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Angela Smith
To cite this article: Angela Smith (2008) The girl behind the man behind the gun: women as carers
in recruitment posters of the First World War, Journal of War & Culture Studies, 1:3, 223-241, DOI:
10.1386/jwcs.1.3.223_1
Journal of War and Culture Studies Volume 1 Number 3 © 2008 Intellect Ltd
Article. English language. doi: 10.1386/jwcs.1.3.223/1
Abstract Keywords
The First World War saw a clash between the external, violent world of man- gender
made destruction and the part women would be called upon to play in this. For recruitment posters
the first time in Britain, women would be directly recruited by the state to play First World War
an active role in armed conflict. The dominant image of the female war worker of women carers
this conflict is that of the nurse, yet nursing was a role that was carried out by a social class
very small number of women when compared with those working in munitions
manufacture.
This article explores the thread of ‘care’ that runs through recruitment posters
of the First World War. It looks at the way in which the image of women was used
to recruit male service personnel early in the war, where women were used to rep-
resent the values of home and hearth that needed to be defended, whilst also repre-
senting an underlying heroism in their implied ability to safeguard these values in
the absence of the gallant heroes. Whilst ‘care’ is explicit in the role of the volun-
tary nurse in posters aimed directly at female recruitment, this article will also
look at posters recruiting women to the apparently conflicting role of munitions
manufacture, exploring how this thread of care is woven into images here, too.
Social class will be seen as an important factor in the construction of the
image of woman as carer in these posters, which, I will argue, carries echoes of
late nineteenth-century social reforms that placed increasing emphasis on women
as being responsible for the future well-being of the nation.
Introduction
The last quarter of the twentieth century saw an increased academic
interest in the first quarter, with many studies looking in particular at the
changing role of women in British society in this period. Sue Bruley
(1999) and Susan Grayzel (2002), for example, have studied women’s
experiences in the context of the First World War, whilst the conflict’s
wider cultural circumstances have been explored by Sandra Gilbert (1983)
and Sharon Ouditt (1994). The more specific experiences of working-class
women, particularly munitions workers, have been explored by Angela
Woollacott (1994) and Deborah Thom (1998).
Despite the fact that the perhaps less glamorous munitions workers
made up the bulk of female input into the First World War, the most com-
monly found image on public memorials to represent women workers of
the First World War is that of the voluntary nurse. The only memorial
female nurturing in the First World War, and attempts to understand the
meanings these propaganda images held for their audience in the context
of the viewers’ lived experiences. The article will begin with a brief discus-
sion of the use of posters in military recruitment, it will then review the
ways in which, during the immediate pre-war years, women had come to
be increasingly framed in the public eye as carers and it will conclude with
a more detailed discussion of selected recruitment posters from the period
of the First World War.
So, by 1914, the poster as a medium of mass persuasion was well estab-
lished in both the public mind and the eyes of the state. In his discussion of
posters from the First World War, Rickards identifies four different ways in
which posters are used and fit into the apparatus of persuasion (Rickards
1968: 10). These four categories were common across all belligerent
nations and, as we will see, can be adapted to carry the image of the
female carer:
• the call for men and money – the basic ingredients of war;
• the call for help for the fighting men – home comforts such as books,
tobacco, chocolate – and for the sacrifice of comfort on the home front;
• the call for help for the wounded, orphans and refugees. This category
was finely judged in its timing; it was withheld for long enough to
avoid premature despondency and yet appeared soon enough to convey
official recognition of sacrifice. It was generally exploited as an incen-
tive to more sacrifice, with wounded soldiers serving to jolt the civilian
conscience;
• the call for women to be employed in the war effort, for increased
munitions production and for increased austerity all round.
For every war that has yet been waged, women have supplied the first and
the greatest of all munitions – men […] Therefore, consciously or uncon-
sciously, the daughters of Britain may be answering some mysterious call of
their sex in working all day and all night in the munitions factories.
(Caine 1916: 34–5)
Tommy’s sister in the munitions factories, like Tommy in the trenches, lives
in the last moment, now joking, teasing, laughing and wriggling, and then
fuming and flaming and weeping over her troubles as if the world were com-
ing to an end.
(Caine 1916: 70)
Recruitment posters
Rickards’s first category mirrors Caine’s declaration that the principal pro-
pagandist role of women is to supply the raw material for war, that is to
say, men. Early recruitment posters for the war effort show women urging
men to join up, implicitly to defend them (and metonymically the nation),
but also showing that they would stay behind to keep the homes fires
burning. Typical of such posters is one from 1915, carrying the text
‘Women of Britain say “Go!”’ (Figure 1).
The text directly attributes the command ‘Go!’ to the female population
of Britain, thus putting women in the active role of ordering (implicitly)
men to volunteer for armed service. In this way, there is a direct gender
division between the unanimous voice of the ‘women of Britain’ and the
unnamed object of the directive: the opposite masculine polarity. Gilbert
also offers a reading of this image to link it to the ‘little mother’ propa-
ganda in which women become ‘frighteningly judgmental about their
male contemporaries’ in urging men to act as ‘human ammunition’
(Gilbert 1983: 433). Interestingly, one of the rare times that a recruitment
poster is commented upon in oral history reveals that this poster also had
the effect of suggesting that women should assume a more physically
active role. In their recent collection of oral histories, Richard van Emden
and Steve Humphries cite one interviewee who reports that she was
inspired by this particular poster to become a VAD nurse (van Emden and
Humphries 2003: 118). She read the poster thus: that by encouraging the
men to go off and fight, women implied that they were willing and able to
look after the country whilst the men were away.
The picture on this poster shows what appear to be three generations,
two women and a young boy who are firmly placed within the domestic
sphere, their intertwined arms and upturned faces indicating a vulnerabil-
ity that emphasizes their need to be protected, implicitly by men. The
It is the men who are seen as giving their lives so that the community is
protected – and women who are seen both as being protected and obliged to
await the return of men, whether as memory or as homecoming hero.
Needless to say, the waiting women are assumed to be waiting in a state of 2. Interestingly, the
virtue, otherwise the sacrifice will be sullied and de-sacralized. images found in
posters produced by
(Davies 1993: 121). the US military tend
towards a more sexu-
But this is not the only discourse in the poster. There is a very strong sense alized female figure.
of national identity that links the text (it is women of Britain) with the
image of England’s mythical rolling green hills. The text of the patriotic
hymn Jerusalem is much quoted for the phrase ‘England’s green and pleas-
ant land’, and is one of the most commonly evoked images in relation to a
particularly English national identity. Interestingly, the setting to Charles
Parry’s score of William Blake’s exploration of the sublime (see de Luca
1995) in his poem ‘Milton’ was originally prepared for use by the suf-
fragette movement in the early twentieth century, where its aspirational
and uplifting message was read as the female quest to build a ‘New
Jerusalem’ (Hartman 2003). The use of this hymn by the suffragette
movement was quickly extended to encompass the whole nation, both
genders, and the dominant patriotic discourses of the time, where it has
remained ever since. Here, it powerfully evokes an idea of national identity
and adds to the message that women will protect the homeland while men
go away to fight.
Therefore we could say that this recruitment poster is interdiscursive in
that it is drawing on two different discourses – morality and national identity –
as well as intertextually drawing on other texts, such as popular songs, to
support and endorse its message. The representation of the virtuous
female who is indebted to the valorous servicemen in this poster is, as we
have seen, open to different interpretations. The readings of it in different
contexts, such as that of van Emden and Humphries’ interviewee, show
how different social conditions can lead to different processes of interpre-
tation. However, in both readings, the women are represented as being in
need of protection whilst also worthy of trust in caring for the home (and
homeland) in the absence of the fighting men.
Many other early recruitment posters show women in this dual role
within the first category Rickards suggests, whilst beginning to edge them
into the more active role of carers themselves, as in Rickards’ fourth cate-
gory. This is found in posters produced by all the belligerent nations.2 A
similar image to E. V. Kealey’s (above) comes from the anonymous poster
that explicitly recognizes Irish national identity with its headline slogan
‘For the Glory of Ireland’ (Figure 2).
This slogan appears at the top of an image of a young woman shown
to be working class by her checked Ωkerchief, with her sleeves and skirt
tucked up in readiness for physical labour. Unlike the women in
Kealey’s poster, this young woman appears out of doors, her long hair
blowing loose in the wind, as she stands against a backdrop of destruc-
tion that evokes wartime images of smouldering, bomb-damaged build-
ings (helpfully labelled ‘Belgium’ in the poster). A small family group in
the middle distance indicates refugees, drawing on other media images
of the ‘rape of Belgium’ that were part of the shock tactics used to incite
anger at the acts of a barbarous enemy. The tragedy is here emphasized
by the refugee woman’s face buried in a handkerchief to mask (or
enhance?) her grief. Linked to the headline slogan, this also suggests
3. The highlighting of
Irish identity was an
important aim of
the British state as
internal conflict was
close to the surface in
the early years of the
twentieth century,
culminating in the
Easter Rising of 1916.
Whilst Ireland
remained part of
Britain, it was subject
to the same
recruitment
expectations as the
mainland.
Figure 2: ‘For the Glory of Ireland’, Unknown artist, circa 1914. Imperial War
Museum. Reproduced courtesy of the Imperial War Museum.
that a similar fate might befall Ireland should no action be taken to pre-
vent it, whilst the ‘glory of Ireland’ is assumed to be an Irish undertak-
ing to avenge such attacks.3 By a miracle of artistic licence, the two
main figures appear to be standing close to the shore of what we
assume to be Ireland, but from where we/they are able to see the
destruction on the shores of Belgium. This serves to reduce the geo-
graphical distance between the two countries, and so heightens the
as both the mothers of the men fighting to protect them, and also the car-
ing nurses who will tend to the injured heroes.
The potentially conflictual nature of this role has been outlined by
Outditt in relation to images of the British VAD. For many women, there
was a conflict between the feminine and domestic figures for whom the
men were fighting, and the masculinized opportunities the war afforded
them in the expansion of their own horizons. As Gilbert (1983) and Ouditt
(1994) have pointed out, these women were confronted with seemingly
Figure 4: VAD recruitment poster, Joyce Dennys, circa 1916. Imperial War
Museum. Reproduced courtesy of the Imperial War Museum.
Figure 5: ‘Queen Mary’s Army Auxiliary Corps’, Unknown artist, circa 1916.
Imperial War Museum. Reproduced courtesy of the Imperial War Museum.
would in fact do, but instead gain a sense of a female community that is
not too different from the Girl Guide movement that had been instigated
in Britain in 1909, with its outdoor lifestyle and tented camps.4 The
cheerful young woman here addresses the reader directly, through her
gaze and welcoming stance, encouraging the reader to join the massed
ranks of uniformed young women sketched in the background. That this
should be part of some great adventure is emphasized by the young
woman’s casual stance, and is far removed from the serious business of
war, as with the Dennys poster discussed above. The title of the corps
locates it firmly within the female arena, with the monarch’s consort’s
name prominent, whilst the distance from actual fighting is indicated
through the explicit use of ‘auxiliary’. The slogan attached to this image,
‘The GIRL behind the man behind the gun’, has an ordering in which
Figure 7: ‘On her their lives depend’, Unknown artist, circa 1917. Imperial War
Museum. Reproduced courtesy of the Imperial War Museum.
they too are represented as retaining their vulnerable femininity, their 5. IWM.EMP 80,
15 March 1919,
long hair a reminder of the temporary nature of their work, which they p. 24.
were ready to leave in order to return to their usual occupations, ostensibly
better suited to their femininity.
Conclusion
Given the social context of women in British society at the time, it is per-
haps unsurprising that women were represented as carers in propaganda
aimed at male recruitment during the First World War. As we have seen,
they symbolize a duality in embodying a vulnerable femininity and by
extension a vulnerable nation, both of which are in need of protection by
the male populace. They are also, however, shown to preserve this domes-
ticity and homeland whilst the men are away fighting in foreign fields.
This traditional image of femininity recurs in early recruitment posters
aimed at encouraging women to join various auxiliary agencies, particu-
larly those that deal with established female roles such as nursing and
domestic service. However, recruitment posters aimed at attracting
women into jobs that had previously been almost exclusively male, such as
munitions manufacture, also show women being presented as carers. As
we have seen, they carry the dual role of caring for their menfolk by keep-
ing them supplied with quality products (despite the fact that these prod-
ucts are weapons of destruction), whilst also being shown caring for their
jobs on a strictly temporary basis, tending to them until the men can
return.
The ‘carnival’ of female emancipation in the war due to the absence of
males and the liberation of female employment in new areas, was always
going to be temporary. In the final months of the war, thousands of female
munitions workers were laid off when it became clear that an Allied vic-
tory was close at hand. The Restoration of Pre-War Practices Act (1918)
ensured that the temporary nature of much women’s war work was
rendered legally so. Thom reports that by June 1919 the Ministry of
Munitions had discharged 90 per cent of its female war workers (Thom
1998: 190). The reconstruction of a (mythical?) domestic idyll was put
forward by campaigners for reform of the urban slums. As Thom points
out, ‘the fit occupation for women, in the context of demobilization, was
being presented as housekeeping both in their own homes and in society
at large’ (Thom 1998: 178). Retraining schemes set up by the Ministry of
Labour sought to place women back in traditional roles. This is clearly
highlighted in one committee report from March 1919:
Thus the ‘restoration of pre-war practices’ not only returned men to their
traditional employment, but also returned women to the pre-war status of
carers and subservient employees. This is implied, in a proleptic fashion,
by the recruitment posters discussed above, for they not only drew upon
the early twentieth-century social and cultural constructions of women as
carers, but could also be said to anticipate the post-war era, when women
would be expected to return to their former roles.
The newspapers that had previously feted women war workers, rapidly
reversed their editorial policy to fall in line with pre-war ideology, which
placed women firmly back in the domestic sphere. There were frequent
stories of former munitions workers queuing for unemployment benefit
wearing the smart clothes their wartime wages had enabled them to buy.
The Daily Chronicle ran an article under the headline ‘Unemployed in Fur
Coats’ (6th December 1918), contrasting these well-clad ‘girls’ with the
demobilized heroes also queuing for the dole. The government quickly
responded to this negative reporting by matching the middle-class ‘problem’
of servant shortages with female unemployment. Any woman who refused
work would have her state benefit stopped. Domestic service, with its long
hours, low pay and often deplorable working conditions was probably one
of the most hated types of employment for women, and in their thousands
they refused to go back.
The best-known female war writer is probably Brittain, whose memoir,
Testament of Youth, and published diaries recount her time working as a
nursing assistant. Indeed, if we accept Martin Stephen’s (1996) point that
our overall view of the war as being one of mass slaughter is actually a
myth propounded by the proliferation of memoirs written by middle-class
officers, then I would further argue that it is as a result of similar middle-
class bias that our perception of the female war worker is largely synony-
mous with that of the nurse. I would, therefore, suggest that our
remembered image of female care work in the form of highly visible nurs-
ing assistants was promoted in the inter-war years through such cultural
representations as war memorials and memoirs, and that such images
subsumed the less obviously caring, but paid, war work more familiar to
working-class women. Thus we perpetuate the hegemonic acceptance of
women’s primary role being that of carers, a role represented in innumer-
able images of women in wartime recruitment posters for both servicemen
and female war workers.
Acknowledgements
Images are reproduced by generous permission of the trustees of the Imperial War
Museum. I am also very grateful for the helpful comments and advice on earlier
drafts of this article from the anonymous reviewers, and from Dr Sarah Gamble
and Dr Niall Richardson.
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Suggested citation
Smith, A. (2008), ‘‘The girl behind the man behind the gun’: women as carers in
recruitment posters of the First World War’, Journal of War and Culture Studies
1: 3, pp. 223–241, doi: 10.1386/jwcs.1.3.223/1
Contributor Details
Dr Angela Smith is Senior Lecturer in Language and Culture at the University of
Sunderland. Her research interests include sociolinguistics; language and gender;
children’s literacy; and media discourses.
Contact: Faculty of Education and Society, University of Sunderland, Media Centre,
St PeterΩs Campus, Sunderland SR6 0DD.
E-mail: angela.smith@sunderland.ac.uk