The French nation has been prolific of consummate diplomatists all through history, but her annals record no more brilliant achievement than that of Theophile Delcassé and Paul Cambon when they brought Great Britain into a French alliance. Even those who disapprove the consequences of their act must admit the skill and the pertinacity with which the two statesmen pursued their purpose. Their difficulties were stupendous; British governments had for years stood aloof from Continental agreements, but precedent was forced to give way before the perspicacity and perseverance of these two French statesmen. Delcassé had contributed the Entente Cordiale to the French cause in 1904. This understanding pledged British diplomatic support to France in her imperialistic venture in Morocco-nothing more; but it also provided a foundation upon which Cambon could exercise his talents in leading Great Britain into a trap. The result of these activities was the equivalent of an Anglo-French alliance. The French, to accomplish their purpose, led the British into a series of military and naval conversations as a means of working out plans of joint operations whereby the latter could assist the former in case of a Franco-German war. The conversations had their official beginning in 1906 and continued until the outbreak of war in 1914, by which time Britain was so completely obligated to France as to make her entry into the war a foregone conclusion.

This thesis explores the representation of prostitution in German Weimar films between 1919 and 1933. It theorizes that prostitutes are illustrated through characters who are public women. The women who step out of their homes to enter public, or who are somehow introduced to strangers without leaving their homes are public women. The public women in these films, as public women living in Germany, were in danger of being identified as prostitutes and becoming prostitutes. A woman’s public position made her vulnerable to the male sexualized gaze. The male sexualized gaze ultimately led to a woman’s prostitution. The thesis analyzes 4 films to demonstrate woman’s depiction as a prostitute. The first film, Nosferatu, depicts a seemingly virtuous woman whose husband begins to prostitute her, but ultimately she prostitutes herself in exchange for the service of a supernatural law. The film symbolically discusses social issues regarding prostitution, family life, and venereal disease. The second film, Metropolis, protects its public female character from the sexualized gaze with religion and motherhood at the beginning of the film. However, as the film progresses the main character, Maria, is unwillingly prostituted by the head of the society in exchange for a robot that looks like her. The robot employs the male sexualized gaze and her position as a prostitute to overturn society as a vagina dentata. The third and fourth films are The Blue Angel and Variety respectively. Both of these films depict women in public positions who use their sexuality for gain. These women prostitute themselves. They are not victims as Maria and Ellen are in the two previous films. The women in this chapter use their sexuality and prostitution as a way to attain agency. The women in these films I label as vagina dentata because they purposefully destroy men for their own gain. These women use public sexuality to find and engage their male prey as patrons before they emasculate them. The thesis views the women of Weimar films differently than other scholars have by making her the focus of the film and interpreting her public exposure as her gateway to prostitution.

The thesis submitted deals with the topic of marriages in Interwar Japan through an analysis of the women's magazines (fujin zasshi) issued between 1920-1941. The women's role change brought about a gradual shift from a traditional ie-family structure to a new type of a partially atomized two-generation family. Consequently, the roles of man and women in a family have been revised since then. In relation to the modern thoughts incoming from the West, the Japanese started to perceive new ways of getting married, such as the liberal marriage (jiyū kekkon) or the love marriage (ren'ai kekkon), which have broken the old conventions of the traditional go-between marriage (miai kekkon). The purpose of this study is to show the views and opinions of men and women on marriage, establishing the family, spouse relationships, etc. by analyzing the women's magazines and to ansewer the reasearch questions. The analysis is based not only on the regular magazine articles, but also on the editorial interviews (zadankai) and counseling columns (mi no ue sōdan). At first, I introduce the women's magazines, their brief history, purpose and characteristic features. The following chapter discusses the historical background of the women's position from the social point of view, rather than political, and then mentions...

La thèse examine la relation entre le mouvement ouvrier français et le cinéma au début du XXe siècle, plus précisément de 1895 à 1914. Elle s'articule autour de l'expérience spécifique de la coopérative Cinéma du Peuple, qui a duré d'octobre 1913 à juillet 1914. La coopérative Cinéma du Peuple participa à l'adhésion d'une partie des militants aux ressources du cinéma, sensible à partir de 1909, date à laquelle le processus d'industrialisation du film en France était déjà très avancé. Transmise au-delà de 1914, l'expérience du Cinéma du Peuple, première tentative ouvrière organisée d'appropriation du cinéma, a posé les fondements d'un nouveau terrain d'intervention en vue d'une hégémonie dans le champ culturel prolongée jusqu'à nos jours. L'hypothèse est que le public -catégorie d'analyse dans une échelle alternative de celle de masse, ou de spectateur -a montré, avec l'expérience du Cinéma du Peuple, qu'il n'est pas, par nature et de façon in-évocable, prisonnier des films commerciaux et des intérêts des distributeurs. À partir des notions de répertoire d'action, et de l'expérience de la domination idéologique par le cinéma commercial, nous nous efforçons de cerner les contours de ce public, pour partie confondu avec celui du mouvement ouvrier, notamment au moyen des trajectoires collectives et individuelles des initiateurs, propagandistes du Cinéma du Peuple et de ses spectateurs. En même temps, nous nous proposons de montrer à partir de l'analyse des films du Cinéma du Peuple le début de la formation d'un nouveau mode de représentation du monde ouvrier. / The thesis examines the relationship between the French working class movement and the cinema at the beginning of the 20th century, specifically from 1895 to 1914. 1t focuses on the specific experience of the cooperative Cinéma du Peuple, which lasted from October 1913 to July 1914. The cooperative Cinéma du Peuple took part of militant cinema in France, which was barely begun from 1909 on when the industrialization process of the film in France was already advanced. Transmitted beyond 1914, the experience of the Cinéma du Peuple, first working class movement organized attempt to film appropriation, laid the foundations of a new ground of intervention in a prolonged hegemony in the cultural field until the present days. The assumption is that the public - a category of analysis in an alternative scale than mass or spectator - showed, with the experience of Cinéma du Peuple, that it is not by nature and so irrevocable way a prisoner of the commercial films and the interests of distributors. From the concepts of repertoire of contention, and the experience of the ideological domination of commercial cinema, we strive to identify the contours of that public, partly coïncident with the working class movement, mostly through collective and individual militants' trajectories, propagandists of the Cinéma du Peuple and its public. At the same time, we intend to bring from the analysis of the Cinéma du Peuple's films the beginning of the formation of a new mode of representation of the working class.

The aim of this work is at least partially to map the position of the scientific theme in magazines produced in the end of 19th century and by the beginning of 20th century with focus on technical progress reflection and partial presence of additional scientific themes. The theoretical part of this work summarizes the role of science in the Czech society from the end of 18th century and presents the main personalities, turning points and processes (mainly industrial revolution) that formed the media discourse by the end of the 19th century. The practical part is dedicated to analyzing of chosen magazines Čas, Naše doba, Česká revue, Český svět a Světozor (Illustrovaný svět) in various periods of time. Firstly, there is a connection concerned with the year 1886, the age of manuscript polemics and "our two questions". Subsequently, it is analyzed the position of science at the turn of the century that was considerably influenced with the general process of technique penetration through society praxis. The last period researched is the pre-war time between years 1912 - 1914, when technical inventions were highly used in the military sphere and were also responsible for a massive militarization.

The diploma thesis Cultural journalism of Ferdinand Peroutka in Přítomnost (1924 - 1939) deals with culture articles Ferdinand Peroutka has written as the editor-in-chief of a cultural-political magazine Přítomnost during the years between the World Wars. The thesis is therefore mainly focused on his literary criticism but texts concerning theatre or film are included as well. Crucial part of the thesis is based on a critical qualitative analysis of a chosen sample of texts published in the culture section of Přítomnost between 1924 and 1939 - with the emphasis on Peroutka's requirements towards art, his polemics with other authors or his subject choice and reception. Form and content of the texts are analysed too. Additionally, the thesis provides an introduction to Ferdinand Peroutka as a member of Czechoslovak Republic's elite, specifically as a journalist and a culture critic. In order to offer full context a description of Přítomnost magazine is included and completed by a brief summary of Czechoslovak culture journalism between the World Wars with examples of other important periodicals and their contributors. The thesis opens with introducing different approaches to criticism as a genre.

Inter-group social trust is one of the main elements for peacebuilding and, as a common feature of civil wars, Forced Internal Displacement is creating further complexities and challenges for post-war inter-group social trust. However, research revealed that among the internally displaced people, some tend to have a higher level of post-war inter-group trust compared to the other IDP. Surprisingly, an analysis based on this topic revealed that only a small number of studies are focusing on the condition of Internally Displaced People’s post-war intergroup social trust in the long run. This study examines the inter-group social trust of internally displaced people to provide a theoretical explanation for the following question; under what conditions the internally displaced people tend to trust more/less the conflicting party in the post-war context? With an examination of the social psychology research, this thesis argues that under the condition of postwar the IDP who have experienced continuous pre-war inter-group contact the post-war intergroup social trust will be stronger than the IDP who do not have such inter-group contact experience. The reason behind this expectation is the expected effect of inter-group contact on eliminating the prejudices and promoting the ‘collective knowledge’ regarding the war and displacement, thus promoting inter-group trust. This research is collected data from two groups of internally displaced people of Cyprus; IDP displaced from heterogeneous areas and homogenous areas, using the method of qualitative single case analysis. The findings show strong support for the expected causal relationship.

This thesis examines American Far Eastern policy from the beginning of the Franklin Roosevelt presidency through the early months of 1938. This study is chiefly concerned with the attack by Japanese aircraft on the USS Panay and its effect on the course of U.S. foreign policy. Particular attention is paid to the Anglo-American dialogue which occurred throughout the Far Eastern Crisis. Prior to the end of 1938, the U.S. administration’s position in Asia was dictated both by policies inherited from preceding administrations and by the extreme isolationism of the American people. This foundation effectively inhibited any cooperation with foreign powers. Relying on a reactive policy in the Far East, Washington remained aloof from entanglement as the President sought a plan which would permit U.S. involvement without inviting isolationist wrath. This paper traces an evolution in American Far Eastern policy, highlighting the Panay incident as a distinctly identifiable turning point whereby isolationism gave way to internationalism.

This thesis examines American Far Eastern policy from the beginning of the Franklin Roosevelt presidency through the early months of 1938. This study is chiefly concerned with the attack by Japanese aircraft on the USS Panay and its effect on the course of U.S. foreign policy. Particular attention is paid to the Anglo-American dialogue which occurred throughout the Far Eastern Crisis. Prior to the end of 1938, the U.S. administration’s position in Asia was dictated both by policies inherited from preceding administrations and by the extreme isolationism of the American people. This foundation effectively inhibited any cooperation with foreign powers. Relying on a reactive policy in the Far East, Washington remained aloof from entanglement as the President sought a plan which would permit U.S. involvement without inviting isolationist wrath. This paper traces an evolution in American Far Eastern policy, highlighting the Panay incident as a distinctly identifiable turning point whereby isolationism gave way to internationalism.

This thesis examines American Far Eastern policy from the beginning of the Franklin Roosevelt presidency through the early months of 1938. This study is chiefly concerned with the attack by Japanese aircraft on the USS Panay and its effect on the course of U.S. foreign policy. Particular attention is paid to the Anglo-American dialogue which occurred throughout the Far Eastern Crisis. Prior to the end of 1938, the U.S. administration’s position in Asia was dictated both by policies inherited from preceding administrations and by the extreme isolationism of the American people. This foundation effectively inhibited any cooperation with foreign powers. Relying on a reactive policy in the Far East, Washington remained aloof from entanglement as the President sought a plan which would permit U.S. involvement without inviting isolationist wrath. This paper traces an evolution in American Far Eastern policy, highlighting the Panay incident as a distinctly identifiable turning point whereby isolationism gave way to internationalism.