9780803226104

The First World War was waged through the participation not just of soldiers but of men, women, and children on the home front. Mass-produced, full-color, large-format war posters were both a sign and an instrument of this historic shift in warfare. War posters celebrated, in both their form and content, the modernity of the conflict. They also reached an enormous international audience through their prominent display and continual reproduction in pamphlets and magazines in every combatant nation, uniting diverse populations as viewers of the same image, and bringing them closer, in an imaginary and powerful way, to the war. Most war posters were aimed particularly at civilian populations. Posters nationalized, mobilized, and modernized those populations, thereby influencing how they viewed themselves and their activities. The home-front lifefactory work, agricultural work, domestic work, the consumption and conservation of goods, as well as various forms of leisurebecame, through the viewing of posters, emblematic of national identity and of each citizen's place within the collective effort to win the war. Essays by Jay Winter, Jeffrey T. Schnapp, Jennifer D. Keene, and others reveal the centrality of visual media, particularly the poster, during World War I. Ultimately, posters were not merely representations of popular understanding of the war, but instruments influencing the reach, meaning, and memory of the war in subtle and pervasive ways.

Pearl James is an assistant professor of English at the University of Kentucky.

Contributors: Meg Albrinck, Richard S. Fogarty, Stefan Goebel, Nicoletta F. Gullace, Pearl James, Jakub Kazecki, Jennifer D. Keene, John M. Kinder, Mark Levitch, Jason Lieblang, Andrew Nedd, Jeffrey T. Schnapp, and Jay Winter.

List of Illustrations	p. vii
Acknowledgments	p. ix
Introduction: Reading World War I Posters	p. 1
Imaginings of War: Posters and the Shadow of the Lost Generation	p. 37
War Poster Campaigns and Images, Comparative Readings
Barbaric Anti-Modernism: Representations of the "Hun" in Britain, North America, Australia, and Beyond	p. 61
Chivalrous Knights versus Iron Warriors: Representations of the Battle of Materiel and Slaughter in Britain and Germany, I914-194O	p. 79
Regression versus Progression: Fundamental Differences in German and American Posters of the First World War	p. 111
Envisioning the Nation and Imagining National Aesthetics
Young Blood: Parisian Schoolgirls' Transformation of France's Great War Poster Aesthetic	p. 145
Race and Empire in French Posters of the Great War	p. 172
Images of Racial Pride: African American Propaganda Posters in the First World War	p. 207
Segodniashnii Lubok: Art, War, and National Identity	p. 241
Figuring the Body in the Context of War
Images of Femininity in American World War I Posters	p. 273
Humanitarians and He-Men: Recruitment Posters and die Masculine Ideal	p. 312
Iconography of Injury: Encountering the Wounded Soldier's Body in American Poster Art and Photography of World War I	p. 340
Epilogue	p. 369
Selected Bibliography	p. 377
Contributors	p. 383
Index	p. 387
Table of Contents provided by Ingram. All Rights Reserved.

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