The number of OIF and OEF veterans who are choosing to pursue post-secondary education is increasing due in part to increased financial scholastic benefits earned as part of their military service. Veterans are not returning from combat unharmed however, and many are presenting with newly experienced difficulties that may impact their academic careers. This includes for example, PTSD, TBI, depression, and anxiety. This study examined the impact of a veterans only college course entitled Life After War: Post-deployment Issues taught at a large Midwestern University. The class includes the instruction of scholastic skills, education on the natural consequences of post-deployment issues, as well as discussion of commonly reported transition issues. Participants of the study were OIF and/or OEF veterans who were currently pursuing post-secondary education and were enrolled in the Life After War college course. Participants completed self-report measures at the beginning and the end of the semester. Change in the areas of self-reported symptoms of anxiety, depression, PTSD, and help-seeking attitudes were examined over time. Demographics and other background information were obtained from each student to provide a framework for understanding the potential impact of the course. Results revealed several major findings including a pattern of likely under-reporting of symptoms by participants in the study, an increase in self-report symptoms from pre to post-test, a higher self-report of symptoms and difficulties from those participants who did not return for post-testing and finally, a higher level of negative help-seeking attitudes and beliefs among those who did not return for follow-up testing. Implications and future considerations for working with student veterans are addressed.

A poesia de José Paulo Paes, produzida ao longo de mais de meio século, exibe uma considerável diversidade de formas e conteúdos, desde manifestações líricas a poemas em prosa, de experimentações visuais e fotográficas a brevíssimos textos cômicos. De forma geral, porém, a contraposição entre o desencanto e a utopia é um fundo temático que subsiste em boa parte desta obra, com oscilações entre ambos os polos. O presente trabalho sustenta que, apesar dos momentos em que há de fato um exaurimento da esperança diante do mundo e suas instituições opressoras, a tônica de sua poética é a presença de uma voz utópica, mais definida e clara até os anos 50, e que vai empalidecendo sistematicamente a partir da década seguinte, com a consagração da sociedade de consumo e do capitalismo tardio. Tal vetor de resistência atinge o quase desaparecimento, metaforizado pelos escombros, que, ainda fumegantes, conservam contudo a possibilidade da utopia. Esta, raramente enunciada de forma explícita, expressa-se primordialmente por dois modos distintos, a saber: a) a memória, primeiramente enquanto tentativa de intervenção política por meio da revisitação histórica, e posteriormente como rememoração individual, retorno à infância em uma estética tardia de natureza narrativa, de pouquíssimos efeitos poéticos, que se afasta do estilo consagrado do escritor em livros anteriores; b) o humor, que evolui de uma ironia mais direta e agressiva ao epigrama chistoso, elaborada forma poemática que consiste em obter comicidade a partir de trocadilhos, paronomásias, homonímias, enfim, com o trabalho linguístico. A partir, então, de ambas as estratégias, o poeta, de maneiras diferentes, se aproxima da oralidade, seja no ato de narrar histórias, seja na manipulação lúdica dos significantes, o que remonta às tradições de povos antigos e/ou sem uma cultura escrita. Tal retorno ao passado da humanidade (ou do sujeito, o in fans, aquele que não fala) é uma saída da História, uma negação do nefasto tempo presente e um modo de existir possível à utopia. Tal postura, em Paes, é satírica, bem como política. Por conta disso, a fim de se expandirem as possibilidades de iluminação crítica do período, faz-se ainda um painel acerca da poesia engajada e do chiste no pós-guerra brasileiro. / José Paulo Paes poetry, written throughout over fifty years, displays a considerable diversity of both form and content, ranging from lyric manifestation to prose poems, from visual and photographic experimental poetry to short comic texts. In general terms, however, the opposition discouragement/utopia is the thematic scenery that persists over most of his works, oscillating between both poles. The present dissertation defends that, in spite of several moments in which it is noticeable the fatigue of his hopes due to the world´s oppressing institutions, the major tone of his poetics is the existence of a utopian voice, more defined up to the fifties, that gradually weakens from the sixties on, after the consolidation of late capitalism and the mass consumption society. Such resistance arm practically vanishes away, which is portrayed by the metaphor \"debris\", which, nonetheless, are still \"steaming\", conserving the possibility of utopia. The latter, rarely expressed in an explicit way, is presented basically by two different modes: a) the memory, firstly as an attempt of a political intervention through the historical re-analysis, and, afterwards, by the personal remembrance, the return to childhood in a rather peculiar esthetical form: through narrative verses with no or very few poetic effects, far from the style the author used to have in previous books; b) the humor, which evolves from a more direct and sharp irony to the witty epigram, an elaborate poematic structure that obtains humor from puns, paronyms, homonyms, i.e., with the linguistic handling. Then, both strategies, in different ways, lead the poet to approach the orality in his works, be it in the act of narrating, be it in the joyful work of the signifier, which brings such poetry to the tradition of ancient societies and/or societies with no written culture. Such return to the past of humanity (or of the infant, from the Latin in fans, the one who does not speak) is an exit from History, a negation of the horrid present and a possible mode of existing for utopia. This posture, in Paes, is both satirical and political. Due to that, an after war Brazilian poetry overview has been done concerning both topics, so that they can be enlightened in such generation.

A poesia de José Paulo Paes, produzida ao longo de mais de meio século, exibe uma considerável diversidade de formas e conteúdos, desde manifestações líricas a poemas em prosa, de experimentações visuais e fotográficas a brevíssimos textos cômicos. De forma geral, porém, a contraposição entre o desencanto e a utopia é um fundo temático que subsiste em boa parte desta obra, com oscilações entre ambos os polos. O presente trabalho sustenta que, apesar dos momentos em que há de fato um exaurimento da esperança diante do mundo e suas instituições opressoras, a tônica de sua poética é a presença de uma voz utópica, mais definida e clara até os anos 50, e que vai empalidecendo sistematicamente a partir da década seguinte, com a consagração da sociedade de consumo e do capitalismo tardio. Tal vetor de resistência atinge o quase desaparecimento, metaforizado pelos escombros, que, ainda fumegantes, conservam contudo a possibilidade da utopia. Esta, raramente enunciada de forma explícita, expressa-se primordialmente por dois modos distintos, a saber: a) a memória, primeiramente enquanto tentativa de intervenção política por meio da revisitação histórica, e posteriormente como rememoração individual, retorno à infância em uma estética tardia de natureza narrativa, de pouquíssimos efeitos poéticos, que se afasta do estilo consagrado do escritor em livros anteriores; b) o humor, que evolui de uma ironia mais direta e agressiva ao epigrama chistoso, elaborada forma poemática que consiste em obter comicidade a partir de trocadilhos, paronomásias, homonímias, enfim, com o trabalho linguístico. A partir, então, de ambas as estratégias, o poeta, de maneiras diferentes, se aproxima da oralidade, seja no ato de narrar histórias, seja na manipulação lúdica dos significantes, o que remonta às tradições de povos antigos e/ou sem uma cultura escrita. Tal retorno ao passado da humanidade (ou do sujeito, o in fans, aquele que não fala) é uma saída da História, uma negação do nefasto tempo presente e um modo de existir possível à utopia. Tal postura, em Paes, é satírica, bem como política. Por conta disso, a fim de se expandirem as possibilidades de iluminação crítica do período, faz-se ainda um painel acerca da poesia engajada e do chiste no pós-guerra brasileiro. / José Paulo Paes poetry, written throughout over fifty years, displays a considerable diversity of both form and content, ranging from lyric manifestation to prose poems, from visual and photographic experimental poetry to short comic texts. In general terms, however, the opposition discouragement/utopia is the thematic scenery that persists over most of his works, oscillating between both poles. The present dissertation defends that, in spite of several moments in which it is noticeable the fatigue of his hopes due to the world´s oppressing institutions, the major tone of his poetics is the existence of a utopian voice, more defined up to the fifties, that gradually weakens from the sixties on, after the consolidation of late capitalism and the mass consumption society. Such resistance arm practically vanishes away, which is portrayed by the metaphor \"debris\", which, nonetheless, are still \"steaming\", conserving the possibility of utopia. The latter, rarely expressed in an explicit way, is presented basically by two different modes: a) the memory, firstly as an attempt of a political intervention through the historical re-analysis, and, afterwards, by the personal remembrance, the return to childhood in a rather peculiar esthetical form: through narrative verses with no or very few poetic effects, far from the style the author used to have in previous books; b) the humor, which evolves from a more direct and sharp irony to the witty epigram, an elaborate poematic structure that obtains humor from puns, paronyms, homonyms, i.e., with the linguistic handling. Then, both strategies, in different ways, lead the poet to approach the orality in his works, be it in the act of narrating, be it in the joyful work of the signifier, which brings such poetry to the tradition of ancient societies and/or societies with no written culture. Such return to the past of humanity (or of the infant, from the Latin in fans, the one who does not speak) is an exit from History, a negation of the horrid present and a possible mode of existing for utopia. This posture, in Paes, is both satirical and political. Due to that, an after war Brazilian poetry overview has been done concerning both topics, so that they can be enlightened in such generation.

Cette étude se consacre à l’avènement du Je anti-lyrique dans la poésie italienne des années soixante. C’est à ce moment que la pensée post-métaphysique peut se dire assimilée par la culture italienne, qui y trouve une nouvelle clef de lecture de l’expérience de la guerre et du miracle économique. C’est aussi la période où le réel, cru et changeant, fait irruption dans l’expérience artistique. Elio Pagliarani, Mario Luzi et Vittorio Sereni nous ont parus des représentants emblématiques de cette nouvelle posture du sujet poétique. Nous avons étudié leurs ouvrages des années soixante par le biais de trois catégories principales : la mise en question du Je, le rapport entre le Je et le monde, le rapport entre le Je et les autres. Cette articulation nous a permis d’une part de suivre les trois étapes principales de la reformulation anti-lyrique du Je (face à lui-même, face au monde et face aux autres), et d’autre part de reconnaître une progression dans la perte de l’identité lyrique traditionnelle. Le poète, ayant perdu la consolation métaphysique, commence à rechercher la vérité dans le monde physique ; il comprend ensuite que la vérité des choses est éphémère et que toute unité est brisée ; et il donne enfin la voix à d’autres personnages, dans l’effort de comprendre ce questionnement polyphonique qui est désormais la véritable voix du monde et du poète lui-même. / This research focuses on the rise of the anti-lyrical I in the Italian poetry of the Sixties. This was the time when the post-metaphysical philosophy had been fully assimilated by the Italian culture, which started using it as a new reading key to under- stand WW2 experience and the so-called economic miracle. This was also the time when the raw and ever-changing real broke into the artistic experience. Elio Paglia- rani, Mario Luzi and Vittorio Sereni seemed to us emblematic representatives of this new poetic subject's posture. We studied their poems from the Sixties under three main categories: the questioning of the I, the relationship between the I and the world, and the relationship between the I and the others. This structure allowed us firstly to follow the three main stages of the anti-lyrical reformulation of the I (confronted to himself, to the world and to the others) and secondly to recognize a progression in the loss of the traditional lyrical identity. Aware of the loss of any metaphysical consolation, the poet begins to seek the truth inside the physical world; he the realizes that even objects/things bear a fleeting truth and that any unity is broken; and he finally gives voice to other characters in the effort to understand the polyphonic questioning which has become by now the real voice of the world and of the poet himself.

The thesis addresses the questions of so called Two-year plan of the restoration in Czechoslovakia between the years 1947 and 1948. The materials from Prague national archive, historical sources and the latest contemporary literature have been used. The thesis follows the preparation, implementation and results of this "two-year plan". The work emphasizes industry and agriculture, especially textile industry. At the end the transition of the two-year plan to the long-term five-year plan is dealt with.

En France comme au Japon, l’intérêt que les chercheurs portent à la littératurepopulaire comme support pour des recherches autres que littéraires, telle que l’analysehistorique, est très faible. Pourtant, une analyse approfondie des tendances littéraires montreque les lecteurs, selon les époques, ne désirent pas les mêmes intrigues, les mêmespersonnages et n’ont ainsi pas les mêmes besoins. Dans ce contexte, les romans de ninja ouninpô shôsetsu au Japon apparaissent comme un genre particulièrement saisissant.Le shinobi est une figure importante de l’histoire japonaise qui fut longtemps dénigréeface aux valeureux samouraïs. Peu de récits l’employèrent pour distraire le peuple. Pourtant,éclata après l’Occupation un véritable boom du ninja, personnage dérivée du shinobi. Cetteétude analyse le sens de cette diffusion massive à l’heure de la modernité d'après-guerre et del'instauration de la démocratie, alors que le peuple japonais renouait avec la pleine possessionde son territoire.Véritable héros, le ninja représente en réalité une partie du peuple d’après-guerre etl'univers de ces romans semble décrire le Japon de l’époque. Les auteurs s’adressent à unlecteur implicite au passé commun, avec sa propre expérience et vision de la guerre, desévolutions économiques et politiques de la société. Véritable allégorie du peuple d’aprèsguerre,le ninja des années 1950 et 1960 symbolise divers acteurs de la société (salariés,précaires, personnes âgées, femmes). Figure romanesque de l’ombre, il incarne un personnagede contre-culture aux valeurs nouvelles, et relève autant d’un état d’esprit qu’il le construit. / In France as in Japan, the interest that researchers take in popular literature as asupport for other researches other than literary, such as historical analysis, remains weak.Still, a deep analysis of the various literary genre shows that readers don’t look for the sameintrigues, the same characters and therefore don’t have the same needs over time. In thiscontext, ninja fiction or ninpô shôsetsu in Japan appears to be a good example of this.The shinobi is an important Japanese historical figure who was for a long timedenigrated compared to the brave samurais. Very few stories used it to distract people. Still,after the Occupation occurred a strong and sudden ninja boom, a character derived from theshinobi.This work analyses the meaning of this massive diffusion which emerge at the time ofafter-war modernity and of the establishment of democracy, just as Japanese peoplereconnected with their full property of their territory.As true heroes, the ninja represents in reality a part of the after-war population andthose novels’ universe seems to describe the Japan of this time. Authors indirectly address animplicit readership with a shared past, with their own vision and experience of the war,economic and political evolutions of society. Real allegory of the Japanese after-warpopulation, the 1950’s-60’s ninja symbolizes different social roles (salary-man, precariouspeople, elders, women). As a shadowy Romanesque character, he embodies the counterculturepersona with new values and belongs as much as he also established a certain way ofmind.