The puzzling absence of signals intelligence (SIGINT) from the historiography of World War II for nearly three decades continues to reverberate for historians. This thesis aims to explain how and why SIGINT was protected from public disclosure during and after the war, how it became public in 1974, and how WWII historiography has evolved as a consequence of these revelations. Drawing on a vast range of published sources, interviews and recently available archival and electronic-database material, this thesis is comprised of five chapters. With a brief overview of important precedents, the first chapter traces Pacific theatre SIGINT disclosures from WWII through its early and detailed, although not complete, disclosure during the Pearl Harbour hearings and beyond. The second chapter examines how and why the Ultra secret was kept, despite the belief of the gatekeepers that it would soon be discovered by historians analysing operational details and battlefield decisions. The third chapter reviews chronologically the not insignificant Ultra-related disclosures that went unnoticed by historians prior to the publication of F. W. Winterbotham’s <i>The Ultra secret </i>in 1974. The fourth chapter presents the most complete explanation to date of why Winterbotham was allowed to publish, including a review of important precedents. The fifth chapter follows WWII historiographical development through to the end of the century as Ultra disclosures changed the understanding of the war in Europe and rejuvenated historical interest in Pacific theatre communications intelligence. Finally, an epilogue offers several Cold War historiographical comparisons that provide insight in to Anglo-American SIGINT disclosure and historical understanding of intelligence.

The thesis is a study of British historiography and popular fiction on the Indian 'Mutiny' of 1857-59. The historical writings that I have considered are mainly those written between 1857 and the 1870s, and for the novels the period I have chosen is between 1857 and 1947, the year of Indian's political independence. The first chapter is a reading of the histories by John William Kaye and Charles Ball. Here I have tried to show the ways in which historiography makes sense of and narrates anti-colonial resistance. The discussion also offers an occasion for introducing some of those historical and political-administrative issues which underlie the rebellion and that recur, with varying emphasis, in the texture of the novels. The second chapter examines the literary and social contexts of the British in India. While the novels of the rebellion belong to a tradition of colonial adventure novel, they are also located in a literary history specific to the British empire in India. At the same time, this literary history reflects the sociological and cultural bearings of Anglo-India, and embodies changes of attitude and policy as a period of 'orientalism' is followed by the ideological dominance of missionary-utilitarianism. The third chapter examines the ways in which the novels articulate the plot of Anglo-Indian love, marriage and domesticity with the plot of the rebellion. The articulated structure of the 'Mutiny' novel, in turn, demonstrates the filiation and overlap of those representational emphases that I have identified in Chapter Two. The fourth chapter examines the representation of imperial heroism in the novels. By first comparing the heroic idiom of the novels with the more ambiguous testimony of British first-person accounts of the rebellion, the chapter demonstrates the presence of two distinct modes of heroic conduct; and if the 'pragmatic' boy-scout hero is an instrument of surveillance and espionage, the 'auratic' Mutiny hero embodies the natural legitimacy of the imperial project. The fifth chapter explores the theme of surveillance in more detail. Projected from the 1890s and thereafter into the rebellion, the British spy-heroes of the Mutiny novels embody demands for knowledge by means of which the East India Company and the post-1858 imperial state sought to understand and control the motions of the subject population. Finally, the chapter argues that in representing the rebel world, often through the mediation of the disguised spy-hero, the Mutiny novel functions as an ethnographic exercise. In so doing, the novels at once exploit and annotate earlier modes of representation such as high orientalism and the picturesque, and discover in the usual sites and tropes of those earlier modes the presence of political resistance.

This thesis addresses three questions: firstly, how do archaeological interpretations come to exist in the manner in which they do? Secondly, how are they established and maintained as fact? And lastly, how are they discarded in favour of alternative interpretations? Using the example of the area now known as Israel and literature relating to the case study sites of Megiddo, Gezer and Masada, from the beginning of the twentieth century to the present day, this thesis examines how archaeological knowledge is created in text. The way archaeological knowledge is constructed, produced, and presented is examined historiographically, and using methods of discourse analysis, largely based on James Gee’s (2005) ‘language-in-use’ techniques.; In a move away from traditional studies of Israeli archaeology which have focused on nationalism and bias, the thesis investigates a number of themes in the writing of archaeology. Firstly, it examines the evolution of interpretation in a number of key areas at Megiddo, Gezer and Masada. It analyses how authors deal with certainty and doubt, and disagreement and conflict in archaeological writing. This thesis examines the ways in which text (specifically the Bible) is used in archaeology. Narrative themes such as ideas of progress, decline and quantity are examined, which display value judgement by the authors. Finally, concepts involved in the writing of archaeology in both academic and public arenas are analysed. This thesis concludes that archaeological discourse is continually altering due to new methods, techniques, and fashions, but that the structure of discourse remains relatively constant over time. It finds the writing of archaeology is an exercise in power and ownership, and uncertainty is a key aspect of archaeological research and archaeological writing; ultimately, though archaeology and its practitioners may strive for ‘truth’ in various forms, the most that can be hoped for is an interpretation. This thesis concludes that elements of discourse are never fully discarded though they may go out of fashion.

This dissertation sets out to analyze the role of historical understanding in the Palestinian national discourse on repatriation – the unifying national goal since the <i>nakba</i> (catastrophe) of depatriation in 1948. Broadly, it explores the persistent presence of history in Palestinian discourse, surmounting constant pressures to marginalize it. It argues that Palestinian understandings of history are particularly usefully traced through representations of the role and social function of the intellectual, as figure and notion. It examines how figures of the intellectual have been defined in relation to distinctive Palestinian notions of the political, the national and, primarily, the historical – and how representations of repatriation have underscored these relations. The analysis aims to understand the challenge posed to these notions by the Oslo accords of 1993. It argues that the accords recast the framework for relations between the political, the national, the intellectual and the historical in Palestinian discourse in ways understood by many of those discussed as unparalleled since the early years of the PLO that had previously provided the clearest framework for these relations. Oslo prompted a complex reconfiguration of notions of historicity in Palestinian discourse – and, therefore, of which narrative modes and national actors seemed best able to provide it. The distinctive ways in which Palestinian intellectuals have portrayed the value of their understanding of history have, I suggest, been particularly important in defining Palestinian national identity more broadly. This study thus seeks to complement existing approaches to the study of Palestinian national identity and nationalism. It uses Palestinian context as an especially pertinent case study for the recent wave of literature on the relations between collective memory, nationalism and national identity, and imaginative literature. The analysis draws largely on Palestinian public discourse, historiography and literature in the various languages in which this has been conducted, as well as original interviews with Palestinian intellectuals.

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