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Within a southern African literary-historiographical milieu, the corpse of the First World War (1914-1918) either wanders in the ‘darkling’ woods or wades in the ice-mirrored sea of a sinister psychological landscape. The veld, with its moon, flowers, bowers, animals and sea, is a potent South African metaphysical conceit in which both the white and black corpse – the horrific waste product of war – is seemingly safely hidden within euphemistic shadows. However, these shades are metonymic and metaphorical offshoots of an Adamastorian nightmare, which has its inception in a nascent South African literary tradition. This thesis explores these literary-historiographical leftovers within the war poetry of both civilians and soldiers. Both ‘white’ and ‘black’ poetry is discussed in a similar context of dressing the corpse in meaning: a meaning that resides deep within the wound of loss. In tracing this blood spoor in the poetry a highly eclectic approach has been followed. As the title illustrates, both literary and historical approaches were used in analysing the effect of the Great War on the poetry, and by implication, on the society from which it sprung. It is, therefore, a cultural history as well as an intellectual subtext of wartorn South Africa that has been scrutinised, and is revealed in its poetic literature. Archival research and the scouring of individual volumes were the sources of the poems for this study. This is true especially with regards to the ‘white’ poetry, where very few examples of poetry have been published in secondary histories. Various anthologies and studies on ‘black’ poetry considerably lightened the search for war izibongo. A variety of literary theoretical approaches have been most useful in extracting the subtext of early 20th century South African history. The psychoanalysis of Sigmund Freud and Carl Jung’s collective unconscious have been most insightful. The poststructuralist theory of Julia Kristeva has cast more light on the recalcitrant corpse, the main waste product of war. David Lewis-Williams’s recent archaeological-anthropological approach has also been crucial in understanding the indigenous izibongo by putting forward Neuroscience as an explanation of the universally held neuropsychological hallucinatory poetic experience. Finally, war poetry in this thesis is seen as verse written by both soldiers and civilians as a response to the reality – or rather surreal unreality – of conflict, in an effort to come to terms with the abjection of both body and mind. Thea Harrington‘s manqué reading of Kristeva’s poststructuralist corpse is used as a referent for the abject, or loss thereof, that is to be found in the war poetry. Throughout the thesis, the term manqué is used to refer to the corpse as a fluid linguistic-psychological signifier saturated with loss. It is the manqué that has essentially remained hidden behind the various political histories of the war. / English Studies

This thesis analyses the figure of Arthur, in a period spanning the mid-nineteenth to mid-twentieth centuries, when that figure became increasingly protean and multifaceted, and the audience for the Arthurian legend grew in both size and variety. It argues that many authors wrote through Arthur, as well as about Arthur, using the figure to understand and test their own ideas about ideals (e.g. of manliness, kingship, or heroism) as well as problems (such as war, despotism, or ungodliness). This thesis analyses Arthur by considering him as a 'type', using a definition of the term that highlights a paradox: a type, in a scientific sense, is both perfect (an exemplary model) and normal (common enough to be representative). When applied to Arthur, it means that he is both a perfect, or near perfect, example, but is also to some extent a 'normal' human being. Different authors analysed in this thesis emphasise different aspects of the figure, according to whether they focus on Arthur's perfection or his normality. Other meanings of the word 'type' are also applied when relevant: the idea is not to force all versions of Arthur into a single or definitive category, but to retain the complexity of how Arthur is characterised and written about in texts. The ultimate aim of this thesis is to put the figure of Arthur into critical focus, and explain why he has been returned to so often in history.

Au Québec, la mémoire de la Grande Guerre renvoie automatiquement à une vision douloureuse de l’événement. Créée et alimentée par des souvenirs à forte charge émotive tels la crise de la conscription, les émeutes de Pâques et l’inhospitalité de l’Armée canadienne envers les combattants canadiens-français, cette mémoire est non seulement négative, mais également victimisante. Dans leur récit du conflit, les Québécois ont pris pour vérité une version qui les dépeint comme boucs émissaires des Canadiens anglais. Acceptée et intégrée autant dans l’historiographie que dans la croyance collective, cette thèse du Canadien français opprimé n’a jamais été questionnée. Ce mémoire entend donc revisiter cette version en la confrontant aux sources laissées par les contemporains. En utilisant la presse anglophone et les témoignages de combattants, il lève le voile sur le regard anglo-saxon envers les Canadiens français et dans une plus large mesure, sur les relations interethniques pendant la guerre. Il témoigne de la réalité du front intérieur comme de celle du champ de bataille pour ainsi proposer une réinterprétation de cette victimisation si profondément ancrée dans le souvenir québécois. / The First World War inevitably brings back painful memories in the province of Quebec. Quebeckers have a negative recollection of the war, viewing themselves as victims. Events related to the Great War such as the conscription crisis, the Easter riots and the inhospitality expressed by the Canadian Forces towards French Canadians are emotionally-charged memories that have nurtured this conception. When writing about the war, Quebeckers depict themselves as the scapegoats of English Canadians and present this notion as a truth. Integrated in both the historiography and popular beliefs, the idea of the oppressed French Canadian has never been questioned. This thesis aims at re-examining this idea by surveying contemporary sources: the Anglophone press and testimonies from soldiers. Its objective is to reassess the attitude and perception of Canadian Anglophones towards French Canadians, and more broadly the nature of interethnic relationships in the army during World War I, both on the home front and on the battlefield. It presents a reinterpretation of the victimisation that is deeply ingrained in the remembrance Quebeckers have of the conflict.

Tant pour les contemporains que pour les observateurs des XXe et XXIe siècles, la Première Guerre mondiale représente un épisode de l'histoire de l'Humanité particulièrement difficile à se représenter, que plusieurs ont qualifié de « guerre totale ». Ce concept, souvent utilisé comme synonyme une guerre d'extrême intensité, est généralement compris sous l'angle matériel; on parle de la mobilisation totale des ressources humaines, financières et matérielles. J'explore plutôt, dans cette recherche, l'intention de chercher à détruire totalement un ennemi au risque d'être soi-même détruit dans le processus. Car, comment peut-on en venir à jongler avec l'autodestruction sans que la guerre n'acquiert un sens logique, parce que nécessaire à sa propre survie, voire même désirable pour créer un avenir meilleur? À cet effet, l'étude du cas canadien est particulièrement pertinente, car le dominion britannique, sans être objectivement menacé de destruction, a fourni un effort de guerre relativement comparable aux États européens occidentaux. Comprendre la « guerre totale » canadienne de 1914-1918 peut alors aider à comprendre celles d'autres pays et d'autres conflits. Je propose dans ce mémoire une analyse discursive basée sur l'image de guerre – dessins, caricatures et affiches – en deux temps. Tout d'abord, il se crée au niveau international un « vocabulaire » de la guerre totale partagé par les Alliés et constitué de mythes, images, et mots-clés qui permettent l'articulation d'un discours de guerre commun. Ensuite, le Canada intègre de manière différenciée ce discours pour des raisons politiques, ethnolinguistiques, culturelles, etc. La dynamique de création identitaire empruntée à l'international (« nous », les Alliés, contre « eux », les ennemis de la civilisation) se transpose au plan national, avec pour point d'orgue les élections de décembre 1917. En observant comment le Canada réagit au stress de la guerre totale des Alliés, il est possible d'observer d'une autre manière que ne le propose l'historiographie traditionnelle les luttes politiques et sociales du dominion en guerre. Je propose un portrait de la société canadienne où l'identité, les idées, le genre, et l'appartenance à la communauté canadienne ne dépendent pas de l'ethnicité, mais plutôt de l'adhésion ou non aux buts de guerre totale avancés par les Alliés. En bref, l'appartenance à une communauté internationale d'idées en guerre – les Alliés – sert, selon cette analyse, de moteur aux acteurs nationalistes canadiens. / Ranging from contemporaries to observers of the XX and XIX centuries, the First World War is a part of human history difficult to portray that many have described as a “total war”. This concept, which is often employed as a synonym for a war of extreme intensity, is generally perceived from a material angle. In other words, it involves an all-out mobilisation of human, financial, and material resources. As part of this research, I focus on the intention to completely destroy the enemy at the risk of destroying oneself in the process. After all, why would actors think it logical to risk self-destruction in the war? Above all, this struggle needs to be perceived as logical, which would make it necessary for their own survival; it could even be perceived as desirable because it presages a better future. For this reason, the study of the Canadian case is quite instructive because this British dominion, without objectively being threatened with destruction, has participated in a war effort in a way comparable to Western European states. Hence, understanding the concept of Canadian “total war” of 1914-1918 can enable us to better understand total war efforts of other countries and other conflicts. In this dissertation, I propose a twofold discursive analysis based on images of war—drawings, caricatures, and posters. In the first part, a new “vocabulary” of total war common to the Allies and comprised of myths, images and key words geared to the articulation of a common war language is created in the in the international arena. In the second part, Canada adopts this language, albeit in a differentiated form, for political, ethno-linguistic cultural, and many other reasons. The dynamic of identity creation is borrowed from abroad (“Us”, the Allies against “Them”, the enemies of civilisation) and is transposed to the national level, culminating during the elections of December 1917. By observing how Canada reacted to the resulting stress of the total war effort of the Allies, it is possible to develop an alternative observation of political and social struggles of the Dominion at war that runs counter to traditional historiographies. I propose a portrait of Canadian society where identity, ideas, gender, and a sense of belonging to the Canadian community do not depend on one’s ethnicity, but rather on whether or not one supports the objectives of the total war put forth by the Allies. In brief, the sense of belonging to an international community of ideas at war—the Allies—, according to this analysis, is the guiding principle for nationalist Canadian actors.

Within a southern African literary-historiographical milieu, the corpse of the First World War (1914-1918) either wanders in the ‘darkling’ woods or wades in the ice-mirrored sea of a sinister psychological landscape. The veld, with its moon, flowers, bowers, animals and sea, is a potent South African metaphysical conceit in which both the white and black corpse – the horrific waste product of war – is seemingly safely hidden within euphemistic shadows. However, these shades are metonymic and metaphorical offshoots of an Adamastorian nightmare, which has its inception in a nascent South African literary tradition. This thesis explores these literary-historiographical leftovers within the war poetry of both civilians and soldiers. Both ‘white’ and ‘black’ poetry is discussed in a similar context of dressing the corpse in meaning: a meaning that resides deep within the wound of loss. In tracing this blood spoor in the poetry a highly eclectic approach has been followed. As the title illustrates, both literary and historical approaches were used in analysing the effect of the Great War on the poetry, and by implication, on the society from which it sprung. It is, therefore, a cultural history as well as an intellectual subtext of wartorn South Africa that has been scrutinised, and is revealed in its poetic literature. Archival research and the scouring of individual volumes were the sources of the poems for this study. This is true especially with regards to the ‘white’ poetry, where very few examples of poetry have been published in secondary histories. Various anthologies and studies on ‘black’ poetry considerably lightened the search for war izibongo. A variety of literary theoretical approaches have been most useful in extracting the subtext of early 20th century South African history. The psychoanalysis of Sigmund Freud and Carl Jung’s collective unconscious have been most insightful. The poststructuralist theory of Julia Kristeva has cast more light on the recalcitrant corpse, the main waste product of war. David Lewis-Williams’s recent archaeological-anthropological approach has also been crucial in understanding the indigenous izibongo by putting forward Neuroscience as an explanation of the universally held neuropsychological hallucinatory poetic experience. Finally, war poetry in this thesis is seen as verse written by both soldiers and civilians as a response to the reality – or rather surreal unreality – of conflict, in an effort to come to terms with the abjection of both body and mind. Thea Harrington‘s manqué reading of Kristeva’s poststructuralist corpse is used as a referent for the abject, or loss thereof, that is to be found in the war poetry. Throughout the thesis, the term manqué is used to refer to the corpse as a fluid linguistic-psychological signifier saturated with loss. It is the manqué that has essentially remained hidden behind the various political histories of the war. / English Studies

About 3850 men of the First Australian Imperial Force were captured on the Western Front in France and Belgium between April 1916 and November 1918. They were mentioned only briefly in the volumes of the Official Histories, and have been overlooked in many subsequent works on Australia and the First World War. Material in the Australian War Memorial has been used to address aspects of the experiences of these neglected men, in particular the Statements that some of them completed after their release This thesis will investigate how their experiences ran counter to the narratives of CEW Bean and others, and seeks to give them their place in Australia???s Twentieth Century experience of war.

Fino ad oggi, la storiografia occupatasi dell'atteggiamento tenuto dai vescovi italiani nel corso del primo conflitto mondiale aveva affrontato il tema in base a un’ottica essenzialmente politica, volta a stabilire la maggiore o minore adesione dell'episcopato agli ideali patriottici e il suo grado di sostegno alla guerra. In questo studio, da una parte l'analisi del discorso pastorale pubblicamente prodotto dall'episcopato italiano sulla e nella Grande Guerra, dall'altra l'analisi del discorso indirizzato all'interno della gerarchia ecclesiastica sia verso il basso (sacerdoti-soldati e chierici combattenti) sia verso l'alto (S. Sede), consentono di evidenziare le reali categorie interpretative con cui l'evento-guerra venne compreso e giudicato dai vescovi. Il quadro che ne emerge appare variamente articolato: se la retorica patriottica non mancò di manifestarsi, il discorso dominante fu tuttavia rappresentato dalla lettura provvidenzialistica del conflitto, che, culminando nell'attribuzione di un significato salvifico alla morte per la patria in guerra, svolse una funzione decisiva nel legittimare la partecipazione dei fedeli ad essa. L'analisi della corrispondenza tra i vescovi e i chierici combattenti e tra i vescovi e la S. Sede mostra l'esistenza di sfumature e di altre sensibilità, certamente importanti da registrare, ma non sufficienti a mutare il profilo complessivo emerso dall'analisi del discorso pubblico. / Until today, the historiography concerning the attitude of Italian bishops during the First World War dealt with the subject from essentially a political perspective, focused on bishops' commitment to patriotic ideals and the level of support for the war. This research takes into account, on the one hand, the analysis of the pastoral discourse made publicly by the Italian bishops about and during the «Great War», and on the other hand, the analysis of the discourse inside of the church hierarchy addressed both downwards (to priest-soldiers and fighting seminarists) and upwards (to the Holy See). Thus, the actual explanatory categories by which the war-event was understood and judged by bishops are revealed. The picture that emerges is heterogeneous: beyond patriotic rhetoric, the most dominant finding is represented by providential reading of the conflict. By attaching a redemptive meaning to death from fighting for one's country, it proved to be a decisive factor in legitimising the participation of the faithful. The analysis of the correspondence between the bishops and fighting seminarists, and between the bishops and the Holy See demonstrates the existence of different tones and sensibilities. Although worth recording, they do not seem to change the overall picture that the public discourse displays.

The Dryland Diaries is a multigenerational narrative in the epistolary style, a tale of four women, central character Luka; her mother Lenore; grandmother Charlotte; and great-grandmother Annie – cast in the Quebecoise tradition of the roman du terroir, invoking place and family, the primal terroir of a storyteller. The novel is driven by three acts of violence – the possible murder of Annie’s husband, Jordan, by her Hutterite father; the rape of Charlotte; and the probable murder of Lenore by a notorious serial killer. Set in rural Saskatchewan and Vancouver, Luka, a single mother, finds Annie’s and Charlotte’s journals in the basement of her farm home, where both her predecessors also lived. She reads their stories while attempting to come to terms with her search for her missing mother, and with her attraction to her former flame, Earl, now married. Luka learns that Jordan disappeared shortly after the Canadian government enacted conscription for farmers in the First World War, when Annie became a stud horsewoman, her daughter Charlotte born before the war ended. Letters and newspaper clippings trace the family’s life through the drought and Great Depression; then Charlotte’s diaries reveal her rape at Danceland during the Second World War. Her daughter, Lenore, grows up off-balance emotionally, and abandons her daughters. Luka returns to Vancouver and learns her mother’s fate. Told from Luka’s point of view, in first-person narrative with intercutting diary excerpts and third-person narratives, the novel examines how violence percolates through generations. It also examines how mothers influence their children, the role of art, how the natural world influences a life, and questions our definition of “home.” At its heart, the novel is a story about what makes a family a family, about choices we make toward happiness, and about how violence perpetuates itself through the generations. Inspired by Margaret Lawrence’s The Stone Angel, Carol Shields’ The Stone Diaries, and the place-particular writing of Annie Proulx and Guy Vanderhaeghe, The Dryland Diaries paints a family portrait of loss, hope and redemption, locating it on the boundaries of historical fiction, firmly within the realm of epistolary and intergenerational narrative.