This dissertation examines how the Battle of Hong Kong’s negative legacy has developed in Canada. By using the concept of “zombie myths,” which was first introduced in Zombie Myths of Australian Military History, this study will examine how many individuals, including historians, journalists, and authors, contributed to these myths’ creation and propagation for starting from the Second World War and continuing today. The study draws its conclusions from official texts and histories, personal recollections, newspaper articles, popular historical works, and academic monographs and articles, all relating to the battle. This thesis is separated into two halves. The first part of the study focuses on the history of the battle by exploring several myths that surround it. One of the most contentious myths concerns why the Canadian troops were sent to the colony in the first place. The relationship between the British and Canadian armies from 1914 to 1941 plus the defence planning of Hong Kong from 1841 to 1941, are two crucial elements that will be analyzed in order to vital context about the Canadian reinforcement. The selection of the units of “C” Force and their training are subject to many myths that seek to present the Canadian units as untrained. These will be dispelled through an investigation of training records. The memory of the battle itself has been influenced by overtly nationalistic myths that seek to blame the other nationalities in the garrison for the fall of the colony while simultaneously presenting one’s own national troops as the garrison’s best fighters. Canadian authors and historians are no exception to this trend. Records created by various soldiers, including British, Canadian, and Indian sources, demonstrate that the iii Canadians at Hong Kong fought just as well as the rest of the garrison. The second part of the dissertation focuses on the memory of the battle. Discussions of the Hong Kong Inquiry and the television miniseries The Valour and the Horror bookend a discussion of the factors relating to the battle’s legacy since the Second World War including the Canadian government’s treatment of the Hong Kong veterans and the lack of official recognition. This study delivers a much-needed re-examination of the battle and its legacy in Canada. By explaining and dispelling the numerous myths related to the Battle of Hong Kong, a clearer understanding of the battle’s legacy can be achieved.

Thesis (S.T.M.)--Trinity Lutheran Seminary, Columbus, Ohio, 1999. / Includes bibliographical references (leaves 117-121).

Thesis (S.T.M.)--Trinity Lutheran Seminary, Columbus, Ohio, 1999. / This is an electronic reproduction of TREN, #035-0092. Includes bibliographical references (leaves 117-121).

Thesis (S.T.M.)--Trinity Lutheran Seminary, Columbus, Ohio, 1999. / This is an electronic reproduction of TREN, #035-0092. Includes bibliographical references (leaves 117-121).

This thesis examines the politics of World War II memory in Thai screen culture with special reference to films and television series produced between the 1970s and the 2010s. Framed by memory studies and film studies approaches, the thesis hopes to answer 1) how WW II memory on screen is related to other memory texts: monuments, museums and commemorative rituals and 2) how the memory is coded by various genres: romance, biopic, combat film and horror. The project relies on a plurimedial network which has not yet been extensively studied by film scholars in Thailand. Through the lens of memory studies, the on-screen memory is profoundly intermingled with other sites of memory across Thailand and beyond. It potentially is counter-memory and vernacular memory challenging the state's official memory. The politics of WWII memory are also engaged with cultural politics in Thailand in terms of class, gender and ethnicity. The politics of commoners and trauma are given more voice in WWII memory compared to other moments of the national past, which are dominated by the royal-nationalism. From film studies perspectives, the genres mediating WWII memory are shaped by traditions of Thai-Thai and transnational screen culture; the Thai WWII combat film is a newly proposed genre. The thesis also explores directors, the star system, exhibition and reception. The findings should prove that WWII memory on Thai screen serves their roles in memory institutions which construct and maintain mnemonic communities as well as the roles in entertainment and media institutions. Another crucial implication of the research is that politicising WWII memory on the Thai screen can illuminate how memory and visual texts travel. The research likewise manifests its contributions to a better understanding of how Thai screen culture can be positioned within both global memory culture and global screen culture.

This study explores the usage of the memory of the bombings of Belgrade from WWII in the time period of Yugoslavia from 1995 until 2003. Considering that Belgrade was bombed by two opposing forces during WWII, once by Nazis in 1941, and the second time by the Allies in 1944, and due to the fact that the exploitation of memory of the two bombings was rather unequal during the Socialist Yugoslavia with the latter bombings being a taboo theme, I was interested in answering following questions: how the two memories were used in the times before, during and after the NATO Air Strikes of Yugoslavia, if the memory of the Allied bombings emerged in the public sphere and how it coexists with the one of the Nazi bombings. My primary sources are articles from "Politika" newspaper issues from commemoration dates during the research time frame from 1995 until 2003. The final conclusion shows the dominant usage of the memory of the Nazi bombings throughout the whole time frame even though we could witness the emergence of the memory of the Allied bombings.

Ce travail envisage les enjeux d'une narration discontinue et disloquée sous l'influence de la mémoire de la guerre dans le roman contemporain de langue française. Elle privilégie une approche narratologique pour l’analyse de trois romans : Le Message d’Andrée Chedid (2000), Riz noir d’Anna Moï (2004), Le Boulevard périphérique de Henry Bauchau (2008). Le choix du corpus donne un aperçu général sur trois guerres différentes dans le monde ; cependant, notre étude s’intéressera plutôt à l’impact tragique de la guerre, en général, sur trois œuvres qui, tout en relevant de l’extrême-contemporain et venant de nations différentes, se souviennent du XXe siècle. Ici, l’enjeu de l’analyse est de montrer comment l'auteur réussit à transmettre le traumatisme de la guerre, ce qui soulève, dès lors, des enjeux de la narration discontinue et disloquée, qui suit les hésitations, voir les obsessions d'une mémoire intermittente. Dans une première partie, la thèse se concentrera sur les mutations socio-historiques du tournant du XXIe siècle et sur la perception d’un monde éclaté, spécialement dans le domaine romanesque. La deuxième et la troisième partie, essentiellement narratologiques, étudieront les romans considérés en tant qu’écritures mémorielles et y examineront les phénomènes de dislocation narrative dans l’organisation du temps et de l’espace des récits. La quatrième partie, présentera une vue d'ensemble sur la composition des romans et examinera les procédures d’unification relative assurant la cohérence romanesque. Nous nous intéresserons, ici, aux univers de valeurs inscrits dans les trois romans à l’étude ; ce qui nous amènera à évoquer leurs aspects axiologiques et leur dimension éthique face à la guerre, destinés à donner au lecteur l'idée d'une recomposition d'une Histoire tragique. / The present research considers some aspects of dislocated writing under the influence of the memory of war in the contemporary French-language novel. The study favours a narratological approach in three novels: Anna Moï's Riz noir, Andrée Chedid's Le Message and Henry Bauchau's Le Boulevard périphérique. The choice of this corpus gives an overview of three different wars that occurred in the world. However, our study focuses on the tragic impact of war in general on three novels that, albeit being from the extreme-contemporary and coming from different nations, remind the twentieth century. This study aims to analyze how the authors succeed in transmitting the trauma of war, which raises the issues of discontinued and dislocated writing llustrating the hesitations or even the obsessions of an intermittent memory. In the first part, the thesis will focus mainly on the socio-historical changes of the turn of the 21st century and on the perception of a fragmented world, especially in the novel. The second and third parts, mostly emphasizing on narratological aspects, analyze the considered novels as memorial writings and examine the phenomena of a discontinued temporality as well as dislocated space in the composition of the three novels. The fourth part will present an overview of the composition of the novels and will examine the unifying processes ensuring the coherence of the novel. It will focus on the world of values present in the three studied novels evoking the axiological aspects of the novels and their ethical dimension towards war in order to give the reader the idea of a coherent reconstruction of a tragic History.

This thesis deals with a motive, very frequent in the novels of Haruki Murakami: a male protagonist trying to save his spouse, who has disappeared in a "different world". This can be of course interpreted as an orphic myth variation. However, the version used by Murakami resembles the story of Izanagi and Izanami deities in the Kojiki, ancient Japanese chronicle, more than the Greek orphic myth. Therefore, the motive is treated like a specific "Izanagi myth" variation here in the thesis, and the examination of its function is focused on the novels, the most important segment of Murakami's work. Murakami intentionally uses a very complicated form of narration in the novels. Therefore, to examine the exact function of Izanagi myth motive in the novel stories, a method of abstraction of these stories from their narrative discourses is used, based on the theories of Seymour Chatman. According to these theories, stories are strictly chronological sequences of events, while narrative discourses are more specific forms of these sequences, processed by the narrators. To abstract "exact" stories from Murakami's novels' specific discourses, we concentrate on all time-related data in their texts and use them to reconstruct the minute chronological orders of events - the stories of the novels. After that, we...

In this thesis, I argue that twenty-first century American war films are constructed in dialogue with the past, repurposing earlier forms of war representation by evoking the visual and narrative memory of the past that is embedded in genre form—what Mikhail Bakhtin calls 'genre memory.' Comparing post-9/11 war films with Vietnam War films, my project examines how contemporary war films envision war's impact on culture and social space, explore how war refashions ideas about race and national identity, and re-imagine war's rewriting of the human psyche. My research expands on earlier research and departs from traditional approaches to the war film genre by locating the American Civil War at the origin of this genre memory, and, in doing so, argues that nineteenth century documentation of the Civil War serves as a rehearsal for the twentieth and twenty-first century war film. Constructed in explicit relation to the Vietnam film, I argue that post-9/11 war films rehearse the history of war representation in American culture while also emphasizing the radically different culture of the present day. Rather than representing a departure from past forms of war representation, as has been argued by many theorists, I show that contemporary American war films can be seen as the latest chapter in a long history of reimagining American military and cultural history in pictorial and narrative form.