Дисертації з теми "Days of remembrance"

History
Ph.D.
This dissertation explores the development of an American D-Day tale. D-Day, the Allied invasion of northwestern France in June 1944, stood out to Americans because it seemed to promise a quick end to the Second World War in Europe. This lasting conception of the amphibious assault as a critical juncture has placed it in the forefront of American memories of the war's European phase. More than a turning point, however, American conceptions of the event have come to constitute a veritable morality tale. According to its narrative, D-Day demonstrated the military competence of a free republic that put its faith in citizen-soldiers. This tale has romanticized warfare by depicting it as an event populated by democratic heroes engaging clearly evil foes in decisive clashes fought for liberty, national redemption, and world salvation. The redemptive power of violence displayed on Norman beaches enjoyed divine blessing, and even, as sometimes claimed, outright assistance. Veterans and their family members, politicians, military leaders, honorific organizations, news media personalities, filmmakers, scholars and authors all have offered entries into a staggering field of American D-Day-related material. Their messages, largely similar in tone, transmitted to American audiences through museums, monuments, news stories, books, speeches, games, documentary films and Hollywood spectaculars. This dissertation will also evaluate the impact of their memory work on America. D-Day allegedly reaffirmed cherished American notions of democracy, fair play, moral order, and the militant (yet non-militaristic) use of power for divinely sanctioned and altruistic purposes. Such interpretations of clashing arms have exerted a powerful influence on American conceptions of patriotism, civic duty, and the efficacious use of military power. Feeding the militarization of American culture in the Cold War and beyond, the D-Day tale has pushed Americans to see war as a bloody yet noble clash, a veritable crusade used by the righteous for just purpose and decisive results. This story has cemented into place popular conceptions of the battle and an ideal-type of expectations for "good" wars.
Temple University--Theses

Ce mémoire a pour objectif d'examiner la part de poésie contenue dans les romans Kamouraska (1970) d'Anne Hébert et L'Amant (1984) de Marguerite Duras. Alors même que ces oeuvres sont souvent qualifiées de poétiques par la critique, la question générique se trouve formulée par les auteures elles-mêmes, qui remettent en cause le partage entre récit et poésie dans leur production. En mobilisant dans un premier temps le modèle théorique du récit poétique de Jean-Yves Tadié, puis en se livrant dans un deuxième temps à un examen de certaines spécificités stylistiques des oeuvres retenues, le présent mémoire s'efforce de mener à la fois une interrogation sur la possibilité d'une hybridation entre narration et poésie et une recherche des traces de pareil phénomène dans les romans hébertien et durassien. Il procède, par le fait même, à une réflexion sur le modèle de Tadié, l'analyse réalisée permettant d'en questionner les modalités.

Sous l’intitulé « remembrance théâtrale », la thèse se propose d’examiner la présence du passé ainsi que les usages de l’Histoire et de la mémoire dans la création scénique contemporaine en Europe. Quel regard les artistes de la scène contemporaine portent-ils sur le passé ? Quelle lecture nous donnent-ils de l’Histoire et dans quelle perspective ? Comment, et à quelles fins, intègrent-ils ce passé dans leur processus d’écriture scénique ? En quoi la scène et ses possibilités artistiques sont-elles propices à l’exploration de la mémoire ? Quel rôle ces artistes délèguent-ils au spectateur dans l’établissement du sens de cette exploration ? L’analyse s’appuiera sur trois créations récentes de Maguy Marin (Description d’un combat), Christoph Marthaler (Papperlapapp) et François Tanguy (Onzième). A travers l’exemple de ces formes scéniques apparentées au « spectre postdramatique » (Christian Biet, Christophe Triau) ainsi qu’à la constellation des « écritures du plateau » (Bruno Tackels), dans lesquelles se manifestent les pratiques de la fragmentation, de la citation, de la trace et de l’archive, de la déconstruction et de l’assemblage, il s’agira de saisir les spécificités esthétiques qui découlent de ces explorations du temps depuis la scène en interrogeant à la fois les modalités de leur mise en œuvre, les conditions de leur réception et les visées de leur présentation. Selon une approche esthétique s’appuyant notamment sur la philosophie de l’Histoire de Walter Benjamin, la thèse envisage donc de déployer tout à la fois une poïétique, une poétique ainsi qu’une politique de la remémoration dans les arts du spectacle de ces quinze dernières années
Under the heading "theatrical remembrance," this thesis sets out to examine the relation of modern theatre to the past and the uses of history and memory in contemporary stage creation in Europe. It examines how artists of the contemporary scene relate to the past asking the questions : What conception do they give us of history and from what perspective? How and for what purpose, do they integrate the past in their scenic writing process? In what way is the scene and its artistic possibilities conducive to the exploration of memory? What roles do artists delegate to their audience in determining the meaning of their artistic expression? The analysis is based on three recent creations by Maguy Marin (Description d'un combat), Christoph Marthaler (Papperlapapp) and François Tanguy (Onzième). Through these examples of scenic forms, affiliated to the "post-dramatic spectrum" (Christian Biet, Christophe Triau), as well as the contribution of Les écritures de plateau by Bruno Tackels, in which the practices of fragmentation, the quote, the trace, the archive; of dismantling and of assembly, appear. Through the use of the aesthetic characteristics resulting from these explorations of the past on the stage, and the questioning of the modalities of their implementation, the conditions of their reception and the purposes of their presentation and in accordance with an aesthetic approach based in particular on the philosophy of History by Walter Benjamin, the thesis plans to develop a poetics and politics of remembrance in the performing arts of the last fifteen years

This thesis analyses and compares two historic commemorations in Northern Ireland with two in New Zealand, in the period from 1940 to 1990. These commemorations are the Twelfth of July and Remembrance Sunday in Northern Ireland, and Waitangi Day and Anzac Day in New Zealand. Examination of these commemorations has revealed several patterns. In the commemorations studied in this thesis, levels of public adherence generally depended on the extent to which the values that the commemoration symbolised were seen as threatened or highly needed. The commemorations which reaffirmed compelling values tended to enjoy higher levels of public support than those expressing values which were seen as either unnecessary or unthreatened. In both countries, historic commemorations were capable of uniting communities behind core values. However, in cases where there was no general agreement on what those values were or what they meant, commemorations frequently became sites of division and conflict. All four commemorations were regularly used by organisers and participants to express views on contemporary political and social issues and, on several occasions in both countries, different groups battled for the control of particular commemorations. In both countries, increased levels of social conflict often led to the increased use of the past as a rhetorical device. The main conclusion to be drawn from this study is that these historic commemora¬tions derived more of their meaning from their contemporary context than from the historical events which they commemorated. In particular, how the public viewed and understood the values symbolised and reaffirmed by the commemorations strongly affected their levels of support. People were most likely to observe the commem-orations when they were seen as symbolising values which were widely adhered to and seen as threatened or urgently needed. The historic commemorations examined in this thesis were often strongly affected by contemporary events which were seen as relating, positively or negatively, to the values which the commemorations embodied.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
The present doctoral thesis is based on clinical experience and represents a deeper study of the research developed and presented in the master s dissertation Dementia: identities that sicken. Considerations about the psychopathologic aspects of the aging process defended in the Laboratory of Fundamental Psychopathology (Laboratório de Psicopatologia Fundamental), in the Program of Post-Graduation studies in Clinical Psychology at PUC-SP in 2008. The investigation of this work specifically focuses on the peculiarities of the psychic function that directly affects the mnemonic system of elder patients suffering from dementia processes. The point of view hereby defended is that the senile dementia processes are manifestations that are caused by the impossibility of forgetting, resulting in an imprisonment of the memory register. This perspective does not exclude the possibility that other dementia processes, classified as primary, have other forms of expressions and/or distinct genealogies. Nevertheless, it reveals that it is fundamentally important to consider the subjective aspects expressed by the dementia symptomatology. It points out the importance of taking these singularities into consideration in the treatments and demonstrates important aspects of the psychic apparatus concerning the mnemonic functions and the relation with pathos that becomes evident in the psychical working over related to aging (envelhescência). The distress, passion and excess inherent in the aging process send them to the conflicting encounter between the temporality of the body and non-temporality of the unconscious and also, of the ideal of the ego. This encounter may give stimulus to the formation of specific symptoms that will be activated in the senile dementia processes. They will be characterized by the refusal of the present time and the surrender of the ego to the magnificence of the memories from the past, recovered and strengthened by the increasing power of the superego
A presente tese de doutorado constituiu-se com base na experiência clínica e representa um aprofundamento da pesquisa desenvolvida e apresentada na dissertação de mestrado Demências: identidades que adoecem. Considerações sobre os aspectos psicopatológicos do envelhecimento defendida no Laboratório de Psicopatologia Fundamental, do Programa de Estudos Pós-Graduados em Psicologia Clínica da PUC-SP em 2008. O foco de investigação deste trabalho converge especificamente para as peculiaridades do funcionamento psíquico que afetam diretamente o sistema mnêmico de pacientes idosos acometidos por processos demenciais. O ponto de vista aqui defendido é o de que os processos demenciais senis são manifestações que ocorrem em virtude de uma impossibilidade de esquecer, apresentando-se como o resultado de um aprisionamento no registro das lembranças. Essa perspectiva não exclui a possibilidade de que processos demenciais concebidos como primários tenham outras formas de expressão e/ou genealogias distintas. Revela, entretanto, ser de fundamental importância prestar atenção aos aspectos subjetivos expressos por meio da sintomatologia demencial. Aponta para a importância de que essas singularidades sejam levadas em conta nos tratamentos e revela aspectos importantes do aparelho psíquico no que tange às funções mnêmicas e sua relação com o pathos que se evidencia no trabalho de envelhescência. O sofrimento, as paixões e os excessos inerentes ao envelhecimento remetem-nos ao conflitivo encontro entre a temporalidade do corpo com a atemporalidade do inconsciente e, também, do ideal do ego. Esse encontro pode estimular formações de compromissos específicas que serão postas em atividade nos processos demenciais senis. Esses irão caracterizar-se por uma recusa do tempo presente e pela rendição do ego diante da imponência das lembranças, resgatadas e fortalecidas pelo crescente poder exercido pelo superego

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The main objective of this research is to study the significative implications between memory and writing, on novel S. Bernardo (1934), by Graciliano Ramos, emphasizes the process of the act of writing and, in it, the relations between memory and lookings. To guide this subject, we propose some critical hypotheses over essays written by Antonio Candido, João Luiz Lafetá, Wander Melo Miranda and Luís Bueno, in which these writers exceed the importance of writing to understand the novel. When the chief character narrator, Paulo Honório, gets in the representation of last lifetime, by the act of writing, he reaches the actual moment to review his actions, and facts of the past and, therefore, to correct his perspectives, ideas and values. To the conduct the reading again his past experiences, and to get in the understanding of his reality, the narrator obtains the possibility to know himself, to aware himself of the effects of his past actions, to know about the fusion of his memories to Madalena ones, and other characters, and, mainly, to embody the essence, and the metamorphosis of the impulsive man in dreamer one. We also guide to the studies about memory, according to Henry Bergson, Paul Ricoeur and Maurice Halbwachs, besides the theories about writings of Maurice-Jean Lefebve, Maurice Blanchot, and other ones. The research results have shown us the passage of writing to the act, and of how the writing of S. Bernardo established the process of metamorphosis of the character Paulo Honório. So, Paulo Honório moves from of condition of impulsive man to the dreamer one, and, by the act of writing, he becomes an evocative man. He gets in, under the poetic essence, in the universe of writing, built by possibilities, and by the no paths of the composition of his memorial book
O objetivo central desta dissertação é estudar as implicações significativas entre a memória e a escrita, no romance S. Bernardo (1934), de Graciliano Ramos (1892-1953), privilegiando o processo da escritura e, nele, as relações entre memória e olhar. Para atender a esta temática, propomos as hipóteses críticas levantadas da leitura dos ensaios críticos sobre S. Bernardo, escritos por Antonio Candido, João Luiz Lafetá, Wander Melo Miranda e Luís Bueno, nos quais destacam a relevância da escrita para a compreensão do romance. Paulo Honório, o narrador protagonista, ao se entregar à representação da experiência vivida, pela via da escritura, ganha o instante presente para rever suas ações e eventos do passado e, assim, corrigir suas perspectivas, ideias e juízos de valor. Ao proceder à releitura das vivências passadas e à compreensão de sua realidade, o narrador obtém a possibilidade de se autoconhecer, de conscientizar-se das consequências de seus feitos passados, de perceber a interpenetração de suas memórias com as de Madalena e demais personagens, e, principalmente, de incorporar a essencialidade e a transformação de homem impulsivo em homem sonhador. Também recorremos aos pressupostos teóricos sobre a questão da memória, segundo Henry Bergson, Paul Ricoeur e Maurice Halbwachs, bem como as teorias sobre a escrita de Maurice-Jean Lefebve e Maurice Blanchot, dentre outros. O resultado deste estudo nos revelou que a passagem da escrita da memória à escritura de S. Bernardo constituiu o processo de metamorfose da personagem Paulo Honório. Ao agir, dessa maneira, Paulo Honório transita da condição de homem impulsivo para a de homem sonhador e, via escritura, torna-se um homem evocativo. Instala-se, com essência quase poética, no universo do escrever, feito pelas possibilidades e descaminhos da composição do seu livro memorialista

Le second dix-huitième siècle est marqué par une profonde reconfiguration du cadre politique qui se traduit par un essor concomitant de la critique publique et du patriotisme. Le théâtre participe au mouvement. Dans le sillage de Voltaire, des auteurs très divers s’emparent de l’Histoire de France, renouvelant les genres théâtraux et le rapport au spectacle. Aux pièces épiques ou sentimentales du « genre troubadour » s’ajoutent bientôt les anecdotes biographiques consacrées aux Grands Hommes, puis les « apothéoses dramatiques » et les « faits historiques » contemporains de la Révolution. Cet ensemble hétéroclite de pièces jouées sur des théâtres officiels, en société ou seulement diffusées par écrit, constitue ce que nous appelons le théâtre national des Lumières et de la Révolution. À travers l’étude des textes et de leur réception, nous analysons comment la représentation de l’Histoire de France participe aux transformations des mentalités, selon un effet de miroir passé-présent plus ou moins explicite. Aux enjeux esthétiques et dramaturgiques emblématiques de cette période charnière entre classicisme et romantisme, le théâtre national mêle des enjeux politiques et mémoriels : plus qu’un divertissement moral, il est conçu comme un dispositif civique. Il construit un patrimoine historique collectif avec des mythes et des légendes, mais les intentions idéologiques divergentes des auteurs et la participation active des publics en font un lieu de dissensus. Le théâtre national médiatise également les tensions de la société et recherche des émotions qui oscillent entre l’admiration, l’attendrissement, la déploration indignée et l’horreur face aux blessures du passé
The second half of the eighteenth-century is characterized by a thorough transformation of the political world, a change which reflected the simultaneous development of public criticism and patriotism. Theatre plays a key role in this process. Following Voltaire, a variety of playwrights use French history for their plots, and in so doing they update genres and audience expectations. Alongside epic or sentimental plays of the troubadour genre, bio-dramas of “Great Men” soon appeared, followed by dramatic apotheoses and the Revolution’s “faits historiques”. This varied corpus of plays – performed ¬ or not, on official or private stages – constitutes what we may call the national drama of the Enlightenment and the French Revolution.By studying these texts and their reception, I analyse how the theatrical representation of French history and its ability to act as a mirror between the past and the present contribute to the contemporary changes in thought. National drama not only showcases the esthetical and dramaturgic debates of this turning point between classicism and romanticism, but it additionally implicates issues of politics and memory: it is more than simple moral entertainment, it has civic value. These productions create a collective historical heritage with its own myths and legends, but the playwrights’ contradictory ideological intentions and the audiences’ active participation also make this theatre a site of dissent. National drama also expresses contemporary social strains and seeks to evoke specific emotions such as admiration, empathy, outrage and horror in the face of the past’s wounds

Ce travail se propose d’analyser cinq œuvres écrites par Peter Handke dans les années 2000 (La Perte de l’image, La Grande chute, Don Juan (raconté par lui-même), Kali et La Nuit morave). L’angle d’approche adopté est celui de l’extime qu’il faudra définir non pas comme le contraire de l’intime, mais bien comme une de ses nouvelles modalités. Cette notion qui acte le tournant paradigmatique de l’écriture de soi à l’ère post-autobiographique, mettra au jour le mouvement différentiel qui anime l’écriture handkéenne. Abordant dans un premier temps les conflits entre ipséité et identité que subissent les personnages emportés dans un double mouvement de dés-appartenance et de ré-appartenance, ce travail étudiera plus précisément le partage du Dire au sein de configurations narratives qui remontent à un en-deçà du discours. Le fondement éthique qui interpelle la responsabilité du sujet d’écriture provoque une disjonction qui l’expose non seulement à autrui, mais aussi à la violence du grand Dehors. Face au chaos de la réalité frappée par la catastrophe, le processus d’extimation de l’écriture déconstruit le cadre de la perspective albertinienne pour mettre en place une nouvelle spatialité, un tiers-espace où résident à l’état latent les possibilités enfouies d’un contre-monde, d’une contre-histoire. Le nouvel espace devra être considéré comme une « fable topique » ouvrant à la reconfiguration sensible du réel ainsi qu’à la reconstruction de l’événement. La dernière partie sera consacrée à l’examen des différentes dynamiques actorielles et temporelles qui renouvellent l’essence du récit. L’art de la combinaison ainsi que le rôle accordé à l’« aventure » activent les pouvoirs de l’imagination pour recréer de la durée et réhabiliter ainsi la capacité de la littérature à raconter une histoire. L’extime exprime en dernière instance ce geste d’écriture donnant accès à l’expérience de l’événement narratif et éthique saisi dans l’instant du kaïros
This study aims to analyze five works written by Peter Handke in the 2000s (Crossing the Sierra de Gredos, The Great Fall, Don Juan - His Own Version, Kali and The Moravian Night). The approach adopted throughout this research is based on the concept of the extimate – which will be defined not as the opposite of intimacy but as one of its new modalities. This notion, which signals the paradigmatic shift of self-writing practices in the post-autobiographical era, brings to light the differential movement underlying Handke’s writing. After focusing on the conflicts between selfhood and identity experienced by the characters in a double movement of dis-belonging and re-belonging, this research will especially analyze the sharing of the Say within narrative configurations taking place at a pre-speech level. As the subject of writing is being reminded of the responsibility linked to the ethical foundation of their activity, a disjunction occurs that exposes it not only to others, but also to the violence of the great Outside. Faced with the chaos of a reality struck by catastrophe, the extimation process of writing deconstructs the framework of the Albertinian perspective to produce a new form of spatiality. This new space will be considered as a “topical fable” opening up to a sensory reconfiguration of the real as well as a reconstruction of the event. The last part will be devoted to exploring the different actor and temporal dynamics which renew the story’s essence. The art of combinations and the role given to “adventure”, unleashing the powers of imagination, recreate duration and thereby restore the ability of literature to tell a story. In conclusion, the extimate represents a gesture of writing that provides access to the narrational and ethical event experienced in the moment of kairos

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Esta investigaÃÃo tem como objetivo analisar os sentidos das experiÃncias de educaÃÃo de adultos e de escolas da RFFSA, construÃdos pelos sujeitos, e sua relaÃÃo com os princÃpios das Teorias ClÃssicas da AdministraÃÃo e da Teoria do Capital Humano, norteadoras das prÃticas administrativas e educacionais da empresa. Tais experiÃncias ocorreram na dÃcada 1970, em Fortaleza-CE, quando a RFFSA jà mantinha escolas para os filhos dos ferroviÃrios e, promovia cursos de alfabetizaÃÃo de adultos direcionados aos trabalhadores de nÃveis mais baixos de escolarizaÃÃo; o domÃnio das habilidades de leitura e escrita e das operaÃÃes bÃsicas de matemÃtica dava-lhes a possibilidade de acesso a novos cargos, de acordo com o que determinava a empresa. Trata-se de pesquisa descritiva e explicativa, de abordagem qualitativa, caracterizada como estudo de caso histÃrico baseado em Bogdan e Bicklen. Os dados empÃricos foram colhidos atravÃs de entrevistas semiestruturadas com seis sujeitos idosos, bem como pesquisa documental. O referencial teÃrico utilizado para as categorias conceituais de educaÃÃo e alfabetizaÃÃo de adultos foram Freire, Haddad e Di Pierro, Saviani, FernandÃz, Carvalho, Costa e Furtado; para as Teorias ClÃssicas da AdministraÃÃo: Silva, Taylor, Fayol, Zanatta e Kuenzer; para a Teoria do Capital Humano: Schultz e Frigotto. Para contextualizaÃÃo das ferrovias, teve como suporte os estudos de Telles, Pereira e Muniz, Mota, Almeida, Azevedo, Possas e Segnini. Outros autores foram incluÃdos para referendar a anÃlise que, pautada na dialÃtica, busca analisar as circunstÃncias e as contradiÃÃes que ligaram o contexto histÃrico ao sentido das experiÃncias construÃdos pelos sujeitos. Constatou-se que as experiÃncias educativas ocorreram sob a Ãgide da pedagogia tecnicista, de visÃo utilitarista e orientada pelos princÃpios das Teorias ClÃssicas de AdministraÃÃo e da Teoria do Capital Humano, presentes nas polÃticas e nas prÃticas administrativas; desvelavam-se assim aspectos internos caracterÃsticos de uma cultura assistencialista e clientelista, bastante comum à Ãpoca. Evidencia-se que as repercussÃes das experiÃncias de alfabetizaÃÃo e de qualificaÃÃo foram muito mais no Ãmbito pessoal e profissional. Neste sentido, se apresentam para os trabalhadores como a oportunidade de alfabetizaÃÃo e qualificaÃÃo tÃcnica que, apesar de aligeiradas, podem ter contribuÃdo para o acesso a outros cargos e resultado na elevaÃÃo da autoestima, sem que isso representasse significativas mudanÃas nas condiÃÃes de vida e de trabalho. Quanto Ãs experiÃncias nas escolas, propiciou o acesso à educaÃÃo aos filhos dos trabalhadores, e quando interrompidas geraram perdas tanto para os trabalhadores e suas famÃlias, como para as professoras. Constata-se, portanto, que os sentidos das experiÃncias nÃo confluem na mesma direÃÃo para todos os sujeitos, mas podem ser traduzidos como movimentos constantes de luta dos trabalhadores no sentido de mobilizaÃÃo-desmobilizaÃÃo, dominaÃÃo-resistÃncia, controle-ousadia. Verifica-se que, nos anos 1970, triunfa o poder desmobilizador do Estado autoritÃrio que, em nome da racionalidade, provoca a diminuiÃÃo do quadro de empregados, o fechamento das escolas com a supressÃo do ensino primÃrio para, nas dÃcadas seguintes, culminar no processo de privatizaÃÃo da estatal, em consonÃncia com a pauta neoliberal.

Diese Analyse von Martin Jankowskis Roman Rabet oder Das Verschwinden einer Himmelsrichtung untersucht die Konstruktion einer literarischen Fiktion, die durch die dokumentarische Schilderung der friedlichen Revolution in Leipzig 1989 einen korrigierenden Beitrag zum Erinnerungsdiskurs leistet. Im Aufsatz werden Themen beschrieben, die durch das Fiktive, Metaphorische und Dialogische der Romanerzählung für die Gegenwart relevant gemacht werden. Dazu wird die Anwendung von literarischen Stilmitteln wie Metaphern, Ironie, Verschweigen, intertextuellen Referenzen und Transformationen analysiert. Neben der Interpretation des fiktionalen Erzählens, werden im Roman hervorgehobene und angedeutete Vorkommnisse untersucht, die noch heute sowohl auf gesellschaftliche Prozesse als auch auf private Beziehungen einwirken.
This analysis of Martin Jankowski’s Rabet oder Das Verschwinden einer Himmelsrichtung explores the construction of a literary fiction, which consists of a documentary and corrective contribution to the remembrance discourse of the Peaceful Revolution in the German Democratic Republic in 1989. Along with a description of themes which gain relevance through the fictional, metaphorical and dialogical features of the narration, the study undertakes an analysis of stylistic devises such as metaphors, irony, concealment, intertextual references and transformations. Besides an interpretation of the literary narration, the study examines the novel’s emphasis on the influence of past events on contemporary society and private relationships.

The purpose of this thesis is to outline the relationship that existed in the past and exists in the present, between Australians and the War Graves and Memorials to the Missing. commemorations of Australians who died during the First World War. Their final resting places are scattered all over the world and provide a tangible record of the sacrifice of men and women in the war, and represent the final result by Official Agencies such as the Imperial, and later, Commonwealth War Graves Commission, and its agency representative, the Office of Australian War Graves, of an attempt to appropriately commemorate them. The study follows the path of history from the event of death of an individual in the First World War, through their burial; temporary grave or memorial commemoration; the permanent commemoration; the family and public reaction to the deaths; how the Official Agencies of related Commonwealth Governments dealt with the dead; and finally, how the Australian dead are represented on the battlefields of the world in the 21st century. Australia.s war dead of the First World War are scattered around the globe in more than 40 countries and are represented in war cemeteries and civil cemeteries; and listed on large „Memorials to the Missing., which commemorate the individuals devoid of a known graves or final resting place.

L’objet d’étude de cette thèse porte sur les anciens lieux d’habitation parisiens d’André Kertész et de Brassaï, tels qu’ils existent aujourd’hui. Il repose sur une analyse de photographies puisées dans leurs archives et sur un travail de terrain effectué dans ces lieux désormais habités par d’autres occupants. La prise de contact avec les habitants actuels a été l’occasion d’une collaboration participative puisque ces images d’archives ont généré un travail de création collective : placés à différents postes, différents points de vue préalablement identifiés dans ces anciens clichés, ces habitants ont effectué eux-mêmes un travail de re-photographie simultané. Cette recherche est le résultat d’une expérience urbaine qui combine documentation, interprétation et création. L’étude de deux archives photographiques, nous a permis d’identifier sept intérieurs et de répertorier un corpus de cinquante-sept clichés d’époque. Le caractère social et interactif de notre méthode de travail vise à une meilleure appréhension de ces lieux d’habitation et de notre héritage culturel dans une perspective de transmission; l’aboutissement étant une production plastique, une image panoramique cumulant différentes époques dans un même espace. Pour l’étude des rapports relationnelles des images et la définition des champs de représentation et d’interprétation, nous nous sommes appuyés sur le schéma de l’intertextualité. Nous avons cherché des analogies permettant de comparer les créations re-photographiques avec le modèle genettien de l’intertextualité. Ce principe d’une organisation « intervisuelle » a été complété par des méthodes théoriques chronologiques, topographiques et médiatiques
The topic of my thesis is the former dwelling places of two famous Hungarian photographers, André Kertész and Brassaï. It identifies the pieces of the archives which were made in the private spaces of the artists. The identification is carried out through getting into the flats, into the spaces. Getting in touch with the present occupants is the beginning of a collective creative work. The pictures are taken in these spaces, from different point of views, but at the same time. My work is a documentation of an urban experience with a structure of a network. The research, which is built on the visual content of the archives, presents factual results and interpretational creative activity as well. Seven found interiors and the two archives have been examined, 57 pictures have been identified, which shed light on new parts of the artists’ biographies. The social requirement of the method of working up serves the collective cognition of cultural memories, the discovery of one’s own living space and the possibilities of passing them on. The act of Rephotography, points towards the future and makes the recipient think on. To interpret the relative relationship between the pictures, the thesis examines the possible representative domains of the photographical metaphor of intertextuality. It looks for analogies which enable that the works made in intervisual spirit could be compared to Genette’s intertextuality and it completes the method of arrangement with further chronological, topographical and medial theoretical schemes

La réunification ne transforma pas uniquement l’Allemagne sur le plan intérieur, mais eut également d’importantes répercussions sur sa place en Europe et dans le monde. Le nouveau contexte général ainsi que le changement générationnel au sein de la classe politique dans les années qui suivirent, entraînèrent aussi une évolution de l’autoreprésentation de la République fédérale. Tout cela ne resta pas sans conséquences sur sa perception à l’étranger. L’objectif de la présente thèse est d’analyser l’autoreprésentation de la jeune « République de Berlin » et sa réception en France de 1990 à nos jours. La question centrale est de savoir quelle image l’Etat allemand cherche à donner de lui-même et quelle image de l’Allemagne domine en France. Il s’agira de mettre en évidence les évolutions concrètes que l’on peut observer en la matière depuis la réunification, les facteurs permettant de les expliquer ainsi que de déterminer dans quelle mesure il existe une corrélation entre l’autoreprésentation de l’Allemagne et sa réception
Reunification not only changed Germany domestically, but also had an important impact on its position in Europe and in the world. The new general framework as well as the generational change in politics in the following years also led to a change in the self-representation of the Federal Republic. All this did not remain without consequences on the perception of the country abroad. The aim of this thesis is to analyse the self-representation of the young “Berlin Republic” and its reception in France from 1990 to the present. The key question is which public image does the German state promote of itself and which image of Germany prevails in France. It will be highlighted how this has changed concretely since reunification, by which factors this development can be explained, and to what extent a correlation exists between Germany’s self-representation and its reception

This thesis explores the extent to which Indigenous Australian and Māori First World War service has been acknowledged in national sites of commemoration in Australia and New Zealand over the past century. Between 1918 and 2019, the national commemorative landscapes in Australia and New Zealand evolved to accommodate changing national values and priorities. The thesis argues that the development of different Indigenous-non-Indigenous race relations in Australia and New Zealand ultimately informed the extent to which Indigenous First World War service was acknowledged at a national level. In New Zealand, some Pākehā acceptance of Māori society and culture at the outbreak of the First World War facilitated the active involvement of Māori in the conflict. As this limited acceptance developed into an official policy of biculturalism (albeit in an asymmetrical form), the acknowledgement of Māori war service was increasingly incorporated into mainstream national sites of commemoration. In Australia, by 1914 a broad national policy of exclusion and isolation of Indigenous Australians resulted in governmental restriction surrounding their participation in the First World War. Although official national attitudes towards Indigenous Australians changed with social and political developments from the 1960s onwards, by the beginning of the twenty-first century Australia’s race relations with its Indigenous peoples remained strained and unresolved. The lack of a clear “bicultural” policy with regards to the inclusion, recognition, and representation of Indigenous Australians restricted the extent to which their First World War service has been acknowledged at a national level. While historians have increasingly explored aspects of Indigenous Australian and Māori participation in the First World War and their subsequent inclusion in commemorations of conflict, the field remains small. In particular, comparisons between the two countries remain unusual, despite the inherently comparative nature of their First World War commemorations. By adopting a comparative approach, this thesis breaks new ground and provides a thorough discussion of the extent structural and institutional policies regarding race-relations have impacted the commemoration of Indigenous Australians. This thesis utilises a range of material, including military personnel files, committee minutes, floorplans, ephemera, newspaper articles, interviews with museum professionals, and the physical sites of commemoration themselves. Following the Introduction, Chapter I provides an overview of the extent of Indigenous Australian and Māori participation on the war. In particular, it focuses on the ways in which official national policies regarding Indigenous war service evolved between 1914 and 1918, and the way these policies impacted the nature of Indigenous participation in the conflict. Chapters II through IV then examine how Indigenous war service has been acknowledged in the key sites of commemoration in Australia and New Zealand: days of remembrance (II), war memorials (III), and war museums (IV). The thesis concludes with a discussion of the importance of Australia and New Zealand’s differing policies towards their Indigenous populations in shaping the ways in which Indigenous war service has been acknowledged at a national level. It also shows why the findings of this thesis are relevant beyond the end of the First World War centenary.
Thesis (MPhil) -- University of Adelaide, School of Humanities, 2020