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The control of public opinion in the United States during the world warHilton, Ora Almon. January 1929 (has links)
Thesis (Ph. D.)--University of Wisconsin--Madison, 1929. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 303-331).
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English Canada and the Election of 1917.Ferraro, Patrick January 1971 (has links)
No description available.
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Preachers present armsAbrams, Ray Hamilton, January 1933 (has links)
Issued also as Thesis (Ph. D.)--University of Pennsylvania. / A study of war-time attitudes and activities of the churches and the clergy of the United States, 1914-1918. Bibliography: p. 281-288.
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English Canada and the Election of 1917.Ferraro, Patrick January 1971 (has links)
No description available.
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Looking through ruin : Canadian photography at Ypres and the archive of warAlexandre, David 11 1900 (has links)
This thesis examines the relationship between the photographic archive of the First World War
and Canadian war memory through an analysis of the production of photographs depicting the
ruins of Ypres, Belgium and their postwar appropriation. Taken by official photographers in the
employment of the Canadian War Records Office, the photographs were intended to act as both
historical documents and, paradoxically, as publicity and propaganda images. Both functions of
the photographs work to construct a unified image of the war and are similarly characterized by a
repressive structure. Ypres, almost entirely destroyed during the war, was both the site of
Canada's first battle and major victory as well as a contentious site connoting military
mismanagement and wasteful loss of life. Resultantly, representations of the city's ruins are
suggestive of a corresponding shift from a mythic to a horrific war in First World War
historiography that took place in the decades proceeding it. Images of Ypres' ruins were filtered
through both material censorship enforced by the military to elicit high morale and psychic
censorship. Photographers made mechanized war conform to their visual expectations.
However, the repressive structure literally contains that which it represses as an uncanny double
and invariably allows for the possibility of its return. I argue that the anodyne and
conventionalized image generated by official photographs of ruins also contains and signifies the
destructive violence of modern warfare. Finally, I examine the construction of these conflicting
narratives as they develop around the simultaneous processes of archivization and circulation
ever-widening circles of mnemonic constructs such as postcards and tourist brochures at the
same time that they were being archived. I argue that rather than contaminating and damaging
the archival meaning of the photographs, the archive is an accumulative institution capable of
incorporating a variety of conflicting narratives without ruining its authority.
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Preachers present arms; a study of the war-time attitudes and activities of the churches and the clergy in the United States, 1914-1918 ...Abrams, Ray Hamilton, January 1933 (has links)
Thesis (PH. D.)--University of Pennsylvania, 1931. / Published also without thesis note. Bibliography: p. 281-288.
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Wissenschaft at war : British and German academic propaganda and the Great WarO'Gorman, Aoife Siobhán January 2016 (has links)
This thesis explores academic propaganda in the first two years of the First World War, examining the activity of the university men in Britain and Germany who were left behind when their students went to the Front. Using pamphlets and manifestoes, it seeks to highlight the way the War split the international academic community and the creation of a debate which examined not only the causes of the War, but the reasons for which the nations were fighting. By exploring the propaganda organisations of both countries, as well as the academic milieu in which the subjects of this thesis worked, it hopes to provide the context within which this propaganda was created, before turning to an examination of the content of the propaganda - an aspect which has often been overlooked in propaganda studies. The investigation of the content looks first at the outbreak of war and the reaction of the academic community to a shock which shook their community. It then turns to the arguments expounded on culpability for the War, and the ideals for which each side felt they were fighting, illustrating the shift in emphasis from a political war to an ideological conflict between two opposing world views. Finally, the thesis considers perceptions of the War in the early years of the conflict, and the way in which it was seen both as a panacea to overcome social divisions and a catharsis which would lead the way to a new world - ideas which would provide the foundation for later war aims. In taking this comparative approach, the aim is to provide new insights into a fascinating and relatively little-known aspect of the history of the First World War.
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Looking through ruin : Canadian photography at Ypres and the archive of warAlexandre, David 11 1900 (has links)
This thesis examines the relationship between the photographic archive of the First World War
and Canadian war memory through an analysis of the production of photographs depicting the
ruins of Ypres, Belgium and their postwar appropriation. Taken by official photographers in the
employment of the Canadian War Records Office, the photographs were intended to act as both
historical documents and, paradoxically, as publicity and propaganda images. Both functions of
the photographs work to construct a unified image of the war and are similarly characterized by a
repressive structure. Ypres, almost entirely destroyed during the war, was both the site of
Canada's first battle and major victory as well as a contentious site connoting military
mismanagement and wasteful loss of life. Resultantly, representations of the city's ruins are
suggestive of a corresponding shift from a mythic to a horrific war in First World War
historiography that took place in the decades proceeding it. Images of Ypres' ruins were filtered
through both material censorship enforced by the military to elicit high morale and psychic
censorship. Photographers made mechanized war conform to their visual expectations.
However, the repressive structure literally contains that which it represses as an uncanny double
and invariably allows for the possibility of its return. I argue that the anodyne and
conventionalized image generated by official photographs of ruins also contains and signifies the
destructive violence of modern warfare. Finally, I examine the construction of these conflicting
narratives as they develop around the simultaneous processes of archivization and circulation
ever-widening circles of mnemonic constructs such as postcards and tourist brochures at the
same time that they were being archived. I argue that rather than contaminating and damaging
the archival meaning of the photographs, the archive is an accumulative institution capable of
incorporating a variety of conflicting narratives without ruining its authority. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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