"When the 8th Sherwood Foresters concentrated at Hunmanby, at the end of July, 1914, for their usual annual training, the International horizon was clouded with the diplomatic conversations which had followed the murder of the Archduke Francis Ferdinand of Austria by Servians at Sarajevo. Many hoped, no doubt, that the experience of the Morocco incident of 1905 and the Agadir incident of 1911, would again be repeated and that once more the clouds of a world war would be dissipated, but when we reflect upon this period of the world's history it is easy now to see that war with Germany, sooner or later, was inevitable."
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Captain William Charles Cumming Weetman (1885-? ) was the British author of The Sherwood Foresters in the Great War 1914-1919 (1920). "The author has described fully the training carried out at Harpenden and in Essex, and that the time and labour spent in it were not wasted is proved by the manner in which all ranks so quickly took on their responsibilities in the trenches, and with such success. That the Territorial Force was in many ways neglected by the Higher Authorities during those early days is well known, but that the Force amply justified itself is proved by its actions and was fully recognised by those General Officers under whose command it came. The following extract from a speech made by Lieut-General Sir C. Fergusson, Commanding II Corps, to the Brigade at Locre, when it left his command, is worth recording to show the high opinion he held of our work in front of Kemmel. "No Battalion, " he said, "and no Brigade could have held the lines better than you have done or have done better work than you have done.... Your work during the last three months is work of which any Brigade and any Battalion might be proud. " No higher praise could have been given to any troops by an officer of such standing and repute. "
Every culture has its own word for this nothing. Synonymous with the idea of absolute space and time, the ether is an ancient concept that has continually determined our definition of environment, our relations to each other, and our ideas about technology. It has also instigated our desire to know something irrepressibly beyond all that. In Ether, the histories of mysticism and the unseen merge with discussions of the technology and science of electromagnetism. Joe Milutis explores how the ideas of Anton Mesmer and Isaac Newton have manifested themselves as the inspiration for occult theories and artistic practices from Edgar Allan Poe’s works to today. In doing so, he demonstrates that fading in and out of scientific favor has not prevented the ether, a uniquely immaterial concept, from being a powerful force for material progress. Milutis deftly weaves the origins of electrical science with alchemical lore, nineteenth-century industrialism with yogic science, and network space with dreams of the absolute. Linking the ether to phenomena such as radio noise, space travel, avant-garde film, and the rise of the Internet, he lends it an almost physical presence and currency. From Federico Fellini to Gilles Deleuze, Japanese anime to Italian Futurism, Jean Cocteau to NASA, Shirley Temple to Wilhelm Reich, Ether traverses geographical boundaries, spiritual planes, and the divide between popular and high culture. Navigating more than three hundred years of the ether’s cultural and artistic history, Milutis reveals its continuous reinvention and tangible impact without ever losing sight of its ephemeral, elusive nature. The true meaning of ether, Milutis suggests, may be that it can never be fully grasped. Joe Milutis is assistant professor of art at the University of South Carolina. His writing has appeared in such publications as ArtByte, Wide Angle, Film Comment, and Cabinet.
In 1853, Eyre Crowe, a young British artist, visited a slave auction in Richmond, Virginia. Harrowed by what he witnessed, he captured the scene in sketches that he would later develop into a series of illustrations and paintings, including the culminating painting, Slaves Waiting for Sale, Richmond, Virginia. This innovative book uses Crowe’s paintings to explore the texture of the slave trade in Richmond, Charleston, and New Orleans, the evolving iconography of abolitionist art, and the role of visual culture in the transatlantic world of abolitionism. Tracing Crowe’s trajectory from Richmond across the American South and back to London—where his paintings were exhibited just a few weeks after the start of the Civil War—Maurie D. McInnis illuminates not only how his abolitionist art was inspired and made, but also how it influenced the international public’s grasp of slavery in America. With almost 140 illustrations, Slaves Waiting for Sale brings a fresh perspective to the American slave trade and abolitionism as we enter the sesquicentennial of the Civil War.
Having left the university to write full-time at the end of volume two, Stead throws himself into his work. In novels like Sister Hollywood and My Name Was Judas, criticism in the London Review of Books and the Financial Times, poetry and memoir, Stead establishes his international reputation as novelist, poet and critic. It is also a period when Stead's fearless lucidity on matters literary and political embroil him in argument - from The Bone People to the meaning of the Treaty to the controversy over a London writer's flat. What was it like to be Allen Curnow's designated 'Critic across the Crescent'; or alternatively to be labelled 'the Tonya Harding of NZ Lit'? How did poems emerge from time and place, sometimes as naturally as 'leaves to a tree', sometimes effortfully? And how did novels about individual men and women retell stories of war (World War II, Yugoslavia, Iraq) and peace? Covering Stead's travels from Los Angeles to Liguria, Croatia and Crete to Caracas and Colombia, as New Zealand poet laureate and Kohi swimmer, What You Made of It takes us deep inside the mind and experience of one of our major writers - and all in Stead's famously lucid 'story-telling' prose.
