, flowermakers, milliners and department‐store clerks – the new Mimi Pinsons were embraced by the public as naturally chic yet diligent guardians of French art and craft. These female worker–students allowed an easy merging of the body of the female worker with particularly French notions of the patriotic responsibility of feminine taste. When the First World War came, many of the Mimi Pinsons joined the war effort as workers and nurses, yet they were embraced by the public primarily for their service as tasteful creators of patriotic decorative objects, and as an ideal symbolic figure for managing anxieties about the social dissolution that came with the war.     

Uncommon Groundings: Fred B. Kniffen's Place in Current Cultural Geography

Fred Bowerman Kniffen's academic career started in the 1920s at a time when cultural geography in North America was getting underway. For more than 60 years, Kniffen played a prominent role in its formation and elaboration. His contribution centered on material cultural studies, particularly folk housing, and the patterns and processes of the diffusion of the cultural elements of ordinary people. However, Kniffen's legacy within contemporary cultural geography extends beyond these central concerns. This essay examines Kniffen's relation to mass or popular culture studies, material culture studies, Berkeley school cultural geography and the "new" cultural geography. It considers the bases for Kniffen 's appeal to a diverse following, and suggests why his contributions will not be soon outmoded.