Titlebook: Humor, Entertainment, and Popular Culture during World War I; Clémentine Tholas-Disset,Karen A. Ritzenhoff Book 2015 Clémentine Tholas-Dis

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War Memoir as Entertainment: Walter Bloem’s , (1916)1868, took Germany’s literary market by storm in 1910, when he published the first part of his monumental novel trilogy commemorating Prussia’s victory over France in 1870-1871 and continued with his career as author of ., quality entertainment novels in the years of the Weimar Republic.. Between 19

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The Nuanced Comic Perspectives of the Cartoons in ion aimed largely at the middle classes. The outbreak of the Great War reinforced the movement away from its subversive origins, as ., like the rest of the print media, had little choice other than to adopt the strongly patriotic stance that the exceptional circumstances required, using its pages to

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“You Can’t Help Laughing, Can You?” Humor and Symbolic Empowerment in British Music Hall Song duringally begin by declaring how difficult it is to define the term itself;. underlining the absurd or unexpected is often considered to be an essential element, while Bergson’s classic essay explains that humor is specifically human and social.

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Sugary Celebrations and Culinary Activism: Sugar, Cooking, and Entertaining during World War Ihe dinner table, evolved to be that of a political statement. By the beginning of the twentieth century, the American sweet tooth was firmly established, with over 75 percent of the US sugar supply being imported and thus requiring maritime shipping. In wartime, these ships were requisitioned for ot