The Restitution of Harold Krebs: A Cartographic Reading of Hemingway’s “Soldier’s Home”

One hundred years after the publication of his first major work, Ernest Hemingway remains an important author. His work addressed the search for meaning in the wake of a 'Great War' and amid the challenges of rapidly changing social conventions, and his prose style has influenced generations of journalists and writers. Hemingway was wounded on the battlefield and caught up throughout his life in conflicting desires. He was also a deeply committed artist, a restless experimenter with the elements of narrative form and prose style. This book's detailed discussions, informed both by close formal analysis and by contemporary critical frameworks, tease out the complexity with which Hemingway depicted disabled characters and romantic relationships in changing historical and cultural contexts. This introduction is especially useful for students and teachers in literary studies and modernism.

Table of contents: Introduction 1. William S. Hanson and Ioana A. Oltean, 'A Spy in the Sky: the potential of historical archival aerial and satellite photography for archaeological research' Opening doors: aerial and satellite archives 2. David C. Cowley, Lesley M. Ferguson and Alan Williams, 'The Aerial Reconnaissance Archives: a global aerial photographic collection' 3. Peter McKeague and Rebecca H. Jones, 'Blitzing the Bunkers: finding aids - past, present and future.' 4. Martin J.F. Fowler, 'Declassified intelligence satellite photographs.' Historical aerial and satellite photographs in archaeological research 5. Birger Stichelbaut, Wim De Clercq, Davy Herremans and Jean Bourgeois, 'First World War aerial photography and medieval landscapes: moated sites in Flanders.' 6. Tony Pollard and Peter Barton, 'The use of First World War aerial photographs by archaeologists: a case study from Fromelles, northern France.' 7: Andrew Young, 'Historic Vertical Photography and Cornwall's National Mapping Programme' 8: Patrizia Tartara, 'The Use of Historical Aerial Photographs in Italy: Some Case Studies' 9. Ioana A. Oltean, 'A Lost Archaeological Landscape on the Lower Danube Roman Limes: The Contribution of Second World War Aerial Photographs 10. Zsolt Visy, 'The Value and Significance of Historical Air Photographs for Archaeological Research: Some Examples from Central and Eastern Europe' 11. Ivan Fumado Ortega and Jose Carlos Sanchez-Pardo, 'Archaeology from Aerial Archives in Spain and Portugal: Two Examples from the Atlantic Seaboard' 12. Natal'ya S. Batanina and Bryan K. Hanks, 'Soviet Period Air Photography and Archaeology of the Bronze Age in the Southern Urals of Russia' 13. Robert Bewley and David Kennedy, 'Historical Aerial Imagery in Jordan and the Wider Middle East' 14. Jose Iriarte, 'Down Under in the Marshes: Investigating Settlement Patterns of the Early Formative Mound-Building Cultures of South-Eastern Uruguay Through Historic Aerial Photography' 15. Anthony Beck and Graham Philip, 'The archaeological exploitation of declassified satellite photography in semi-arid environments.' 16. Rog Palmer, 'Uses of Declassified corona Photographs for Archaeological Survey in Armenia 17. Damian Evans and Elizabeth Moylan, 'Pixels, Ponds and People: Mapping Archaeological Landscapes in Cambodia Using Historical Aerial and Satellite Imagery' 18. Ioana A. Oltean and William S. Hanson, 'Integrating Aerial and Satellite Imagery: Discovering Roman Imperial Landscapes in Southern Dobrogea (Romania)'

The search for invisible and clandestine burial places of victims of wars and totalitarian crimes is a very difficult task. Research and exhumation teams use various methods to help locate burial places. According to the experience of our team, one of the best sources of information about burials are archival and contemporary aerial photographs. During World War II, aerial photography became one of the most important tools for warfare reconnaissance. For this reason, huge numbers of aerial photographs are currently available, in which the victim’s burial sites have been accidentally recorded. Aerial photographs are often helpful not in the direct identification of graves, but in the reconstruction of topographies of individual objects within a defined period of time, and thus, indirectly, in the location of graves. The aim of the study was to demonstrate the usefulness of historical aerial, satellite and drone photographs in the process of searching for the remains of victims of armed conflicts and totalitarian crimes. The paper presents the experience gained in the course of research projects carried out.

THE development and use of aerial photography were primarily initiated during and immediately after World War I. A systematic technology was rapidly devised that shifted from military applications to mapping, geographical surveys, planning, and archaeology. In the United States, the American Geographical Society played a major role in the shift by funding projects and publishing their results in its publications (Wright 1952, 338-342). One of these projects was the Shippee-Johnson Expedition to in 1931. Some of the first published aerial photographs, which were views of Paris, San Diego, Miami, and Tientsin, appeared in a 1917 Geographical Review article (Woodhouse 1917). Technical articles were published in 1920 (Lee 1920; Moffit 1920), and a regional study of Morocco was based on aerial photographs (Blache 1921). Five volumes in the Special Publications series were devoted to aerial photography, or airplane photography, as it was initially called. first volume was The Face of the Earth as Seen from the Air (Lee 1922), which utilized photographs taken by the U.S. Army and Navy. It was followed by Peru from the Air (Johnson 1930), Northernmost Labrador (Forbes 1938), Focus on Africa (Light 1941), and The Face of South America (Rich 1942). All these books were well illustrated, with generally excellent vertical and oblique aerial photographs. volume on led directly to the Shippee-Johnson Aerial Photography Expedition in 1931, the results of which have been of enduring importance. expedition, endorsed by the American Geographical Society, received international attention at the time because of the high quality of the photography and the spectacular landscapes, prehistoric ruins, and other features it revealed. expedition was the first systematic attempt to use aerial photography to discover, locate, and describe prehistoric ruins and agricultural features in South America; Charles Lindbergh had taken photographs from the air of pueblo ruins in New Mexico and of Mayan causeways and cities in Yucatan in 1929 (Ricketson and Kidder 1930; Deuel 1969, 187-213). Also, a study of the ruins of Chan Chan in had made some use of aerial photography (Holstein 1927). Particularly impressive is the resolution of well-preserved overlapping vertical photographs taken by Shippee and Johnson of the Colca Valley in the Andes of southern Peru. Shippee-Johnson photographs continue to be used and published by geographers, archaeologists, and other scholars. Because of the current interest, this article describes the expedition, the resultant photography, and its whereabouts. There are several sources. Shippee (1932a, 1932b, 1933, 1934) published four articles about the expedition. Information on the progress of the expedition appeared in the West Coast Leader (1931-1932). Brief descriptions are found in Deuel (1969, 225-234), Jackson (1983, 164-171), and Fundacion Colca (1989). Information on the surviving photography was obtained from Robert Shippee, Loren McIntrye, the American Museum of Natural History, and the Servicio Aerofotografico Nacional in Lima, which Johnson founded. A file in the archives of the American Geographical Society contains correspondence about the 1931 expedition. Most of the items in the file are dated 1930 or 1931, including letters between Isaiah Bowman or Raye Platt and either Johnson or Shippee. U.S. ambassador in Lima initially was contacted about logistics and permits and later about the promised but delayed submission of prints of 6,000 photographs to the Peruvian Ministry of Marine and Aviation. society, as endorser of the expedition, acted as an intermediary in what were sensitive issues. Also of interest, Bowman corresponded with Alfred Kroeber, Julio Tello, and other archaeologists regarding whether Shippee and Johnson were the first to discover the Great Wall of Peru. JOHNSON'S PHOTOGRAPHY 1928-1929 precedent of the 1931 expedition was the aerial photography of U. …

Max Dupain is Australia's best-known modernist photographer. The least-known period of his working life is the Second World War, when he joined many other Australian artists and served as a camouflage officer for the Department of Home Security, attached to the Royal Australian Airforce. Dupain was trained in aerial photography. He camouflaged airbases in New South Wales and photographed camouflage experiments from the air. When the war moved into the SW Pacific region, Dupain was sent to Goodenough Island in Papua to work alongside Americans. This article addresses the emotional impact of the war on Dupain and contrasts the depersonalised, abstracted aesthetics of functional aerial camouflage photography with The New Guinea Series, a portfolio of documentary photographs of people and landscapes on the islands of New Guinea and Papua. Dupain's war service left him troubled and searching for greater truth through photography. I argue that The New Guinea Series, which was completed independently of Dupain's official employment as a camoufleur, communicates his sharpened awareness of the importance of embodiment as a moral approach to the world. I propose that the New Guinea Series acted as a humanist antidote to the dehumanisation that Dupain experienced through the abstractions of aerial photography.

The First World War gave an enormous impetus to reconnaissance, photography, and air-photo interpretation which was carried over into peacetime by archaeologists who had seen its potential. Aerial reconnaissance and photography were swiftly applied in the Near Eastern theatres, from Gallipoli to Persia. The scale of aerial photography during the First World War is staggering – and massively surpassed in the Second. In the postwar period, there were immense numbers of aerial photographs, thousands of aerial cameras and large numbers of people who had worked routinely with aerial photographs and often acquired expertise. The RAF undertook aerial photography over the frontier region with Vichy Syria. Southern Syria and Jordan offer additional forms of military site – those in which forts are part of an extensive settlement. Aerial photographs of Antioch allowed something of the planned landscape beyond the city to be defined and suggested the original Hellenistic cadastral system.

This chapter considers the use of aerial reconnaissance photographs taken on the Western Front during the First World War as a source of information for the growing number of archaeologists carrying out archaeological investigations on sites of conflict from this period. Hundreds of thousands of aerial photographs were taken by both sides during the war, a process which in itself provided the engine for the development of aerial warfare, because of the need to provide protection for military reconnaissance. One of the largest collections of Allied photographs resides in the Imperial War Museum in London which provided the examples used in this study.

Aerial perspectives are often used to strategic ends by providing the valuable survey view instrumental to military operations, while also contributing to damage assessment and potentially to accountability efforts in the aftermath of such initiatives, via before-and-after diptychs. Precision is the lauded principle of military visioning and targeting, whereas uncertainty or ambiguity is frequently a governing characteristic of aerial photographs in civilian contexts. Aerial photographs are examples of what Allan Sekula refers to as “instrumental images” (images with primarily logistical purposes), a term that sits adjacent to Harun Farocki’s “operational images” (“pictures that are part of an operation”).1 Commenting on the instrumentality of aerial reconnaissance photographs in the context of the First World War, Sekula remarks that these images “seem to have been devoid of any rhetorical structure” so that their interpretation demanded that each photograph “be treated as an ensemble of ‘univalent,’ or indexical signs—signs that could only hold one meaning, that could only point to one object. Efficiency demanded this illusory certainty.” Given this imposed limitation of meaning, Sekula concludes, “Within the context of intelligence operations, the only ‘rational’ questions were those that addressed the photograph at an indexical level, such as ‘Is that a machine gun or a stump?’”2

Photogrammetry/Aerial Photography

Chapter 1 - Introduction to Small-Format Aerial Photography

This article presents, for the first time, multidisciplinary geoarchaeological work by a joint Belgo-Italian team from the universities of Ghent and Cassino in and around the Roman urban site of Ammaia in the northern Alentejo region of Portugal. This project is a geoarchaeological case study to investigate the conditioning effects of landscape and landscape evolution on a Roman urban site (and vice versa) in the Iberian peninsula. Composite image of aerial and contour maps of study area The site and landscape presentation is followed by a brief discussion of the aims and approaches of the chosen geoarchaeological strategy. With this study we approach the cultural landscape around Ammaia by means of techniques which combine methods both of the geosciences and of archaeological survey. The specific problems of assessing and reconstructing a Roman landscape, much altered by physical movements of the soil and by a two-millennia long period of human interference, will therefore be tackled in a multidisciplinary way. This means first of all making use of all relevant cartographic material, available aerial photographs and relevant satellite images. All important pre-existing archaeological information is inventoried and mapped and new fieldwork organised. This fieldwork, combining traditional archaeological survey techniques and geomorphologic observations, is being used to build a database of landscape features and sites with archaeological relevance for the period concerned. As many field data and cartographic elements as possible are being assembled in a Geographic Information System, specifically developed for this project. This GIS has already enhanced much new cartographic material of crucial importance in reconstructing the landmarks of the site and territory of Ammaia in the first centuries of our era and has helped to evaluate and interpret the evolution of the landscape shortly before, during, and since Roman times. A large part of this contribution is dedicated to reporting on some major observations and results obtained during three field campaigns, in the summers of 2001, 2002 and 2004. These results relate primarily to three fields of archaeological concern with specific relevance to the landscape background: the tracing of the circuit wall of the Roman city, the intra-urban cartography and the supply of water to the urban area during Roman imperial times. The authors believe these investigations to be examples of good practice in the field of geoarchaeology of the classical Mediterranean landscape. This article will particularly interest: * People interested in Roman archaeology and landscape archaeology of the Mediterranean region Key points: * The Roman city of Ammaia * Landscape survey * Geoarchaeology

Fifty Years on: The Guns of August, Always Popular, Always Flawed Samuel R. Williamson Jr. (bio) Barbara W. Tuchman, The Guns of August. Library of America, 2012. Illustrated. 1,268 pages. $40. Barbara Tuchman’s The Guns of August appeared to glowing reviews in the popular press in February 1962. Orville Prescott, writing in the New York Times on February 5, declares it “a splendid and glittering performance, one of the finest works of history written in recent years”; she writes “elegant and polished” prose that reflects “a sardonic sense of humor.” And Tuchman, Prescott continues, concentrates “on what people said, did and felt. Her pages are full of apt quotations and of hundreds of dramatic scenes and episodes.” The work, he concludes, “is a fine demonstration that with sufficient art rather specialized history can be raised to the level of literature.” The reading public agreed with Prescott. The book stayed on the bestseller list for more than forty weeks. In 1963 it won the Pulitzer Prize for nonfiction. President John Kennedy reportedly read The Guns of August before the Cuban missile crisis later in 1962. It was said that he found in Tuchman’s admonitions to be skeptical about military plans the reasons behind his own sharp questioning of the military plans offered to him that October—plans that turned out to be exceptionally suspect. And, in the years since, the work has been assigned to generations of students on courses that deal with the First World War and with questions of grand strategy. In contrast to the popular acclaim received by the book, professional historians have from the start been equally critical of it. Some, such as the reviewer in the Journal of Modern History (March 1963), praised its prose style but found the account based “only partially” on the best available sources and castigated its flagrantly “one-sided treatment of imperial Germany.” Another reviewer, in Military Affairs (autumn 1962), pronounced that the “serious military scholar, however, will find nothing here that is new either in facts or interpretations and will be struck by the author’s significant omissions.” The writer of this review, who read The Guns of August when it first appeared and cited it three times in a major study, has always regarded the effort as seriously flawed. The republication of this influential popular study offers this reviewer [End Page 163] an opportunity to explain the widely discordant reception that the book received when it first appeared. The comments that follow first address why it was popular and then turn to the critics and the long-term place of The Guns of August in the historiography of the opening days of the First World War. First Tuchman’s study heralded a new wave of publications about the First World War on the eve of the fiftieth anniversary of its outset. Although access to the relevant archives among the European powers remained closed, save the German records captured in 1945, the vast majority of memoir material had been published, as well as major collections of documents. Tuchman uses some of this material skillfully, and her narrative style gives the reader a sense of intimacy with the events. A few examples will suffice to show her ability. Of those who worked planning mobilization schedules, she observes: “The best brains produced by the [German] War College, it was said, went into the railway section and ended up in lunatic asylums.” Of events in London, “The method was plain; the muddle was in the British mind.” “The German navy was the dog in the night. It did not fight.” And of General Joseph Joffre, the French commander, whom she rightly praises for recovering after his initial mistakes: “Joffre did not panic like Sir John French, or waver like Moltke or become momentarily unnerved like Haig or Ludendorff or succumb to pessimism like Prittwitz. What went on behind that opaque exterior he never showed. If he owed his composure to a failure of imagination, that was fortunate for France. . . . When ruin was all around him, he maintained an even tenor, a stolid control.” Nor did she neglect some prescient statements by the major leaders, such as General Moltke’s observation...

The origins of aerial photography can be traced back to the second half of the 19th century, and periods of World Wars contributed to the development of techniques for developing and disseminating aerial photographs for military purposes. In the literature, we find descriptions of the Polish Military Geographical Institute’s (WIG) use of aerial photography to update topographic maps of nearly 40% of the country’s area at the time. Unfortunately, the fate of the pre-war collection of photographs is difficult to establish. Given this, the aerial photographs from the period of the Second World War (German and Allied) constitute the oldest possible complete and consistent photographic documentation of Poland. The series of German prints (373-GXPRINTS) collected at the National Archives and Records Administration in College Park (NARA, USA) are maintained according to the most liberal policy on access and further use. At the same time, the organisation of the NARA archive and the extent to which the collection has been digitised (over one million images) leave a deficiency, and searching for images requires knowledge, methods and experience. In 2020–2021, the Department of Geomatics and Cartography of the Maria Curie-Skłodowska University implemented the project Development of the Ortophotomap of Lublin 1939–1945 (NCN, Miniatura 4.0. No. 2020/04/X/HS4/00382). The result of the project is a dedicated web portal https://ortolub.umcs.pl, consisting of a digital repository of aerial images, a map application and standardised GIS raster data services. The author believes this is a unique source base, with unprecedented detail. The publication of the project results under the Creative Commons CC-BY-SA 4.0 licence is intended to foster the widest possible use of wartime aerial images in scientific research and popularisation activities. The process of developing a historical orthophotomap, as presented in the article, is universal and can be repeated on any set of aerial photographs. At the same time, development work is needed to automate the operations as fully as possible. In conclusion, current challenges and prospects for the development of historical orthophotomaps of national coverage are indicated.

During the First World War, millions of aerial photographs were taken by all fighting countries. Aerial photographs were taken extensively across the different theatres of war documenting a conflict landscape from which the relicts often remain visible as scars on the landscape. The aerial photographs which were taken during the conflict also provide an unparalleled record of the landscape at the beginning of the previous century. This chapter explores the potential of these historical aerial photographs to reveal previously unknown archaeological sites, highlighting some of the interpretational issues involved. A case study focuses on the landscapes and moated sites of the medieval period in Flanders (Belgium).

Many years ago Morris W. Croll's studies of seventeenth-century prose demonstrated that the so-called anti-Ciceronian movement in prose style—which included in England such writers as Bacon, Jonson, Browne, Hall, and Burton—based itself not merely on a refusal to imitate Cicero, but on certain common philosophical attitudes, chiefly Stoic and libertine, and on common rhetorical models in Seneca and Tacitus. Croll, having sketched the intellectual tradition in which these writers worked, went on to examine their writings empirically. In a brilliant essay entitled “The Baroque Style in Prose,” he outlined their chief syntactic procedures and showed how these sprang from and reflected a common aesthetic. A more recent study, The Senecan Amble by George Williamson (London, 1951), has amplified Croll's historical researches, attempting to fix the anti-Ciceronian or Senecan movement more firmly amid its tangled antecedents and its numerous consequences. Both Croll and Williamson, however, have concerned themselves primarily with stylistic theory, and with large historical sequences in which individual authors appear as points on a complex graph. It still remains to study some of the writers in question more closely as individuals, both to verify their locations on the graph and also to explore the richness and multiplicity of individual accents that compose the common style. The purpose of the present essay is a simple one: to focus attention on a single author, Ben Jonson. The evidence will show, I think, that the case of Jonson bears out Croll's findings to a remarkable extent, and that although Croll fails to mention Jonson in his article on baroque prose, Jonson has some claim to be regarded as the baroque stylist par excellence, whose highly personal, highly inflected style realizes to their fullest extent the principles of the baroque rhetoric.