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This study examines Churchill's struggle during the summer of 1940 to preserve Britain's naval superiority worldwide, through the neutralization of the French fleet and by securing the active participation of the United States. Sources consulted included autobiographies of the participants, especially those by Churchill, Reynaud, Baudouin, and Weygand, document collections, and British and American official histories. This study is organized to give a chronological analysis of Churchill's efforts from 10 May to 2 September 1940, ending with the United States' acceptance of the destroyers-for-bases agreement. This act committed them to shared strategical responsibilities with Great Britain. The thesis concludes that Churchill's efforts in this period laid the foundation for later Allied victory.

Cette étude s’intéresse à l’espace mental comme nouveau terrain d’exploration du drame britannique contemporain, et examine les manifestations d’un mouvement qui « met en pièces » les régions inexplorées des pensées inconscientes et les contrées impénétrables du traumatisme. Puisant dans les découvertes de la psychanalyse et des sciences cognitives, inspiré par le changement de paradigme de la mécanique quantique et ses interrogations sur le rôle et la nature de la conscience, ce théâtre non plus tant « in-yer-face » que « in-yer-head » s’éloigne de la sensibilité des années 1990. Les pièces de Crimp, Kane, Churchill, Cooper, Frayn, Stephens, Payne, Haddon, Ravenhill, Neilson et d’autres déconstruisent et reconstruisent le personnage comme la somme virtuelle de tous ses possibles. Le mode d’existence spéculatif, diffracté et pluriel du sujet renouvelle les définitions du réalisme psychologique et du réalisme théâtral. Ce travail étudie les modalités de cette « psychopoétique quantique » autour de concepts clés comme la probabilité ou l’incertitude, et montre comment des métaphores issues de la théorie quantique comme la dualité onde-particule ou les mondes multiples servent à illustrer l’indétermination de la psyché en évoquant les mécanismes de défense et autres symptômes qui constituent la réalité subjective d’esprits affectés par le traumatisme, la psychose, le stress ou la maladie neurologique. Nous montrons qu’en explorant la nature de la conscience, du soi et de la réalité ainsi que la condition des femmes, ces pièces posent des questions philosophiques sur le libre arbitre et la possibilité de choix dans un monde devenu plus incertain et imprévisible que jamais. / This study asserts that the human mind has become the new frontier in contemporary British drama, and interrogates and assesses manifestations of this movement which stages uncharted regions of thought and the dark territories of traumatic mindscapes. Drawing on theories from psychoanalysis and cognitive science, and inspired by the paradigm shifts of quantum mechanics and its interrogations on the role and nature of consciousness, this new theatre moves from “in-yer-face” to “in-yer-head” and away from the sensibility of the “nasty nineties.” Plays by Crimp, Kane, Churchill, Cooper, Frayn, Stephens, Payne, Haddon and others deconstruct and reconstruct the character as thevirtual sum of all her possibilities. In these mental spaces, the subject’s speculative, diffracted and plural mode of existence redefines psychological realism and stage realism. Examining the modalities of a quantum “psychopoetics” around key concepts such as probability and uncertainty, I show how metaphors borrowed from quantum theory based on the double slit-experiment, the wave-particle duality, the wavefunction collapse, the observer effect, quantum decoherence, quantum entanglement, and the many-worlds interpretation are used to emphasise the intrinsic indeterminacy of our minds. They evoke a number of psychological defense mechanisms and other symptoms that constitute the subjective reality of disturbed minds affected by trauma, psychosis, stress or neurological disease. By exploring the nature of mind, the self, and reality, and the condition of women, these plays address philosophical questions about free will and choice in a world that has become more uncertain and unpredictable than ever.

Acknowledging performance as a process through which gender identities are constituted, the thesis explores attempts in women's theatre to subject these very constructs to creative deconstruction. It offers a study of plays by Caryl Churchill, Sarah Daniels and Timberlake Wertenbaker. Setting their work in the context of prevailing discourses of representation, the analysis delineates the ways in which plays by women interrogate the Western tradition of meaning and perception. The thesis proposes theatrical performance as a strategic engagement with the very means by which women's position is constituted. Therefore, it argues that in women's dramatic work, the possibility of resistance, of agency and choice occurs in the playful adaptation of dominant discourse, allowing for new figurations of subjectivity. Exploring the difficulties and limitations involved in this strategy, the study evaluates how plays by women release a potential for transgression which dislocates the structures of representation.

Depuis vingt ans, le discours des sciences exactes apparaît régulièrement sur la scène britannique : la mécanique quantique, les mathématiques du chaos, la thermodynamique et les sciences naturelles sont aujourd’hui des matériaux dramaturgiques courants. Cette étude définit l’esthétique particulière et le nouveau rapport entre théâtre et savoir produits par ce phénomène, à partir d’un corpus reflétant la diversité de la création contemporaine, des dramaturges Tom Stoppard, Michael Frayn, Timberlake Wertenbaker ou Caryl Churchill aux compagnies de théâtre Complicite et On Theatre. Le discours scientifique joue dans ce théâtre un rôle simultanément épistémologique et poétique, car ses formes y sont détournées et activées dans de nouveaux contextes. Il fournit des métaphores et des structures narratives à des dramaturgies incertaines, caractérisées par une esthétique postmoderne de la vérité multiple et de l’ouverture du sens. Ces transferts discursifs sont ici abordés selon les trois grandes modalités du rapport à la science ainsi construit : l’imitation d’un modèle rationnel, la critique d’un lieu de pouvoir, et l’importation des schèmes poétiques de l’imaginaire scientifique. / Over the past twenty years, the discourse of hard science has appeared increasingly frequently on the British stage: quantum mechanics, chaos mathematics, thermodynamics and the natural sciences have provided dramatic material for contemporary artists. This thesis defines the resulting aesthetic, and the new relationship between theatre and knowledge that can be found in the work of dramatists such as Tom Stoppard, Michael Frayn, Timberlake Wertenbaker or Caryl Churchill, and theatre companies such as Complicite and On Theatre. The function of this scientific discourse is both epistemological and poetic: its forms are activated in new contexts, and bring metaphors and narrative structures to a postmodern drama characterised by uncertainty and multiple truths. These discursive transfers are analysed according to the relationship they create with science, which can involve imitating it as a rational model, criticizing it an instrument of power, or importing the shapes and patterns of scientific imagination.

British propaganda, delivered in the United States against immediate self-government for India in 1942, was efficiently and effectively organised. British propaganda was not adventitious. It was deliberate. The chief protagonists were Churchill and Roosevelt. Churchill's success in retaining control of government in India depended on convincing the President that there was no viable alternative. This the Prime Minister did in two ways. Firstly, his propaganda organization targetted pro-British groups in America with access to Roosevelt. Secondly, it discredited Indian nationalist leadership. Churchill's success also depended on Sir Stafford Cripps' loyalty to Whitehall and to the Government of India after his Mission in March 1942 failed to reach agreement with the Indian leaders. Cripps tailored his account of the breakdown of negotiations to fit the British propaganda line. Convincing American public opinion and, through it the President, that colonial government should remain in British hands, also depended on the right mix of censorship and press freedom in India. Britain's need to mount a propaganda campaign in the United States indicated its dual agenda: its war-related determination to maintain and increase American aid, and its longer term aim to retain control of its empire. Despite strong American support for isolationism, given legal status in the 1930s Neutrality Acts, Roosevelt was Britain's supportive friend and its ally. Britain, nonetheless, felt sufficiently threatened by the anti-imperial thrust of the Lend Lease Act and the Atlantic Charter, to develop propaganda to persuade the American public and its President that granting Indian selfgovernment in 1942 was inappropriate. The case for a propaganda campaign was made stronger by Roosevelt's constant pressure on Britaln from mid-1941 to reach a political settlement with India. Pressure was also brought to bear by the Congress Party as the price for its war-related cooperation, by China, and by the Labour Party in Britain. Japan's success in Singapore and Burma made strategists briefly assess that India might be the next target. Stable and cooperative government there was as much in America's interest as Britain's. The idea that Roosevelt might intervene in India to secure a measure of self-government there constantly worried Churchill. In turn this motivated the Foreign Office, the Ministry of Information, the India Office, the Government of India and the British Embassy in Washington to develop propaganda based, firstly, on the official explanation for the failure of the Cripps Mission and, secondly. on the elements of the August 1942 Quit India resolution which could be presented as damaging to allied war aims. The perceived danger to Britain's India-related agenda, however, did not end with substantive threats. The volatility of the American press and the President's susceptibility to it in framing policy were more unpredictable. Britain met both threats by targetting friends with access to Roosevelt, sympathetic broadcasters and pro-British sections of the press. Each had shown support for Britain during the Lend Lease debates. Britain, however, could never assume that it had won the propaganda battle or that Roosevelt would not intervene polltically on nationalist India's behalf. Roosevelt continued during 1942 and beyond to let Indian leaders know of his interest in their struggle, and information received from his Mission in New Delhi and from unofficial informants in India gave him a view of events there which differed markedly from the British account. Just as nationalist India was unsure about America's intentions, so was Britain.

This study is a comparative examination of the age, authorship and interpretation of aboriginal rock painting sites situated on the shores of the Churchill River of northern Saskatchewan and Manitoba. The twenty presently known sites were recorded in the years 1965, 1966, 1967 and 1969 by the author.<p>The study combines written descriptions of the sites and their settings with reproductions of the symbols found at each site. Techniques for recording and reproducing rock paintings, developed during the course of the field studies, are described.<p> Geographical and stylistic relationships of the paintings to other rock painting occurrences in the Canadian Shield are examined. Data derived both directly and indirectly from native Indian residents of the area is incorporated, along with historical observations on the occurrence and interpretation of the paintings.<p> Several sets of the Churchill River paintings are at least 150 to 200 years old, while others may be considerably more recent. Specific dates of origin cannot presently be assigned to most of the sites; the potential applicability of various dating techniques is discussed.<p> Evidence given supports an Algonkian (undoubtedly Cree) inspiration and authorship for these rock paintings, with religious observance being the basic motivation for their creation.

This study is a comparative examination of the age, authorship and interpretation of aboriginal rock painting sites situated on the shores of the Churchill River of northern Saskatchewan and Manitoba. The twenty presently known sites were recorded in the years 1965, 1966, 1967 and 1969 by the author.<p>The study combines written descriptions of the sites and their settings with reproductions of the symbols found at each site. Techniques for recording and reproducing rock paintings, developed during the course of the field studies, are described.<p> Geographical and stylistic relationships of the paintings to other rock painting occurrences in the Canadian Shield are examined. Data derived both directly and indirectly from native Indian residents of the area is incorporated, along with historical observations on the occurrence and interpretation of the paintings.<p> Several sets of the Churchill River paintings are at least 150 to 200 years old, while others may be considerably more recent. Specific dates of origin cannot presently be assigned to most of the sites; the potential applicability of various dating techniques is discussed.<p> Evidence given supports an Algonkian (undoubtedly Cree) inspiration and authorship for these rock paintings, with religious observance being the basic motivation for their creation.

Very little historical scholarship specifically analyzes or explores the absence of chemical weapons in World War II. This thesis seeks to fill the gaps in the historical narrative by providing insight into the personal and external factors that influenced Hitler’s chemical weapons policy. This thesis also touches upon the wartime violence perpetrated by both the Axis and the Allies, thereby offering a neutral, unbiased historical account. From 1939-1941, Hitler did not deploy chemical weapons because his blitzkrieg of Europe was progressing successfully – chemical warfare was unnecessary. With the failure of Operation Barbarossa from 1942-1943, Armaments Minister Albert Speer oversaw a massive increase in the production of the lethal nerve agent tabun, indicating Hitler’s desire to deploy chemical gas on the Eastern Front. However, by the request of Soviet Premier Josef Stalin, British Prime Minister Winston Churchill threatened to retaliate against Nazi Germany with chemical strikes on German cities in May 1942. Hitler backed down because of the inadequacy of German air defense and his desire to protect the “Aryan” people – based on his own trauma with gas in World War I. However, in the final years of the war in 1944-1945, the stress of the Allied advance on Berlin caused the deterioration of the German dictator’s mental and physical state. Hitler’s thoughts became suicidal and destructive – the German people deserved extinction for their failure in World War II. Thus, Hitler issued the Nero Decree in March 1945. However, the architect turned Armaments Minister, aware of the war’s foregone conclusion, sought to obstruct Germany’s path to catastrophe. Likewise, Hitler sought to initiate chemical warfare. Again, Speer prevented unnecessary civilian casualties by shutting down chemical production plants. The German dictator did not take matters into his own hands because following the failure of the Ardennes Offensive in January 1945, Hitler also grew increasingly apathetic to governing the Third Reich. By April 1945, with Hitler a ghost of his former self, his subleaders fought for control of Nazi Germany, and their inability to cooperate led to a crisis of leadership. Thus, World War II concluded in Europe without chemical warfare. Ultimately, this thesis promotes an awareness of the legacy of violence ushered in by “modern warfare,” a contemporary issue yet to be adequately addressed.

This thesis evaluates Caryl Churchill&#039 / s criticism of culturally defined roles imposed by patriarchy on both sexes in her three plays Owners, Cloud Nine, and Top Girls by referring to Kate Millet&#039 / s defination of aspects of patriarchal ideology in Sexual Poitics, and the thesis contends that gender roles are arbitrary. Churchill&#039 / s attempt to draw attention to patriarchal essentialism is discussed within this framework.