The macabre dance of the Great War. Satire and satirical portraits in an exhibition in Forte dei Marmi

Alberto Martini - Danza macabra europea
It will take place on the 27th of June the inauguration of the exhibition called “La danza macabra della Grande Guerra” (The macabre dance of the Great War. Satirical art works from the Isobella collection). The location is the very peculiar museum dedicated to satire and satirical portrait in Forte dei Marmi (Italy). The panel for the opening event is composed by Lodovico Isolabella, Elena Pontiggia, Andrea Tomasetig, Enrico Mannucci. With this exhibition we face a different side of the war with some of the artists who decided to use an expressive strategy very different from that of Otto Dix, for example. The question rising is if we better understand the contradictions and the tragedy of this conflict starting from a satirical point of view rather than from the inflamed atmospheres of the German painter. Of course the reality is that we need to take into account both artistic interpretations, yet without prejudice against the apparently lighter and smoother approach dictated by irony.

A work by Ezio Castellucci
The Italian exhibition curated by Cinzia Bibolotti, Franco Calotti and Linda Gorgoni Eufoni with the works belonging to the Lodovico Isolabella’s collection is giving the opportunity to see in one place the original paintings by Mario Sironi for the trench newspaper “Il Montello” and the rare series of 54 lithographed postcards by Alberto Martini entitled “Danza macabra europea”, a prominent piece of the collection. Just to give the idea of the abundance of the offer, we enlist the names of the artists hosted in the layout of the exhibition: Ezio Castellucci (beside his Kaiser on the top of a mountain of skulls), Claudio Bisi, Gabriele Galantara (founder of the famous satirical newspaper “L’Asino”), Antonio Rubino, Filiberto Scarpelli, Golia (Eugenio Colmo), Lorenzo Viani, Aroldo Bonzagni, the famous architect Gio Ponti, Giuseppe Scalarini, Francesco Cangiullo, Walter Trier, Eugène Ogé and the great German medal designer Karl Goetz. This exhibition is the third of a series commenced six years ago with a reconnaissance around “Le Mot”, the famous newspaper by Jean Cocteau and Paul Iribe, and continued with the exhibition dedicated to trench newspapers. We thank the “Museo della satira” and the collector Lodovico Isabella for giving us the opportunity to share with our readers some of the images from the exhibition.

Info:
“La danza macabra della Grande Guerra”
Forte di Leopoldo I - Piazza Garibaldi
Forte dei Marmi (Lucca)
T. 0584 280262 (Offices) 0584 876277 (Museum)
27 June – 28 September 2014
All days from 5pm to 8pm and from 9pm to 12pm (On Sunday also from 10am to 1pm)

Diaries of the World War I

Tagebücher des ersten Weltkrieg / Des armes et des mots is the twin title of a twin multimedia project on the Great War, which originates from a French-German cooperation. We should state immediately why we were particularly convinced by it among the floods of initiatives rising around the Centenary. Both its content and media are really fine and moreover wisely combined with each other, that’s why it enables the contemporary public to have new insights into the WWI, beyond any rhetoric. The project mixes up in fact a film production and a web portal and exploits so different communications techniques and succeeds so to value the documents (especially old photos are nicely integrated in the editing of these documentaries), on the one hand. On the other hand the content is not moved to the background but is the real core of the project so that one immediately perceives a truthful urgency to communicate it. An international team of professional historians and authors has worked many years to research and analyze more than 1.000 diaries and letters collections in order to select at the end a small number of personal fates, 14 touching life-stories of the WWI. And these 14 men and women are not generals or politicians, but simple soldiers or nurses, mothers and children overwhelmed by the war, coming from Germany, Austro-Hungarian Empire, French, England, Russia, USA and Australia. Rather than the battles and political events, the plain truth of human existence emerges thanks to this international choir which sings the common fears and pains, wishes and ideals, in short the concrete and minimal happenings of an everyday life in war time. This enables a deep compassion: according to the etymology of this word, we can share the basic feelings of all these men and women, relying on the common human nature and its essential rules and necessities; at the same time we do not run the risk to abstract these personal histories from their unique existential and historical contexts.

The crucial events and the turning points in the lives of the protagonists – especially in the time span 1914-1918 – are organized in thematic units (ranging from the ruin and the attack, to the anguish and the sadness, from the homesickness, the disaster, the homeland, to the insurrection and the ruins). The time gap between witnesses from the past and reconstruction at the present are not only visualized and summarized in the interactive homepage but also sewed up very well in the documentaries, which were broadcasted by the Franco-German channel ARTE and are now upcoming on the German channel Das Erste. A very interesting project, which shows how to combine multimedia and historical research in a profitable way.
Further information, also concerning the related books and DVDs, here.

Miguel de Unamuno in the debate of the First World War, between neutrality and action


In Italy we recently had the opportunity to read the full collection of pieces that the Spanish philosopher and writer Miguel de Unamuno put together during the years of the Great War. Probably it's not by chance that it was an Italian publisher who took care of re-releasing this corpus of writings. In fact we can consider Unamuno's dedication to the fundamental theme of the First World War as a sum of two distinguished levels of reflection. The first part of the book goes back to his presence in the area of Kars, where he spent some time in September 1917 as a representative of a Spanish delegation of intellectuals, together with Manuel Azaña, the future president of the Spanish Republic. As everybody knows, Spain was not involved in the two World Wars of the twentieth century but had to face a bloody and devastating civil war during the 30s. And it’s a point of interest for us to understand what the avant-garde of Spanish writers and especially Unamuno as one of the most influencing and valued writer of his time thought about the “European war” and about the special case of Italy in the panorama of the European powers. In this first part of the book we read about the meeting with the Italian general Cadorna and we probably find here a different portrait of the man and of the general, that is very far from what is the common perception. The second part of the volume is more devoted to combine his personal view of the war with the reality of the massacre, and if Unamuno is extremely rich in detailing the interests that brought to war, at the same time he is not taking an open antimilitary position. On the contrary, like José Ortega y Gasset and the poet Antonio Machado, Unamuno wanted his country to be an active part in the conflict and was extremely harsh with the political decisions of Spain.

The title of the book in Italian is “L’agonia dell’Europa” (The agony of Europe). The perception of an “agony of Europe” is a recurring trait in many Spanish philosophers of that time – think about Maria Zambrano, for example. Unamuno's point of view is probably too intertwined with some views of the Nineteenth century: he does not consider for example the tragedy of the life and death in the trenches and the mass destruction caused by the mix of new weapons and old war techniques, and he is even too far from taking this into consideration; he rather sees the European war commenced in 1914 as a war among populations which has solid roots in the conflicts of the late nineteenth century, even as an opportunity. And of course this is a part of truth, but only a little one. And yet it is worth to underline Unamuno’s peculiar participation to the huge debate risen after the war’s outbreak (and we have to consider that we are with his writings in the long and terrible 1917, not at the beginning of the war). Similarly we could examine all the different positions in the Italian debate about the opportunity to fight or not to fight the war (and against who?), between July 1914 and May 1915, as well as we could enlist the reasons in favour or against neutrality. This would probably result into a never ending debate bringing us to a kind of no man’s land where the reasons of non-involvement and the reasons of interventionism delete each other’s motivations and explanations. Today it would be only hypocrisy not to look at the First World War considering the different motivations in favour of war or neutrality. Of course in occasion of the Centenary celebrations it’s preferable to share common and “warm” – yet not too hot – themes (like the human and psychological tragedy, the role of women, the development of medicine etc.: all crucial aspects which alone cannot however exhaust the whole topic), but we consider an incomplete approach the one which forgets that at the end this was a real war, i.e. a result of political decisions, with a winning and a losing part, even if the armistice was only a temporary truce. We stop here, otherwise we could open the huge chapter of the hypocrisy connected with all the conflicts and their inheritance, with clear examples from the present wars. This is why we suggest not to forget Unamuno’s contribution to this debate.

Paris and the Great War

If you are in Paris this year and you are interested in Great War you will not run the risk to get bored. A cluster of activities and meetings are planned during this year to mark the begin of the WWI one hundred years ago (an overview here). Today we’d like to point out a couple of exhibitions.
The first one takes place at the Galerie des Bibliothèques de la Ville de Paris and displays the photo collection of Charles Lansiaux (1855-1939), who covered with his camera the French capital during the years 1914-1918. Its shots witness therefore meticulously the impact of the Great War on the population, ranging from the general mobilization at the beginning of the conflict to the refugees, from the collective engagement in supporting the military effort by attending the wounded or raising money to the first bombings. Furthermore the tragedy of orphanage, mutilation and civil privation are depicted. There are also interesting images of the city, both desolated or crowded by human masses. This exhibition – entitled Paris 14-18: la guerre au quotidian, till 15th June 2014, further information here – is for sure interesting, yet very small and the entrance ticket is maybe a little bit too expensive for the whole. That’s why we suggest to combine another exhibition, which is equally fascinating but with free admission. You just have to move to the Jardin de Luxembourg.

We suggest to run immediately to the Orangerie du Sénat, where the exhibition Jours de Guerre 1914-1918 (detailed information here) takes place. The sources of this initiative are provided by the Excelsior, one of the first French daily newspapers illustrated with photos. Founded in 1910, its photographical materials had been published never again. Only a small part (120 pictures) of the 5.000 photos (selected among the 20.000 shots covering the time span 1914-1919) are on display, but they offers a incredible testimony to both the military and civilian life, both French and other nationalities’ people, both animal and human beings, moving between the front (namely the western one) and the rearguard. The meaning of global war is so transmitted very well and some pictures are really touching and outstanding.

To conclude, we suggest to walk across the Luxembourg gardens – also in front of the Senate there’s a nice installation, have a look at – and exit at Place Edmond Rostand, in front of the Pantheon. Along the grating of the garden another exhibition is waiting for you. Contemporary images from the old battlefields are printed on big panels and combined with short capitations in French, English and German. These photos are part of the biggest projects Fields of Battle – Lands of Piece 14-18, a street gallery exhibition which is now to tour internationally, and found a dock also here in Paris. Another example how to build bridges between past and present and among all countries and culture in occasion of the centenary and – we really wish – even beyond.

The sound of the Great War at the Historial Museum


Apollinaire, La Mandoline, l'œillet et le bambou
We are already (almost) accustomed to notice and recommend interesting exhibitions organized by the museum Historial de la Grande Guerre, and yet we are always pleasantly surprised at them. This time the title drew our attention: Hearing the War - Sounds, Musics and Silence in 14-18; because the hearing is – with the sense of smell – very hard to recreate and because the subtitle gathers the wide range of experience, up to the stillness. Running from March to mid November 2014, this special exhibition of the Historial Museum enables the visitor to discover the unprecedented sound transformations which occurred during the WWI and to enter into a new “sound universe”, making use of all sorts of testimonies (objects, sounds, images, texts). 

Let’s start with a given. It is impossible for us to hear once again the exact sound of the Great War, even if in the Historial Museum we can listen to the only survived (and now restored) original recording of those years: the testimony of a sound spectrogram which recorded the moment the battle ceased on Armistice Day and the following silence – and especially this latter is touching. Nevertheless the exhibition succeeds in its intent by developing two themes. It firstly explores the sound of war, including the roar of artillery, the machine guns and the clashes of combat or the noises of the rear guard, the attack and defense sounds, but also the music made during the war, improvised by the soldiers and accompanied by self-made instruments. Secondly the attention is focused on musicians and on their way to approach, describe, elaborate or remember the war. Through recordings and music scores, visitors discover not only military marches, national or victory anthems, funeral or popular songs (including the cinematographic tradition or jazz), but also the works of the leading composers, such as Debussy, Saint-Saëns, Stravinski and many others. 

All this was made possible by an innovative staging concept – which recalls a music score with objects and documents presented like musical notes –, by appropriate listening devices (headphones, sound showers and listening chairs) and by the innovative sound wall, designed by Luc Martinez, in the small exhibition hall. 

After a first overview of the aim of the exhibition in the entrance lobby (and have a look at the original manuscript of Apollinaire’s poem Les obus miaulent en boche too!), different aspects of the topic are addressed. The exhibition starts with the military music of the troops marching and with their instruments, with the songs of the rear guard and the front line, the soldier’ instrument made in the trenches with raw material and the industrial ones. It shows then photos and originals of renowned war composers; also funeral music as national culture of mourning is displayed with scores, posters and images. A section is devoted to the concerts which took place with charitable and patriotic purposes in the rear guard, other sections to concerts on the front line and the music in the camps and in the occupied territories. Also the impact of the new sound universe of the new Jazz music is illustrated. Moreover the exhibition introduces the visitors into the themes of acoustic wound and excessive noise (in the section entitled “the amputated ear”), as well as the silence of the Great War as symbol of mourning. In the end a section discusses the musical creation connected – since the end of the conflict – to the memory of the Great War.   

In short, don’t miss the exhibition Hearing the War - Sounds, Musics and Silence in 14-18 because it guarantees a unique experience into the sound universe of the World War One.
Further information here.

"I dannati dell’Asinara" by Luca Gorgolini


A forgotten history from a forgotten front of WWI is the core of a fascinating book by the Italian historian Luca Gorgolini, who has reconstructed the human odyssey of a group of Austro-Hungarian soldiers, imprisoned in the Balkans and then deported to the Asinara, a little island close to the north-eastern coast of Sardinia. But let’s start from the beginning.

Fall 1915, the German and Austrian-Hungarian Armies from north and the Bulgarian Army (which has just gone to war) from east attacked and finally occupied Serbia during their third offensive action. The first two aggressions, at the beginning of WWI, did not succeed in having the upper hand over the Serbian resistance and many soldiers of the Empire were captivated. Already at the end of 1914 they were more than 60.000 – an impressive number for the small Serbia also in normal condition. Can you imagine what it was like after 6 months war, when the uninterrupted military effort and the progressive isolation of Belgrado had exhausted the whole country? No adequate prison camps had been arranged and scarce resources were assigned to an alternative arrangement of the war prisoners. German and Austro-Hungarian soldiers were usually mistreated and robbed (even of their clothes), employed in civilian or military works; moreover they often starved. Lastly their tragic conditions deteriorated because of epidemics: as soon typhus, smallpox and dysentery spread, these prisoners were decimated.

Then the invasion and the retreat. When Belgrado was occupied in October 1915, the Serbian government, army and population were put to flight. Not only the literature, already the contemporary witnesses speak about a “huge retreat”: the tragedy of a flood of people leaving their homes, blocking the muddy roads with their poor furnishings and goods; a lost and scared humanity, who had no idea of the future and was just seeking a first refuge in the neighboring countries of Montenegro and Albania. Among this crowd there were also the Austro-Hungarian and German prisoners, who were forced to march together, since the Serbian leaders didn’t want them to enlist once again or support their homeland. Even the sick ones were pushed to escape and to suffer together with the companions the lack of even the essentials. Many of them perished during the retreat due to hunger, cold and illness. The survivors beached instead along the Albanian coasts, like hopeless waves of that human storm.

But the odyssey was not at the end. When the German and the Austro-Hungarian armies entered short after the Montenegro and approached Albania, the evacuation of the exiles became urgent. The English, French and Italian navies immediately organized the transfer of Serbian civilians, politicians and soldiers for example to the Isle of Corfu. The German and Austro-Hungarian prisoners represented instead an international problem. They had to be moved out as soon as possible, but over their custody quarreled France and Italy. Italy strove for a predominant role in the Balkans and claimed the right to manage the emergency. It finally took the prisoners into custody, appealing to its special mission, which run in Valona since December 1915. Unfortunately the political ambitions didn’t match the effective resources required for their assistance.

Mid December 1915 the first German and Austro-Hungarian group of prisoners was transferred to the Asianara, a small and arid island near Sardinia, where a medical centre and isolation ward for infectious diseases had been established since 1885. It was in fact clear that those soldiers represented first of all a sanitary emergency (most of them suffered a severe form of cholera infection); therefore they should be transferred in small groups – the medical complex of Asinara could in fact host 1.000 patients at most –, disinfected, kept in quarantine, treated and, when restored to health, transferred to other prison camps in Italy, letting so another small group to be aided. But the war situation in the Balkans quickly deteriorated and also the health conditions of the prisoners stuck on the dock of Valona degenerated in the risk of contagion. Regardless of all medical procedures, between 16th and 30th December 1915 21.388 prisoners were transferred with 10 steamships from Valona to the Asinara; and then again about 2.618 soldiers between 2nd January and 8th March 1916.

24.000 men reached the little island in only 8 weeks. It should be enough to recall this fact (24.000 in 8 weeks!) to figure out the tragedy that follows. Only during the trip, which lasted about 2 days, more than 1.500 men who had been infected already in Valona died. Many passed away on board, while the steamships waited for docking in the roadsteads in front of the Asianara Island, which was flooded by the sick prisoners and, due to the lack of facilities and military and medical staff, couldn’t receive the German and Austro-Hungarian soldiers as soon as they arrived. The tiny spaces of the boats, the difficult living situation, the trip and above all the precarious sanitary condition let the epidemic spread, so that the captains were often forced to throw the corpses into the sea. Even on dry land the cholera infection did not ceased: from 7th to 14th January 1916 more than 1.300 prisoners died. There was no water, no adequate supplies, it was winter and the prisoners (no matter if ill or not) were gathered in tent camps; also the medical staff and equipments were insufficient. All these elements contributed to the massacre: 7.000 prisoners died in the first 3 months.

Such frightening numbers make us understand the tragedy of “the damned of Asinara”, as Gorgolini entitled his study (I dannati dell’Asinara, Torino 2011 – a German translation by Günther Gerlach is also available: Kriegsgefangenschaft auf Asinara, Innsbruck 2012; also a Serbian version will be released at the end of Juni: Проклети са Азинаре, Prometej, Novi Sad, 2014). And yet the great value of this work is not limited to the detailed description of the historical context, to the analysis of the odyssey of these soldiers in the broader framework of the war prisoners during the Great War (and yet this phenomenon in general has still to be satisfactorily investigated, as also Gorgolini points out), or to the examination of the official reports and the officers’ accounts (all significant merits we have to recognize in this book); it is also and above all the diaries and memories of the prisoners, which the author constantly quotes (for example the diaries of a Czech soldier, Josef Šrámek, and an Austrian one, Josef Robinau) that make this book – and above all the last chapters – a vivid reconstruction of the hell, which these men went through. The Asinara Island became a circles of Dante’s Inferno: a city of tents, of improvised shelters for the exhausted prisoners, who suffered from hunger, thirst, physical (above all cholera, but also other epidemics) and psychological (mental disorders and depressions among prisoners are also discussed) diseases, the rivalry among the different national groups, the brute struggle for existence. At the same time the author does not neglect to highlight that a shared culture and everyday routine have developed in the island, newspapers – no less than with satirical content – were published, for example, and the correspondence with home became a life line.

We could recall other details of Gorgolini’s book, but in conclusion we content ourselves to stress that this is a precious work, which shows us the great importance of the good historical research, as this one is; a book, which has be read in order to discover another piece of the WWI mosaic. 

"The faces of World War I. The Great War in Words & Pictures" in the book by Max Arthur

The archives sometimes are full of treasures and overwhelming. The main issue becomes therefore how to give life to these treasures, how to build new knowledge from what already exists without having a voice, how to mark a path to follow. A unique case how to tackle this issue is offered by the Imperial War Museum, probably today one of the richest war museums, and by the great book edited by Max Arthur, The Faces of World War I. The Great War in Words & Pictures (published by Cassel). The project is somehow connected with the one led by IWM and called “Faces of the Great War”. Why all this interest for the human face during the First World War? We think we can detect at least two main reasons that motivate and sustain this interest. First of all we should never forget the Great War overlaps with the first extensive use of cameras. Secondly, and not in order of importance, we can see an attempt to give back the human side of a war that by far was the first experience of mass death. The thread of the human face is what allows the author to build up a book where nothing is let aside. Through the faces we get closer to all the shades of psychological and physical trauma. This book is a real journey lasting five years. And there is always a kind of faint that occurs when we are staring at an old picture for a long time, concentrating, entering the image, trying to give a sound to its silence, even when this picture is just a mute portrait.

The author of this book, obituary writer for "The Indipendent" and one of the most renowned British oral historians, develops his five-year analysis through a visual journey that starts in 1914 with the Christmas truce and touches every year of the Great War: 1915 with Neuve Chapelle and Gallipoli, 1916 of course with Verdun and The Somme, the long 1917 with Arras and Cambrai and then 1918 with Picardy and the armistice. A deep overlook is also dedicated to the aftermath. A clever use of caption is essential in a photo book and we cannot really ask more to the lines that stand below the images. More words are pointless, this is really one of the greatest photography books on the First World War today available, for all the above mentioned reasons.

Italian Great War Museums #5: a new layout for the "Museo della Battaglia" in Vittorio Veneto

Vittorio Veneto gave the name to the last battle of the First World War in Italy. And in this town located in the Treviso province a visitor can find one of the most relevant Great War Museums, at least nominally. New works of renovation of the layout started in 2012 and now the facility is almost ready. One of the peculiarities of its collection is for sure the big amount of documents, dispatches, posters in several languages along with the hall dedicated to the Italian spying activities in this city during the twelve months of the Austro-Hungarian occupation. Another flagship is the collection of photos and stereographies realized by Luigi Mazzocchi, one of the operators of the Italian Supreme Command.

Last May 10, during the preview of the new setting-up of the Museum of the Vittorio Veneto Battle, Col. Lorenzo Cadeddu of the Centro Studi Storico Militari sulla Grande Guerra “Piero Pieri” with its con l’Archivio della Memoria sulla Grande Guerra presented the casualties' census referred to the province of Treviso as well the research, analysis and digitization the Centro carried out in collaboration with the Association WW1 - dentro la Grande Guerra.

WW1 soldiers are men who leave their houses to go and fight at risk of their own lives. Those who survive the war often come back home suffering from pain or illness.

Walking a mile in those people’s shoes means not only getting aware of soldiers’ living in wartime, but also of their being simple men, sons, husbands, fathers far away from their birthplace. It is not an epic story, on the contrary, the human story of each family who had a grandfather, a great-grandfather or a loved one involved in that war.

To produce the scientific census on WW1 Italian casualties it was needed going through sources such as the "Albo d'Oro", the Official Military Report on the war and the municipalities' general registers to rediscover the story of each of them.

Today the technological tools also help us to organize hundreds thousands data from that period, to compare them with information from other sources and to apply data mining strategies to get combined and new results from research.
Both the Associations aim to spread all over Italy a historical and cultural heritage which is a public value and to provide everyone  - from citizens to fans, from students to researchers, with useful cultural tools.


Info:
www.museobattaglia.it

A photo reportage about Col Fenilon and Col Moschin


  • WWIB REPORTAGE

    1 Starting point of the path
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    2 The stony steps
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    3 View at north on Valsugana
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    4 The ascending path
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    5 Inside of the tunneled trenches
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    6 View on the Asiago Plateau
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    WWIB REPORTAGE

    7 From the Grappa eastern side, looking at south
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    8 The cross of Col Fenilon
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    9 Looking at Cima Grappa from Col Fenilon
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    10 Looking at the near Col Moschin from Col Fenilon
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    11 The roman column on Col Moschin
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    12 Fortifications and trenches on the east side of the Grappa range

We recently posted an itinerary related to Col Fenilon and Col Moschin and the one above is the photo reportage collected during that excursion. We're happy to share it today with our visitors.

„An Meine Völker! Der Erste Weltkrieg 1914-1918“. Exhibition at Österreichische Nationalbibliothek in Wien

The impressive magma of World War One documents is now flowing and erupting from the biggest institutions and archives on the occasion of the fast approaching deadlines of the Centenary. A reliable picture of this boiling magma is what a visitor can encounter in the new exhibition „An Meine Völker! Der Erste Weltkrieg 1914-1918“ (“To my people. The First World War 1914-18”) hosted in the State Hall of the Österreichische Nationalbibliothek. Here are some of the astonishing figures of this exhibition curated by Manfried Rauchensteiner: 52,000 posters 38,000 photographs, postcards, diaries, approximately 840,000 newspaper pages from the years 1914 to 1918 (now digitized, keep an eye on also on Europeana Collections) and documents that stand probably for one of the biggest and richest appointments of this first year of the Centennial. Photography plays a relevant role in the layout, even if a great part of the space is dedicated to original documents. And like all respected exhibitions, equal attention is devoted to front life and daily life, to men, women and children. The huge amount of material now made available by Austrian National Library‘s predecessor, the Imperial Court Library, is the result of a long process of archiving that started already in 1914.

Once again the visitors and scientific community are faced with a crucial problem (maybe an opportunity) and namely the overload of information and documents. This is the idea and the feeling that remain with us after viewing such impressive collection of memories. There’s nothing new under the sun. It’s not always a matter of quantity/quality. How can we deal with this overload of memories? Which kind of strategies should we consider to walk in this consolidated magma? The time is ripe, in this global scenario of the First World War centenary, and people are supposed to give an answer also to these questions or at least to try not to escape from their thorny question marks.


Info:

Österreichische Nationalbibliothek
Prunksaal Josefsplatz 1
1010 Wien
Tel. +43 1 534 10 / oeffentlichkeitsarbeit@onb.ac.at
www.onb.ac.at
The exhibition is open from 13th March to 2nd November 2014.

"The First World War and the languages", a conference in Paris. (La Première Guerre mondiale et la langue : approches croisées).

Few months ago we spread an interesting CfP, which resulted now in an international symposium to be held in Paris on 12th and 13th June 2014. Organized by the Sorbonne University and the Center for historical Studies Sciences-Po, the conference gathers scholars from different research fields, granting so an interdisciplinary approach to the discussion. Historians, linguists and specialists on literature will focus on the development and the changes in the French language, as well as on the other related European languages during the Great War. Two central questions are at the center of the interest of the symposium. On the one hand the role played by the WWI in the history of the French language, starting from the assumption that the former deeply shaped this latter and questioning as a consequence the interconnection between war and language histories. On the other hand all this will enable the scholars to finally hold in due consideration the history of French languages during the 19th and 20th centuries, which was up to now mainly neglected.

Representing a fascinating and yet till unexplored laboratory for some of the central themes of the contemporary linguistic (just think about the beginning of the sociolinguistic on the background of essential reconfigurations even of the social relationships) and providing an enormous amount of materials (both oral and written witnesses), the Great War represents for the linguists a privileged research field. Besides the already discussed question about the argot of the trenches in France and in the other countries, the conference aims to open new horizons discussing many central topics, concerning for example the periodization of the language history and the demarcation line eventually represented by the WWI; or concerning the ways of speaking and the neologisms, the contacts and contaminations between different languages or the specialist vocabulary of the military or technical language of the war, and again the written language and the topic of education.

Considering all these aspects of the “linguistic phenomenon” during the Great War, the conference will disclose also its historical and cultural implications, promoting so the discussion among a wider public and increasing the contact and exchange between historians and linguists. The full program is available in French
here.

The First World War in Music: "A War Requiem" by John Herbert Foulds

J.H. Foulds  (1880 - 1939)
In our very small and limited research among composers who dedicated their attention and works to the First World War, it seems that a kind of "British wave" is somehow slowly emerging. This means that in that island we detect some prominent cases but of course this does not mean that the history of First World War in music is all there. And after the "Pastoral Symphony" by Ralph Vaughan Williams, today we share with our readers the case of John Foulds, author of "A World Requiem" (also known as Op. 60, according to the sequence of his compositions) a symphonic work crowded with soloists and choirs. This work was conceived in the years 1919-1921 immediately after the end of the Great War and ideally combines the memory the dead of the all the belligerent countries and the deep liturgical sense of all requiems. Foulds’ War Requiem is based on texts from the Bible, from the Christian writer and preacher John Bunyam and from the mystic Indian poet and saint Kabīr. An interesting article on this work was released by The Independent (you can find it here).

The performance we listened to is the one issued by Chandos Recordings in 2008, ninety years after the end of the war. Today it seems that a huge work of knowledge around the music of and on WWI is strongly required. We are not still able to see something significant around. If you disagree with this impression and you know something that is worth a recommendation, don’t forget to share it with us like some of you are already doing on Twitter. In the meanwhile, we can count also on Youtube to listen part of this work of John Foulds.


First World War one day itineraries through Italy. Suggestion no. 15: Col Fenilon and Col Moschin

Monte Grappa #3

Roman Column on Col Moschin


This new itinerary enables the visitor to discover a place, which became legendary during the late spring 1918, namely Col Moschin. The Italian front line ran at that time from Monfenera up to the eastern edge of the Grappa range, where the strongholds of Col del Miglio, Col Fenilon and Col Fagheron dominated the Brenta river Valley and its entry into the plain, representing therefore a critical point. The positioning of the Italian troops was here particularly difficult, since they were holding on to the mountain areas closest to the plains, along the cliff edge. In the early morning of June 15th the so called Battaglia del Solstizio started with the intent to attack from Grappa and reach via Vicenza the plain. At the beginning the Austrian assault, protected by the fog, succeeded in breaking through the front lines and in conquering the main enemy’s outposts. But already the day after a small Italian unit got back all the positions. The reconquest of Col Moschin was assured by a raid of the Arditi, whose feat is still commemorated with a roman column and a plaque on its summit. The itinerary is very simple, only during the winter it could be difficult because of the snow on the top. With an altitude gap of more the 1.000 meters, it takes about 5 hours all together.

The starting point is the hamlet of San Nazario, at the beginning of the Brenta river Valley. Since the roads are really very narrow, we suggest to drive immediately to the post office and to park in front of it.

Walking down, back to the central street, and turning right you’ll reach in few meters the starting point of the path n. 38, which lies again on your right and is signaled with an informative board. Follow it along a small river bed till you reach the real track which starts with a small bend on the right. The first part of the path is simply incredible since it consists in a single stony ladder which climbs with hairpin turns the steep slope. It’s hard to conceive today the hand work required to build all those steps, used during the Great War to bring supplies up to the front line, probably in particular heavy artillery by mules. The walk presents no difficulties, even if it’s quite demanding due to the gradient of the path. You’ll have however the chance to rest if you take the time to have a look at a small hut you skirt, at the view on the Valley below and above all at the observation points and the rests of small recoveries along the ascent. Almost at the top of the slope, after a small niche, in a grove of broad-leaved trees, pay attention on your left: you will recognize the entrance of a tunneled trench. You need a torch to visit it and pay attention in walking in it: the exit with the observation point on the valley is as beautiful as dangerous because it leans over a sheer overhang and has no protections.


The path climbs up, runs along bushes and another majolica niche and reaches then a small road. Just cross it and follow again the path n. 38 which leads to the pastures on the top. If you look at your left, you’ll immediately see the metal cross on the top of Col Fenilon (1.327 m.), from where you can look at the landscape ranging from the Asiago plateau, on the other side of the Brenta river Valley, to the Cima Grappa. Leaving behind your back this latter, you will see the near Col Moschin. Before reaching it, however, we suggest you to cross the meadow and to rest at the near Rifugio Alpe Madre, where you can eat something and maybe natter with the hosts. The Rifugio lies exactly halfway, between the two summits. As soon as you are ready, go on and walk up to Col Moschin (1.279 m.) where you can see the roman column in memory of the battle of June 1918 and have a look at the surrounding landscape. The way back follows the road just below, runs again along the Rifugio Alpe Madre and then rejoins the above mentioned intersection with path n.38, which descents on your left