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Shell Shock, described as the ‘emblematic psychiatric disorder’ of the First World War has long been synonymous with its soldiers. Its association with close proximity to exploding shells and thus the front lines, leading to the various symptoms of ‘shock’, has both facilitated and ensured its existence throughout the twentieth and twenty first centuries as a masculine affliction. Of the many shell shock studies that have been produced over the last few decades all have focused purely on the experience of the male combatant, predominantly because of this long held preoccupation with ‘front-line’ warfare and its consequences apparently being the preserve of men. Despite the prolonged interest and analysis of shell shock by medical and social historians along with a significant amount of work by feminist and, more recently, revisionist historians, detailing the involvement of women in the First World War, there is stHl no comprehensive study of the psychological problems encountered and suffered by the women who served alongside the British Expeditionary Forces (BEE). However, this study of the roles and duties of a specific group of women, namely nurses, voluntary aid detachments, and ambulance drivers, reveals they frequently endured a variety of traumatic experiences, involving injuries and fatalities, through the vicarious witnessing and dealing with horrific sights and sounds, all compounded by extremes of conditions and privations. Many, if not all, of these factors were given as antecedents for war neurosis in soldiers. Yet, while the nurse has been idolised for her role in the Great War, her experience of psychological ‘breakdown’ has not been examined. This thesis, through the analysis of professional medical literature, of medical case notes, personal testimonies, diaries and autobiographies, is a contribution to the areas of women’s history, medical history and, more specifically, to the history of psychological war trauma. Following a review of the literature in chapter one, chapter two is a re-examination of the proximity of nurses to the fighting zones and therefore of their exposure to danger. Chapter three analyses the nurses’ experience and subsequent symptoms of war trauma, including, importantly, how contemporary medical authorities understood the disorder, and then cared for and managed their female sufferers. These two chapters fundamentally argue that the notion of war-induced traumatic neurosis being the preserve of men is essentially pretence, and that this ‘focus’ on male sufferers means the history of the condition is incomplete. Chapter four essentially examines the issues of repatriation faced by these nurses, specifically examining the evolution of war disability pensions process of which they were excluded until 1920. It also looks at how the nurse, as female war veteran, coped with the consequences of her war experience. In conclusion, this thesis asserts that these nurses did indeed suffer psychologically for their involvement in this war and not because their symptoms and disorders ‘resembled’ those experienced by men, but were in fact, indistinguishable to the extent that some nurses were classed as ‘shellshocked’

Military Service Tribunals were established following the passing of the first Military Service Act, 1916, to consider applications for exemption from men deemed thereby to have enlisted. Given that conscription itself was an entirely novel mechanism to early twentieth century Britons, there existed no criteria or known models against which the function of these bodies might have been measured or standardized. Gifted a marked degree of independence by Government, even to the point of determining the nature and quality of evidence they should consider in adjudicating cases, they represented a uniquely autonomous stage in the processes that took men from civilian to military life. Being comprised entirely of civilians, drawn from the communities upon which this new coercion fell, the Tribunals were also the visible, accessible face of Government policy. Their sittings became in effect the sole ‘official’ forums in which the human cost of industrial-scale warfare might be rehearsed without circumspection. Though charged with keeping the national interests of the country foremost in mind, many tribunalists appreciated, or discovered, that local issues and concerns represented no less fundamental a part of those interests than did the maintenance of the New Armies. This thesis, utilizing a rare, near-complete body of Appeals Tribunal records, examines the minutiae of the exemption process. It considers to what extent the contradictions inherent in a ‘system’ staffed by volunteers, implementing legislation that aimed towards an as-yet undefined manpower policy were, or could be, resolved. It also tests largely negative assumptions regarding the attitudes, motives and preconceptions of tribunalists in discharging their role. Finally, it assesses the validity of two prevalent, though conflicting, judgements upon the Tribunals collectively: that either they were too receptive to localist pressures in exempting far more men than had been anticipated by the architects of conscription, or, that in demonstrating an unswervingly middle-class empathy with militarist values, they fell far short of the judicial impartiality required of them by legislation

Thema dieser Dissertation ist die Frage, wie sich Licht und Sehen im Zuge der Elektrifizierung veränderten, und zwar aus Sicht literarischer Erzähltexte, die zwischen 1900 und 1933 publiziert wurden. Ausgangslage der Untersuchung ist erstens die These, dass durch den Einsatz des elektrischen Lichts eine Reihe neuer Wahrnehmungsdispositive entstanden, wo trotz der Lichtstärke elektrischer Leuchtmittel zwielichtige Licht- und prekäre Sichtverhältnisse herrschten. An drei besonders markanten Zwielichtszenarien der ästhetisch-technischen Moderne – Großstadt, Kino und Schützengraben – werden anhand einer breiten Quellenbasis aus Literatur, Technik, Wissenschaft, Philosophie und Ästhetik aufgezeigt, wie die Ausdifferenzierung der lichttechnischen Infrastruktur neue Blickregime und ästhetische Weltanschauungen produzierte, die ihrerseits veränderte Techniken des Sehens evozierten. Eine weitere zentrale These lautet, dass sich angesichts der prekären Licht- und Sichtverhältnisse auch die kulturelle Semantik des Lichts veränderte: die Art und Weise, wie Licht, und damit ebenso die Vorstellungen von Wahrnehmung, Wahrheit und Wirklichkeit, vor- und dargestellt wurden. Die neuen Lichtphänomene erforderten neben aisthetischen (die sinnliche Wahrnehmung betreffende) Anpassungsleistungen auch ästhetische Bewältigungsstrategien: neue Darstellungsweisen und symbolisch-metaphorische Zuschreibungen, die das zeitgenössische Wissen über Licht und Sehen gehörig in Bewegung brachte. Es entstanden virulente neue Korrelationen ‚moderner Wahrnehmung‘ zwischen technisch erzeugtem Zwielicht, epistemischer Irritation und narrativ erzeugter Visualität. Ich hoffe, mit meiner Arbeit neue Perspektiven auf die nach wie vor relevante Frage ‚moderner Wahrnehmung‘ zu werfen, die sich seit der ‚elektrischen Moderne‘ sukzessive als immer ausgeklügelteres Zusammenspiel von (Licht-)technik, aisthesis und Ästhetik neuformiert. / This dissertation focuses on how light(ing) and seeing/ perception changed in the course of electrification, from the perspective of German literature, published between 1900 and 1933. My first claim is, that the use of electric light created a series of new perceptual dispositifs, where dubious light and precarious visual conditions prevailed despite the luminous intensity of electric lighting. Three particularly striking twilight scenarios, that play a significant role in technology and aesthetics in the early 20th century, – namely the City, the Cinema, and the Trenches of WWI – are gripping settings to demonstrate, how disruptive lighting infrastructure produced new scopic regimes and innovative aesthetic perspectives (Weltanschauungen) that changed the techniques of visual perception. Drawing from a broad base of sources from literature, technology, science, philosophy, and aesthetics, I argue that the disruptive lighting technologies did not only change light phenomena, visual conditions and perception, but also transformed the cultural semantics of light substantially. Closely tied to concepts of truth, perception and reality, the rhetoric of light and lighting are dense metaphors and symbols, deeply interconnected with the history of knowledge. The new light phenomena required aisthetic (sensory perception-related) adaptations, as well as aesthetic coping strategies, like new modes of representation and symbolic-metaphorical attributions that troubled contemporary knowledge about light and visuality. My research zooms in on the visual dispositifs of ‘electric modernity’ and thus on the new correlations between technically generated twilight, epistemic irritation, and narrative visuality. By analysing the interplay of lighting and visual technology, aisthesis, and literary aesthetics in early 20th century, I hope to shed new light on the intriguing question of ‘modern perception’ that remains relevant from the beginning of the electric age until now.