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A Alemanha iniciou o século XX com uma posição influente na comunidade científica mundial, o que é evidenciado na quantidade de Prêmios Nobel e nas descobertas realizadas no país, por alemães e estrangeiros que fizeram carreira por lá. Esse estado de coisas poderia ter mudado após o final da Primeira Guerra Mundial, quando a fragilidade da Alemanha era evidente, agravada pelas duras condições impostas pelos Aliados. Porém, o período conhecido como República de Weimar conheceu uma grande produção em vários campos, com destaque para a Física, que continuou a sua trajetória ascendente. A ascensão dos Nacional-Socialistas, em 1933, foi responsável por uma grande involução do papel alemão no cenário científico mundial desde o primeiro ano de seu governo, por meio de demissões, perseguições e outros atos. O início da Segunda Guerra Mundial magnificou esse estado de coisas. Em meio a tudo isso, é iniciado um Projeto Atômico, com o objetivo de construir uma arma de destruição em massa de alcance quase inimaginável. O Projeto não desenvolve tal arma a tempo de ser utilizada durante a guerra, mas a Alemanha desenvolve uma tradição sólida nas áreas da ciência e tecnologia nuclear. / Germany started the 21st century at a privileged status in the world science community, what is proven in the amount of Nobel Prizes and discoveries carried out in the country, by Germans and foreigners who pursued their careers there. Such state of things could have changed after the end of World War I, when Germany´s weakness was evident, increased by the harsh conditions imposed by the Allies. Nevertheless, the period known as Weimar´s Republic faced a great production in various fields, including Physics, which kept its ascending trajectory. The National-Socialists seizure of power, in 1933, was responsible for a major involution of the German status in the world science scenario from the first year of their government, by means of dismissals, harassment and other actions. The start of World War II magnified this situation. Amidst all that, an Atomic Project began, aimed at building a mass destruction weapon of an almost unthinkable reach. The Project does not develop the weapon in time to be used during the war, but Germany develops a solid tradition in the fields of Nuclear Science and Technology.

A Alemanha iniciou o século XX com uma posição influente na comunidade científica mundial, o que é evidenciado na quantidade de Prêmios Nobel e nas descobertas realizadas no país, por alemães e estrangeiros que fizeram carreira por lá. Esse estado de coisas poderia ter mudado após o final da Primeira Guerra Mundial, quando a fragilidade da Alemanha era evidente, agravada pelas duras condições impostas pelos Aliados. Porém, o período conhecido como República de Weimar conheceu uma grande produção em vários campos, com destaque para a Física, que continuou a sua trajetória ascendente. A ascensão dos Nacional-Socialistas, em 1933, foi responsável por uma grande involução do papel alemão no cenário científico mundial desde o primeiro ano de seu governo, por meio de demissões, perseguições e outros atos. O início da Segunda Guerra Mundial magnificou esse estado de coisas. Em meio a tudo isso, é iniciado um Projeto Atômico, com o objetivo de construir uma arma de destruição em massa de alcance quase inimaginável. O Projeto não desenvolve tal arma a tempo de ser utilizada durante a guerra, mas a Alemanha desenvolve uma tradição sólida nas áreas da ciência e tecnologia nuclear. / Germany started the 21st century at a privileged status in the world science community, what is proven in the amount of Nobel Prizes and discoveries carried out in the country, by Germans and foreigners who pursued their careers there. Such state of things could have changed after the end of World War I, when Germany´s weakness was evident, increased by the harsh conditions imposed by the Allies. Nevertheless, the period known as Weimar´s Republic faced a great production in various fields, including Physics, which kept its ascending trajectory. The National-Socialists seizure of power, in 1933, was responsible for a major involution of the German status in the world science scenario from the first year of their government, by means of dismissals, harassment and other actions. The start of World War II magnified this situation. Amidst all that, an Atomic Project began, aimed at building a mass destruction weapon of an almost unthinkable reach. The Project does not develop the weapon in time to be used during the war, but Germany develops a solid tradition in the fields of Nuclear Science and Technology.

In this thesis, the different aspects of trauma are discussed at length while looking at the French New Wave Film directed by Alain Resnais, Hiroshima, Mon Amour. Through this film, I discuss how language shapes testimonies of traumatic events and if this shaping of language can possibly be seen in the film itself. Furthermore, I discuss if there is merit to looking at a work of art as an accurate depiction of historical trauma.

On August 6, 1945 the United States of America dropped an atomic bomb on the city of Hiroshima, Japan. Three days later another atomic bomb was dropped on the city of Nagasaki, Japan. The events that led up to the United States' decision to drop the atomic bombs on Japanese cities is extensive, historical and political. President Roosevelt died, and Harry S. Truman took his place as President of the United States in April. The atomic bombs were being developed at this time as well, and in July the first one was successfully tested. It was necessary for the United States to publicly justify its use of the atomic bombs. Secretary of war, Henry L. Stimson, was chosen to write the article. In February 1947 the article, "The Decision to Use the Atomic Bomb," was published in Harper's Magazine. Stimson constructed the article in a manner that would be consistent with American ideology and could be morally accepted by the American readers. Ideology provided the framework of the selected authors for analysis of Stimson's article. The specific ideology focused on is the ideology of post World War II America. This is the ideology in which Stimson's article "lived" in, and influenced his choice of rhetoric; the main focus of the analysis is Stimson's rhetoric. Identifying the elements of the text of the article and the ideological character of that text is key to understanding Stimson's choice of rhetoric. He asked this audience to accept certain points in order to justify the United States' use of the atomic bombs. He centered the article on themes such as American dominance, leadership, and moral and intellectual superiority; he used specific words and phrases to bring these themes to light. While Stimson's article was, and is, an important source of information there were many facts and events that he excluded from it to formulate the desired version of the justification. Possibly, the most prominent of Stimson's justifications for the use of the atomic bomb was this number of American lives saved. The analysis of this article and its findings are relevant in our understanding of political reporting of important events. The importance of understanding how and why Stimson used certain rhetoric to play to American ideological standards can help Americans today and in the future to better understand the portrayals of present day media coverage and political rhetoric. / Graduation date: 2003

Thesis (Ph. D.)--University of Chicago, The Divinity School, Aug. 2003. / Includes bibliographical references. Also available on the Internet.

This paper aims to analyze the philosophical implications of the atomic bomb in the thinking of three German post-war philosophers: Günther Anders, Hannah Arendt, and Karl Jaspers. Although they differ greatly in interest and philosophical perspective, the atomic bomb can be discerned as a problem of humanity's technological, ethical, and political conditions in the intersection of their authorships. In the examination of their ideas, they are situated within a diachronic tradition of philosophy of technology. Their common entanglement with phenomenological-hermeneutic philosophy is also considered, most notably in the form of the influence of Martin Heidegger. For Anders, the atomic bomb is the defining feature of the ethical and political conditions of post-war humanity, yet humans are unable to grasp its reality. In the thinking of Jaspers, the bomb necessitates a supra-political principle grounded in the faculty of reason. For him, politics in the nuclear age must rest upon the responsibility of the many individuals, in an ethical re-birth of humanity. Arendt primarily understands the bomb as a product of the increasing power of the thoughtless instrumentality of science. The destructive potential of atomic weapons solidifies to her a crisis in the meaning of politics, in which brute force has undermined political power. All three thinkers share the view that the atomic bomb must be understood in conjunction with a certain thought- and meaninglessness in the science and politics of their contemporary. The bomb also signifies to them a technological obscuring of human agency, the implications of which are exacerbated by the fact that it has also immensely improved the ability of one individual to commit heinous acts. In impairing the conditions for ethical action and meaningful politics for lasting peace, the bomb necessitates these very same principles. By threatening to make humanity as mortal as only individuals had been before, the bomb has made radical change in human thinking and activity urgent. However, to what extent sufficient adaptations are probable, or even possible, is a question in which the philosophers discussed in this paper diverge.

This thesis investigates a corpus of films identifiable as Hollywood political thrillers during the Cold War spanning a period of seventeen years, between 1945 and 1962. It aims to dispel the assertion by critics and scholars that the political thriller originates with the release of The Manchurian Candidate (Frankenheimer, 1962). Moreover, it is my intent to engage an interdisciplinary approach given that the relationship between contemporary American cinema, ideology and propaganda has often been overlooked (see Shaw, 2007). Utilizing textual and contextual analysis, I shall argue that The Manchurian Candidate is a transitional film with respect to the political thriller. I shall also offer an explanation for the frequent mislabeling of Hollywood political thrillers as film noir, of which generic hybridity or overlap is a contributing factor. The first part of this thesis shall establish a political and historical context, which includes a discussion of Hollywood’s early entry into the Cold War, U.S. strategies of containment and the threat women posed to U.S. national security vis à vis Ethel Rosenberg. Given that the political thriller emerged as a distinct subgenre during the Cold War, the first part of this thesis shall include a chapter on technology and innovation (e.g. lighting, format, film stock) as a means of supporting prime generic theme of authenticity. Five exemplary mini-case studies shall be presented to demonstrate the way in which the Hollywood political thriller delivered distinct narrative and visual style that both projected and reflected Cold War discourses. Philip Wylie’s “momism” shall be considered within the context of the political thriller and Cold War discourses surrounding gender, U.S. national security and the atomic bomb. I shall expand upon current discussions of momism, approaching it through distinct representations evident within the political thriller. Given the pervasiveness of the nuclear threat during the Cold War, I shall discuss the thematic elements of fear and the unknowability of the atomic bomb in relation to the political thriller. In the second part of this thesis, I identify three distinct cycles of atomic political thrillers, in which issues of vulnerability of the physical locale, the nuclear family and the mind are addressed.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Esta pesquisa tem como objetivo analisar o potencial de esclarecimento de dois conjuntos de materiais. O primeiro consiste em uma exposição a respeito do ataque nuclear às cidades de Hiroshima e Nagasaki. Essa exposição é composta por 30 painéis contendo desenhos, fotografias, textos e gráficos. O segundo conjunto de materiais consiste em matérias jornalísticas recentemente publicadas pela mídia impressa a respeito da bomba atômica. Tais matérias, por sua vez, utilizam-se de textos, fotografias e gráficos. A partir de contribuição de autores vinculados à Teoria Crítica da Sociedade, em especial Theodor W. Adorno, Max Horkheimer e Herbert Marcuse, os materiais são analisados levando-se em conta as noções de elaboração do passado, racionalidade técnica e indústria cultural. Embora recorram à utilização de elementos semelhantes, procura-se demonstrar que os dois conjuntos de materiais acabam por diferir entre si quanto aos seus limites ou, em outras palavras, quanto ao seu potencial de esclarecimento. Isto porque a influência que recebem da indústria cultural, materializada pela presença de elementos característicos desta última no material analisado, nos parece diversa, preponderando em relação às produções da mídia impressa / This research has the purpose of analyzing the potential of enlightenment in two groups of materials. The first one consists in an exposition about the nuclear attack to the cities of Hiroshima and Nagasaki, composed by thirty panels with drawings, photographs, texts and graphics. The second group of materials consists in newspapers news recently published by the printed media referring to the atomic bomb. These news, in its turn, uses texts, photographs and graphics. From the contribution of the authors from Frankfurt School, in special Theodor W. Adorno, Max Horkheimer and Herbert Marcuse, the materials are analyzed taking into account the notions of working through the past, technical rationality and cultural industry. Although they resort to the utilization of similar elements, we try to demonstrate that the two groups of materials turn out to differ among themselves as to their limits or, in other words, as to their potential of enlightenment. This is explained by the diverse influence that they receive from the cultural industry, materialized by the presence of characteristic elements of the later in the analyzed material, which seems to us more prevalent in relation to the printed media productions