Dissertations / Theses on the topic '1939-1945 Literature and the war'
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Whittington, Ian. "Writing the radio war: British literature and the politics of broadcasting, 1939-1945." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119399.
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The social and political transformations of the Second World War in Britain required a massive coordination of public opinion and effort. "Writing the Radio War: British Literature and the Politics of Broadcasting, 1939-1945" examines the mobilization of British writers through their involvement in radio broadcasting. Drawing on theories of mass communication from the 1930s to the present day, this dissertation argues that the power of radio as a medium of propaganda and national identity-formation lay in its ability to generate an aura of intimacy that encouraged listener identification with the national community. Capitalizing on this intimacy, writers imagined listening publics that were at odds with official projects of national unity. Confronted with the Anglophone fascism of pro-Nazi broadcaster William Joyce, Nancy Mitford and Rebecca West used their writings to neutralize the threat of autochthonous extremism by depicting Joyce as a laughable ideological non-national subject. Even among patriotic Britons, political fractures appeared, as when J.B. Priestley used his radio "Postscripts" to frame debates about postwar British society along socialist lines. In the mixed documentary-dramatic genre of the radio "feature," Louis MacNeice modelled collective gain through collaborative effort in The Stones Cry Out, Alexander Nevsky, and Christopher Columbus. On the Overseas Service, George Orwell and E.M. Forster attempted subtle compromises to keep Indian listeners loyal to the Empire, while Jamaican poet Una Marson repurposed the BBC's networks in order to imagine alternative communities. Marson turned the program Calling the West Indies into an incubator for a vibrant Caribbean literary scene. Collectively, these writers used the wireless to guide British listeners through the social and political changes brought on by the war: having entered the conflict as an imperial nation riven by class and ideology, Britain emerged ready to embark on the massive social experiment of the multicultural postwar welfare state with a renewed sense of possibility and promise.Les transformations sociales et politiques de la deuxième guerre mondiale en Grande-Bretagne ont nécessité une mobilisation énorme d'opinion et d'effort publique. "Writing the radio war: British literature and the politics of broadcasting, 1939-1945" examine la participation des écrivains britanniques dans cette mobilisation au niveau de leur engagement dans la radiodiffusion. Cette thèse utilise diverses théories de communication datant des années 1930 jusqu'au présent pour démontrer la puissance de la radio comme moyen de propagande et de gestion d'identité nationale en raison de sa capacité d'engendrer une semblance d'intimité entre les auditeurs et leur communauté nationale. Les écrivains de cette période ont pris avantage de cette intimité pour imaginer des publiques qui contredisaient les projets officiels d'unification nationale. Face au fascisme anglophone de William Joyce, un propagandiste pronazi, Nancy Mitford et Rebecca West se sont servies de leurs écrits pour rendre neutre la menace d'une extrémisme autochtone en décrivant Joyce comme une aberration idéologique, risible et étranger. Les divisions politiques sont apparues même parmi les Britanniques patriotiques; avec son programme "Postscripts" sur la BBC, J.B. Priestley a poursuit un avenir socialiste pour la Grande Bretagne, ce qui contrevenait les intentions du gouvernement pendant la guerre. Avec ses productions documentaires et dramatiques, incluant The Stones Cry Out, Alexander Nevsky, et Christopher Columbus, Louis MacNeice a modelé un processus de travail collectif au bénéfice du collectif. Dans le Overseas Service du BBC, George Orwell et E.M. Forster tentaient des compromis subtils pour assurer la fidélité des auditeurs indiens à l'Empire Britannique. La poète jamaïquaine Una Marson a profité des réseaux impériaux pour imaginer des communautés autres que celui de l'Empire en transformant le programme Calling the West Indies en incubateur pour une scène littéraire caraïbe dynamique. Ensemble, ces écrivains ont profité de la radiodiffusion pour piloter le public britannique à travers les changements sociopolitiques de la guerre. Ayant rentré dans la guerre une nation impériale fendu par l'idéologie et par les classes sociales, la Grande Bretagne est ressortie avec un esprit de possibilité et se trouvait prêt à embarquer sur la grande expérimentation de l'état social démocratique de caractère multiculturelle.
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Westerfield, Lillian Leigh. ""This anguish, like a kind of intimate song" : resistance in women's literature of World War II /." Amsterdam ; New York : Rodopi, 2004. http://catalogue.bnf.fr/ark:/12148/cb40037120p.
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Turković, Dajana. ""Death to all fascists! liberty to the people!" : history and popular culture in Yugoslavia 1945-1990." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99611.
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This essay analyzes the changing portrayal of Yugoslavia's World War II experience in music, film, and literature. It argues that the disappearance of unifying themes from the cultural sphere opened the doors to the popularization of controversial and divisive subjects. Shifting perceptions of how Yugoslavs fought and survived the Second World War contributed to the destruction of Yugoslavia.The first chapter focuses on World War II in Yugoslavia. The second chapter discusses the early development of Yugoslav culture and its dependence on the Second World War. The third chapter follows the development of Yugoslav culture through the 1960s and 1970s when political liberalization promoted greater freedom in the arts. Aside from inspiring artists to address new themes and approach old themes from a fresh perspective, it also permitted the stirrings of political dissent. The fourth chapter addresses the disappearance of the Yugoslav idea from the cultural realm during the 1980s.
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Goudie, Teresa Makiko. "Intergenerational transmission of trauma and post-internment Japanese diasporic literature." Thesis, Goudie, Teresa Makiko (2006) Intergenerational transmission of trauma and post-internment Japanese diasporic literature. PhD thesis, Murdoch University, 2006. https://researchrepository.murdoch.edu.au/id/eprint/45/.
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The thesis examines the literary archive of the Japanese diaspora in North America and uncovers evidence of an intergenerational transmission of trauma after the internment of all peoples of Japanese descent in America during World War Two. Their experience of migration, discrimination and displacement was exacerbated by the internment, the single most influential episode in their history which had a profound effect on subsequent generations. It is argued the trauma of their experiences can be located in their writing and, drawing on the works of Freud and trauma theoreticians Cathy Caruth and Ruth Leys in particular, the thesis constructs a theoretical framework which may be applied to post-internment Japanese diasporic writing to reveal the traces of trauma in all generations, traces that are linked to what Freud referred to as a posterior moment that triggered an earlier trauma which the subject may not have experienced personally but which may be lodged in her / her psyche. An examination of the literature of the Japanese diaspora shows that trauma is carried in the language itself and impacted upon the collective psyche of the entire community.
The theoretical model is used to read the tanka poetry written by the immigrant generation, a range of texts by the first American-born generation (including an in-depth analysis of four texts spanning several decades) and the texts written by the third-generation, many of whom did not experience the internment themselves so their motivation and the influence of the internment differed greatly from earlier generations. The thesis concludes with an analysis of David Mura's identification of the link between identity, sexuality and the influence of the internment experience as transmitted by his parents. The future of the Japanese American community and their relationship with their past traumatic experience also makes its way into the conclusion.
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Goudie, Teresa Makiko. "Intergenerational transmission of trauma and post-internment Japanese diasporic literature." Goudie, Teresa Makiko (2006) Intergenerational transmission of trauma and post-internment Japanese diasporic literature. PhD thesis, Murdoch University, 2006. http://researchrepository.murdoch.edu.au/45/.
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The thesis examines the literary archive of the Japanese diaspora in North America and uncovers evidence of an intergenerational transmission of trauma after the internment of all peoples of Japanese descent in America during World War Two. Their experience of migration, discrimination and displacement was exacerbated by the internment, the single most influential episode in their history which had a profound effect on subsequent generations. It is argued the trauma of their experiences can be located in their writing and, drawing on the works of Freud and trauma theoreticians Cathy Caruth and Ruth Leys in particular, the thesis constructs a theoretical framework which may be applied to post-internment Japanese diasporic writing to reveal the traces of trauma in all generations, traces that are linked to what Freud referred to as a posterior moment that triggered an earlier trauma which the subject may not have experienced personally but which may be lodged in her / her psyche. An examination of the literature of the Japanese diaspora shows that trauma is carried in the language itself and impacted upon the collective psyche of the entire community.
The theoretical model is used to read the tanka poetry written by the immigrant generation, a range of texts by the first American-born generation (including an in-depth analysis of four texts spanning several decades) and the texts written by the third-generation, many of whom did not experience the internment themselves so their motivation and the influence of the internment differed greatly from earlier generations. The thesis concludes with an analysis of David Mura's identification of the link between identity, sexuality and the influence of the internment experience as transmitted by his parents. The future of the Japanese American community and their relationship with their past traumatic experience also makes its way into the conclusion.
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Isherwood, Ian Andrew. "The greater war : British memorial literature, 1918-1939." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3462/.
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This thesis concerns non-fiction ‘war books’ published in the inter-war period. War books were mostly written by participants in the First World War who contributed to Britain’s memory culture afterwards through the publication of their accounts. The war books catalogue represents diversity in terms of the experiences depicted and the geographic locations represented. Though they went through distinctive periods of popularity, war books were published throughout the inter-war period, and in great numbers. The publishing industry was receptive to martial literature and encouraged its publication. The breadth of the war books catalogue challenges the cultural uniformity of an ‘age of disillusionment’ by demonstrating the different ways that the war was remembered by its participants. War books had widespread interpretative breadth on the meaning of the war to veterans/participants in the years afterwards.
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Smihula, John Henry. ""Where a thousand corpses lie" critical realism and the representation of war in American film and literature since 1960 /." abstract and full text PDF (free order & download UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3339147.
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Boykin, Dennis Joseph. "Wartime text and context Cyril Connolly's Horizon /." University of Sydney, 2007. http://hdl.handle.net/2123/1959.
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Doctor of Philosophy (PhD)This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
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Brunetaux, Audrey. "Charlotte Delbo une ecriture du silence /." Diss., Connect to online resource - MSU authorized users, 2008.
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Thesis (Ph. D.)--Michigan State University. Dept. of French, Classics and Italian, 2008.Title from PDF t.p. (viewed on Apr. 1, 2009) Includes bibliographical references (p. 256-262). Also issued in print.
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Webb, Rosemary Ferguson. "Australian girl readers, femininities and feminism in the Second World War (1939-1945) a study of subjectivity and agency /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050706.111946/index.html.
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Mahr, Cordula. "Kriegsliteratur von Frauen? : Zur Darstellung des Zweiten Weltkriegs in Autobiographien von Frauen nach 1960 /." Herbolzheim : Centaurus Verlag, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2695927&prov=M&dokv̲ar=1&doke̲xt=htm.
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Ferris, Natalie. "'Ludic passage' : abstraction in post-war British literature, 1945-1980." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.
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This thesis traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. It is the first sustained chronological study to consider the ways in which a select number of British poets, authors and critics challenged the received views of their post-war moment in the discovery of the imaginative and idealizing potential of abstraction. At a time in which Britain became conscious of its evolving identity within an increasingly globalised context, this study accounts for the range of Continental and Transatlantic influences in order to more accurately locate the networks at play. Exploring the contributions made by individuals, such as Herbert Read, Ian Hamilton Finlay and Christine Brooke-Rose, as well as by groups of practitioners, such as the British concrete poetry movement, small press initiatives and Art & Language, this thesis offers a comprehensive account of the evolving status of abstraction across cultural, institutional and literary contexts. The discussions build a vision of an era that increasingly jettisons the predetermined critical lexicon of abstraction to generate works of a more pragmatic abstract inspiration: the spatial demands of concrete poetry, language as medium in the conceptual artwork, the absence of linear plot in the new novel.
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Goodland, Giles. "Modernist poetry and film of the Home Front, 1939-45." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:cbc4f071-0e64-4a07-866d-ba83359262cb.
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This thesis is an exploration of the links between modernist literature and film and society at a period of historical crisis, in Gramscian terms a moment of national 'popular will'. In general, these works are informed by a greater organicity of form, replacing the previous avant-garde model of a serial or mechanical structure. This organicity, however, maintains an element of disjunction, in which, as with filmic montage, the organicity is constituted on the level of the work seen as a totality. Herbert Read's aesthetics are shown to develop with these changes in the Thirties and the war years. The work of H.D. and T.S. Eliot is explored in the light of these new structural elements, and the formal questioning of the subject through the interplay of 'we' and montages of location and address in the poems. The pre-war years are portrayed in these works as a time of shame, and the war as a possible means of redemption, perhaps through suffering, or through the new subjectivity of the wartime community. The documentary movement provides an opportunity to trace these formal changes in a historical and institutional context, and with the work of Dylan Thomas, the relations between mass and high culture, film and poetry, are investigated, as well as the representation of the Blitz, in which guilt is sublimated into celebratory transcendence. These aspects, and the adaptation of a European avant-garde to meet British cultural needs, are examined in the work of the Apocalyptic movement. The last structure of feeling is reconstruction, which is related to Herbert Read's thought, but shown to inform all these other works and to be a linking-point between ideology and the structure of the text, formed as an organic unity that promises a reconstructed post-war society.
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Kobayashi, Junko. ""Bitter sweet home" : celebration of biculturalism in Japanese language Japanese American literature, 1936-1952 /." Diss., University of Iowa, 2005. http://ir.uiowa.edu/etd/97.
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Wilson, Laurie Christine. "Representation of the années noires and the evolution of memory in postwar French literature /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3035578.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 209-217). Also available for download via the World Wide Web; free to University of Oregon users.
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Churchill, Amanda Gann Rodman Barbara Ann. "Peonies for topaz." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12097.
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Noilhan, Cécile. "La Seconde Guerre mondiale dans les revues de langue d'Oc (1939-1945)." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20108.
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Le mouvement renaissantiste en faveur de la langue d’oc, amorcé depuis la fin du XIXe siècle avec, entre autres, la création en 1854 du Félibrige par Frédéric Mistral, se poursuit jusqu’au XXe siècle. Or après la mort de ce dernier, reconnu au-delà du monde des lettres d’oc – il reçoit le prix Nobel de littérature en 1907 – les défenseurs de la langue et de la culture d’oc, étouffés par le pouvoir centraliste français de la IIIe République, peinent à se faire entendre. Des distanciations entre les tenants du mistralisme et la branche « occitaniste » du mouvement commencent à éclater. Pourtant, dans les années 1930, tous s’accordent à essayer d’œuvrer ensemble, autour notamment, du Nouveau Languedoc, un groupement de la jeune génération créé à Montpellier. La Seconde Guerre mondiale ne fera qu’entériner le morcellement des défenseurs de la langue d’oc. Divisé par des questions proprement linguistiques, celle de la graphie notamment, le mouvement renaissantiste d’oc est, en 1942, morcelé un peu plus par des prises de positions politiques. Alors même qu’en 1940, la quasi-totalité des auteurs occitanographes soutiennent, ou du moins corroborent à la politique vichyste, en 1942, un vent de désillusion souffle sur le territoire de langue d’oc et certains de ses représentants n’hésitent pas à prendre des distances avec le gouvernement. Constatant la paralysie totale de la renaissance d’oc, une équipe formée autour de la Société d’Études Occitanes – Ismaël Girard, Camille Soula, René Nelli, Max Rouquette, Charles Camproux, etc. – fonde, à la Libération, l’Institut d’Études Occitanes. Les revues publiées au cours de cette période apparaissent comme un support de prédilection pour la diffusion de la langue. Généralement imprimées dans un petit format, limitant ainsi les besoins en papier et en encre restreints par la censure, les revues de langue d’oc n’adoptent aucune ligne éditoriale particulière. Si certaines sont davantage littéraires, d’autres préfèrent la publication d’articles sur l’actualité historique et politique alors que les dernières apportent à la connaissance du lecteur les événements en lien avec la culture d’oc. C’est l’ensemble de ces écrits – littéraires, politiques, historiques et culturels – qui permettent de dessiner et de saisir l’organisation du mouvement renaissantiste intimement lié au champ littéraire de langue d’oc. Cette corrélation entre la sphère politique et littéraire semble prendre le contre-pied de l’organisation de langue française dans laquelle les deux champs apparaissent dans une certaine indépendance. Cette thèse a finalement pour objet de comprendre comment la Seconde Guerre mondiale, en tant qu’événement national et international de surcroît, a-t-elle pu influencer l’écriture de langue régionale, de langue d’oc en l’occurrence. Les analyses menées permettent alors de déceler les thématiques principales abordées dans la création littéraire : discours politique, évocation de l’horreur, la question de la religion, un engagement intergénérationnel et, enfin, les récits de la VictoireThe movement in favor of the rebirth of Occitan, begun in the nineteenth century with the creation of the Félibrige (1854) by Frédéric Mistral—recognized world-wide and recipient of the Nobel Prize for Literature in 1907—continued into the twentieth century. However, after Mistral’s death in 1914, defenders of Occitan language and literature, smothered by the centralizing power of the French Third Republic, struggled to be heard. There was a split into two branches: Mistralists and a “occitan” movement. However, in the 1930’s, both groups tried to work together, notably with Nouveau Languedoc, a group of younger individuals based in Montpellier. The Second World War confirmed the divisions among defenders of Occitan. Divided by linguistic questions, notably that of orthography, the movement was, in 1942, further divided by political positions. Whereas in 1940, almost all authors writing in Occitan supported or corroborated the politics of Vichy, in 1942, there was a sense of disillusion in the Occitan-language region; certain individuals did not hesitate to distance themselves from the government. Observing the paralysis of the rebirth movement, a team formed out of the Société d’Études Occitanes—Ismaël Girard, Camille Soula, René Nelli, Max Rouquette, Charles Camproux, et. alii—founded the Institut d’Études Occitanes after Liberation.Periodicals published during this period seem to be the preferred means to support the diffusion of Occitan. Generally printed in small format, thus reducing the need for paper and ink restricted by censors, journals in Occitan adopted no particular editorial line. Some were more literary; others preferred to publish articles on contemporary history and politics, while some provided readers with information relating current events to Occitan culture. These texts—literary, political, historic, and cultural—allow us to understand the organization of the rebirth movement, intimately tied to the Occitan literary world. This link between the worlds of politics and literature seems counter to the organization of the French-speaking world, in which the two fields are somewhat independent. This thesis seeks to show how the Second World War, a national and international event, influenced writing in a regional language, Occitan. Analyses show the principal themes that appear in literary works: political discourse, evocations of horror, the topic of religion, intergenerational engagement, and, at the end, tales of victory
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Aldea, Agudo M. Elena. "RHETORICS OF EMPIRE: THE FALANGIST DISCOURSE OF WAR (1939-1943)." UKnowledge, 2012. http://uknowledge.uky.edu/hisp_etds/5.
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During the Spanish Civil War (1936-1939) a mix of right-wing ideologies existed among the Francoist forces. In sharp contrast with the Republican forces, the Francoist insurgents were successful in banding together despite their ideological differences. However, in the postwar era, this relative unity gave way to a struggle among the different ideological positions, each striving to impose its agenda for the new State. The party Falange Española Tradicionalista y de las Juntas de Ofensiva Nacional Sindicalista (FET y de las JONS) assumed power, but was not entirely successful in advancing its totalitarian project, which it had inherited from the prewar FE de las JONS party. Unsatisfied with this outcome, staunch Falangists employed political strategies to squelch the opposition of the military, conservatives, royalists and the Church, whose ideals differed in many ways.
The purpose of this dissertation is to demonstrate how the political strategies used by the Falangists against opposing factions are mirrored in the cultural sphere, especially in literary and cinematographic portrayals of war. The propagandistic nature of these works is reflected in their narrative structures and literary characters, as in what Susan Suleiman refers to as “authoritarian fictions.” This study examines the ways in which Falangists propaganda exploits distinct features of the Rif War, the Civil War, and the Second World War, in order to promote key parts of the Nationalist Syndicalist ideology endorsed by core Falangists. This essay traces the transformation of these authoritarian narrative schemes as the hegemonic political position of National Syndicalism begins to deteriorate. In response to this unwelcome political change, Falangists propaganda becomes increasingly critical toward the other ideological positions of the Francoist Regime. This dissertation thus shows the way in which shifting political tides are mirrored in the cultural production of Falangist propaganda.
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Kato, Megumi Humanities & Social Sciences Australian Defence Force Academy UNSW. "Representations of Japan and Japanese people in Australian literature." Awarded by:University of New South Wales - Australian Defence Force Academy. School of Humanities and Social Sciences, 2005. http://handle.unsw.edu.au/1959.4/38718.
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This thesis is a broadly chronological study of representations of Japan and the Japanese in Australian novels, stories and memoirs from the late nineteenth century to the twenty-first century. Adopting Edward Said???s Orientalist notion of the `Other???, it attempts to elaborate patterns in which Australian authors describe and evaluate the Japanese. As well as examining these patterns of representation, this thesis outlines the course of their development and change over the years, how they relate to the context in which they occur, and how they contribute to the formation of wider Australian views on Japan and the Japanese. The thesis considers the role of certain Australian authors in formulating images and ideas of the Japanese ???Other???. These authors, ranging from fiction writers to journalists, scholars and war memoirists, act as observers, interpreters, translators, and sometimes ???traitors??? in their cross-cultural interactions. The thesis includes work from within and outside ???mainstream??? writings, thus expanding the contexts of Australian literary history. The major ???periods??? of Australian literature discussed in this thesis include: the 1880s to World War II; the Pacific War; the post-war period; and the multicultural period (1980s to 2000). While a comprehensive examination of available literature reveals the powerful and continuing influence of the Pacific War, images of ???the stranger???, ???the enemy??? and later ???the ally??? or ???partner??? are shown to vary according to authors, situations and wider international relations. This thesis also examines gender issues, which are often brought into sharp relief in cross-cultural representations. While typical East-West power-relationships are reflected in gender relations, more complex approaches are also taken by some authors. This thesis argues that, while certain patterns recur, such as versions of the ???Cho-Cho-San??? or ???Madame Butterfly??? story, Japan-related works have given some Australian authors, especially women, opportunities to reveal more ???liberated??? viewpoints than seemed possible in their own cultural context. As the first extensive study of Japan in Australian literary consciousness, this thesis brings to the surface many neglected texts. It shows a pattern of changing interests and interactions between two nations whose economic interactions have usually been explored more deeply than their literary and cultural relations.
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Koo, Siu-sun, and 古兆申. "Shanghai literature in the last stage of the Sino-Japanese War (1942-1945) =." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29711393.
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Osborne, James Bennett. "Problem families and the welfare state in post-war British literature (1945-75)." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/375740/.
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This thesis adopts an interdisciplinary approach to consider how so-called ‘problem families’ were conceptualised by the welfare state in post war Britain through an examination of fiction and non-fiction texts. The 1945-75 period has been recognised as the era of the ‘classic welfare state’, during which successive governments made interventions in the British economy to maintain full employment. Preventing wide-scale unemployment was key to classic welfare state ideology, which relied the assumption that workers would make contributions which were equal in value to the benefits they received. Problem families were perceived as either unable or unwilling to participate in this reciprocal relationship due to their failure to achieve or aspire to ‘normal’ levels of productivity and financial independence. In order to gain insight into the manner in which these families were conceptualised by the welfare state, this thesis focuses upon three key areas: psychiatry, housing and family planning. It also draws upon theoretical perspectives offered by Michel Foucault and Zygmunt Bauman to consider how the conceptualisations from each of these served the purposes of state governance and the enforcement of social norms through biopolitical means. Investigating the manner in which the term ‘problem family’ was deployed in the post-war period provides insight into how the welfare state legitimised its attempts to change behaviours closely associated with the poorest members of British society. By shaping policy to encourage the reform of problem family behaviour through biopolitical means, the post-war welfare state played an important governance role by ensuring that as many people as possible existed in a reciprocal relationship with the state.
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Godon, Patrick. "Attitudes to war in the writings of Albert Camus, 1939-1944." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63148.
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McLoughlin, Catherine Mary. "Martha Gellhorn : the war writer in the field and in the text." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:f1c1a333-9ece-4a14-b95f-b2a2c623c012.
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How war is depicted matters vitally to all of us. In the vast literature on war representation, little attention is paid to the fact that where the war recorder1stands crucially affects the portrayal. Should the writer be present on the battle-field, and, if so, where exactly? Should the recording figure be present in the text, and, if so, in what guise? 'Standing' differs from person to person, conflict to conflict, and between genders. Therefore, this thesis focuses on one particular war recorder in one particular war: the American journalist and fiction-writer, Martha Gellhorn (1908-98), in the European Theatre of Operations during World War Two. The fact that Gellhorn was a woman affected how she could and did place herself in relation to battle - but gender, though important, was not the only factor. Her course in and around war was dazzling: hitching rides, stowing away, travelling on dynamite-laden ships through mined waters, flying in ancient planes and deadly fighter jets, driving from battle-field to battle-field, mucking in, standing out. Her trajectory within her prose is equally versatile: she zooms in and out like a camera lens from impassiveness to intense involvement to withdrawal. The thesis is organised along the same spectrum. The first two chapters plot the co- ordinates forming the zero point on the graph of Gellhorn's Second World War writings (earlier American war correspondence, the 1930s' New Reportage, Gellhorn's upbringing and journalistic apprenticeship). Chapter Three then shows her in the guise of self-effacing, emotionally absent recorder. Moving from absence to presence, Chapter Four considers Martha Gellhorn in the field and Chapter Five 'Martha Gellhorn' in the text. Chapter Six describes the shift from presence to participation, before reaching the end of the parabola in Gellhorn's disillusionment in the power of writing to reform and her concerns about women's presence in the war zone. Given that positioning is the central concern, it is important to note the placement of Martha Gellhorn within the thesis itself. She stands as the central, pivotal example of the war recorder, illuminated by various contexts and comparisons with other writers (notably Ernest Hemingway, to whom she was married from 1940 to 1945). As a result of this approach, there are necessarily stretches of the text from which she is absent, as the survey turns to theoretical and comparative discussion. The hope is that this methodology reveals why Gellhorn, in the field and in the text, went where she did.
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Crossland, R. Bert (Rodney Bert). "A Content Analysis of Children's Historical Fiction Written about World War II." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279151/.
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The purpose of this study was to investigate the evolution of children's historical fiction dealing with World War II in order to describe the changes that have occurred over the past 50 years. Two questions were asked in the study: (1) Has the characterization of protagonists portrayed in historical fiction about World War H evolved since 1943? and (2) Have the accounts of the events of World War H portrayed in historical fiction evolved since 1943? Content analysis was used as the method of collecting data. The sample consisted of 86 novels written from 1943 to 1993. Upon completing the reading and coding, the researcher discussed the categories and questions posed. As part of analysis, the discussion of the novels in each period was accompanied with an overview of trends in children's literature and events affecting society. The analysis led to the following conclusions: 1. Authors were impacted by changes in the social and political climate, as evidenced by the changes in the gender of the protagonists, an increase of violence, and the inclusion of women. 2. Novels written during the 1980s and 1990s were written with a stronger American perspective. 3. At the time that an increase of violence was seen in American society, descriptions of World War II events and protagonists' actions became more violent and more graphic. 4. Though the bombings of Hiroshima and Nagasaki ended the war with Japan, an inadequacy still exists in the number of novels that provide readers with details related to the atomic bombs. Though much of World War II was fought in the Pacific Rim, a deficiency remains in the number of novels set in Pacific Rim countries. Recommendations for further research include performing a study that examines other genres, analyzing the changes observed in the portrayal of protagonists. A study could be conducted to analyze the author's ethnicity and relationship to the war and determine if differences exist.
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Richter, Yvonne. "World War II moments in our family /." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-09012006-152739/.
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Thesis (honors)--Georgia State University, 2006.Title from title screen. Under the direction of Josh Russell. Electronic text (71 p. : ill., ports.) : digital, PDF file. Description based on contents viewed June 8, 2007. Includes bibliographical references (p. 69-71).
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Garlitz, Richard P. "Responses to catastrophe from Henri Barbusse to Primo Levi : rethinking the Great War and the Holocaust in literary history." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217399.
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This thesis examines how the First World War and the Holocaust fit into Western history and literary history by. It takes as its point of departure two arguments that currently enjoy, the favor of many specialists. First, it critiques the idea that the literature of the First World War is firmly embedded in the Western literary heritage while that of the Holocaust lies outside the realm of expression, a position that Jay Winter has taken a leading role in developing. Second, it challenges the notion that the Holocaust is an occurrence in history to which no other event offers parallels. The study argues that these points of view obscure our understanding of each disaster. In reality, personal narratives demonstrate that many survivors responded to the First World War and the Holocaust in similar ways. If this is true, then the Great War cannot be firmly embedded in the European cultural tradition while the Holocaust destroys it. A more accurate representation is that the first episode of industrial mass slaughter, the Great War, initiated a rupture in the Western historical and literary heritage that the Holocaust completed.Department of History
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Onions, J. "The ideal of heroism in English fiction and drama about the First World War, 1918-1939." Thesis, Keele University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373170.
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Koo, Siu-sun. "Shanghai literature in the last stage of the Sino-Japanese War (1942-1945) = Zhong Ri zhan zheng hou qi (1942-1945) de Shanghai wen xue /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B23425854.
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Muller, Guillaume. "La littérature de guerre japonaise de 1937 à 1945." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF031/document.
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La Deuxième Guerre mondiale fut au Japon l’occasion d’une production massive de récits de guerre, aujourd’hui largement oubliée. Ces textes sont pris entre l’injonction faite aux écrivains de participer à l’effort national, et l’idée reçue selon laquelle ceux-ci ne peuvent saisir la réalité de la guerre. Cette thèse s’attache à démontrer que c’est dans la négociation au sein des textes de ce paradoxe que le monde littéraire japonais conçut et reconnut sa littérature de guerre. Le plan distingue trois moments successifs, afin de refléter à la fois les modalités changeantes de l’engagement des écrivains dans la guerre, et les différentes écritures qui en rendirent compte. La première partie traite de la première année du conflit, durant laquelle les médias japonais employèrent les écrivains comme envoyés spéciaux sur le front chinois ; leurs reportages montrent la quête d’une valeur propre de l’expérience des écrivains. La deuxième partie (1938-1941) se concentre sur le succès phénoménal de la figure du « soldat-écrivain », et ses conséquences sur l’écriture de la guerre. La publication du journal du caporal d’infanterie et lauréat du prix Akutagawa Hino Ashihei parut offrir un modèle de purification de la littérature par le combat qui disqualifiait de fait les écrivains institutionnalisés. La troisième et dernière partie aborde la « réquisition des lettrés », au cours de laquelle l’armée contraignit près d’une centaine d’écrivains à partir dans les nouvelles colonies japonaises du Pacifique. Les grands succès critiques issus de ce dispositif inédit de coercition sont marqués par une volonté ostensible de faire littérature à travers la guerreThe Second World War saw in Japan a massive production of war stories, today widely forgotten. These texts are caught between the injunction made to writers to participate in the national effort, and the general notion that they cannot grasp the reality of war. This thesis aims to demonstrate that it is in the negotiation of this paradox within the texts that the Japanese literary world conceived and recognised its war literature. The plan distinguishes three successive moments, in order to reflect both the changing modalities of writers' engagement in the war, and the different writings that accounted for them.The first part deals with the first year of the conflict, during which the Japanese media employed the writers as special correspondents on the Chinese front; their reports show the quest for a specific value of writers' experience. The second part (1938-1941) focuses on the phenomenal success of the ‘soldier-writer’ figure, and its consequences on the writing of the war. The publication of infantry corporal and Akutagawa Prize laureate Hino Ashihei’s diary seemed to offer a model of purification of literature by combat that disqualified the institutionalised writers. The third and last part deals with the ‘requisition of scholars’, during which the army forced close to a hundred writers to leave for the new Japanese colonies in the Pacific. Critical successes that emerged from this unprecedented coercion system are marked by an ostensible will to produce genuine literature through the war
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Waters, Raymond. "Relocation of culture : American images of Japan 1945-1994." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/2291.
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My dissertation investigates American images of Japan in the aftermath of World War Two. My premise: Japan represents America’s last clear victory, militarily and culturally. In the decades since the cessation of active hostilities, Japan has served in the American regard as an Other that reinforces and perpetuates an American mythos that is rooted in masculine narratives that depict righteous, regenerative violence.
I emphasize images that legitimate American excesses during World War Two, reflecting earlier “Yellow Peril” periods of anti-Japanese immigration scares. American excess is sanitized during the SCAP Occupation period, after which American—and ancillary—images posit Japan as an exoticized site for Western self-affirmation. Japan remains thus marginalized until the late eighties, at which point Japan’s burgeoning economic power engenders American images that regress to the demonization of wartime propaganda.
My hope for the dissertation is to assert American images of Japan as a negative paradigm. The example of how Japan has been manipulated for American purposes should be considered cautionary. America must be concerned about the ramifications of its continued reliance on a mythos narrative of redemptive masculine violence. The relocation of Japanese culture may prove prescient if America does not learn how to deal more appropriately with other Others that do not conform to America’s mythos-based Self-sustaining narrative.
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Lucy, Robin Jane. ""Now is the time! Here is the place" : World War II and the black folk in the writings of Ralph Ellison, Chester Himes and Ann Petry /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0035/NQ66221.pdf.
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Schilling, René. ""Kriegshelden" : Deutungsmuster heroischer Männlichkeit in Deutschland 1813-1945 /." Paderborn : Schöningh, 2002. http://www.h-net.org/review/hrev-a0e1t9-aa.
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Granlund, C. "Regimes of truth : the reconstruction of the press in the Soviet and United States sectors of post-war Berlin, 1945-1947." Thesis, Cardiff University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.254517.
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Edford, Rachel Lynn 1979. "“The Step of Iron Feet”: Formal Movements in American World War II Poetry." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11981.
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x, 237 p.We have too frequently approached American World War II poetry with assumptions about modern poetry based on readings of the influential British Great War poets, failing to distinguish between WWI and WWII and between the British and American contexts. During the Second World War, the Holocaust and the bombings of Hiroshima and Nagasaki obliterated the line many WWI poems reinforced between the soldier's battlefront and the civilian's homefront, authorizing for the first time both civilian and soldier perspectives. Conditions on the American homefront--widespread isolationist and anti-Semitic attitudes, America's late entry into the war, the bombing of Pearl Harbor, the Japanese internment, and the African American "Double V Campaign" to fight fascism overseas and racism at home--were just some of the volatile conditions poets in the US grappled with during WWII. In their poems, war shapes and threatens the identities of civilians and soldiers, women and men, African Americans and Jews, and verse form itself becomes a weapon against war's assault on identity. Charles Reznikoff, Muriel Rukeyser, Gwendolyn Brooks, and Richard Wilbur mobilize and challenge the authority of traditional poetic forms to defend the self against social, political, and physical assaults. The objective, free-verse testimony form of Reznikoff's long poem Holocaust (1975) registers his mistrust of lyric subjectivity and of the musical effects of traditional poetry. In Rukeyser's free-verse and traditional-verse forms, personal experiences and public history collide to create a unifying poetry during wartime. Brooks, like Rukeyser, posits poetry's ability to protect soldiers and civilians from war's threat to their identities. In Brooks's poems, however, only traditionally formal poems can withstand the war's destruction. Wilbur also employs conventional forms to control war's disorder. The individual speakers in his poems avoid becoming nameless war casualties by grounding themselves in military and literary history. Through a series of historically informed close readings, this dissertation illuminates a neglected period in the history of American poetry and argues that mid-century formalism challenges--not retreats from--twentieth-century atrocities.
Committee in charge: Karen Jackson Ford, Chairperson; John Gage, Member; Paul Peppis, Member; Cecilia Enjuto Rangel, Outside Member
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Sigalas, Clément. "La guerre manquée : Représentations de la Seconde Guerre mondiale dans le roman français (1945-1960)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040204.
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Cette thèse porte sur les représentations de la Seconde Guerre mondiale dans le roman français, de 1945 à 1960. Elle vise à mettre en lumière un corpus de la « guerre manquée », opposé à la vision épique dominante dans l'après-guerre. Elle analyse dans leurs dimensions esthétiques, éthiques et politiques, une vingtaine de romans dont le point commun est de donner à voir une guerre irréelle ou insaisissable, qui a pu constituer pour bien des Français une expérience commune.La première partie analyse la façon dont s’écrit le combat manqué. Ces romans dessinent l’image d’une guerre à la fois fantomatique et violente : observée à distance, presque toujours médiatisée, dissimulée sous des semblants de paix, mais invariablement destructrice.Les romans mettent également en lumière l’échec de la communauté. Par opposition au récit fondateur et unificateur qu’est l’épopée, ils dénoncent très tôt le mythe d’une France tout entière unie dans la lutte. La deuxième partie montre comment se construit l’image d’une nation déchirée ou passive, dont ils incarnent la mauvaise conscience.On s’intéresse enfin à la « pensée du roman », en montrant comment ce dernier a été le vecteur d’une réflexion spécifique sur la communauté. Contre les positions de la Résistance littéraire, puis de l’existentialisme, il a interrogé le primat du rationnel en l’homme ; contre la vogue du document, il a revendiqué la fiction pourexplorer les zones d’ombre ; contre la demande d’exemplarité, enfin, il a constitué un espace d’investigation autonome, attaché à contester les failles et les limites du discours épiqueThis thesis deals with the representations of the Second World War found in the French novels published between 1945 and 1960. It aims to shed light on a body of works that depict a “failed war”, unlike the epic vision which prevails in the post-war period. It analyses from an aesthetic, ethical and political perspective twenty novels or so which portray war as an unreal, elusive experience shared by French people.The first part of this work scrutinizes the way writers depict the failure of war. These novels portray the conflict as both spectral and brutal – seen from a distance, almost always mediated, concealed under the appearance of peace, yet unescapably destructive.These novels also throw light on the failure of community. A far cry from the seminal, unifying narrative of the epic, they start attacking the myth of France as unified in the war effort very soon after the end of the conflict.The second part of this thesis looks at the ways they construct the image of a torn or passive nation, as if they were France’s guilty conscience.This study will finally examine the way the novel “thinks”, how it was specifically used to convey a specific reflection on community. Against the discourses of literary Resistance, then Existentialism, it questioned the primacy of rational thinking in men; against the prominence of documents, it embraced fiction as a means to explore dark territories; against the calls for exemplariness, it constituted itself as an autonomous space to investigate the war, as well as to challenge the failures and shortcomings of the epic discourse
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Jevtic, Elizabeta. "Blank Pages of the Holocaust: Gypsies in Yugoslavia During World War II." BYU ScholarsArchive, 2004. http://contentdm.lib.byu.edu/ETD/image/etd463.pdf.
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Thesis (M.A.)--Brigham Young University. Dept. of German and Slavic Languages, 2004."August 2004." Title taken from PDF title screen (viewed September 11, 2007). Includes bibliographical references (p. 158-163).
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Allison, Leslie. "Growing Cold: Postwar Women Writers and the Novel of Development, 1945-1960." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/351075.
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EnglishPh.D.
Growing Cold: Postwar American Women Writers and the Novel of Development, 1945-1960, examines how women writers developed, negotiated, and struggled with representing adolescent girl selfhood in the novel of development – also termed the Bildungsroman – during the early postwar era. By examining four women’s Bildungsromans written between 1946-1960 – Carson McCullers’s The Member of the Wedding (1946), Jean Stafford’s The Mountain Lion (1947), Shirley Jackson’s Hangsaman (1951), and Harper Lee’s To Kill a Mockingbird (1960) – I show that postwar women writers were actively shaping the genre in a way that would fundamentally shift how adolescent girlhood would be represented in second wave feminist and contemporary female Bildungsromans. By 1960, adolescent girls in women’s literature were far different from where they began in 1945: they were younger, more sexual, and more psychologically complex than the adolescent girl characters earlier in the 20th century. Yet these novels are also racially and sexually problematic, advancing white heteronormative identity at the expense of queer and racially othered characters. In this way, these writers suggest that postwar adolescent development is a process of "growing cold"; it is a process of loss, emptiness, and violence, leading to emotional and social isolation. This project therefore intervenes in postwar American literary studies and women's studies by raising awareness of the importance that postwar women writing played in the development of the contemporary Bildungsroman.
Temple University--Theses
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Churchill, Amanda Gann. "Peonies for Topaz." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12097/.
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A collection of three, interwoven short stories set in Japantown, San Francisco and the Topaz Internment Camp in central Utah during World War II. The pieces in this collection feature themes of cultural identity and the reconstruction of personal identity in times of change and crisis. Collection includes the stories "Moving Sale," "Evacuation," and "Resettlement."
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Hunter, Rachel Deborah. "Truth and Memory in Two Works by Marguerite Duras." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1008.
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Published in 1985, Marguerite Duras' La Douleur is a collection of six autobiographical and semi-autobiographical short stories written during and just after the German Occupation. Echoing the French national sentiment of the 1970s and 1980s, these stories examine Duras' own capacity for good and evil, for forgetting, repressing, and remembering. The first of these narratives, the eponymous "La douleur," is the only story in the collection to take the form of a diary, and it is this narrative, along with a posthumously published earlier draft of the same text, that will be the focus of this thesis. In both versions, Duras recounts her last tortuous months of waiting for her husband, Robert Antelme, to return from a German concentration camp after he was arrested and deported for his participation in the French Resistance. Though Duras claims in her 1985 preface to "La douleur" that she has no memory of having written this diary and that it has "nothing to do with literature," when it is compared to the original version it becomes clear that substantial changes in style and tone were made to the 1985 version before publication. Though many of Duras' peers disregarded this rewritten version of "La douleur" as a shameful distortion of the truth, it is my contention that historical accuracy was never Duras' primary goal. Instead, what manifests in these two versions of the same story is Duras' path toward understanding and closure in the wake of a traumatic event. Using a combination of psychoanalytic and post-structuralist theory, I will show that Truth and History are essentially incompatible when narrating trauma. Instead what is central to these two texts is their emotional accuracy: the manner in which the feelings and impressions associated with a traumatic event are accurately portrayed.
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Burrells, Anna Louise. "Inter-war modernism and technology 1918-1945 : machine aesthetics in the work of Ezra Pound, Francis Picabia, D.H. Lawrence, Henry Green and Wyndham Lewis." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/978/.
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New technologies have long been considered important to the development of modernism – especially theories of efficient form in Vorticism and Italian Futurism This thesis rethinks the relation between modernism and technology in the inter-war years. It uses the work of theorists of technology including Jacques Ellul, Martin Heidegger, Sigfried Gideon and Marshall McLuhan picking up a strand in inter-war modernism highlighting concerns about mechanicity and technologisation as overwhelming and somewhat malign forces. Ezra Pound’s ‘Machine Art’ is influenced by the work of Francis Picabia but demonstrates crucial differences between their conceptions of technology. D. H. Lawrence’s Women in Love is an early example of machine antipathy articulating fears about war and mechanistic mental processes. Henry Green’s factory novel, Living, demonstrates the malign effects of organisational techniques on working-class lives, whilst Wyndham Lewis’s novels Snooty Baronet and The Revenge for Love’s protagonists with prosthetic legs satirise the systematic techniques used in warfare to control individuals, turning them into mechanised grotesques. Finally, Henry Green’s Back enacts Marshall McLuhan’s notion of man as servo-mechanism to the machine. The thesis concludes that some inter-war modernisms display an antipathy towards machine culture which transcends the simple machine, and critiques mechanistic systems which control human bodies and minds.
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Ljunggren, Mattias. "Den sista flickscouten? : Medborgarideal i den svenska flickscoutrörelsen 1945-1965." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-158672.
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The aim of this study is to examine the ideal of citizenship as presented in the Swedish Girl Scout movement 1945-1965. Through the examination of periodicals aimed at Girl Scout leaders, the study attempts to elucidate how the presented ideals shifted in the years leading up to, and following, the merger between the largest Swedish Girl Scout and Boy Scout associations in 1960. As a theoretical background, the model of the Belgian scout researcher Sophie Wittemans is used, according to which citizenship in the scout movement contains both a universalistic tendency, emphasizing and geared towards creating citizens that are equal in an abstract sense, as well as particularizing instruments that aim to mold the singular individual. Wittemans claims that the Girl Scout movement has generally focused on the later aspect. The concept of citizenship is found to be linked to duty rather than to the freedom of the individual, especially in the sphere of home life. In professional life the individual is afforded a greater measure of freedom. At the time of the merger in 1960, the idea of citizenship is to some extent gendered. The Girl Scout is to be prepared to take part in a society where feminine and masculine values are both needed. There is no consensus, however, on what the difference between the sexes consists of. Neither sex, nor citizenship, seems to be the main focus of the training of Girl Scouts during the studied period. The cultural and societal tensions are contained by religion, universalizing tools like the scout law, and concepts such as ‘humanity’. Through the study of a relatively scarcely researched area, this study attempts to shed light upon the Swedish Girl Scout movement in the post-war-era, as well as the larger shift in gender roles in Swedish society during the same period.
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Lu, Xiao. "American policy and the downfall of the Nationalist China : a survey of major American historical literature of China's civil war." Thesis, Canberra, ACT : The Australian National University, 1987. http://hdl.handle.net/1885/112040.
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As a so-called Old China Hand, I would suggest to the
new administration that it study with great sincerity of
purpose the idea that we "lost" China. It has been a phony
idea all along peddled by the China Lobby. Let's drop it.
Then and only then can the administration ... begin to evolve
and pursue an objective and, we hope, effective policy
regarding China.
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Abrahams, Paul Richard Adolphe. "Haute-Savoie at war, 1939-1945." Thesis, University of Cambridge, 1992. https://www.repository.cam.ac.uk/handle/1810/251528.
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Milquet, Sophie. "Ecrire le traumatisme: mémoire féminine dans les fictions sur la guerre civile espagnole :représentations, formes, enjeux, 1975-2011." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209501.
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La présente étude porte sur l'expression de la mémoire féminine dans les fictions traitant de la guerre civile espagnole (1936-1939) et du franquisme. Elle s’intéresse plus particulièrement aux œuvres publiées depuis la fin de la dictature (1975) jusqu’en 2010, en français (Agustin Gomez-Arcos et Mercedes Deambrosis) et en espagnol (Dulce Chacón, Carme Riera, Josefina Aldecoa, Jesús Ferrero, Marifé Santiago Bolaños et Ángeles Caso). Nous nous attachons d’abord à l’étude globale des représentations des expériences féminines de la guerre et de la répression. Dans l’écriture des violences subies comme dans celle des luttes et résistances, la double dimension politique et de genre émerge. L’analyse se resserre ensuite sur les représentations du traumatisme, entre manifestations pathologiques et tentatives de ritualisation. Nous montrons à cet égard comment le récit peut assumer une fonction rituelle.
La « poétique du traumatisme » mise au jour dans le corpus d’étude qualifie des réalisations formelles diverses, rassemblées en trois ensembles, correspondant à autant de lieux possibles d’ancrage du traumatisme :le rapport générationnel, le corps et la voix. Une attention spéciale est accordée à la figure de la victime. Des phénomènes tels que la répétition et la délinéarisation, apparaissant à divers niveaux du récit, éclairent le rapport que les fictions entretiennent avec le passé ainsi que leurs positions éthiques et politiques dans le présent de la démocratie.
The current study explores the expression of women’s memory in literary works dealing with the Spanish Civil War (1936-1939) and Francoism. It focuses on the fictional narratives published between the end of the dictatorship (1975) and 2010, in French (Agustin Gomez-Arcos and Mercedes Deambrosis) and Spanish (Dulce Chacón Carme Riera, Josefina Aldecoa, Jesús Ferrero, Marifé Santiago Bolaños and Ángeles Caso).
The thesis first conducts a global analysis on the representations of women’s experiences of war and repression. In the writing of violence, struggle and resistance, the double political and gendered dimension emerges. The research focuses subsequently on the trauma representations, between pathological manifestations and ritual attempts, and shows how narrative can assume a ritual function.
The « poetics of trauma » characterises various formal realisations, divided into three groups. Each of them embodies a possible space for the inscription of trauma :the generational link, the body and the voice. Special attention is given to the figure of the victim. Phenomena such as repetition and delinearisation, that appear at various levels, clarify the relationship that fictional narratives build with the past as well as their ethical and political positions in the democracy.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Foehn, Salomé. "Les philosophes de l'exil républicain espagnol de 1939 : autour de José Bergamín, Juan David García Bacca et María Zambrano (1939-1965)." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/2551.
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Spanish Republican philosophers in exile defended the Second Republic, legally proclaimed on April 14, 1931. They embraced the anti-fascist cause rising in the 1920s and the 1930s in Europe. During the Civil War, which lasted three years, they stood among the people. 1939 saw the victory of General Francisco Franco, supported by Nazi Germany and the Italy of Mussolini. Threatened with death, they had no choice but to escape from Spain. Some intellectuals experienced French concentration camps but, for the most part, they found refuge in Latin America, especially in Mexico and Venezuela. In exile, they swore to remain loyal to the Second Republic and to the spirit of the Spanish people. Moved by liberal views and humane ideals, these philosophers belonged to the vanquished, as those everywhere in Europe who rose against Fascist barbarity. As a result, their respective works are still widely unknown today – despite relentless efforts made to promote their thought to a larger audience for over half a century. In addition to the historical context of crisis during the interwar period, the situation of Spanish philosophy itself is suggestive. Indeed, Spanish philosophy was institutionalised at the beginning of the twentieth century only: the Schools of Madrid and Barcelona were created. These politics of cultural and intellectual renovation are first bestowed upon the generation of philosophers I study, born in the 1900s. When the Spanish War erupts, they had become professionals of international recognition. This shows the actual limits of academic philosophy, incapable of acknowledging unorthodox ways of philosophising. The experience of exile itself serves in my opinion as a catalyst: Spanish Republican philosophers in exile seek emancipation from academic conventions to philosophise freely; that is, in Spanish and according to the spirit of the people. No doubt “poetic reason” – the true invention of Spanish Republican exile – stems from this ideal of autonomous thinking.
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Shepard, Steven B. "ABDA : unsuccessful band of brothers /." Fort Leavenworth, KS: U.S. Army Command and General Staff College, 2003. http://cgsc.cdmhost.com/u?/p4013coll2,115.
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Choi, Cho-hong. "Hong Kong in the context of the Pacific War : an American perspective /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20906845.
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Bennet, Victor Kenneth. "Public opinion and propaganda in national socialist Germany during the war against the Soviet Union /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/10371.
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Jackson, Ashley. "Botswana 1939-1945 : an African country at war /." Oxford : Clarendon press, 1999. http://catalogue.bnf.fr/ark:/12148/cb37112011v.
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O'Sullivan, Brian. "Away All Boats: A Study of the evolution and development of amphibious warfare in the Pacific War." Thesis, University of Canterbury. History, 2008. http://hdl.handle.net/10092/1641.
Full textAbstract:
Amphibious operations are a topic central to the history of World War Two in the Pacific Theatre. The majority of research on this topic has been centred on the impact of American experiences and successes attributed to the development and evolution of amphibious warfare. The contributions of the United Kingdom and Japan to the development of amphibious warfare have been either overlooked or marginalized. This thesis will investigate the amphibious activities of all three powers both during and before the Pacific War, and seek to explain the importance of each nation's contribution to amphibious warfare. In addition, the thesis will demonstrate how in its highest forms amphibious operations became a fully fledged system of global force projection. The thesis will explain how each of these powers interpreted the legacy of the failure of the 1915 Gallipoli campaign both in the context of their own wartime experiences, and in their respective strategic worldviews. This interpretation is central to how each power prepared for amphibious operations in the next war. The importance of the geography of the Pacific Ocean to the evolution and development of amphibious warfare will be discussed, as will the advances in technology that allowed the creation of logistical systems to support these operations.