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The study describes the formation and the establishment of the first urban congregation of the Berlin Mission in the Cape at the turn of the century. The establishment of the Cape Town Congregation was not a result of urban mission work but rather a result of the townward movement of rural coloured people who already belonged to the Berlin Mission Church. At first the mission headquarters in Berlin resisted an involvement in Cape Town, but the members there and the missionaries of the Cape Synod urged the Berl in Mission to accept the responsibility. Fol lowing the advice of the Moravian Mission the Berliners finally sent a missionary, and declared the congregation as a proper mission station on May 7, 1907. The study closes with the consecration of the church building in Searle Street in 1923 as a visible sign for the establishment of the Berlin Mission Church in Cape Town. / Christian Spirituality, Church History & Missiology / M. Th. (Missiology)

This thesis argues that Edith Wharton’s assessment of American ways and their meaning in her post-war fiction has been widely misread. Its title derives from French Ways and Their Meaning (1919), which she wrote to educate her countrymen about French culture and society. Making sense of America was as great a challenge to Wharton. Much of her later fiction was for a long time dismissed by critics on the grounds that she had failed to ‘make sense’ of America. Wharton was troubled by American materialism and optimism, yet she believed in a culturally significant future for her nation. She advocated – and wrote – an American fiction that looked critically at society and acknowledged the nation’s ties to Europe. Sometimes her assessment of American ways is reductive, and presented in a tone that her critics, then and since, found off- putting and snobbish. But her skepticism about American modernity was penetrating and prophetic, and has not been given its due. In criticism over the last two decades, a case for the place of Wharton’s post-war fiction in canons of feminism and modernism has been persuasively made. The thesis responds to these positions, but makes its own argument that the post-war writing reflects broader shift in American identity and ideology. The thesis is broadly historicist in its strategy, opening with a discussionofthereputationofthesetextsandthatoftheauthormoregenerally. Afterthat entry-point, it is organized thematically, with four chapters covering topics that are seen as key components of American ideology in Wharton’s post-war writing. These include modernity, gender equality, the American Dream of social mobility, and American exceptionalism. The thesis concludes with an assessment of Wharton’s prognostications in the context of twenty-first century America.

This thesis’ purpose is to demonstrate, via the examination of popular youth literature (primarily pulp magazines and comic books) from the 1920s through to the 1950s, that the stories found therein drew their definitions of heroism and villainy from an overarching, nativist fear of outsiders that had existed before the Great War, but intensified afterwards. These depictions were transferred to America’s “new” enemies following both the United States’ entry into the Second World War, as well as the early stages of the Cold War. This transference of nativist imagery left behind the ethnically-based origins of such depictions, showing that racism was not the sole and simple reason for such exaggerated visages. A process of change, in regards to America’s nativist sentiment, so virulent after the First World War, will be explained by way of the popular, inexpensive escapism of the time, the pulp magazines and comic books of the early to mid-twentieth century.

This thesis examines the entry of women, during World War I, into industrial employment that men had previously dominated. It attempts to determine if women's wartime activities significantly changed the roles women played in industry and society. Major sources consulted include microfilm of the British Cabinet Minutes and British Cabinet Papers; Parliamentary Debates; memoirs of contemporaries like David Lloyd George, Beatrice Webb, Sylvia Pankhurst, and Monica Cosens; and contemporary newspapers. The examination begins with the early debates concerning the pressing need for labor in war industries, women's recruitment into industry, women's work and plans, the government's arrangements for demobilization, and women's roles in postwar industry. The thesis concludes that women were treated as a transient commodity by the government and the trade unions.

This thesis is about the depiction of the damaged male in contemporary American war films in the period 1990 to 2010. All the films in this thesis deploy complex strategies but induce simple and readily accessible pleasures in order to mask, disavow or displace the operations of US imperialism. It is my argument that the premier emotive trope for emblematising and offering up the damaged male as spectacle and political tool is the American war film. I also argue that masochistic subjectivity (and spectatorship) is exploited in these films, sometimes through using it as a radical transformative tool in order to uncover the contradictions and abuses in US imperial power, but mostly through utilizing its distinct narrative and aesthetic qualities in order to make available to spectators the pleasures of consuming these images, and also to portray the damaged male as a seductive and desirable subjectivity to adopt. The contemporary war film offers up fantasies of imperilled male psychologies and then projects these traumatic (or “weak”/“victimised”) states into the white domestic and suburban space of the US. Accordingly this enables identification with the damaged male, and all his attendant narratives of dispossession, innocence, and victimhood, and then doubles and reinforces this identification by threatening the sanctity and security of the US homeland. My argument builds towards addressing ethical questions of spectatorial passivity and culpability that surround our engagement with global media, and mass visual culture in the context of war. I ultimately identify ethical spectatorship of contemporary war films as bolstering a neo-liberal project advancing the “turn to the self”, and hence audiences could unwittingly be engaged in shoring up white male ethno-centricity and the attendant forces of US cultural and geopolitical imperialism.

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.

Military command is the single most important factor in the conduct of warfare. To understand war and military success and failure, historians need to explore command structures and the relationships between commanders. In World War I, a new level of higher command had emerged: the corps commander. Between 1914 and 1918, the role of corps commanders and the demands placed upon them constantly changed as experiences brought illumination and insight. Yet the men who occupied these positions were sometimes unable to cope with the changing circumstances and the many significant limitations which were imposed upon them. Of the World War I corps commanders, William Birdwood was one of the longest serving. From the time of his appointment in December 1914 until May 1918, Birdwood acquired an experience of corps command which was perhaps more diverse than his contemporaries during this time. He is, then, an ideal subject for a prolonged assessment of this level of command. This thesis has two principal objectives. The first is to identify and assess those factors which limited Birdwood???s capacity and ability to command. The second is to explore the institutional constraints placed on corps commanders during the 1914-1918 war. Surprisingly, this is a comparatively barren area of research. Because very few officers spent much time as corps commanders on their way to higher command appointments and because the role of the corps commanders in military planning and in the conduct of operations was not immediately apparent, their role has been practically ignored. Historians have tended to concentrate on the Army and divisional levels creating a deficient view of higher military command in World War I. However, corps commanders could and did play an important part in planning operations and in military affairs generally. Birdwood???s experience at Gallipoli and in France reflect some of the changes to command structures that were prompted by the successes and failures of operations directed at the corps level. In as much as these two theatres of war were vastly different and Birdwood was confronted with dissimilar problems, it is possible to draw some general conclusions about the evolution of higher command after 1914. Using a wide range of primary and secondary sources located in Australian and British archives, this thesis traces Birdwood???s career as a corps commander at Gallipoli and on the Western Front. It also examines his tenure as G.O.C. of the A.I.F.

Lensemble des revues littéraires « modernistes et davant-garde » parues en Belgique immédiatement après la première guerre mondiale (jusquen 1922) est étudié dans une perspective dhistoire et de sociologie de la littérature. Lexemplification porte principalement sur les corpus des revues bruxelloises (LArt libre, Haro, Au Volant, Demain littéraire et social, Le Geste, Signaux de France et de Belgique, La Lanterne sourde, 7 Arts, Sélection) et anversoises de langue française (La Drogue, Lumière, Ça Ira). Une première partie de la thèse est consacrée à lexplicitation des choix théoriques et méthodologiques. Est dabord étudiée la place réservée à lobjet « revue littéraire » dans différents modèles de sociologie de la littérature (théorie des champs de Pierre Bourdieu, théorie de linstitution de la littérature de Jacques Dubois, études de la sociabilité intellectuelle). Reprenant la terminologie de Christophe Prochasson, lensemble des revues littéraires est appréhendé en terme de « réseau » (tissé entre différents « lieux » et « milieux »). Par sa plasticité, le concept de « réseau » désigne adéquatement lensemble des revues, espace ouvert et aux frontières floues, en permanente reconfiguration, hétérogène et déployé dans la durée. Le « réseau » des revues se développe dans une double dimension humaine (la revue comme lieu de sociabilité, comme milieu) et textuelle (la revue comme lieu de publication, comme instance éditoriale). Une seconde partie de la thèse présente dune part un panorama des revues littéraires belges pendant la première guerre mondiale (revues en Belgique occupée et revues du front) et dautre part la progressive reconstitution de lespace des revues après lArmistice. Dans cette période de transition, les enjeux esthétiques sont inféodés aux questions politiques à propos desquelles se positionnent les revues. Le débat principal (tant politique quarchitectural et littéraire) porte sur la question de la reconstruction du pays, conçue en terme de « restauration » par un pôle conservateur et en terme de « renouvellement » par un pôle moderniste et davant-garde. À travers létude des différentes prises de positions des revues du corpus sont encore abordées les problématiques du pacifisme et de la question flamande, toutes deux au croisement entre littérature et politique. Dans une troisième partie du travail, le réseau interpersonnel et intertextuel des revues littéraires est pris pour objet à travers lexamen des différents lieux et milieux qui le constituent. Létude des différents milieux imbriqués dans les corpus bruxellois et anversois est suivie dun chapitre traitant de questions matérielles concrètes (choix de format, modes de diffusion, financement, types de public visés). Abordées sous cet angle, les revues apparaissent non seulement comme des instances relevant de la vie littéraire, mais aussi comme des instances proprement « médiatiques ». Dans un troisième chapitre sont inventoriés les différents types de lieux où se déploie l« action dart » de ces revues (« centres dart », galeries et lieux dexpositions, tribunes médiatiques, maisons déditions). Le réseau des revues « modernistes et davant-garde » constitue une portion dun continuum plus large : les liens avec les revues et les milieux plus conservateurs sont discrets mais constants, tant sur le plan de limbrication entre les milieux que sur celui des appuis concrets sollicités par les revues « modernistes et davant-garde » pour assurer leurs conditions dexistence. La dernière partie propose un retour sur le modèle réticulaire, notamment sur les questions du déploiement du réseau des revues dans la durée, des enjeux historiographiques et du rapport de la littérature avec les autres champs. En conclusion générale, laccent est mis sur la période de transition de limmédiat après-guerre (1919-1922), où l« effet de réseau » est particulièrement perceptible, et sur lapport de la dissertation concernant les traits définitoires du modernisme et de lavant-garde, en ce qui concerne les revues littéraires.