Operational Art in the Defense

<p>The stalemate in World War I created the need for a solution to escape this resource intense form of warfare. Following five unsuccessful German offenses in early 1918 the Germans found themselves in a solely defensive scenario conducting defensive battles named Abwehrschlachten. Based on the findings of previous research on these offensives the monograph analyzes German operational thinking and the display of operational art in the subsequent defensive scenario from the last unsuccessful offensive in July 1918 to the armistice in November 1918. The paper relies on two approaches. First it analyzes data from primary sources to identify changes in the strategic context from a German perspective by using a model from Collin S. Gray and derives implications for the German ability to apply operational art. Second it reflects German military actions during the Abwehrschlachten upon a framework of operational elements derived from the previous case study of David T. Zabecki on the German offensives. The analysis results in a confirmation of previous findings about the level of German operational thinking at that time but also depicts the limitations the Germans faced in their attempts to apply their thinking through military action. Those limitations predominately emerged from significant changes in the operational environment in 1918. Current consensus in line with Clausewitz's thoughts on the defense is that the defense tied to a negative aim is a temporary form of warfare and military leaders always strive to seize the initiative to transit to the offensive form of war-fighting tied to a positive aim. Based on the analysis of this solely defensive scenario from a German perspective the monograph questions the applicability of today's understanding of operational art in such a purely defensive scenario and suggest the evolution towards a framework for operational art in the defense.</p><p>This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact and remains as true to the original work as possible. Therefore you will see the original copyright references library stamps (as most of these works have been housed in our most important libraries around the world) and other notations in the work.</p><p>This work is in the public domain in the United States of America and possibly other nations. Within the United States you may freely copy and distribute this work as no entity (individual or corporate) has a copyright on the body of the work.</p><p>As a reproduction of a historical artifact this work may contain missing or blurred pages poor pictures errant marks etc. Scholars believe and we concur that this work is important enough to be preserved reproduced and made generally available to the public. We appreciate your support of the preservation process and thank you for being an important part of keeping this knowledge alive and relevant.</p>