WWI

Resumen: La disponibilidad de una amplia filmografía en el centenario del inicio de la I Guerra Mundial ha otorgado al docente de Historia una herramienta indispensable para poder trabajar numerosos aspectos del conflicto. Desde las causas y consecuencias del mismo, hasta el desarrollo de las operaciones bélicas, pasando por los intereses de los diferentes actores de la contienda (industriales, obreros, militares, etc.) han sido reflejados a través del cine. Las diferentes interpretaciones y visiones de la guerra, lejos de constituir un problema, deben servir para que el alumno tenga una visión más completa y profunda de esta gran catástrofe.

GERMAN VERSION ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA.EDU
in it:
1/
Lidia Głuchowska, Ekspresjonizm w sztuce polskiej – przegląd najważniejszych zjawisk, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, ed. Dagmar Schmengler, Lidia Głuchowska, Agnes Kern, Heidelberg: Kehrer, 2019, pp. 378–392
2/
Lidia Głuchowska,  Sztuka, polityka i eskapizm. Artysta-wieszcz i konstruktorzy „nowego świata” awangardy w historii polskiej sztukii kultury, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, pp. 402–411.
3/
Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Od redakcji, in: Malarz. Mentor. Mag. Otto Mueller a środowisko artystyczne Wrocławia, pp. 13–15.
Malarz i grafik Otto Mueller (1874–1930) zyskał międzynarodowy rozgłos jako przedstawiciel grupy Brücke. Mniej znanym faktem jest, iż przez ponad dziesięć lat jako wykładowca na Państwowej Akademii Sztuki i Rzemiosła Artystycznego we Wrocławiu wywierał istotny wpływ na szeroki krąg twórców sztuki i kultury. Do bliskich współpracowników i przyjaciół Ottona Muellera należeli artyści, architekci, krytycy sztuki, pisarze, kolekcjonerzy i studenci.W 1919 r. Otto Mueller wyjechał z Berlina do Wrocławia. Liberalna atmosfera i otwartość władz tamtejszej Akademii na nowe trendy w sztuce sprawiły, że uczelnia ta stała się ważnym centrum propagującym modernizm.W połowie lat dwudziestych w jej ofercie dydak¬tycznej uwzględniano na równych prawach ekspre¬sjonizm, typowy dla dzieł Ottona Muellera, tendencje charakterystyczne dla Academie Matisse i malar¬stwa Oskara Molla, Nową Rzeczowość, reprezentowaną przez prace Alexandra Kanoldta i Carla Mensego oraz styl Bauhausu, znamionujący twórczość Oskara Schlemmera, Georga Muchego czy Johannesa Molzahna.Impulsem stymulującym rozwój Akademii była bliskość środowisk artystycznych i intelektualnych Wrocławia i Berlina. Znaczący wpływ na życie kulturalne uczelni wywierał jednak przede wszystkim charyzmatyczny profesor malarstwa – Otto Mueller. Niniejsza publikacja i towarzysząca jej wystawa są rezultatem polsko¬niemieckiego projektu. Ukazują one Ottona Muellera z różnych perspektyw – w potrójnej roli malarza, mentora i maga.

In 1918, some 500,000 Ottoman Armenians found themselves displaced from their homes or living in Muslim households in the Eastern Mediterranean and the South Caucasus. For most, life did not return to normal after WWI. Rather, new wars, war scares, political manoeuvrings, economic policies, famines, and epidemics during 1918–1930 resulted in a long-term refugee crisis that was responded to by a large number of Armenian and non-Armenian organizations. This article looks at one such response: the humanitarian relocation to Canada of 110 boys and 39 girls and women—all genocide refugees and most of them orphans. It traces how this relocation campaign was realized despite Canadian immigration authorities' long-standing efforts to keep Asians, the impoverished, and the stateless from entering the country. Breaking with the often simplistic and celebratory tone of the literature on humanitarian aid to Ottoman Armenians, this article discusses how the preceding fundraising campaigns of 1880–1922 were a liability for this subsequent relocation project, and it pays special attention to the people and ideas that opposed it.

This Microsoft Excel file is meant to serve as an appendix to my pieces "Sympathy and Exclusion: The Migration of Child and Women Survivors of the Armenian Genocide from the Eastern Mediterranean to Canada, 1923–1930" (https://www.academia.edu/36572903/) and "Notes on a Connected History of Canada and Ottoman Armenians through 1930" (https://www.academia.edu/35591903/).

Absicht des vorliegenden Beitrags ist es einige Aspekte im Bezug auf die Kriegserfahrungen und die Stellung der Kroaten in der Donaumonarchie während des Ersten Weltkriegs und unmittelbar nach dessen Ende darzustellen, um damit ein historisches Schlaglicht auf die 1918 erfolgte tiefe Zäsur zu werfen, welche der Untergang Österreich-Ungarns auch für die Kroaten, als eines der Völker des Reiches, bedeutet hat.

Камена књига предака : (о натписима са надгробних споменика западне Србије) / Радојко Николић. - 2. допуњено изд. - Чачак : Народни музеј Чачак, 2018 (Чачак : Артера). - 399 стр. : илустр. ; 24 cm

Тираж 300. - Стр. 7-18: Плави хоризонти Радојка Николића: од микроисторије до социјалне антропологије / Милош Тимотијевић. - Стр. 19-23: Значајан вуковски подухват / Драгиша Витошевић. - Радојко Николић: стр. 397. - Напомене и библиографске референце уз текст. - Регистар.

ISBN 978-86-84067-63-2
821.163.41-193.6:398
003.071=163.41"18/19"
726.82(497.11-15)"18/19"

COBISS.SR-ID 261062156

POLISH VERSION OF THE BOOK
ACCESSIBLE IN THIS PROFILE OF THE ACADEMIA EDU

articles by Lidia Gluchowska in this book:
1/
Lidia Głuchowska,  Der Expressionismus in der polnischen Kunst – ein Überblick, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds. Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 378–392.

2/
Lidia Głuchowska, Kunst, Politik und Eskapismus. Expressionistische Künstler-Seher und avantgardistische Konstrukteure der Welt in der polnischen Kunst- und Kulturgeschichte, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 402–411.

3/
Dagmar Schmengler, Agnes Kern, Lidia Głuchowska,  Vorwort, in: Maler. Mentor. Magier. Otto Mueller und sein Netzwerk in Breslau, eds Dagmar Schmegler, Agnes Kern, Lidia Głuchowska, Heidelberg: Kehrer, 2018, ISBN 978-3-86828-873-5, pp. 13–15.

The Tragic Blunder!  The fate of the HMAS Australia - Guardian of the Southern Seas

On 12 April 1924, the former HMAS Australia, the largest warship in the Australian fleet was towed 50km east of Sydney Heads and scuttled with full military honours. Eulogies were read, strong naval men were wet eyed and public outrage flared at the loss of the first flagship of the Royal Australian Navy (RAN). This highly significant vessel was Australia's only battlecruiser, was the grandmother/ centrepiece of the Royal Australian Naval Fleet, and prevented German aggression in the South Pacific during World War I. The wreck lay undisturbed for many years until its accidental discovery in 400m of water 1990. However, due to its extreme depth, a survey was not undertaken of the site until the RAN (at the request of the Heritage Branch) directed a suitable deep water ROV unit (US CURV) to undertake the first photographic survey of the site in 2007. This paper presents a potted history of this vessel which led to its sinking, along with the survey results and analyses which have documented key diagnostic elements of this, Australia's largest protected Historic Shipwreck.

В статье представлен анализ тенденций современной историографии в странах Западной Европы и США о событиях, спровоцировавших Первую мировую войну. Основное внимание также уделено интерпретации влияния современной геополитической ситуации в мире на восприятие исторических событий, а также на стремление изменить исторические факты о Первой мировой войне. В работе использована современная прозападная литература, опубликованная в период с 2010 по 2019 гг., а в качестве основного предмета сравнения взято современное отношение историографии к одним из главных участников Первой мировой войны – России и Сербии. Автор рассматривает празднования и особенности культуры памяти Первой мировой войны в странах Западной Европы, с особым вниманием к 2018 и 2019 гг. Результаты анализа дадут новую картину стремлений «западного мира» адаптировать историю к современной мировой политике.

This paper represents an analysis of current trends in Western European countries and the USAs contemporary historiography on the events which caused the World War I. Besides that, the main focus will be interpretation of how the worlds new geopolitical situation is influencing the perception of historical events as well as of the aspirations to change the World War I historical facts. During the analysis, contemporary pro-western literature will be
used, published in 2010–2019 time period, while the current relations of historiography towards the main actors of World War I, Russia and Serbia, will represent the main subject of comparison. Apart from literature, the author will provide a review of the analysis of celebrations and markings of the culture of remembrance of World War I in the Western European countries, with a special focus on the 2018 and
2019. The results of the research will provide a completely new picture of the aspirations of the “Western world” towards “the adjustments of history according to the contemporary world politics”.

In 1909, Norman Angell's book, The Great Illusion, claimed that war was futile because nations were economically intertwined. Angell's book saw widespread acceptance and garnered international attention by winning the Nobel Peace Prize and acceptance by President Woodrow Wilson. Focusing on Wilson's addresses leading up to and during the war, this study examines the rhetorical transformation by President Wilson from isolationism, to neutrality, and finally to a declaration of war. But all the while Wilson's addresses struggled under conflicted transformation with the ideas outlined in Angell's award-winning work.

Опубликован отрывок из хранившихся долгое время в семейном архиве воспоминаний офицера-гвардейца Г.А. Римского-Корсакова (лейб-гвардии Конная артиллерия). Выпусник Училища правоведения, в 1912 г. он ушел вольноопределяющимся в гвардию, попав благодаря семейным связям в элитную лейб-гвардии Конную артиллерию. Основное внимание уделено особенностям гвардейского быта, взаимоотношениям между офицерами. жизни в высших слоях петербургского общества. Внимание сконцентрировано на самоощущении молодого человека, представителя знатной семьи, поклонника музыки и изящных искусств, который ввиду карьерных убеждений (и под влиянием моды) решил окунуться в чуждый для него мир гвардии. Особый интерес вызывает и тот факт, что мемуары писались в 1960-е гг., когда сам автор находился в СССР.


Георгий Алексеевич Римский-Корсаков человек удивительной судьбы. Родился он 28 марта 1891 г. в известной дворянской семье. Его отец Алексей Александрович Римский-Корсаков был отставным военным, местным предводителем дворянства, мать, Софья Карловна фон Мекк (1865–1935) — известным общественным деятелем. После развода с мужем в 1900 г. она вышла замуж за князя Дмитрия Михайловича Голицына, а в 1908 г. основала Высшие женские (Голицынские) сельскохозяйственные курсы.
Неудивительно, что детство и юность Георгия Алексеевича прошли в атмосфере музыки и театра. Элитарность и эстетичность — вот как можно охарактеризовать атмосферу, в которой он рос. В 1908 г. Георгий Алексеевич поступил в Императорское училище правоведения. Однако после окончания младшего курса решил связать себя с военной службой. Вольноопределяющимся поступил в лейб-гвардии Конную артиллерию, выдержал экзамен при Николаевском кавалерийском училище, затем был произведен в прапорщики (13 сентября 1914 г.).
В годы Первой мировой войны участвовал в боевых действиях в Восточной Пруссии, в январе 1915 г. переведен в 7-й уланский полк на должность младшего офицера эскадрона с присвоением чина корнета. В октябре 1916 г. по болезни переведен в 6-й запасной кавалерийский полк. В 1917 г. назначен командиром эскадрона. После Октябрьской революции уехал в Москву, вступил в РККА. В 1919 г. участвовал в обороне Гатчины от войск Северо-Западной армии генерала Н.Н. Юденича (при штабе этой армии находился его двоюродный брат граф Э.П. Беннигсен). В 1922 г. демобилизовался.
Затем начался период долгих скитаний и поисков работы, необходимой, чтобы прокормить семью. По воспоминаниям Андрея Георгиевича Римского-Корсакова, сына Г.А. Римского-Корсакова, «при каждой очередной кадровой чистке его увольняли "по социальному признаку"». Вместе с тем Георгий Алексеевич постепенно начинал входить в круги художественной интеллигенции: посещал музыкально-вокальные курсы, работал в Большом театре. В 1928 г. Г.А. Римский-Корсаков на несколько месяцев был арестован. После того он сократил свою фамилию до «Корсаков» и уехал из Москвы в Подмосковье. В 1932 г. он стал научным сотрудником в театральном музее им. А.А. Бахрушина. В начале Великой Отечественной войны вместе с семьей эвакуировался в Северный Казахстан, в г. Петропавловск, где создал при Доме пионеров музыкальный кружок. В 1944 г. назначен директором Северо-Казахстанского Областного Музея, где проработал 2 года. Затем преподавал музыку в различных учебных заведениях. И только в 1969 г. вернулся обратно в Москву. Скончался 6 октября 1971 г.
В последние годы жизни Г.А. Римский-Корсаков написал ряд мемуарных и искусствоведческих работ: о русском балете, театре, своей семье и однокашниках. Так, еще при жизни в одном из журналов вышла статья о его товарище по Императорскому училищу правоведения известном шахматисте А.А. Алехине1. Среди различных записок и статей выделяются его воспоминания «Записки солдата-гвардейца», посвященные годам службы в лейб-гвардии Конной артиллерии. Эти материалы были сохранены Андреем Георгиевичем Римским-Корсаковым, сыном Г.А. Римского-Корсакова, и в августе 2014 г. переданы для изучения в Российское военно-историческое общество.
Писались воспоминания в середине 1960-х — начале 1970-х гг., отчасти — в Петропавловске, отчасти — в Москве. В отличие от многих других мемуаристов Георгий Алексеевич не имел возможности обратиться к архивам или к рассказам боевых товарищей. А потому перед нами именно пространство памяти, рефлексия человека, прошедшего долгий жизненный путь и решившего доверить собственный опыт (в данном случае опыт военной службы) бумаге. Воспоминания писались для членов семьи, возможно, с надеждой, что их когда-нибудь удастся опубликовать. Но важно другое: над автором не висел дамоклов меч ни советской идеологической цензуры (через горнило которой проходили мемуары, шедшие в печать), ни корпоративной офицерской этики (большинство его товарищей по военной службе уже умерли либо доживали свой век в эмиграции). Георгий Алексеевич вырос в мире искусства и после относительно непродолжительной военной службы опять вернулся в него. Он был похож на Гостя из аристократических кругов, увлеченного художественной жизнью, который вдруг захотел стать частью «закрытого аристократического военного клуба», сообщества под названием «лейб-гвардии Конная артиллерия». Ввиду объективных причин он не стал (не успел стать) офицером с точки зрения психологии и мироощущения. Неудивительно, что мемуары озаглавлены именно как «Записки солдата-гвардейца», что указывает на дистанцирование от офицерства как сословия на момент написания мемуаров, хотя из самого текста видно, что и к «сословию солдат» автор себя тем более не причисляет и не причислял никогда. Он так и остался представителем аристократических кругов, большая часть жизни которого принадлежала «миру искусства» (а не «миру военной службы»). Важно понимать, что Георгий Алексеевич несомненно был частью той самой элиты, которая после революционных событий 1917 г. лишилась своего статуса и была вынуждена либо эмигрировать, либо погибнуть, либо приспосабливаться к жизни в новом, советском, государстве. Отсюда и общий пафос мемуаров: определенная ностальгия, перемешенная со стремлением подвести жизненный итог, осмыслить (порою даже очень критически) тот мир, ныне утерянный

Storia della corazzata della Regia Marina Regine Margherita e della sua scomparsa. Cronaca della spedizione di identificazione del relitto di questa corazzata, affondata l’11 dicembre 1916 dal sommergibile posamine tedesco UC 14 all'uscita del porto di Valona (Albania). Il relitto era stato ritrovato poco prima da un membro della spedizione e il ritrovamento necessitava di una identificazione. La spedizione è stata condotta con il patrocinio del Ministero degli Affari Esteri della Repubblica Italiana, Ambasciata d'Italia a Tirana e Consolato d'Italia a Valona.
https://www.iantdexpeditions.com/spedizioni/rm2005/rm2005.htm
https://www.youtube.com/watch?v=2e0tYo5cBUo

WA Coastal & Marine was commissioned by Historic Scotland to provide high-resolution multibeam bathymetry data targeted on a number of wreck sites in Scapa Flow in the Orkney Islands.

Scapa Flow is a large natural harbour in the southern part of the Orkney Islands in the North of Scotland, which served as Britain’s main naval base during WWI and WWII. Its waters hold Scotland’s highest concentrations of shipwrecks. WA Coastal & Marine manganed the acquisition of multibeam data over the wrecks by MMT Netsurvey and subsequently conducted an archaeological assessment of this multibeam data.

In addition to this WA Coastal & Marine conducted and a Desk-Based Assessment (DBA) of the wreck sites covered by the multibeam data in order to enhance the historic environment record with respect to these sites and to support Historic Scotland’s work on the Scottish Marine Protected Areas Project.

Parade, which premiered on May 18, 1917 at the Théâtre du Chatelet, was the result of a collaboration between Jean Cocteau, Pablo Picasso, Léonide Massine, and Erik Satie, all under the guidance of the “monstre sacré” of the Ballets Russes – Serge Diaghilev.  The ballet tells the story of a troupe of itinerant performers on the streets of Paris as they offer a preview of their show in an effort to draw an audience, an effort that ultimately fails. Even before the curtain fell, life had imitated art and audiences were voicing their derision by shouting such insults as “Métèques,” “Sales Boches,” “Trahison,” “Art munichois,” “embusqués,” and others that convey a hatred of the perceived unpatriotic German behavior of the ballet’s collaborators.  This ire was mostly directed at Pablo Picasso and seems to be due to the cubist character of several of his designs for both the décor and costumes.

While most condemned the ballet, others more attuned to the various styles at work in the larger aesthetic of the production attempted to offer explication. One such figure was Jean Cocteau himself, who, in an article for Vanity Fair, offered an explanation that seems at odds with his own subtitle “Ballet Réaliste” and his continuous urgings to the men to “Soyons Vulgaire” or “be vulgar” during the ballet’s conception.  He offers an interpretation of the ballet that hinges on Picasso and Satie’s incorporation of neoclassicism into the production. This is even more intriguing when one realizes how much Diaghilev had pushed Cocteau out of the creative and promotional processes surrounding the Ballet. Additionally, Satie worked from a scenario not entirely of Cocteau’s original intention – he worked from a version of the scenario rewritten without Cocteau’s knowledge by Picasso. Over the course of this essay, I will be exploring how this neoclassicism is represented visually, and I intend to offer an interpretation of Picasso’s rideau de scène, or overture curtain, in particular (Fig 1). I hope to relate the imagery of the curtain, which is nostalgically classicizing while remaining mildly cubist in style, to the overall scenario of the ballet. In doing so, I plan to argue that facing the negative criticism of the perceived foreign influence of Cubism, combined with negative attitudes toward foreign civilian non-combatant artists during WWI, Picasso used the framework of Cocteau’s scenario to explore the dilemma of the avant-garde (appropriately symbolized by the performers) to present a mélange of current progressive visual possibilities. However, Picasso saves his solution, just like the main act of the parade, for the unseen interior of the tent that is represented on the rideau de scène in a veiled visual language of classicism.

Beginning with a brief summary of the Ballets Russes’ place in the landscape of Parisian art and theatre, this essay will continue by recounting the process by which Parade came to be. After presenting the scenario of the ballet and its various characters and costumes, I will turn to its critical reception, particularly the anti-cubist attitudes and insults hurled at the collaborators. I will do my best to fit these into both the context of current wartime events as well as into the context of the anti-cubist criticisms of the 1910’s as described by Kenneth Silver. Finally, I will explore the nostalgic neoclassicist vein of the ballet and suggest that this was the intention of Picasso in his conception of the curtain in relation to the greater action of the ballet.

The armament race which had begun in the late 19th century came into prominence in the maritime with the realization of the programs considering the construction of new ships. The construction of faster ships with long-range cannons had been stipulated in order to become superior on the sea and this race had been concluded with the construction of dreadnought class ships. When Goeben (Yavuz), which was the second dreadnought constructed in Germany, had been launched nobody could have estimated that the ship would bring the end of the age of empires in the world and that it would held a significant role in Turkish History. Being considered as the most superior ship of the period, Goeben (Yavuz) succeeded in all the battles during the war and served as the insurance of the Ottoman State at the Black Sea against the Russians.
Various studies have been made on the battle cruiser Goeben (Yavuz) up to the present and in most of the studies evaluated the process through which the dreadnought passed under the Ottoman flag and the activities performed by the cruiser until the end of the war. In this study the technical specifications of Yavuz (Goeben) which did not sink despite the mine wounds it had, the repairs made on the ship during the period it sailed under the Ottoman and Turkish flags, and the process of its discarding will be evaluated. Besides, the study will also focus on the efforts made to keep Yavuz (Goeben), which can be considered as the last dreadnought alive when it was sold to MKEK to be dismantled, as a museum.
Throughout the study national archival documents and documents from US National Archives has been used.
Purpose of the Study
The balance policy followed by Bismarck was replaced by the colonial policy after the German Emperor II. Wilhelm acceded to the throne in 1888. This situation destabilized mainly the way of sharing the African continent among England, France and Russia and Germany began its quest to get a share of the cake. This could only be realized by creating a powerful navy against England and France.
Industrial and technological developments starting from the second half of the 19th century reflected also in the shipbuilding sector and speed tonnage and weapon ranges of ships improved. The first ship built with deck and boards covered by steel armor in a protected way from mines and torpedoes, named as HMS Drednought joined British navy in 1906. The construction of Dreadnought has changed the course of the maritime history.
Introduction
Germany started to construct dreadnought class ships within the navy construction program prepared by the Navy Minister Admiral Tirpitz in order to make the navy more persuader as an indispensable element of Germany's changing foreign policy. Goeben, one of this class of ships being much more superior compared to British dreadnoughts regarding especially the armor protection joined German navy in 1912.
Sparks of War ignited by the murder of Archduke Ferdinand in 1914 surrounded Europe in a very short time, Goeben and Breslau, which bombed France's colonial Algerian ports entered the Dardanelles on 10 August 1914 after escaping from the British and French navy in the Mediterranean. Entry of two German ships from Dardanelles by approval of the Minister of the Navy Enver Pasha accelerated involvement process of the Ottoman Empire to the I. World War. Goeben and Breslau were named as Yavuz Sultan Selim and Midilli with Turkish flag taken on board and served under Admiral Souchon's command during the war. As a result of a planning under the leadership of the Minister of the Navy Enver Pasha, German ambassador Wangenheım and navy commander Admiral Souchon, Ottoman navy bombed Russian ports on 29 October 1914 and then Ottoman Empire was involved in the war on the same side as Germany.
Yavuz Sultan Selim became the main factor which deterred Russians from a military action in Black Sea similar to the landing action made by England and France combined navy to Gallipoli coasts. Repair activities of the battleship which maintained its float and combat capability in spite of being exposed to mine hits could be made limitedly due to technical deficiencies in Ottoman shipyards. Two mine crashes were closed and shaft bearings were replaced without docking the ship by workers and materials brought from Germany during the war despite limited possibilities.
The war ended in the Black Sea following the Russia's withdrawal from the war in the end of 1917 Bolshevik Revolution. Midilli sank and Yavuz Sultan Selim was hit by three mines during the İmroz Action, realized in Aegean under the command of Admiral Paschwitz, assigned as Ottoman Navy Commander to replace Admiral Souchon. Machinery and weapon systems of the battleship subdued by British after Mondros Armistice became un-operational and it served as Apprentice School until the proclamation of the Republic.
Docking and repair of Yavuz Sultan Selim, which passed to the Republic navy in a wounded condition was finished after removal of the Ministry of Marine on 5 January 1928 due to political wrangling, which was established on 30 December 1924. New dock construction and docking was done by German company Filander, machinery and boiler repair was done by French company St. Nazaire Penohed. The battleship of which boilers and fire control systems were renovated was carried up to a construction speed of 28 mph.
Minister of Marine İhsan Eryavuz and accompanying delegation being accused of corruption with respect to transactions in the tender process stood trial at Divan-ı Ali and were punished. This trial was the first Supreme Court trial and punishment of a minister in the Republican period.
Yavuz Sultan Selim, which joined Turkish navy after being completely repaired in 1930, was firstly renamed as Yavuz Selim and then as Yavuz in the Republican period. Yavuz, which actively served until 1950, did the driving force in the formation of the Turkish navy and the navy establishment programs were created as Yavuz oriented.
The ship kept in the spare status was taken out of service in 1957, then sold to Mechanical and Chemical Industry as scrap in 1969.
Although both Turkish and German press tried to mold public opinion during the sales and fragmentation process to make Yavuz a museum, based on its important role in the world history and since it was the last existing dreadnought, this could not be realized due to economical reasons. The decision of the politicians of that era therefore eliminated the opportunity to transfer the living history to future generations.
Churchill described Yavuz (Goeben) as a ship which carried so many deaths, poverties and disasters in 1914 to the people living in East and Middle East which was never seen in the compass of a ship before and Yavuz (Goeben) served for 62 years under Turkish and German flags and has not only left a reputation in the world history, but also large imprints. During its service, the glorious Yavuz battleship was attacked 17 times by seaforce, 60 times by airforce, wounded 6 times by 30,5 cm artillery, 5 times by mine and 2 times by bomb and continues to remain in Turkish Nation's memories as a legend worthy of its giant body and its power.
Conclusion
Ottoman Empire which had the second largest navy in the world with France in Sultan Abdulaziz era was unable to achieve the era since technological developments had not been followed up and could provide limited support during the war to Yavuz Sultan Selim, one of the most modern ships of its era. Imprisonment of the navy in the Golden Horn by Sultan Abdulhamid had also direct impact in loss of war capability of the navy.
If Sultan Osman and Reşadiye dreadnoughts captured by England were delivered back, these ships would also need a dock. This is an indication that Ottoman administrators and mariners did not act with sufficient foresight. Although relevant preparations had been made in Gölcük, they were not completed also due to economic reasons.
Despite all these problems, Yavuz managed to permanently maintain the marine superiority against Russians in the Black Sea during the war thanks to both its perfect design and tenacious struggle of Turkish and German workers.
The navy was established as Yavuz oriented in the Republic period and took its place among reputable navies around the world in accordance with Atatürk's directives. If attempts to make a museum ship were successful, we would have the opportunity to live and to better evaluate the history.

Quaderno n. 10 –– Conferenze del 2007, stampato per conto del Circolo da Legatoria Manna, Rende (CS), marzo 2008 –– Sommario: (1) GUSSO Massimo, Il “Pio” Enea e le mitiche origini di Roma pp. 1-25; (2) TOMASI Giovanni, Camerone pp. 26-35; (3) TOMASI Giovanni, Incursione Musulmana in Italia pp. 36-58; (4) GUSSO Massimo, La Guerra per le Isole Falkland (2 aprile-14 giugno 1982) pp. 59-84; (5) GUSSO Massimo, L'affare del Telegramma Zimmermann (Tre mesi di oscure operazioni segrete, prima dell'entrata nel conflitto degli Stati Uniti d'America – gennaio-aprile 1917 – quando la Grande Guerra diventò “Guerra Mondiale”) pp. 85-119; (6) CADEDDU Lorenzo, L'anno di Guerra 1917 pp. 120-142; (7) ZOCCOLETTO Giorgio, Scoperta dell'Islanda e d'altre terre pp. 143-158 (con una nota di Loredana Imperio sul manoscritto dei fratelli Zeno, pp. 157-158)

Özet;
Türklerin Anadolu’ya ilk ayak basmalarını takiben bu coğrafyada varlıklarını idame ettirebilmek için Çanakkale Boğazını hedef alan bir strateji benimsemişlerdir. Bir noktada güvenlik stratejilerinin temel taşlarından biri olmuştur. Yüzyıllar boyunca savunmanın önemli unsuru olan Çanakkale Boğazı özellikle bahriye ve denizciler için vazgeçilmez bir yuva olmuştur. Çanakkale Savaşları’nda akla ilk gelen husus 18 Mart deniz zaferi ve 25 Nisan’dan itibaren Gelibolu yarım adasındaki kara muharebeleridir. Bu zafer stratejisi sahnesinin arkasında başta lojistik deniz nakliyatı olmak üzere birçok operatif ve taktik harekât bulunmaktadır. Bu operatif ve taktik seviyede yapılan harekâtı incelemeden bütündeki başarıyı değerlendirmek eksik kalacaktır.

Anahtar Kelimeler: Çanakkale Boğazı, Donanma, Çanakkale Savaşları, 18 Mart

Overwiev to First World War Gallipoli Campaign and Less Known Facts Was The War Won at the Sea?

Abstract

The Turks first stepped into Anatolia. Following period, to maintain their presence in this region have adopted a strategy of targeting the Dardanelles. At one point the security strategy has been one of the cornerstones. For centuries an important element of the defense of the Dardanelles has been an indispensable especially for housing navy and sailors. Gallipoli campaign comes to mind first naval victory matters March 18 and from April 25 are land battles on the Gallipoli peninsula. There are lots of operative and tactical operations, including * Dr, Deniz Harp Akademisi Öğretim Üyesi, [email protected]. S. Murad Hatip 162 Çanakkale 2015 maritime transport logistics first victory strategy behind the scenes. This operative and tactical success in all the operations carried out investigations to assess the level will remain incomplete.

Keywords: Dardanelles, Navy, Gallipoli Campaign, 18 March

Paper deals with the reality of the situation when royalty ruled the world, and when no one but royals were allowed to write under penalty of death. Thus, a 'closed'  or controlled environment with the created illusion of freedom & the unification of royalty to preserve that status quo.

Документы (отчеты, официальные и рабочие записки) Бюро по прикладной ботанике Ученого комитета Главного управления землеустройства и земледелия (Министерства земледелия) за годы Первой мировой войны. В том числе приводится черновик отчета Бюро за период с 27 октября 1914 до 1 июля 1917 г., до последнего времени считавшегося утерянным. Материалы, характеризующие деятельность Бюро и взгляды на необходимые преобразования в организации проводимых на средства казны агроботанических исследований, принадлежат перу заведующего Бюро Р.Э. Регеля — одной из важнейших фигур, определявших государственную политику в этой области в 1910-е гг. Документы отражают структуру Бюро (предшественника Института прикладной ботаники и новых культур, в 1930 г. реорганизованного во Всесоюзный институт растениеводства), организацию в нем исследований и сбора образцов семян, заложивших основу богатейшей коллекции, некоторые моменты бытовой жизни и попытки эвакуации Бюро и его кол- лекций из прифронтового Петрограда в 1917 г. Несмотря на то что аналитическая работа еще только предстоит, подборка представляет несомненный интерес для историков науки и сельского хозяйства, историков Первой мировой войны, а также для биологического и аграрного сообщества.

Abstract
The occupation years of Istanbul under allied forces (from November 13, 1918 to October 6, 1923) did not involve intense construction activities and thus has not attracted much attention as a subject for architectural history research. However, as the capital of the recently defeated Ottoman Empire, the city, which became severely crowded, presented an enormous need for new spaces in order to fulfill a great variety of new functions to serve allied forces, soldiers, and immigrants coming from all over the empire. Due to the poor economic conditions of the defeated Ottoman state, these new demands were fulfilled by the functional transformation of existing buildings instead of new construction. Allied forces acquired the spaces they needed through the same methods of seizing and refunctioning since the occupation never lost its temporary classification. Along with massive internal immigration to Istanbul, refugees fleeing from the Bolshevik Revolution also greatly increased the population of the city. This study aims to examine functional transformations in the urban and architectural environment of occupied Istanbul by White Russian refugees. First, spaces providing basic needs are examined, such as shelters, orphanages, hospitals, and soup kitchens. Second, the influence of refugees from Russia on the social life of the city is examined based on the functional transformation process of available buildings, focusing especially on spaces used for entertainment and sports activities that have come to show permanent effects extending to later periods.
Özet
İstanbul'un 20 Mart 1920 öncesi mütareke, sonrası resmi işgal olmak üzere 13 Kasım 1918'de başlayıp 6 Ekim 1923'te Türk ordusunun İstanbul'a girmesi ile sonlanan işgal dönemi yoğun bir yeni inşaat faaliyeti içermemesi nedeniyle, dönem üzerine yapılan incelemelerde mimari açıdan dikkat çekmemiştir. Oysa bu dönemde İstanbul, Osmanlı İmparatorluğu'nun yenik düştüğü bir savaşın ardından gerek işgal kuvvetleri yöneticileri ve askerleri gerekse imparatorluğun her yanında kaybedilen topraklardan başkente sığınan mültecilerle oldukça kala-balık bir hal almış ve tüm bu nüfus ve yeni idare için çok sayıda mekâna ihtiyaç duyulmaya başlanmıştır. Ekonomik durumu kötü olan imparatorlukta bu yeni ihtiyaçlar zorunlu olarak mevcut yapıların işlevlerinin dönüştürülmesi ile karşılanmıştır. Geçici niteliğini kaybetmeyen işgal nedeniyle işgalci kuvvetler de ihtiyaç duydukları mekânları benzer bir yöntem ile elde etmişlerdir. Başkentin aldığı yüklü miktardaki iç göçün yanı sıra Bolşevik devriminden kaçan Rusyalılar da bu dönemde büyük dalgalar halinde İstanbul'a gelmiştir. Bu çalışma şehrin kentsel ve mimari ortamında işgal döneminde geçirdiği işlevsel dönüşümü göçmen grupları içinde başlıca bir yere sahip Beyaz Ruslar üzerinden değerlendirmeyi hedeflemektedir. Bu amaçla öncelikle Rusyalı göçmenlerin asal ihtiyaçlarının sağlanması amacıyla onlar için oluşturulan barınak, yetimhane, hastane, aşevi gibi kurumlar ele alınmaktadır. Çalışmanın ikinci yarısındaysa Rusyalı mültecilerin İstanbul'un sosyal hayatına etkileri yine mimari işlevsel dönüşüm süreci üzerinden incelenmekte ve bu defa Rusyalı mülteciler tarafından, özellikle eğlence ve spor faaliyetleri için oluşturulan mekânlar ortaya konmakta, bunların şehrin hayatında sonraki dönemleri etkileyen kalıcı etkileri irdelenmektedir.

Twelve years after WWI ended, the film, All Quiet on the Western Front, was introduced to American audiences. This film promoted a strong anti-war message through the telling of one German soldier and his experiences on the front lines. Although, All Quiet on the Western Front focuses on the lives of German soldiers, it is slightly manipulated through the lens of an Americanized viewpoint. By comparing the film’s message, audience, and purpose, in contrast to real life German soldier’s letters from the war with the accompaniment of other secondary sources, the analysis of the historical accuracy of the film can be concluded.

The research that has been done on royalty in general is massive. And, the connections between royal lines once revealed can be amazing, as they will sometimes reveal connections that a) were not supposed to have existed, and even b) that actually contradict the information that was given to the general public by those very royals. This paper gives two different lines of descent of Kaiser Wilhelm II, from Arrius Calpurnius Piso. One is through Arrius Piso's son Justus Piso. And the second line of descent is via Arrius Piso's son Julius Piso. Now, even though these two lines are given here, it should be understood that in reality, these are but two of many extant genealogies extending from Arrius Piso and his family to Kaiser Wilhelm. I plan to write yet another paper giving some of the other lines as well. There are several things that I have noticed as I have researched and studied ancient history and genealogies; things that should provide any good (or with time, potentially great) researcher with valuable information. And, as in my case, perhaps answers to many very important questions, as well as a few epic discoveries. When I began to investigate fully, and with the time and attention required, ancient history and information given within those histories, with regards to particular individuals, I found that certain things appeared to be 'standard' with all of those ancient authors-and those things stood out to me, and appeared to have been missed by other researchers, as I had never seen those certain things ever being noted or mentioned in the work of other researchers. For one thing, I had noted that in the work of one ancient author after another, there were so many instances where those authors could have very easily gave answers and information in a direct and forthright manner; but deliberately chose not to. And, more often than not, avoided very skillfully, giving key information about certain individuals; mainly and particularly, the authors themselves. Also, those authors would make statements which either promised to give answers and/or further information about a particular subject, and then failed to do so. At least, in any known or public work. Now, some researchers have tried to answer this by giving excuses for some of those instances. But, in essence, those explanations or excuses are really simply guesses. And poor ones at that. My work has given some genuine answers. And the true context of the material that was being written and left to future generations by those ancient authors is key to getting at the truth and in finding valid answers to these and other questions. One of the main things to realize is that ancient history (and other material being produced by those authors), was being written within a tightly controlled environment. And that changes the context in which we must now examine that material in order to understand it correctly. It also means that because of this set of circumstances, other things were in play as well. And, one of those is the fact that the authors who were leaving us their works were in fact, all royalty. Which, in turn, means that these authors were related to each other and had the same common ancestry. It also, therefore, means that they had the same or similar vested interests. Because only royals or those of royal blood, were able to write for publication, it meant that what they

Analiza tekstova napisanih o Srbiji i Balkanu, tokom i neposredno nakon Prvog svetskog rata, omogućuje uvid u dve
perspektive –1. politički ugao gledanja diplomata i novinara; 2.žena koje su bile lekarke, medicinske sestre i neposredne
učesnice u ratu. Cilj ovog rada je da istakne: 1. Načine na koje je Srbija predstavljana u engleskoj i američkoj javnosti
tokom Velikog rata; 2. Označi percepciju i ukaže na ambivalentni stav prema Srbiji u javnom diskursu, koji su još uvek
prisutni u različitim formama; 3. Da ukaže na ulogu žene i pokreta Sifražetkinja u promeni javnog mišljenja i percepcije
Srbije u Britaniji i Americi posle Velikog rata; 4. Najzad, da pokaže prirodu stereotipa i stranputice na koje odvodi svaki
oblik pojednostavljivanja Drugoga.

Catalogue of the 'The War Beyond The Western Front: Hidden Histories of the First World War' exhibition hosted at the Glass Tank Gallery at Oxford Brookes University in Nov-Dec 2016, featuring 3D anaglyph conversions of contemporary stereoscopic images courtesy of Simon Wilson, and the individual research projects conducted at the Soldiers of Oxfordshire Museum (Sofo) as part of our AHRC funded research development project with Stephen Barker and the Centre for Hidden Histories at the University of Nottingham.