Campo de Batalla Palo Alto, Sitio Histórico Nacional, Texas : borrador, plan general administrativo, evaluación del medio ambiente.

Mode of access: Internet.

Champs de bataille: experiences et imaginaires

This contribution takes as its starting point the original conception of the overall research project which sought to examine the ‘battle’ as an event and a cultural act. It examines the representation of violence by non-combatants – who are in any case implicated in the act of war – as well as by combatants themselves. It does, however, also slightly subvert the original proposition of the war narrative as a historical source, towards the idea of the war narrative as a source of artistic representation, as well as towards the notion of ‘narrative’ understood in its broadest sense, towards visual as well as written narratives. The primary focus is however, a specific site of the violence perpetrated and endured by soldiers, the battlefield. One of the fundamental questions posed by the analysis here concerns the issue of the representation and of the reality of the battlefield, and of the reception of the expression of violence. Is representation in fact the only authentic way to seize and to try to understand violence? These questions, and some of the examples used in the first section dealing with the ‘experience’ of the battlefield, have their origins in work conducted for two decades within the international and interdisciplinary research group, the ‘Group for War and Culture Studies’, and therefore concern the bases of a cultural approach to the study of war. In the second section, the analysis moves from the notion of experience to the work of the imagination with a reading of various battlefields created by the contemporary artist Cozette de Charmoy; these are imaginary battlefields certainly, but ones which viscerally engage the body of the soldier and which seem to enable the reader/spectator to access a collective experience. Finally, the question is raised of whether representation actually becomes performative, if it becomes the experience itself, and a way not to ‘see’ that experience, but to ‘know’ it.

How the Pershore Plum Won the Great War

The First World War was won not just on the battlefields but on the Home Front, by the men, women and children left behind. This book explores the lives of the people of Pershore and the surrounding district in wartime, drawing on their memories, letters, postcards, photographs, leaflets and recipes to demonstrate how their hard work in cultivating and preserving fruit and vegetables helped to win the Great War. Pershore plums were used to make jam for the troops; but ensuring these and other fruits and vegetables were grown and harvested required the labour of land girls, Boy Scouts, schoolchildren, Irish labourers and Belgian refugees. When submarine warfare intensified, food shortages occurred and it became vital for Britain to grow more and eat less food. Housewives faced many challenges in feeding their families and so in 1916 the Pershore Women’s Institute was formed, providing many women with practical help and companionship during some of Britain’s darkest hours in history.

The North American Indian in the World War /

Relief shown by hachures.