Dissertations / Theses on the topic 'Post-war years'

This thesis is concerned with the means by which the state in Britain has attempted to influence the technological development of private industry in the period 1945-1979. Particular emphasis is laid on assessing the abilities of technology policy measures to promote innovation. With that objective, the innovation literature is selectively reviewed to draw up an analytical framework to evaluate the innovation content of policy (Chapter 2). Technology policy is taken to consist of the specific measures utilised by government and its agents that affect the technological behaviour of firms. The broad sweep of policy during the period under consideration is described in Chapter 3 which concentrates on elucidating its institutional structure and the activities of the bodies involved. The empirical core of the thesis consists of three parallel case studies of policy toward the computer, machine tool and textile machinery industries (Chapters 4-6). The studies provide detailed historical accounts of the development and composition of policy, relating it to its specific institutional and industrial contexts. Each reveals a different pattern and level of state intervention. The thesis concludes with a comparative review of the findings of the case studies within a discussion centred on the arguments presented in Chapter 2. Topics arising include the state's differential support for the range of activities involved in innovation, the location of state-funded R&D, the encouragement of supplier-user contact, and the difficulties raised in adoption and diffusion.

In these novels, Woolf demonstrates the ways in which wartime trauma affects post-war life, from the societal trauma of losing an entire generation in Jacob’s Room, to the continuation of wartime beyond the end of the war for traumatized soldiers and anyone whose lives they touch in Mrs. Dalloway, to recovery through the creation of art and family ties in To the Lighthouse, to the question of futurity inherent in wartime trauma in The Years.

The formation of the Liberal Party of Australia in the mid-1940s heralded a new effort to stem the tide of government regulation that had grown with Labor Party rule in the latter years of World War II and immediately after. It was not until 1949 that the party gained office at Federal level, beginning what was to be a record unbroken term of 23 years, but its efforts faltered at State level in Victoria, where the party was divided, and in New South Wales, where Labor was seemingly entrenched. The fortunes were reversed with the rise to leadership of men who bore a different stamp to their predecessors, and were in many ways atypical Liberals: Henry Bolte in Victoria and Robin Askin in New South Wales. Bolte, a farmer, and Askin, a bank officer, had served as non-commissioned officers in World War II and rose to lead parties whose members who had served in the war were predominantly of the officer class. In each case, their man management skills put an end to division and destabilisation in their parties, and they went on to serve record terms as Liberal leaders in their respective States, Bolte 1955-72 and Askin 1965-75. Neither was ever challenged in their leadership and each chose the time and nature of his departure from politics, a rarity among Australian political leaders. Their careers are traced here in the context of the Liberal revival and the heightened expectations of the post-war years when the Liberal Party reached an ascendancy, governing for a brief time in 1969-70 in all Australian States as well as the Commonwealth. Their leadership is also examined in the broader context of leadership in the Liberal Party, and also in the ways in which the new party sought to engage with and appeal to a wider range of voters than had traditionally been attracted to the non-Labor parties.

Au cours de la Seconde Guerre mondiale se produit un phénomène éditorial sans précédent : alors que le contexte y est peu favorable, d’innombrables revues francophones sont créées, aussi bien en France métropolitaine que dans les colonies et à l’étranger, à l’instar de Fontaine, Poésie, Confluences, L’Arbalète, Cahiers de Poésie, Les Lettres françaises et bien d’autres encore. Elles viennent s’adjoindre aux périodiques qui existaient avant 1939 et qui ont réussi à se maintenir, afin de souligner la grandeur intellectuelle du pays. Ensemble, ils reprennent à leur compte la mission de La Nouvelle Revue Française, qui se trouve peu à peu dénaturée du fait de ses positions politiques avant d’être interdite : s’ils publient les textes d’écrivains reconnus, ils s’attachent aussi à lancer de jeunes auteurs qui, sans eux, n’auraient pu atteindre la notoriété qui a été la leur. Ainsi, jusqu’en 1953, date à laquelle La N.R.F. obtient l’autorisation de reparaître, ils contribuent à dessiner le paysage littéraire de la seconde moitié du XXe siècle.Les revues publiées entre 1939 et 1953 apparaissent comme la condition même de l’émergence de la poésie durant cette période. Elles contribuent à replacer ce genre au centre de toutes les attentions et favorisent son renouvellement. Elles font ainsi découvrir à leurs lecteurs les poèmes d’écrivains comme Olivier Larronde, Adrian Miatlev ou encore un certain Noël Mathieu, qui deviendra bientôt le fameux Pierre Emmanuel. Elles diffusent leurs textes aux côtés de ceux d’auteurs reconnus comme Paul Éluard ou Aragon, dont l’œuvre est alors en pleine mutation, et remettent sur le devant de la scène des écrivains du passé.Aux côtés des poèmes eux-mêmes se déploie dans les revues un important discours critique, dans lequel les chroniqueurs s’interrogent en profondeur sur les évolutions de la poésie. S’ils dessinent ses lignes de force, évoquant tour à tour un néo-classicisme, un renouvellement du lyrisme et une poésie tantôt engagée, tantôt matérialiste, tantôt spiritualiste, ils s’interrogent aussi sur leur mission et engagent de ce fait la critique dans une dimension autoréflexive. Leurs articles et chroniques, dont la fonction première est de contribuer au rayonnement de la poésie, apparaissent ainsi comme le berceau dans lequel s’éveille, peu à peu, la Nouvelle Critique, qui connaîtra son plein essor après 1953 et rayonnera durant toute la seconde moitié du XXe siècle
The editorial scene during World War II was a witness to an unprecedented phenomenon. Beating the odds, a great number of French-speaking magazines were created, whether it be in Metropolitan France, in colonies or abroad. Among them : Fontaine, Poésie, Confluences, L’Arbalète, Cahiers de Poésie, Les Lettres françaises, and many more. These just add to the list of periodicals that predate 1939 and managed to stay afloat in order to underline the country’s intellectual greatness. Together - and in their own way - they upheld the mission of La Nouvelle Revue Française, whose nature was slowly altered because of its political views, before being shut down altogether. Not only did they publish renowned authors’ works, but they helped launch the careers of young authors who would not have been known otherwise. Hence, they contributed to the French literary landscape until 1953 - when La N.R.F. magazine was authorized to be published again.Without these magazines published between 1939 and 1953, poetry would have been completely forgotten during that era. Not only did they help make this genre the centre of attention and allowed its renewal but, thanks to them, readers discovered writers such as Olivier Larronde, Adrian Miatlev and Noël Mathieu – the latter would soon become the famous Pierre Emmanuel. Their work is published along those already renowned by Paul Éluard and Aragon – whose work was undergoing changes at the time – and they published long forgotten writers.Alongside these poems, criticism could be found in the columns of these magazines, in which chroniclers raise fundamental questions about the evolution of poetry. Pointing out main tendencies, they wrote about a newly found lyricism of a politically committed, materialistic or spiritualist poetry, but also about their own mission, which led to self-criticism. Their articles and chronicles whose prime goal was to help the prestige of poetry, slowly gave birth to the New Criticism, which knew full bloom after 1953 and shone throughout the second half of the twentieth century

Onward Bound: -- the first 50 years of Outward Bound Australia traces the founding and development of this unique, Australian, non-profit, non-government organisation from its earnest beginnings to its formidable position today where it attracts some 5,000 participants a year to its courses. The project included interviewing hundreds of people and scouring archives and public records to piece together a picture of how and why Outward Bound Australia (OBA) developed -- recording its challenges and achievements along the way. A mediated oral history approach was used among past and present OBA founders, staff and participants, to gather stories about their history. This use of oral history (in a historical book) was a way of cementing the known recorded facts and adding colour to the formal historical outline, while also giving credence to the text through the use of 'real' people's stories.

This thesis on the Swedish voluntary women’s defence organisation Riksförbundet Sveriges lottakårer (SLK), studies how the board and the members of SLK discussed the problems and the meaning of voluntary defence work during the 1960s and 1970s. Furthermore the thesis aims to engage with previous research and give an explanation to why people may be interested in voluntary defence. Views varied greatly within SLK: some meant that the voluntary grounds of participation gave a sense of elite status to the organisation; however others saw voluntary work as untenable, since more women at the time had both work and family obligations. Another issue was professionalisation versus socialisation. While some members wanted to see a centralisation and professionalisation of the organisation, others found it more important to safeguard the social functions and independence of the local corps unit. The results suggest that gender structures as well as individual agency create multiple reasons and meanings behind voluntary defence work.

This thesis combines an academic investigation and creative writing practice in an attempt to understand the politics at work within mainstream notions of working-class masculine identity, and the role of literature in these discourses. Beginning with an academic analysis, the formulations and intersection of class and masculinity are outlined, explicating how systems, implemented by the middle-class creation of values, form social narratives whereby men of certain settings with associative lifestyles and practices, are privileged over other less valued groups of men. In this respect, its concerns are primarily with the socio-symbolic. Locating this discourse within an Aristotelian dichotomy of the mind and the body, this theoretical position is then applied in the scrutiny of six mainstream fictional narratives of two historic periods, each originally held to be politically subversive. In calling to question the validity of these original claims, further questions are raised regarding the nature of the mainstream fictional narrative at large, and whether it is an effective way of representing the politics of working-class identity, or whether, by its nature, it serves to reproduce its working-class characters as fixed subjects, immovable from their positions in a stable class system. This line of inquiry is then further explored in the deconstruction of my own creative work, in which I initially sought to represent the concerns of my own working-class heritage. The resulting issues raised with respect to mainstream, linear narrative leading to the investigation of other potential forms of representation for the working-class male, culminating in the exploration of my own shifting identity in a non-linear, multi-directional collection of poetry.

Purpose Sternal wound infection (SWI) is associated with significant morbidity and mortality in postoperative cardiac patients. We aimed to describe the burden, risk factors and outcomes of SWI in post-operative paediatric cardiac patients at a tertiary children's hospital. Methods We conducted a retrospective record review of cardiac surgeries via median sternotomy over a five-year period to identify cases of SWI. Results Between 2012-16, 1319 patients underwent median sternotomy. Thirty-four (2.6%) patients developed SWI; eighteen (1.4%) patients developed deep sternal wound infection (DSWI), and sixteen (1.2%) developed superficial sternal wound infections (SSWI). Twenty-two (1.6%) of SWIs were apparent within a week post-surgery before discharge, the remaining were re-admitted post-discharge. Seven (0.5%) patients died from complications. Conclusion Significant morbidity was associated with SWI. Furthermore, with a mortality rate of 20 % in the case of DSWI. We strongly support quality improvement procedures such as the Sternal Wound Prevention Bundle (SWPB) that was introduced in late 2014. However, the rate of SWI implies that ongoing monitoring and evaluation of the SWPB is necessary and more stringent adherence to the protocol may result in better outcomes.

The previous scholarship on British Columbia politics has mentioned but not adequately explained that province's populist culture. My paper responds to this deficiency by exploring the history of British Columbia populism. It examines the northwest (where populist culture was especially strong) as a case study of provincial politics and employs a political discourse analysis that compares language in the inter-war years with that of the post-war years. It also correlates voting and occupational statistics in polling districts in an effort to position language within a socio-economic context. The findings of this study emphasize the neighbouring northwest constituencies of Skeena and Omineca as representative of the dynamic nature of British Columbia political culture in the 1950s: in Skeena, a culture of class polarization dominated politics and led to an initial CCF provincial victory while Omineca had a culture of protest politics that supported Social Credit provincially and the CCF federally. These two differing kinds of politics (i.e. class versus populist politics) came from the same prodevelopment ethos that, while always dominating British Columbia culture, was especially significant in the post-war period. In Skeena, post-war corporate development attracted numerous unionized workers to the region and contributed to the CCF's class politics. The populism of Omineca was also a function of post-war development. It was not (like other populist traditions) connected to localistic or co-operative inclinations but in fact, was almost 1 exclusively anti-elitist. This populism integrated the anti-elite labeling of "the People" with a language that promoted the elite-controlled development of the 1950s, for the integration alleviated anxieties over that elite-control without actually threatening the existing pattern of development. The northwest's populist language was a function of a "non-populist" culture.

碩士
淡江大學
俄羅斯研究所
92
After the disintegration of Soviet Union, China is the only country that has the closest development with Russia. Recently, there has been continual advancement in their relations and further substantial cooperation regarding politics, economics, and military affairs. What are the reasons that can make such great progress between these two countries? In fact, there are a few large common problems between them that can be concluded as follows: 1.From the global view, Russia and China have considered each other as one pole that can exploit important function for maintaining peace and stability in the gradually formed multi-pole world. And, they both appreciate the balanced action from adversary in the world. 2.From the view of Asia-Pacific region, both China and Russia assert maintaining the safety and stability in this region. They aggressively propel politic dialogue among each country to eliminate the conflict, actual and potential, in this region. 3.From the bipartite view, China and Russia are two adjacent countries with common boundary about 4300 km. In a long period from now, both of them need a peaceful international environment to develop their economics, to cohere the peoples, and to improve their living standard. The complementariness of the economic structure will make their commercial cooperation with unlimited perspective. In the future, Russia and China will continue to create conditions for even cooperation in many fields, and perpetually substantiate their relations under such cooperation. On the other hand, as so close relations existing between Russia and China, how is the relationship between Taiwan and Russia? Chronically, the diplomacy of Taiwan is oppressed by China, including the development with Russia. As long as the relations between Russia and China gets closer and closer, China will request Russia to restrict its development with Taiwan. Therefore, there will have seldom communications between Taiwan and Russia. Nevertheless, the communications are only restrained at lower level such as commercial activities. In other words, Taiwan will face negative impact and treatment when companionate relationship exists between Russia and China.

This thesis deals with the post-war years of the Rumburk district, more precisely with post-war expulsions and mainly with resettlement. The work was based on archival materials (SOkA Děčín), especially on the administrative ones, secondly, the comparison of accessible secondary literature was made and lastly, the actual memories of those who still remember were composed into the research. The accessible literature and sources are introduced to the reader right in the introduction. The thesis is divided into three basic parts. The first part focuses on the topic of post-war expulsions, what the author considers to be crucial for understanding of the phenomena of resettlement. Furthermore, this part consists of two parts: perception of post- war expulsions generally in the whole Czechoslovakia and concretely in the Rumburk region. The second part of the thesis includes the topic of resettlement, generally and concretely, as well. The last section deals with the Rumburk region from the view of historical sources and those who still remember. It also contains a chapter about the regional social and cultural life (culture and sports clubs, religion, towns and landscape transformation). The aim of the presented paper is not informing the reader about past-war expulsions or resettlement but it is...

Tese de Doutoramento (Programa Doutoral em Modernidades Comparadas: Literaturas, Artes e Culturas)
Este trabalho analisa a circulação de ideias sobre o Holocausto em Portugal do pós-guerra até 1968. Para cumprir este desiderato, articulam-se questionamentos de disciplinas como a História, os Estudos Literários e Culturais e a Sociologia, tomando como objeto de estudo os processos socioculturais, documentados em textos – em sentido abrangente – sobre o Holocausto por parte de intelectuais próximos do regime ou seus opositores, e ainda na lógica da indústria cultural da memória. Analisa-se a presença do Holocausto nos media e na vida cultural numa interação dupla: com o desenvolvimento dos discursos, em termos ideológicos e mediáticos, ao nível internacional; e com as circunstâncias históricas e sociológicas específicas do país, que abrangem as condições repressivas da vida cultural durante o Estado Novo, e que influenciam a mediação. Tendo em conta estes dois vetores, definem-se três fases de receção (1945-1951; 1951-1961; 1951-1968), que permitem responder à escassez de abordagens das representações da perseguição nazi e do Holocausto na literatura portuguesa, nomeadamente em comparação com estudos de outras literaturas europeias, sem descurar particularidades e modificações de origem socio-histórica. As diferentes partes deste trabalho demonstram as hipóteses e as conclusões de uma investigação fundada num corpus aberto e diversificado (tradução, recensão literária, comentário político, crónica, entre outros), sucessivamente revisitado a partir de constantes e necessárias reformulações das teses obtidas. A análise dos textos incide nas estruturas enunciativas, articulando-as com a análise de políticas editoriais e revistas, e a pesquisa biobibliográfica acerca dos agentes culturais no espectro sociocultural português com ligações ao exterior, incluindo comentários em correspondência privada. Partindo de publicações de estatutos diferenciados (oficial, popular, clandestino), o seu teor ideológico ou o seu género (textos literários/não-literários), analisam-se vários canais e agentes envolvidos na circulação de informações e ideias sobre o Holocausto em Portugal, possibilitando, em vários aspetos, uma reinterpretação do espaço público português dessa época, bem como uma visão diferenciada do seu meio intelectual.
This work analyses the circulation of ideas about the Holocaust in post-War Portugal until 1968. To fulfil this desideratum, it articulates the questioning of subjects such as History, Literary and Cultural Studies, and Sociology. Its object of study are the sociocultural processes, documented in texts – in a broad sense – about the Holocaust written by intellectuals for, and against, the Regime, as well as in the logic of the cultural memory industry. The presence of the Holocaust in the media and in cultural life is examined in a double interaction: with the development of discourses, in ideological and mediatic terms, on an international level; and with the specific historical and sociological circumstances of the country, which encompass the repressive conditions of cultural life during the Estado Novo, and which influence mediation. Considering these two points, three phases of reception (1945-1951; 1951-1961; 1951-1968) are defined, which serve to address the scarcity of representations of Nazi persecution and the Holocaust in Portuguese literature, especially when compared to studies in other European literatures, notwithstanding socio-economical particularities and modifications. The different parts of this work lay out the hypothesis and conclusions of a research based on an open and diverse corpus (translation, literary critical review, political commentary, chronicle, among others), successively revisited in light of constant and necessary reformulations to different conclusions. The analysis of texts focuses on enunciative structures, articulating them with the study of editorial policies and magazines, and the bibliographical research on cultural agents with foreign connections in the Portuguese sociocultural spectrum. This includes comments in private correspondence. By examining publications of different statuses (official, popular, clandestine), and their ideological content and genre (literary/non-literary texts), this thesis studies several channels and agents involved in disseminating information and ideas about the Holocaust in Portugal, thus allowing, in many ways, for a reinterpretation of the public space in Portugal at the time, as well as for a differentiated picture of its intellectual environment.
Esta investigação foi financiada pela Fundação para a Ciência e Tecnologia através da concessão de uma bolsa de doutoramento (SFRH/BD/113120/2015), no âmbito do programa Portugal 2020, comparticipado pelo Fundo Social Europeu.

Après la Seconde Guerre Mondiale, on peut observer une inflexion de l’usage de la couleur dans le cinéma hollywoodien. Trop artificielle, la couleur a été reléguée à ses débuts à des genres « irréalistes » (comédie musicale, western). Mais après la guerre, la couleur est utilisée dans des films montrant le quotidien de l’Amérique, et devient une nouvelle façon d’appréhender certaines questions contemporaines. La couleur n’est plus un ornement ou un perfectionnement superflu, elle est porteuse de sens, au même titre que les autres éléments de la mise en scène. Les couleurs vives et l’exacerbation de l’artifice sont désormais utilisées par certains cinéastes dans un autre but que le seul plaisir de l’image colorée : parfois avec ironie, voire un pessimisme sous-jacent. L’enjeu esthétique de la couleur au cinéma doit en effet être situé dans le contexte historique de l’après guerre. La dévalorisation de la couleur dans l’histoire de l’art est ancienne, celle-ci ayant souvent été associée depuis l’Antiquité au maquillage féminin et à l’illusion. Le cinéma hollywoodien des années cinquante modifie justement l’image de la femme : on passe de la femme mythifiée à des femmes de chair et de sang, plus sexualisées, et aussi à l’évocation des rapports sociaux du quotidien. À travers l’actrice, et la façon dont celle-ci manipule la couleur ou bien existe à travers elle, la couleur se libère des préjugés, et trouve son indépendance, à travers une libération de l’expressivité, et un refus du seul mimétisme.
After WWII, the treatment of color in Hollywood cinema takes a new turn. Because it was too artificial, color was at first relegated to "unrealistic" films (musicals, westerns, etc). But in the post-war period, a change took place, and color was used in films that showed the common life of America, and became a new way of understanding contemporary issues. Color is not anymore a superfluous ornament, nor a mere device to increase realism: it is meaningful, as meaningful as any other element of the « mise en scène ». The bright colors and the exacerbation of the artifice are used from that time by some of the film-makers in a different purpose from that of pure entertainment : sometimes with irony, and even an underlying pessimism. What is aesthetically at stake in color films must be considered in the post-war context. The depreciation of color in the history of arts is an ancient trend, and since Antiquity, color in art has often been associated to feminine makeup and illusion. Hollywood films of the fifties changed the archetypical image of women: there was a shift from the mythical woman to women of flesh and blood, overtly sexualized, which allowed a more thorough evocation of the everyday life social relations. Through the actress and her acting - the way she manipulates color, or find a way to exist through it –, color releases itself from prejudices, participate to a release of expressiveness, and serve a rejection of basic mimesis.