Dr Philippa (Pip) Gregory

Honorary Research Fellow


Dr Philippa (Pip) Gregory completed her BA in Theology in Bristol in 2005, detoured through medieval literature for an MA, and then turned to teacher training. She taught secondary level RE, History and English for three years in Essex before returning to university education at Kent for another MA in Modern History in 2011. 

This she followed with her PhD looking at cartoon humour through the Great War and its lasting memory and considered reproduction; she graduated in June 2017. Throughout her PhD, she worked at both the University of Kent and Canterbury Christ Church University, where she completed her PGCAP, gaining HEA fellowship, also in 2017.  

Research interests

A recent focus of Pip's research is images of women through the First World War, and how they do not fit traditional perceptions of a ‘turning point’ for how women were understood during the period. She is also working on social controls and the Defence of the Realm Act, and its embodiment in the characters of DORA and the Censor by cartoonists. 

Her ongoing background research looks at the images produced in trench journals and hospital journals throughout the First World War; she is also cataloguing cartoon material for the artist William K. Haselden, using the University’s Special Collections Archive facilities.

Pip is also undertaking active andragogical research for developing historical skills among students, and particularly for international students who study other disciplines at home.


Pip has taught various aspects of modern British history from 1750 through to the Great War, and courses relating to 20th-century global history through to the 1960s. 


Pip is happy to supervise students looking at cultural histories, especially visual ones, but those predominantly between 1750 and 1950.


Pip has written blog posts relating to cartoon images and their use and understanding for the German site Arthistoricum. She has also worked with the War Through Other Stuff Society, participating in their conferences, including a Twitter conference in 2018. She is a member of the international First World War Studies Society and the First World War Network, a cross-institution UK organisation.  


Book section

  • Gregory, P. (2018). First World War Cartoon Comedy as Criticism of British Politics and Society. In: MacKenzie, I., Francis, F. and Bonello Rutter Giappone, K. eds. Comedy and Critical Thought : Laughter As Resistance. London: Rowman and Littlefield.


  • Gregory, P. (2017). review of Laughter and War: Humorous-Satirical Magazines in Britain, France, Germany and Russia 1914-1918,. Reviews in History [Online]. Available at: http://dx.doi.org/10.14296/RiH/2014/2123.
  • Gregory, P. (2015). Review of Humor, Entertainment, and Popular Culture during World War I Tholas-Disset, C. and Ritzenhoff, K. A. eds. Reviews in History [Online]:N/A-N/A. Available at: http://dx.doi.org/10.14296/RiH/2014/1912.


  • Gregory, P. (2016). The Funny Side of War: British Cartoons, Visual Humour and the Great War.
    This thesis examines cartoons and the humour they express throughout the Great War of 1914-1918. Its aim is to highlight the relevance of visual material in an historical context, to draw upon humour as an insight to cultural moods and attitudes in wartime, and to bring an interdisciplinary approach to the cultural history of the Great War. To do this it will highlight the humour of different British cartoonists in selected newspapers and publications throughout the war and beyond. Primarily it will take a thematic and qualitative approach to visual topics expressed in cartoons analysing their connections to the rest of wartime society. Visual interpretations of public controls, entertainment, avoidance of social duty and comparisons between soldier and civilian responses to the war will be analysed. All of which will look to the use of humour in society relating to these topics in the context of war. Thereafter, the thesis will combine these themes into a formation of memory termed 'commercial' reflecting images and in turn memories sold to the public through cartoons.
    The thesis crosses areas of historical inquiry generating a new dialogue with the cultural history of the Great War, developing ideas of humour, media studies and visual source investigation. War, humour and newspapers are consistent points of reference throughout, combined with a broader historiography as appropriate. Cartoon sources provide the visual basis of the investigation, alongside news articles and reference to official data where applicable. Overall, the interdisciplinary dialogue created between the historiographies of war, humour and visual media promote developing historical investigations, newly bound together in an understanding of the commercial memory of humorous wartime cartoons.
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