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Both the Second World War and the Korean War presented Hollywood with the opportunity to produce combat films that roused patriotic spirit amongst the American people. The obvious choice was to continue making the popular squad films that portrayed a group of soldiers working together to overcome a common challenge posed by the war. However, in the wake of various racial and ethnic tensions consistently unfolding in the United States from 1940 to 1960, it became apparent to Hollywood that the nation needed pictures of unity more than ever, especially if America was going to win its wars. Using combat as the backdrop, squad films consisting of men from all different backgrounds were created in order to demonstrate to its audiences how vital group cohesion was for the survival of the nation, both at home and abroad. This thesis explores how Hollywood’s war films incorporated racial and ethnic minorities into their classic American squads while also instilling the country’s inherent values of democracy.

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(english) The thesis deals with the influence of the Second World War on the fate of women in Great Britain. Before the Second World War, the woman was expected to either be a domestic woman or to work in jobs exclusively for the female population. The war, however, changed the rules according to which the society was still managed. When men were called into combat, it caused a nationwide shortage of labor. Women were invited to take their places, and they included many positions that were previously considered inappropriate for them. The aim of this diploma thesis was to find out how far women and society were affected by this situation, which was brought by the war. In my thesis I analyzed the role of British women in the civilian sector on the so-called Home Front. In the first chapter I analyzed the process that led to the forced conscription of women and the problems that accompanied the process. The following chapter deals with the employment of women in industry, which proved to be the most problematic in relation to men and domestic duties of women. The third chapter deals with civilian defense and, above all, services that function within this institution. The penultimate chapter deals with the Women's Voluntary Service, which was created to support civilian defense and to provide services...

This thesis considers Esther Bubley's photographic documentation of a boarding house for Jewish workingmen and women during World War II. An examination of Bubley's photographs reveals the complexities surrounding Jewish-American identity, which included aspects of social inclusion and exclusion, a rejection of past traditions and acceptance of contemporary transitions. Bubley presented these residents, specifically the females, as modern Americans shedding the stereotypes surrounding their Jewish heritage and revealing their own perspective and reality. Through their communal support as a group sharing multiple values these residents dealt with multivalent isolation all while maintaining their participation in mainstream American cultural norms. Working for Roy Stryker in the Office of War Information, Bubley provided a missing record of a distinct community in America to be included in the larger collection of Farm Security Administration and Office of War Information photographs. These photographs provide insight into Jewish-American communities and shed light on the home front of America during World War II. Furthermore, Bubley's photographs illustrate how these Jewish-Americans reacted to World War II and reveal both the unity of a nation at war and the isolation of social exclusion in America.

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Dans une perspective d’histoire culturelle, cette thèse, fondée sur une approche iconologique, se propose de montrer, à partir de l’exemple de la littérature illustrée, que la culture de guerre enfantine allemande n’apparut pas ex nihilo en 1914. Elle avait ses racines dans la culture mémorielle d’avant-guerre. Issu de la peinture historique, un imaginaire héroïque en constituait les fondements. 1914 provoqua une intensification de la culture de guerre. Alors que les éditeurs commercialisèrent des livres patriotiques au moment où la guerre de position était déjà en place, ces ouvrages continuèrent à véhiculer l’image d’une guerre de mouvement. À mesure que les hostilités duraient, des dessins kitsch aux motifs enfantins et des caricatures de l’ennemi permirent de justifier le conflit, stylisé en une guerre défensive. Ces strates ludiques de la culture de guerre enfantine, qui provenaient de l’iconographie politique pour adultes, favorisèrent un élargissement du lectorat, auparavant scolaire, aux jeunes enfants. Les auto-images apologétiques l’emportaient toutefois sur la ridiculisation de l’ennemi. Conjointement aux caricatures, elles renforçaient la communauté nationale et traitaient des liens entre le front et l’arrière, qui devinrent une préoccupation croissante des familles, séparées durablement. Face aux difficultés matérielles, les livres, au ton moralisateur et performatif, cherchèrent à mobiliser matériellement les enfants à l’arrière. Dans ce contexte, des albums furent vendus au profit d’associations patriotiques. D’après les tirages, la littérature patriotique, probablement adressée aux enfants issus des milieux bourgeois, connut un certain succès. / In a cultural history perspective based on the methods of the “visual turn” this thesis deals with the illustrated children’s literature before and during the First World War and shows that the German children’s “war culture” did not appear ex nihilo in 1914. It had its origins in the memorial culture of pre-war time, which glorified the warfare. It relied on a heroic fantasy that came from historical paintings and used emotional reflexes. 1914 provoked an intensification and development of the “war culture”. While publishers put patriotic books on the market when the war of attrition took place, these books continued to convey familiar and reassuring images of a war of movement. As hostilities lasted, kitsch drawings with children’s characters and caricatures of the enemy used to justify the conflict, stylized in a defensive war. These fun strata of the children’s “war culture”, which came from the political iconography for adults, created an expansion of readership: children from the age of three up were concerned as well as school children. However, apologetic self-images were more important than the hatred and jeer of the enemy. Together with caricatures, they reinforced the national community and dealt with the bonds between the soldiers and the home front, which became a growing concern for permanently separated families. Because of deprivations, the books became sanctimonious and aimed at mobilizing children in the home front. In this context, albums were sold to raise funds for patriotic associations. According to the number of books printed, this patriotic literature, probably targeting children from both the middle and upper classes, were a success.

Comment les musiciens restés à Paris durant la Grande Guerre (car trop âgés ou dans l’incapacité de servir sur le front combattant) participent-ils à l’effort de la Nation contre l’ennemi allemand ? L’objet de cette thèse est d’explorer les multiples biais par lesquels les interprètes, musicographes et compositeurs du front domestique s’engagent (et engagent leurs compétences spécifiques) sur les chemins du patriotisme, entre le mois d’août 1914 et le mois de novembre 1918.La première partie de cette étude documente d’abord le processus ayant mené au « redémarrage » de la vie musicale parisienne (après quatre mois d’interruption), avant d’étudier les différents visages du patriotisme musicien en actes, d’abord en termes de postures intellectuelles, puis dans le cadre particulier du concert de musique « savante ». La deuxième partie s’intéresse plus spécifiquement aux œuvres de guerre : de manière souterraine et diffuse, ces structures aussi nombreuses que diverses ont permis, parfois motivé et souvent encadré de manière déterminante – tant sur le plan économique et pratique qu’idéologique et moral – les initiatives et les efforts des musiciens sur le front domestique. À mesure que le conflit s’enlise dans la durée, et que la vie musicale parisienne s’accommode des conditions et contraintes du temps de guerre, les motivations d’abord purement caritatives de ces œuvres de bienfaisance connaissent diverses mutations, en mettant notamment l’accent sur des enjeux plus spécifiquement artistiques et musicaux. La dernière partie explore enfin un autre aspect de l’engagement patriotique des musiciens « de l’arrière » : le fait de penser et de préparer l’avènement du monde artistique d’après-guerre, tant à travers les prises de positions et débats que dans les œuvres musicales elles-mêmes. / How did the musicians who remained in Paris during the Great War (because of their age or their inability to serve in combat because of physical disability) take part in the nation’s effort against Germany ? This thesis explores the many ways in which performers, music critics and composers on the domestic front showed their commitment to and worked on behalf of the paths of patriotism, by using their specific skills, from August 1914 to Novembre 1918.Part One documents the process leading to the restarting of Parisian musical life, after four months of interruption. This section will explore the many facets of musical patriotism in action, first in terms of intellectual positions, then in the particular context of art-music concerts. Part Two focuses more specifically on the œuvres de guerre, the official term used to designate all charitable-aid organizations during World War I. These numerous and diverse organizations permitted, sometimes motivated and often framed in a decisive manner – economically, ethically and ideologically – the initiatives and efforts made by musicians on the domestic front. As the conflict bogged down over time, and as Parisian musical life progressively accommodated itself to wartime conditions and constraints, the initial aims of these associations, which began as purely charitable works, progressively transformed into organizations with specifically artistic and musical goals. The last part explores another aspect of musicians who worked “behind the scenes” in the war effort: it was they who thought about and prepared the advent of the postwar musical world, through artistic stances and debates, but also through the musical works they composed.

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Cette thèse de doctorat examine l’impact social de la Première Guerre mondiale dans l’Empire ottoman sur les femmes turques défavorisées et la réaction quotidienne de ces femmes aux conditions négatives de la guerre et aux mesures de l’État concernant les femmes. Elle utilise l’approche de l’histoire populaire et des nouvelles sources des archives ottomanes pour démontrer les voix et les expériences des femmes ordinaires, surtout leur lutte contre l’appauvrissement à cause de la guerre et les politiques sociales insuffisantes. Par conséquent, elle contribue à combler une grande lacune dans l’historiographie sur l’Empire ottomane et les études sur les femmes qui examinent rarement les femmes turques ordinaires. Elle renforce l’idée que les femmes ottomanes ont eu des grandes difficultés à cause de la guerre contrairement aux comptes de modernisation soulignant seulement les développements positifs concernant les libertés et les droits des femmes après la guerre. Elle réfute les comptes acceptant la guerre comme une période pendant laquelle toutes les femmes turques ont vécu une « émancipation. » D’ailleurs, elle met en lumière les formes et les aspects des points de vue critiques des femmes et de la politique quotidienne des femmes pour survivre les conditions négatives de la guerre, pour faire entendre leurs voix, pour protéger leurs droits et pour recevoir des aides sociales. / This dissertation examines the social impact of World War I in the Ottoman Empire on ordinary poor Turkish women and their everyday response to the adverse wartime conditions and the state policies concerning them. Based on new archival sources giving detailed information about the voice, experience and agency of these women and based on the history from below approach, this study focuses on poor, underprivileged and working Turkish women’s everyday experiences, especially their struggle against and perception of wartime conditions, mobilization and state policies about them. By doing so, it contributes to filling the great gap in late Ottoman historiography and women’s studies, which rarely examine ordinary women and their everyday problems and struggles for survival and rights. First, it scrutinizes how ordinary women experienced the war and argues that, in contrast to the modernization accounts that overlook women’s sufferings at the cost of post-war developments in women’s rights and liberties, ordinary Turkish women had great difficulties during the war years. It presents a major caveat to the accounts accepting the war years as a period during which Turkish women monolithically experienced a gradual liberty and « emancipation. » Second, it brings the unexamined forms and aspects of women’s critical and subjective views, their everyday politics to circumvent the adverse conditions and state policies, to make their voices heard, to pursue their rights, and to receive government support into the light. / Bu doktora tezi Osmanlı İmparatorluğu’nda Birinci Dünya Savaşı’nın sıradan yoksul Türk kadınları üzerindeki sosyal etkilerini ve kadınların olumsuz savaş koşullarına ve kendileriyle ilgili devlet politikalarına yönelik tavırlarını incelemektedir. Kadınların sesleri, deneyimleri ve tarihsel rolleri hakkında detaylı bilgiler veren yeni arşiv kaynaklarına ve aşağıdan tarih yaklaşımına dayanan bu tez yoksul, temel sosyal haklardan yoksun ve çalışan Türk kadınlarının gündelik deneyimlerine, özellikle de savaş koşulları, seferberlik ve devlet politikalarını algılayış ve bunlarla mücadele biçimlerine odaklanmaktadır. Dolayısıyla, bu tez, sıradan kadınları ve onların gündelik problemleriyle hayatta kalma ve hak mücadelelerini çok az inceleyen Osmanlı tarihçiliği ve kadın araştırmalarındaki büyük bir boşluğu doldurmaya katkıda bulunmaktadır. Bu tez, bu anlamda, iki temel temaya odaklanmaktadır. Öncelikle, sıradan kadınların savaşı nasıl deneyimlediklerini mercek altına almakta ve onların çektikleri acıları savaş sonrası kadın hak ve özgürlüklerindeki ve üst ve orta sınıf eğitimli kadınların etkinlik ve deneyimlerindeki gelişmelerin bir bedeli olarak algılayıp gözden kaçıran modernleşmeanlatılarının tersine sıradan kadınların savaş yıllarında büyük güçlükler çektiğini savunmaktadır. Bu bağlamda, bu çalışma, Türk kadınlarının savaş yıllarında bütün olarak görece bir “özgürleşme” yaşadıklarını kabul eden anlatılara önemli bir uyarıdır. İkincil olarak, bu tez, kadınların zorluklarla gündelik mücadelelerine odaklanarak kadınların eleştirel ve öznel tutumlarının ve olumsuz koşullar ve devlet politikalarından kaçmak, seslerini duyurmak, haklarının peşine düşmek ve destek görebilmek amaçlı gündelik politikalarının keşfedilmemiş biçim ve yönlerini gün ışığına çıkarmaktadır.