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Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 169-174). Also available on the Internet.

Thesis (M.A.)--University of Missouri-Columbia, 2004. / Typescript. Includes bibliographical references (leaves 169-174). Also available on the Internet.

Theses (M.A .)--Marshall University, 2007. / Title from document title page. Includes abstract. Document formatted into pages: contains vi, 85 pages. Bibliography: p.80-85.

美國自第二次世界大戰以後，超強的特質使其步入「全球干預」的國際主義途徑，處 處偏向以「壓倒性權勢」(Preponderance of power)來解決世界問題；經歷越戰的消 耗與創傷後，美國雖然無法一時回轉至傳統「關閉自守」的孤主主義老路，但亦在尼 季「和解」的架構中，走向「均衡」(Balance of power)政治。本文的目的，旨在藉 探討越戰對美國外交政策的影響，以「權力」以「絕對積極」、「絕對消極」或「二 者之間」的形式持續捍衛其國家利益的理論與實際。 本文共分六章、十五節，約十二萬餘言。除第一章導論及第六章結論外，主文以四章 撰成。第二章論美國越戰誤導的經驗，第三章論越戰支持共識的瓦解及其演變，第四 章論國會外交權的伸張，第五章論武力的使用。全篇兼顧時間的推演性與空間的代表 性，期能對影響美國對外政策的某些因素、運作過程、結果作一重點的瞭解。

Thesis (MA)--Macquarie University (Division of Society, Culture, Media & Philosophy, Dept. of Media), 2006. / Bibliography: leaves 176-188.

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.

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