The outmanoeuvring of Allied forces in May 1940 led to the eventual evacuation of the BEF from the continent in June 1940. Fearing an invasion, GHQ Home Forces set about the rapid re-militarisation of the UK to oppose, arguably, the first very real threat to this country’s sovereignty since the Norman conquest of 1066 AD. Constructing a series of anti-invasion defences throughout the countryside, a network of defensive fieldworks and concrete gun emplacements were erected, with linear stop lines forming part of the overall stratagem for a countrywide defence in depth. Examining one particular linear stop line, GHQ Line Green, despite previous research into its archaeological route through the landscape several questions still remain unanswered - Did the proposed wartime route for the stop line match the documented archaeology? Did the defensive fieldworks conform to 1940 WO specifications, or were they similar in design to the linear fieldworks of the First World War? Did GHQ Line Green dismiss the defensive ‘folly’ notion of the Maginot Line by being strategically sited in the Bristol hinterland? A prepared battlefield that never faced the unpredictable test of conflict, evidence offered by original cartographic, archaeological and GIS ‘Fields-of- Fire’ analysis concluded that the GHQ Line Green was strategically placed in the landscape. In ideal conditions GHQ Line Green could have had limited success in slowing down an invasion force. This dismisses the notion that the stop line was a defensive ‘folly’. With its origins found to lay in First World War fortifications, the research undertaken for this thesis will further our understanding of an often forgotten Second World War landscape.

This thesis investigates the changes in the Israeli and Jewish-American public perception of Holocaust memory in the late 1990s and early 2000s, and offers an elaborate comparative analysis of public reactions to art about the Holocaust. Created by the inheritors of Holocaust memory, second and third-generation Jews in Israel and America, the artworks titled Your Colouring Book (1997) and Live and Die as Eva Braun (1998), and the group exhibition Mirroring Evil. Nazi Imagery/Recent Art (2002) were hosted at art institutions emblematic of Jewish culture, namely the Israel Museum in Jerusalem, and the Jewish Museum in New York. Unlike artistic representation by first generation, which tends to adopt an empathetic approach by scrutinizing experiences of Jewish victimhood, these artworks foreground images of the Nazi perpetrators, and thus represent a distancing and defamiliarizing approach which triggered intense media discussions in each case. The public debates triggered by these exhibitions shall constitute the domain for analyzing the emergent counter-positions on Holocaust memory of post-war generations of Jews and for delineating their ideological views and divergent identity stances vis-à-vis Holocaust memory. This thesis proposes a critical discourse analysis of public debates carried out by leading Jewish intellectuals, politicians and public figures in Israel and in America. It suggests that younger generations developed a global discourse which challenges a dominant meta-narrative of Jewish identity that holds victimization and a sacred dimension of the Holocaust as its fundamental tenets.

The thesis will demonstrate that the various uses of jazz music as propaganda in World War II were determined by an evolving relationship between Axis and Allied policies and projects. The limited previous scholarship in the area, however, has been restricted to ‘single-country studies’ which present only national perspectives with little reference to the broader international context. Within a comparative framework, the thesis will trace and contextualise the international development of ‘propaganda jazz’, from early isolated broadcasts to consolidation in the form of regular programming and dedicated musical ensembles. A wide range of English- and German-language sources including Mass Observation, oral history, trade magazines and archive material from Britain, Germany, the USA and Canada will be utilised and cross-referenced to provide an unprecedented perspective on wartime uses of broadcast propaganda. Although a significant number of British and German documents relating to propaganda were destroyed during and after the war, the breadth of the research will allow reconstruction and analysis of various propaganda programmes from a multitude of standpoints. The thesis will also explore contemporary cultural, social and political considerations in Britain, Germany and the USA, thus not only increasing the scope and perspective of the discourse, but also reflecting the diversity of the interrelated factors which influenced wartime popular culture and propaganda. The thesis will make a number of significant contributions to the historiography of the field. Analyses of previously overlooked Allied and Axis propaganda projects will highlight the diversity of the methodologies regarding the use of music for propaganda purposes. Moreover, the international scope will facilitate an imperative reappraisal of British ‘black’ propaganda radio stations of Sefton Delmer and the Political Warfare Executive (PWE), which were hugely successful and yet have been unjustifiably neglected by prior historiography. The popularity and psychological adroitness of PWE’s broadcasts will be juxtaposed with the demonstrably inferior quality and effectiveness of German ‘black’ programming for Britain and the USA, which exposed considerable limitations to Joseph Goebbels’ abilities. The thesis will also explore Goebbels’ attempts to nurture an ‘indigenous’ New German Entertainment Music, and demonstrate that the Propaganda Minister’s inability to come to terms with jazz, both for German audiences and as a tool for propaganda broadcasts to the enemy, ceded an extremely important advantage to the Allies. A radical revision of the character and work of Hans Hinkel, an influential figure in the Nazi cultural apparatus who has nonetheless been the subject of very little scholarly attention, will also be provided. While a central component of the thesis is the assertion that Goebbels was far less pragmatic than has been acknowledged by prior historiography, Hinkel’s reputation as an ideologically rigid reactionary will be challenged by cross-referencing oral history sources and documentary evidence. Furthermore, the comparative framework will be used to show conclusively that the problems of appropriate musical programming for the Forces, which fell within Hinkel’s remit, were not restricted to Germany but were part of a broader international discourse regarding music’s role in the maintenance of morale. It will facilitate a wide-ranging exploration of the uses of music and broadcasting to manipulate Forces and civilian morale for both benevolent and malevolent purposes.

This dissertation studies Second World War ‘sites of memory’ in the islands of Jersey, Orkney and the Isle of Man, to determine if each island celebrates the war’s events as Britain does, or if they have charted their own mnemonic course. It builds on the work of Angus Calder, Malcolm Smith, and Mark Connelly, who have explored how popular conception of the Second World War in Britain has been structured around a certain set of commemorative motifs, most of which centre on Winston Churchill and the events of 1940. The British war narrative is now commonly referred to as the ‘Churchillian paradigm’ or ‘finest-hour myth’, and continues to be the driving force in commemoration and memorialization on the British mainland. The three islands in this study are culturally and historically distinct from Britain, and each has strong notions of its own ‘island identity’. Each also possesses a tangential and divisive domestic experience of war, one which is often minimized in the iconography of the Churchillian paradigm. Jersey was occupied by Nazi Germany from 1940 to 1945, Orkney was home to several thousand Italian POWs who built important infrastructure in the island, and the Isle of Man was home to 14,000 German, Finnish, Japanese, and Italian internees in what one critic has called ‘a bespattered page’ in the nation’s history. By examining ‘sites of memory’— museums, heritage sites, commemorations, celebrations, philately, and use of public space—this dissertation shows that each island simultaneously accepts and rejects elements of the finest-hour myth in their collective memory. Each island displays its unique (though often quite negative) heritage in order to differentiate itself from Britain, while at the same time allowing them, at certain events, to participate in celebration of Britain’s ‘greatest victory’. In this way, islands’ use ‘Britishness’ pragmatically, by basking in traditionally ‘British’ commemorative tropes, while at the same time deepening their own cultural and historical sovereignty.

Between 1939 and 1944 the underground forces of the Polish Government-in-Exile created an underground army in the Lublin region, which, at its height, numbered 60,000 men. The underground Army was created in order to facilitate the reestablishment of an independent Poland. The Army that was created, the AK, was in effect, an alliance organisation comprising, to varying degrees, members of all pro-independence underground groups. It was, in Lublin, to always suffer from internal stresses and strains, which were exaggerated by the actions of the region’s occupiers. These strains were highlighted and exploited by the ‘liberating’ Red Army. From the moment that they set foot in the province in July 1944, the forces of the Soviet Union aimed to put into place a Polish regime that was compliant and communist. The most interesting fact about the operation mounted by the AK to liberate Lublin province from the Germans, lies in the regional command’s reaction to both their orders and the demands made of them by the incoming Soviets. The regional commander’s decision in July 1944 to order his forces to hand in their weapons and disperse meant that the human stock of the underground would remain, that it would survive the first wave of NKVD arrests. This meant that, despite the massive setback of the post liberation era, a core, armed, and well structured underground still existed. What destroyed this attempt to preserve the AK in Lublin was the halting of the eastern front for five months. This meant that 2.2 million Soviets were operating in and around Lublin whilst the AK central command was fighting to liberate Warsaw. The halting of the front, therefore, was to hasten the fate of those in the underground, both in the capital and to the east. Ultimately it was the mass repression in the aftermath of the Warsaw Uprising that fatally weakened the Lublin underground as an organised, coherent entity. In many senses the crucial period for the AK in Lublin was the one from July until November 1944. The alliance of the underground in the area had been an often-difficult one but after months of silence from London, and the failure of the Warsaw Uprising and the Moscow talks, this alliance began to collapse. Whilst the framework of the underground had been almost destroyed by the winter of 1944-1945, crucially a framework of resistance had survived the NKVD’s concerted attempts to destroy it totally. The importance of this framework was clearly shown after the Red Army restarted its attack at the heart of the Third Reich in January 1945, removing the vast majority of troops from the region. The second underground was much more disjointed in its nature with weaker command structures. Yet because a framework was in place, because some respected officers and their men had survived the winter of 1944-45, the underground was to remain more organised in Lublin than in most other areas of Poland. Whilst the anti-communist underground was ultimately defeated, in Lublin it was to remain a sizeable threat to the communist regime until 1947.

From a broader perspective this cross-disciplinary and cross cultural thesis examines the relationships between identity, ideology and propaganda and their influence over the production of private and public memories. This examination is carried out through a case study investigating various representations of the Czech RAF airmen from selected British and Czech WW2 newspapers approached as an archive of memory, and from individual recollections of the Czech veterans – the living archive of memory. These representations in the context of this research become interacting versions of public and private memory which in a unique way and yet equally contribute towards the historical construction of the Second World War. This thesis proposes that the various versions of memory, in Rothberg’s (2009) words ‘multidirectional memory’, are a consequence of versioning, a constant creation and re-creation of different versions of memory due to numerous influences on the producers of such memory. However, this research also considers a presence of Second World War discourse, which underpinned public and private memory and transcended collective memories of the Britishness and Czechness forming a transnational or cross cultural (Radstone, 2010) WW2 memory. In other words, this project draws upon current theories about non competitive multiple, transnational and mediated memory (Dijck, 2007) and extends upon these by considering their existence within a potentially unifying WW2 discourse within which they connect and disconnect. By doing so, this thesis challenges master narratives of history. These memories are also seen as a base for multi-layered identity of the ones who remembered and had the right to remember. Furthermore this study explores the potential reasons behind the creation of the discovered qualitative treasure of this project The Czechoslovak, a small community newspaper produced by the Czech minority living in Britain during the WW2. The theoretical underpinning as well as the methodology of the project attempt to interrogate media studies, oral history and memory studies in order to create a most pertinent space in which the written and oral memory is explored effectively. This merger of theories and methodologies allowed me to investigate the various memories within the context of the WW2 and thus construct them from the past perspective when they were being created. A discourse analysis of selected British and Czech WW2 newspapers (The Times, Daily Mirror, News of the World and The Czechoslovak) has been employed distinguishing between traditional and tabloidised newspaper representations and investigating to what extend the Czechs were portrayed as the ‘other’ or the heroes in the British society. The outcome of this analysis was a discovery that the Czech RAF airmen had not been given much prominence in the British newspapers and that their representations varied according to the different type of newspaper and the different period of the war in which they were produced. Moreover, ideology, propaganda and the notion of Czech and British identity present in the newspapers played an important role in the creation of public memory versions of the Czech RAF airmen’s images. Besides newspapers, this study took the opportunity to reveal very fragile and valuable private recollections of the Czech WW2 RAF veterans (six former members of the Czech RAF settled in Britain after the WW2 and 1 widow were interviewed in the summer 2008); the men who played an important role in the success of the Allies in WW2. By doing this, the former Czech airmen were given a voice and the chance to contribute towards existing knowledge about the Czechs in the RAF and the Second World War. The various versions of the past produced by their private memory have been investigated in the view of various factors influencing these versions: notably their identity, war ideology, propaganda, and forgetting and in relation to WW2 media. Considering the occurrence of versioning, when critically reflecting upon all different memories, I position myself as a researcher into the shoes of yet another producer of another version of the past. Thus, this study creates a space where various, sometimes contrasting memories do not fight for recognition, but where official collective memory and individual memory influence each other and also enrich each other whilst they co-construct a historical representation of the past.

This thesis considers how and why empathy is important in Anglo-American Holocaust theatre, utilising close readings of selected plays, existing theories of empathy and Holocaust representation, and authorial formulations of new empathic definitions. The first chapter examines the empathic responses of Frances Goodrich & Albert Hackett and Meyer Levin to Anne Frank's Diary of a Young Girl, and how these subsequently affected their stage adaptations of the book. The second chapter interrogates how spectator empathy with child protagonists is problematic in terms of the 'Holocaust fairytale' narrative often used, leading to spectator misinformation in the context of historical fact. The third chapter investigates British critical responses to Bent in both 1979 and 1990 in terms of 'precocious testimony', establishing that Bent was only received in its proper socio-political context upon the emergence of overt contemporary queer oppression. The final chapter explores how 'empty empathy', engendered by 'Holocaust etiquette', can be challenged through inverting Holocaust signs, or 'balagan', in 'Holocaust cabarets' to evoke alternative audience responses. The thesis concludes that empathy is central in Holocaust theatre, enabling spectators to identify and engage with representative characters - fulfilling the didactic purpose of Holocaust theatre in teaching about the genocide and encouraging anti-prejudicial views.

This thesis examines the impact of the developments made during the First World War and the inter-war period in tactical air support. Further to this, it will analyse how these developments led to the creation of Army Co-operation Command and affected the role it played developing army air support in Britain. Army Co-operation Command has been neglected in the literature on the Royal Air Force during the Second World War and this thesis addresses this neglect by adding to the extant knowledge on the development of tactical air support and fills a larger gap that exists in the literature on Royal Air Force Commands. Army Co-operation Command was created at the behest of the army in the wake of the Battle of France. A key area of development was the communications system to enable troops to request air support in the field. The Command was also involved in developing the Air Observation Post Squadron. Air Observation Post aircraft were used to direct the fire of artillery batteries from the air. In 1943, an operational tactical air force replaced Army Co-operation Command. This study highlights inter-service difficulties over the provision of air support.

This thesis will examine the Electronic Warfare [EW] policies and subsequent Suppression of Enemy Air Defence [SEAD] postures of the Royal Air Force’s Bomber Command during the Second World War. It examines how EW was applied to the Luftwaffe (German Air Force) Integrated Air Defence System [IADS] so as to reduce Bomber Command aircraft losses, and determines whether EW policies were drafted in a proactive and/or reactive fashion vis-à-vis the Luftwaffe IADS. The thesis applies air power theory regarding the levels and methods of application by which SEAD was brought to bear against the IADS as a result of these EW policies. Ultimately, the thesis will argue that Bomber Command enacted both proactive and reactive EW policies at the Campaign and Localised SEAD levels using a combination of Manoeuvrist, Mass and Stealth/Surprise approaches.

No description available.