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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

The poetry of British soldiers on the Western Front : the limitations of #the sentimental attitude'

Wykeham, John Martin January 1985 (has links)
No description available.

Self-portraits : subjectivity in the works of Vera Brittain

Peterson, Andrea Frances January 2001 (has links)
No description available.

Journey's end : ex-servicemen and the state during and after the Great War

Latcham, Andrew P. January 1996 (has links)
No description available.

Unknown soldiers : Donald Hankey and 'A student in arms'

Davies, Ross January 2000 (has links)
No description available.

Representing trauma : the image of atrocity in the cultural discourse of European modernity

Phungsoondara, Visarut January 2003 (has links)
In this thesis, I examine the complexities involved in the representation of trauma in both aesthetic and ideological configurations in the relationship between the generic experience of modernity and particular historical events of atrocity. This relationship continues from the discourse of social and moral degradation and the rise of modem psychiatry, to the idea of artistic and literary creation. The discourse of trauma has become intrinsically linked to the aesthetic in the configuration of the experience of modernity that points not only to the problematisation of the self but also the crisis of representation. Starting from the discourse of trauma surrounding the experience of the First World War, the thesis examines the language of technology and mechanisation as a means for overcoming the traumatic experience of the war in the work of Ernst Jünger and other writers and artists across the political spectrum during the Weimar period. I also investigate the aesthetic configurations of `depersonalisation' and `impersonality' as they are figured in the texts and images of the European Avant-garde particularly, the Neue Sachlichkeit, and the thematic origins of the image of trauma since the early modem period. I also examine the pathological rhetoric of disintegration and decay in the discourse of war trauma in the work of Louis-Ferdinand Celine. The thesis proposes that there is a reactionary tendency in the image of disintegration, decay and fragmentation in particular avantgarde movements such as the Neue Sachlichkeit, Expressionism and Surrealism. I conclude that the representation of trauma is intrinsic to diverse political and aesthetic positions articulated through rhetorical strategies in the discourse of scientific rationalism, technological progress, the medical sciences and the modernist aesthetic of fragmentation and disfiguration. In the final part of the thesis, I investigate these aesthetic and ideological themes in the contemporary discourse of trauma surrounding the representation of the Holocaust, particularly the construction of the `Holocaust museum' and its artefacts through examining the United States Holocaust Memorial Museum in Washington D. C. and the Jewish Museum in Berlin.

Pershing's right hand: General James G. Harbord and the American Expeditionary Forces in the First World War

Neumann, Brian Fisher 30 October 2006 (has links)
This project is both a wartime biography and an examination of the American effort in France during the First World War. At its core, the narrative follows the military career of Major General James G. Harbord. His time in France saw Harbord serve in the three main areas of the American Expeditionary Forces: administration, combat, and logistics. As chief of staff to AEF commander General John J. Pershing, Harbord was at the center of the formation of the AEF and the development of its administrative policies. He organized and managed the AEF General Staff and served as Pershing's most trusted subordinate. In May of 1918, Harbord transferred to the fighting line, taking over command of the 4th "Marine" Brigade. During his time with the 4th Brigade, and later as commander of the 2nd Division, Harbord played a significant part in the battles of Belleau Wood and Soissons. A dedicated supporter of Pershing's tactics of "open" warfare, Harbord's failings as a combat commander showed the limits of American tactical experience. For the final four months of the war, Harbord took over control of the AEF's logistical system, the Services of Supply. Though he proved an able administrator, the American supply system approached total collapse in the fall of 1918, and was prevented only by the signing of the Armistice. In all three of these roles, Harbord embodied the emergence of the military manager in the American army. The First World War illustrates that war had grown so large and complex that it required officers whose primary talents lay not in leading men in combat, but in the areas of administration and management of large bureaucratic organizations. James Harbord was one of the first, and best, examples of this new type of officer.

“We are wards of the Crown and cannot be regarded as full citizens of Canada”: Native Peoples, the Indian Act and Canada’s War Effort

McGowan, Katharine Albertine January 2011 (has links)
The First World War left few untouched on Canada’s Native reserves: many councils donated money to war funds, thousands of men enlisted and their families sought support from the Military and war-specific charities, and most became involved in the debate over whether Native men could be conscripted and the implications that decision could have for broader Native-government relations. Much of the extant literature on Native participation in the war has paired enthusiastic Native engagement with the Canadian government’s shabby treatment. However, in many different ways and with many different goals, Native peoples achieved significant success in determining the parameters of their participation in the war. Yet, the resolution of these debates between Native peoples and the Canadian government, specifically the Department of Indian Affairs, inadvertently (from the Native perspective) cemented the Indian Act’s key role in Native peoples’ lives, displacing other foundational agreements and traditional organizational principles of reserve life. Native peoples’ varied participation in the First World War paradoxically saw Natives temporarily take control of their relationship with the Canadian government, but in the end brought them more completely under the authority of the Department of Indian Affairs.

'Ere their story die' : the rhetoric of historical responsibility in Sebastian Barry's A long, long way

Demott, Elizabeth Susan 18 December 2013 (has links)
Three important Irish texts use revelations about Irish involvement in the First World War as a lens through which to examine contemporary Ireland: Jennifer Johnston’s novel How Many Miles To Babylon (1974), Frank McGuinness’s play Observe the Sons of Ulster Marching Towards the Somme (1985), and Sebastian Barry’s A Long, Long Way (2005). Because significant critical attention has been paid to the texts of Johnston and McGuinness, and because access to Barry’s archive in the Harry Ransom Center at the University of Texas further illuminates the process by which Barry represents this crucial moment in Irish history, his novel is the focus of this paper. Unlike Johnston and McGuinness, whose projects use the First World War to interrogate the Ireland in which they are writing and force the reader to grapple with their own historically (or mythically) constructed identities, Barry’s A Long, Long Way denies personal culpability and allows for a view of history in which the individual stands forever as a tragic or pathetic victim. Barry’s novel details the experiences of one Irish soldier, Willie Dunne, on the Western Front and plots his changing attitude towards Irish soldiers’ involvement in the War following the Easter 1916 Rising. Exposed to both nationalist and loyalist perspectives, and to the horrors of war, Willie increasingly develops sympathy with the nationalist position, though he never abandons his principal loyalty to his father. While Willie’s narrative presents a more complicated vision of the Dunne family—Barry’s ancestors who have figured prominently in his oeuvre—it fails to escape the tragic impulse in much of Barry’s fiction, in which history is an immovable and oftentimes malevolent force. Such a vision of history allows individuals like Willie Dunne to disavow responsibility for their personal fate and for their roles within a larger Irish history. / text

Individual and institution in the musical life of Leeds 1900-1914

Demaine, Robert January 2000 (has links)
No description available.

Russian revolutionaries in America 1915-1919

Hackett, Anastasia Nicole January 1999 (has links)
No description available.

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