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

本論は、広島の平和記念施設の敷地において、原爆ドーム前身の物産陳列館設立（1915）から慰霊碑後方の「平和の灯」設置（1964）まで、一貫して、平和ではなく繁栄を目指す造営と展示がなされてきたことを明らかにした。また、原爆ドームは、慰霊碑がある南からの眺めでは、原爆犠牲者の象徴のように見做されるのに対し、原爆スラムがあった北からの相貌では、被曝後を生きるものとして捉えられていたことを指摘した。以上のことから、現代における記念碑の意味を問い直した。 / In this dissertation I revealed that there had been consistently construction and exhibitions aimed at prosperity rather than peace, from the establishment of the product display hall (1915), the predecessor of the Atomic Bomb Dome to the setting up of the "Peace Flame" behind the cenotaph (1964) on the site where the Hiroshima Peace Memorial Facility is located. In addition, it was pointed out that the atomic bomb dome was regarded as a symbol of the victims of the atomic bomb in the view from the south where the cenotaph is located, and the appearance from the north where the atomic bomb slum was made to live after exposure. From the above, the meaning of the monument in the present age was questioned again. / 博士(芸術学) / Doctor of Philosophy in Art Theory / 同志社大学 / Doshisha University

This study of atomic-bomb literature on Hiroshima will be through a critical lens, largely through postcolonial theory and reader-response criticism. It will be a discussion on the social and political implications behind the popularization of certain works. The discussed texts will not necessarily be written by the Japanese or by survivors of the atomic bomb: in the first case, I will be examining authorial intent and its relation to the intended reader responses from the implied American audience to study perpetuations of propaganda after the war. This paper will also be examining the interlingual translatability of psychological and physical trauma surrounding the atomic bomb and will be exploring the capacities of language to express an emotional and often sensitive topic.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-04-10T13:58:29Z No. of bitstreams: 1 André Lopes Loula.pdf: 788536 bytes, checksum: 22f0dd829a381de090e9199e7eb831ef (MD5) / Made available in DSpace on 2017-04-10T13:58:29Z (GMT). No. of bitstreams: 1 André Lopes Loula.pdf: 788536 bytes, checksum: 22f0dd829a381de090e9199e7eb831ef (MD5) Previous issue date: 2017-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this work is to analyze the trajectory of the Association of the Victims of Atomic Bombs in Brazil, an institution founded in the city of São Paulo in 1984 - 39 years after the nuclear hecatomb of Hiroshima and Nagasaki. Through the analysis of the documentation contained in the collection of the Association and testimonies collected, the work gives visibility to the trajectory of people who survived the events that occurred in Hiroshima and Nagasaki, respectively, on August 6 and 9, 1945. The intention is to understand the role of this institution founded by survivors from the other side of the planet who contributed in Brazil for various reasons. Thus, it is intended to answer the following questions: what did they witness? How did they survive? How was the reconstruction of the city where they lived? Why did they immigrate to Brazil? Why the silence? This last inquiry looks to us for the conviviality with the trauma, one of the main dilemmas of the hibakushas (Japanese word for survivors of the bomb). Memory, the search for identity and the struggle to be recognized by the Japanese government as victims of this hecatomb are the main flags of the group of survivors. To this end, the hibakushas carry out various activities, such as lectures in schools and universities, in order to raise the awareness of younger generations about the risks of nuclear energy. We also tried to understand the events that preceded Hiroshima and Nagasaki. Analyzing the Meiji Era of 1868, modernizationof the land of the rising sun. The cultural change implemented in Japan. The imperialist race in the new world geopolitics, the United States, England, Germany, Japan, Russia, and France, all seeking to change their status quo in search of raw materials and consumers. All these characteristics will lead to 1st War and the 2nd War, which ends with nuclear weapons / O objetivo deste trabalho é analisar a trajetória da Associação da Vítimas das Bombas Atômicas no Brasil, instituição fundada na cidade de São Pauloem 1984 – 39 anos após a hecatombe nuclear de Hiroshima e Nagasaki. Por meio da análise da documentação contida no acervo da Associação e de depoimentos coletados, o trabalhodá visibilidade à trajetória de pessoas que sobreviveram aos eventos ocorridos em Hiroshima e Nagasaki, respectivamente, nos dias 06 e 09 de agosto de 1945. A intenção é entender qual o papel dessa instituição fundada por sobreviventes oriundos do outro lado do planeta que aportaram no Brasil por diversos motivos. Assim, pretende-se responder àsseguintes perguntas: o que presenciaram? Como sobreviveram? Como foi a reconstrução da cidade onde viviam? Por que imigraram para o Brasil? Por que o silêncio? Essa última indagação nos atenta para o convívio com o trauma, um dos principais dilemas dos hibakushas (palavra em japonês que designa os sobreviventes da bomba). A memória,a buscapela identidade e a luta para serem reconhecidos pelo governo japonês como vítimas dessa hecatombe são as principais bandeiras do grupo de sobreviventes. Para tanto, os hibakushas realizam diversas atividades, como palestras em escolas e universidades, a fim de conscientizar as gerações mais novas dos riscos da energia nuclear. Buscamos também entender os acontecimentos anteriores a Hiroshima e Nagasaki. Analisando a Era Meiji,iniciada em 1868, a modernização do país do sol nascente. A mudança cultural implementada no Japão. A corrida imperialista na nova geopolítica mundial. A busca dos Estados Unidos, Inglaterra, Alemanha, Japão, Rússia e França, por mudar seu statu quo, na tentativa de angariar matérias primas e consumidores. Todos esses acontecimentos que levaramàPrimeira Guerra e àSegunda Guerra, que se encerrou com os ataques nucleares

In this thesis, a semi-autobiographical manga, Hadashi no Gen, written by Nakazawa Keiji, is analyzed through the lens of trauma theory. By using trauma theory, I hope to shed light on in what way trauma might affect narrative techniques and in what way the narrative techniques convey trauma and emotion to the reader. For the analysis “Trauma Fiction” by Anne Whitehead was chosen and categories based on her findings were made. The categories are: Intertextuality, repetition, dispersed and fragmented narrative voice, memory place, choiceless choice and fantastic. I discovered that all these themes, observed in other trauma fiction as well, are more or less used as a narrative tool in Hadashi no Gen. Further I observed that by conveying traumatic events and emotions through a combination of images and language is a powerful tool and might even be more effective than standard prose text

No description available.

Michal Ulvr Abstract It was the near-end of the Second World War, which defined the popular reception of the Atomic bomb for upcoming decade. In the first year of the nuclear monopoly, the feeling of uncertainty and fear of death in the nuclear war was not yet present in strength. The mood of relative safety dominated the American society till the fall of the monopoly in 1949. Since the first atomic explosion occurred in the USSR, the atmosphere of fear, that never faded back and was latent since August and September 1945, made an exuberant appearance in press and other media. Suddenly, the American government made (after years of neglect) a great effort to calm down the uncertainty of the public. A Federal Civil Defense Administration was established at the end of 1950 and provided more or less useful information, propaganda, material and logistical support for a war with the Soviet Union, which was expected to come sooner or later. Plenty of educational and propaganda pamphlets, books and training films were produced in determination to make it clear, that survival under nuclear attack was possible. And indeed, at that time, there was even a good chance, that keeping some basic survival rules in mind an individual could come out of a nuclear attack relatively unscathed. Administration even tried to...

Die Dissertation setzt sich mit den fotografischen Repräsentationen der Atombombenabwürfe auf Hiroshima und Nagasaki sowie der Havarie des Kernkraftwerks Tschernobyl auseinander. Dabei werden künstlerische, dokumentarische und touristische Bilder analysiert, die sich der jeweiligen Strahlenkatastrophe oftmals erst Jahre nach dem Ereignis annehmen und ikonografische oder medial-materielle Bezüge zu ihr aufweisen. Es zeigen sich zentrale Strategien, atomare Katastrophen, seien sie militärischer oder ziviler Natur, in fotografische Bilder überzuführen. Gerade das eigentliche Unvermögen, die visuell nicht sichtbaren Strahlenemissionen oder die Komplexität der Vorgänge auf atomarer Ebene zu visualisieren, hat sich als prägend erwiesen und bestimmt als Paradigma der Unsichtbarkeit die kulturelle Rezeption der Ereignisse. Es ist dieser Umgang mit den Abstraktionspotentialen der nuklearen Technologie, die im aktuellen Spannungsfeld ökologischer, sozialer und energietechnologischer Bildpolitik ihre Relevanz stets von neuem unter Beweis stellt. / The dissertation project seeks to analyse the photographic positions that deal with the atomic bomb attacks on Hiroshima and Nagasaki and the accident of the nuclear power plant in Chernobyl. This focus includes press photographs of the events as well as artistic, documentary and touristic images that take an approach towards the disasters often years after and hereby form iconographic or material references to the events. The study reveals central strategies for photographic images of atomic catastrophes, be they of military or civil nature. It is the inability to visualize non-visible nuclear rays or the complexity of processes on an atomic level that has turned out to be crucial. This incapacity of making images, a paradigm of invisibility, substantially coins the cultural role of the events. The question of how a society deals with these abstract potentials of nuclear technology has turned out to be always anew of high relevance in regard to ecological, social and technological policies of images.

The oeuvre of the Irish poet, novelist, playwright and essayist Eugene Rutherford Watters (later publishing under the name Eoghan Ó Tuairisc), who wrote both in English and Irish, has been mostly neglected by literary criticism. This thesis focuses on Watters' ambitious long modernist poem The Week-End of Dermot and Grace (1964), which has so far received only perfunctory critical treatment. Formally, The Week-End shows clear affinities with the works of high modernism (especially with the poetry of T.S. Eliot), especially in terms of poly- and multivocal qualities of Watters' overtly allusive language and the liberal employment of wide-ranging intertextual references. On the thematic level, the poem centres around Watters' preoccupation with the dropping of the first atomic bomb on Hiroshima on 6th August 1945 by the American forces, a momentous event that impelled the poet to questions about faith, civilisation, technology, and collective guilt in the context of the Irish neutral stance during the Second World War. Reflections on Hiroshima also led him to contemplate the role of the poet and poetry in the modern "atomic age". Given the aforementioned qualities of the work, the method chosen for the analysis consists of a close reading of the poem in the light of the historical, literary, and...

The beginning of the new millennium finds documentary theatre serving as teacher and “healer” to those suffering and in need. By providing a thought provoking awareness of the “other,” it offers a unique lens with which to examine the socio-political similarities and differences between various cultures and ethnicities in order to promote intercultural understanding. Documentary is also used by teachers, therapists, and researchers as a tool for healing. By sharing personal stories of trauma and illness with others who are experiencing similar difficulties, emotional pains are alleviated and fears are assuaged. Documentary theatre has expanded in definition from the “epic dramas” of German playwrights Erwin Piscator and Bertholt Brecht during the height of the German Weimar Republic to the recent “verbatim” scripts of playwrights such as Anna Deveare Smith, Emily Mann, and Robin Soans. The dramaturgical duties of the playwright along with the participatory role of the audience have grown in complexity. In verbatim documentary the playwright must straddle a fine line between educating and entertaining while remaining faithful to the words of the respondents as well as to the context in which they were received. The audience, by responding to questionnaires and by engaging in talk-back sessions, plays a pivotal role in production. Documentary serves as an important vehicle for informing and inspiring audiences from all walks of life. In 2010, researchers Dr. Patricia Liehr of the Christine E. Lynn School of Nursing at Florida Atlantic University and Dr. Ryutaro Takahashi, Vice Director of the Tokyo Metropolitan Institute of Gerontology, approached me to create a documentary based on their combined interviews of Pearl Harbor and Hiroshima survivors. The resultant script, With Their Voices Raised, is included as an appendix to this dissertation as an example of the documentary genre and its unique capacity for research dissemination. With Their Voices Raised not only conveys the memories and fears of the survivors, but in its conclusion reveals how these victims of war have elected to live their lives in a quest for peace- choosing “hope over hate” in a shared world / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection