After the Armistice

Michael J. K. Walsh is Chair of the School of Art, Design and Media at Nanyang Technological University Singapore and is Professor of Art History. He has published widely on culture at the time of the Great War and has a particular interest in painting and music.Andrekos Varnava, FRHistS, is an Associate Professor in History at Flinders University, South Australia, and an Honorary Professor in History at De Montfort University, Leicester. He is the author of four monographs, eight edited volumes and 50 peer-reviewed journal articles and book chapters.

• Introduction: After the Armistice: Empire, Endgame and Aftermath 1. ‘Britannia Pacificatrix’: Re-Imagining a post-Armistice Empire Part 1: Imperial Endgames 2. ‘Imperial Coercion in Ireland and India 1919–1921: Insights for Irish Australians.’ 3. ‘Germans on the British Imperial Peripheries: Lagos and Tonga 1914–1919’ 4.‘Imperial Masculinity and Racial Pacification: "Martial Bengalis" in the Great War’ 5. ‘Society and Identity in the former Ottoman World: Encounters between Cypriots and Armenians of the Légion d’Orient in Cyprus in 1917–1918’ 6. ‘Mary Booth’s Nationalism at the end of the Great War’ 7. ‘"The True Story of Ah Q": British decline, American power, the rise of Chinese nationalism 1918-1923 and reflexive contemporary centenary commemoration in China’ 8. ‘An Empire man on the road to Dominion independence: Robert Randolph Garran’s experience of the Armistice "blunder" and its aftermath’ Part 2: Cultural Aftermaths 9. ‘The threshold of the British Empire’: Accommodation, coercion and the commemoration of a national Australian narrative of war at an imperial site of memory 10. ‘A deathless monument of valour’: The national memorialisation of Anzacs as ancient Greek citizen-soldiers from the war’s aftermath to the centenary Dawn Service at Gallipoli 11. ‘If Not In This World’: memorialising the personal narrative of micro-history with music 12. ‘Pleasant Remembrances and Foreboding Futures’: Glorifying Representations of Empire and their Opposition within Britain’s National Cinema during the 1930s 13. ‘Reconciliation through Commemoration’: Ireland, Empire, and the 1987 Enniskillen Armistice Day Bombing 14. ‘We’re here because we’re here’: The emotive power of the dominant cultural imaginary of the Tommy in post-Brexit Britain Part 3: Coda 15. ‘The Hall of Remembrance’

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