Indiana University-Purdue University Indianapolis (IUPUI) / When the United States entered World War I in April 1917, many Americans quickly rallied to support the nation. Among the numerous committees, organizations, and individuals that became active in the mobilization process were the forty-eight state councils of defense. Encouraged to form by President Wilson and his administration in the days and weeks following U.S entry in the war, the state councils grew as offshoots of the Council of National Defense and assisted in bringing every section of the country into a single scheme of work. Everyone was expected to do their part in WWI, whether they were fighting overseas or helping on the home front. The state councils, broken down into various sections and county, township, and high-school level councils, made sure that this was the case by reaching down into local communities and encouraging individuals to become involved in the war effort. Their work represented the embodiment of a “total war” philosophy and, yet, studies on these organizations are surprisingly scarce, giving readers an inadequate understanding of the American home front during the conflict. This thesis therefore places the focus directly on the state councils and examines the work they undertook to make the United States ready for, and most effective in wartime service. In particular, it explores the efforts of the Educational Section of the Indiana State Council of Defense. By concentrating on this one section, readers may gain a better understanding of the lengths that the state councils went to in order to put every person – teachers and students included – on a wartime footing.

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L'objectif de ma thèse était de créer un catalogue de films de fiction relatifs à la Première Guerre mondiale produits en Italie et en France entre 1914 et 2013. Méthodologiquement, j'ai travaillé sur une variété de sources (répertoires cinématographiques, revues spécialisés, visas de censure et vision des films) selon la disponibilité des matériaux qui sont parvenus jusqu'à nous. J'ai essayé de proposer une enquête analytique qui comprend aussi des films qui se rapportent la guerre sans la montrer, pour cette raison mon travail sera sûrement incomplet mais il vise à une exhaustivité la plus grande possible. J'ai consacré une attention particulière à la censure exercée par |'État, en particulier jusqu’au les années `GD, une époque où la censure politique a été particulièrement forte. En plus de la censure définitive, j’ai aussi analysé celle préalable (en Italie de 1945 à 1965, en France de 1945 à 1961.] et en relevant deux attitudes qui sont similaires mais avec différentes méthodes d'intervention. Bien que l’enquête soit centrée sur les deux pays, l’espace donné à l’affaire italienne est supérieure à celui français. Le choix de la comparaison avec la France a été conditionné par plusieurs considérations, notamment la centralité qui, encore aujourd'hui, à la Première Guerre mondiale dans les cinémas et la public history française. L'évolution du récit cinématographique a été mise en relation avec le contexte politique, cinématographique, Législatif et historiographique; j'ai aussi essayé de comprendre la réception critique des films à travers deux facteurs : les résultats du box-office et les opinions exprimées dans les revues. / The aim of my thesis was to create a catalog of fiction films related to the First World War produced in Italy and France between 1914 and 2013. Methodologically, 1 worked on a variety of sources (movie collections, specialized magazines, rating and direct viewing of picture show), depending on the availability of materials which came to us. I have tried to propose an analytical investigation that also includes movies concerning the war without showing it; I am well aware my work will be certainly incomplete but it tries to be the more comprehensive possible. I have devoted a special attention to the censorious intervention exercised by the government, particularly until the early Sixties, indeed those years political censorship was very strong. In addition to the analysis of general censorship, I added that of prior one (in Italy 1945-65, in France 1945-61) and I found two similar attitudes but with different methods of intervention. Although the investigation is centered on the two countries, more importance will be given to the Italian CBSE instead of French one. The choice of comparison with France was influenced by several considerations; not least, the main point of the First World War has in both film and French public history even today. These factors have not been strange to the will to compare with the history of this country, considered as one of the most interesting. The evolution of fiction story has been put in relation with the political, cinematographic, and legislative and historiography background; I also tried to understand the film reception through two factors: the results of the box office and the opinions expressed in specialized magazines

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The struggle between France and Germany for control of the Saar territory after World War I was by no means a new feature in Saar history. On the contrary, it was merely the perpetuation of a long history of conflict in this region. One reason for the importance of the Saar, which comprises the territory extending along the banks of the Saar river which flows north to the Moselle, is its significance as a route between the Rhine and the territory to its west. [...]

This thesis examines how the First World War and the Holocaust fit into Western history and literary history by. It takes as its point of departure two arguments that currently enjoy, the favor of many specialists. First, it critiques the idea that the literature of the First World War is firmly embedded in the Western literary heritage while that of the Holocaust lies outside the realm of expression, a position that Jay Winter has taken a leading role in developing. Second, it challenges the notion that the Holocaust is an occurrence in history to which no other event offers parallels. The study argues that these points of view obscure our understanding of each disaster. In reality, personal narratives demonstrate that many survivors responded to the First World War and the Holocaust in similar ways. If this is true, then the Great War cannot be firmly embedded in the European cultural tradition while the Holocaust destroys it. A more accurate representation is that the first episode of industrial mass slaughter, the Great War, initiated a rupture in the Western historical and literary heritage that the Holocaust completed. / Department of History

This thesis is devoted to an unsuccessful mission to Sofia undertaken in the fall of 1914 by Noel Buxton, a Liberal British M.P., who aimed to win Bulgaria over to the side of the Triple Entente. Although referred to on occasion in works having to do with the conduct of British foreign policy during the First World War, the affair has never before been described in full. Through a close examination of hitherto unexploited material from Buxton's own archive, it has been possible to reconstruct the evolution of the mission, analyze its contemporary significance, and suggest its relevance to current trends towards the moralization and democratization of diplomacy.

Thesis (Ph. D.)--Sydney College of the Arts, University of Sydney, 2003. / Title from document (viewed 21/7/08). Bibliography: p.335-350.

Issued also as inaugural dissertation, Bonn. / "Zeittafel": p. [145]-149. "Literatur": p. [150]-153.