The formation of the Liberal Party of Australia in the mid-1940s heralded a new effort to stem the tide of government regulation that had grown with Labor Party rule in the latter years of World War II and immediately after. It was not until 1949 that the party gained office at Federal level, beginning what was to be a record unbroken term of 23 years, but its efforts faltered at State level in Victoria, where the party was divided, and in New South Wales, where Labor was seemingly entrenched. The fortunes were reversed with the rise to leadership of men who bore a different stamp to their predecessors, and were in many ways atypical Liberals: Henry Bolte in Victoria and Robin Askin in New South Wales. Bolte, a farmer, and Askin, a bank officer, had served as non-commissioned officers in World War II and rose to lead parties whose members who had served in the war were predominantly of the officer class. In each case, their man management skills put an end to division and destabilisation in their parties, and they went on to serve record terms as Liberal leaders in their respective States, Bolte 1955-72 and Askin 1965-75. Neither was ever challenged in their leadership and each chose the time and nature of his departure from politics, a rarity among Australian political leaders. Their careers are traced here in the context of the Liberal revival and the heightened expectations of the post-war years when the Liberal Party reached an ascendancy, governing for a brief time in 1969-70 in all Australian States as well as the Commonwealth. Their leadership is also examined in the broader context of leadership in the Liberal Party, and also in the ways in which the new party sought to engage with and appeal to a wider range of voters than had traditionally been attracted to the non-Labor parties.

This dissertation resituates C. A. Doxiadis in Post-War urban design history with a detailed examination of how urban growth and change was addressed by urban design strategies as applied in the master plan for Riyadh Saudi Arabia, undertaken between 1968 and 1972. The Riyadh master plan commission is important within Doxiadis' career, occurring in the midst of his prolific writing projects and approximately eight years after he completed the Islamabad master plan, his most renowned project. Most Post-War architects focused on the socio-spatial components of urban life, elaborating architectural projects that intertwined transportation, infrastructure, and concentrated on mass housing strategies. This dissertation argues that Doxiadis' contribution to urban design theory and practice during the Post-War period was to define a rational scientific methodology for urban design that would restructure settlements to enable urban expansion and change while addressing issues of community building, governance and processes of development. The applied urban design for Riyadh Saudi Arabia strongly exemplifies Doxiadis' rational strategy and methodology as outlined in Ekistics theory and the conceptual model of Dynapolis. The comparative analysis examines how Doxiadis applies the Dynapolis model in the urban spatial planning of Riyadh to organize urban territory at the macro and local urban scales, define neighborhood communities, and connect the new master plan to the existing spatial territory of the city. The longitudinal analysis contrasts the Doxiadis master plan, Riyadh's first urban development strategy, to the most recent comprehensive approach MEDSTAR to understand how the Doxaidis' urban design has sustained its spatial continuity over time. This dissertation makes two significant contributions. The first is to broaden knowledge of Post-War urban design specific to the spatial problem of urban expansion and change, and second to resituate Doxiadis within the Post-War history of urban design specifically revealing his previously unrecognized project of the Riyadh master plan undertaken from 1968-1972.

The three centennial celebrations sponsored by the W.A.C. Bennett Social Credit government in 1958, 1966/67 and 1971 were part of a process of self-definition and province building. Post-war state development in British Columbia certainly included expanding and nationalizing transportation, building ambitious mega projects, and encouraging resource extraction in the hinterlands. The previously unstudied centennials were no less important to defining post-war British Columbia by creating the infrastructure on which cultural and hegemonic province building could take place. Using the methodologies and theories of Cultural Studies this study attends to both the discursive and material elements of these occasions. It uses the voluminous records of the three Centennial Committees, newspaper articles, government reports, and documents from community archives to reveal that that these elaborate and costly centenaries served the government’s desire to build an industry-oriented consensus in BC’s populace. The government - and its Centennial Committees - sought to overcome regional disparities and invite mass participation by making the celebrations truly provincial in nature. Each community, no matter its size, had a local centennial committee, was funded for local commemorative projects, was encouraged to write its history, and enjoyed traveling centenary entertainments. All communities benefited from cultural amenities, the province’s capital assets grew, the province started to undertake heritage conservation and residents gained a new appreciation for their history. Invented traditions - limited and constructed historical re-creations and motifs – helped overcome regional differences. British Columbians were presented with images and narratives of explorers, gold-seekers, and pioneer-entrepreneurs who opened up the interior with ingenuity and bravery, as well as a mythic, popular “old west” narrative that all citizens, no matter region, could rally around. A trade fair and tourism promotion reinforced the tradition of industry especially for manufacturers and small business. By and large, British Columbians in 1958 – particularly white males who found an anti-modern release in centennial events – accepted and legitimized this industry-oriented consensus. In the two later centennials new counter-hegemonies challenged this consensus. First Nations had opposed the colonial narrative in 1958, but by 1966/67 and 1971 they were more vocal and politically active. Other British Columbians opposed the development agenda of the centenaries; youth, environmentalists and labour argued that the celebrations were a waste of time, money, and energy when more pressing issues of environmental degradation and unemployment were present. The government’s static Centennial Committee was ill equipped to address these challenges. It offered superficial amends, such as creating Indian Participation and Youth Subcommittees, but ultimately could not repudiate the hegemony on which it, and Social Credit, was based.

This thesis situates women as stakeholders in Canada’s post-war suburban development in their roles as designers, builders, owners and investors. By 1949, 60 percent of properties in the Municipality of Oak Bay, a suburb of Victoria, British Columbia, were held in female ownership. Most women owned houses jointly with their husbands. Others owned houses, vacant lots, commercial buildings and investment properties solely in their name. To understand the role that women played in shaping the built landscape of this post-war Canadian suburb between 1940 and 1960, information for each female owned property, along with a 20 percent sample, was collected from the municipality’s 1949 property assessment roll. Results were matched with a Geographic Information System (GIS) to illustrate the spatial characteristics of these ownership patterns and building permit records were examined. In-depth interviews were conducted with eleven women who spoke about their own or a relative’s experiences as property owners.

Encore peu étudiée, l’histoire des revues cinématographique françaises pendant la période de la Libération et de l’après-guerre (1945-1952) voit se dessiner une ligne de partage entre les revues spécialisées et les grandes revues populaires comme Cinémonde, Ciné-Miroir ou Mon Film qui reprennent des rubriques anciennes comme celle du « film raconté ». L’Ecran Français, en intégrant des éléments propres aux revues populaires (Courrier des lecteurs, publicité et fascination pour la star) et aux revues spécialisées (positionnement politique et discours averti sur le cinéma), propose un temps la synthèse inédite de ces deux courants. C’est autour de la visée didactique et morale que s’établit apparemment la distinction qui deviendra de plus en plus nette au fil des années. La volonté commune des revues spécialisées est en effet de faire partager un enseignement du cinéma en s’inscrivant dans la continuité des mouvements d’éducation populaire. Certaines revues sont issues de ciné-clubs laïcs (Ciné-Club et Informations-Ufocel) ou catholiques (Télé-Ciné). D’autres, telle la prestigieuse Revue du cinéma fondée par Jean George Auriol, et La Gazette du cinéma dirigée par Maurice Schérer, défendent avec force le cinéma américain : elles ont ainsi constitué un « terrain expérimental » pour les tout nouveaux Cahiers du cinéma. Proche dans l’esprit de la revue Raccords, Positif semble recueillir et transmettre l’héritage de deux revues assez confidentielles : Saint Cinéma des Prés, qui défendait autant le cinéma expérimental que le cinéma américain classique, et L’Age du cinéma, qui revendiquait une approche surréaliste tout en refusant les films relevant d’un avant-gardisme trop signifié. La grande cinéphilie des années cinquante et soixante s’avère indissociable de la cinéphilie méconnue de l’immédiat après-guerre. / Rarely touched as subject, the history of French cinematographic journals during the aftermath of the Second World War (1945-1952) was divided into two streams: those of specialized journals and those of generalized ones such as Cinémonde, Ciné-Miroir ou Mon Film. They transformed the columns of ancient journals into “film-telling”[Film raconté]. L’Ecran Français, however, was the only journal able to synthesize elements both from generalizing journals (i.e. readers’ letter, advertisement, and cult for stars) and from specializing journals (i.e. political position and comments regarding the cinema). Since then, the two streams of journals were more and more distinguished by their didactic and moral differences. The common point for specialized journals was their expectation for promoting cinematographic education alongside the popular educating movement. Some journals were issued from secular cine-clubs (Ciné-Club and Informations-Ufocel) while others were from catholic ones (Télé-Ciné). There were otherwise journals, which were meant to actively defend American cinema, such as the reputed Revue du cinéma founded by Jean George Auriol, as well as La Gazette du cinéma by Maurice Schérer. These journals also contributed to “experimental aspects” for the newly-born journal Cahiers du cinéma. Positif was a journal similar to that of Raccords in terms of spirit; it seemed to unite and transmit the legacy of two confidential journals: Saint Cinéma des Prés, which defended as well experimental cinema as American cinema, and L’Age du cinéma, which claimed a surrealist approach while denying those films that over-emphasized avant-gardism. In the long run, the great Cinephilia in the fifties and sixties were proved to be closely connected to the unfamiliar Cinephilia right after the Second World War.

L’œuvre de Jean Dubuffet dans l'immédiat après-guerre est le moment paradoxal d'un refus radical du peintre de toute critique primitiviste à l'endroit de son œuvre. Or d'un point de vue formel, il pousse à l'excès des moyens jugés alors comme caractéristiques de l'art primitif et d'un point de vue conceptuel, il se réclame d'une forme d'animisme qui trahit une conception agissante de la matière. Enfin, il emprunte largement aux procédures propres à la science ethnographique alors en plein développement dans le cadre des prospections relevant de ce qu'il nomme, à l'été 1945, l'Art Brut. Afin de dépasser ce paradoxe, en considérant tour à tour sa pratique picturale, les écrits qui relaient sa pensée et son travail autour de l'Art Brut, nous montrons comment Dubuffet, en procédant à un déplacement systématique d'un regard a priori primitiviste, engage à une critique systématique de ce dernier.L'Art Brut, envisagé comme un opérateur critique dérivant de l'informe bataillien, se constitue alors comme le levier d'une remise en cause des manières consensuelles de penser l'art. Il lui permet de dépasser l'esthétique pour ouvrir le champ d'une interrogation proprement anthropologique de ce qu'il nomme l'opération artistique. / Immediately following the conclusion of the Second World War, Jean Dubuffet categorically refused the qualification of his work as part of Primitivism. But Paradoxically, the means by which this painter expressed himself were none other than those identified in so-called primitive art, and he often claimed himself as an animist what in a way betrayed an active conception of matter. Furthermore, Dubuffet drew from ethnographic research processes to finetune his method which would be baptized as Art Brut in the summer of 1945. In order to move beyond this paradox, and by using Dubuffet's paintings, writings and other work, this paper will demonstrate how Art Brut shifted the original perception of primitive art, and in thus doing so, became its unconditional critic. Art Brut, which was considered to be a means of critique as a derivative of George Bataille's « informe », emerged as a concept leading to think art differently. Esthetics could finally be pushed aside to make way for an anthropological interrogation of what the painter named the « artistic operation ».

European integration is a curious concept. There is stark disparity between some areas of policy that seemingly glide through the integration process, while others lag behind and despite decades of attempts, never reach the status of a fully-fledged area of European Union competence. Once such area is education. Through integration theories, political scientists have sought to explain how policies develop and are implemented at European level. This interdisciplinary study borrows the opposing theories of neofunctionalism and intergovernmentalism with the aim of identifying the influence of the supranational and the strength of the state in the evolution of a European Union education policy. It seeks to pinpoint how education can be placed within the construction of Europe and the process of early European integration to determine the feasibility of these integration theories in explaining the journey of education policy in the European context. Historical methodology is adopted, based on archival research at the Historical Archives of the European Union, using documentary analysis to trace the history of activities and initiatives relating to education between 1945-1976. Collective biography methodology is adopted to give space to the role of states in driving the scope, direction and extent of integration based on domestic interests, while a case study implements methodological triangulation to stress-test the case of education. The study proposes that education is a complex case that does not slot neatly into a theory of integration. Education is multifaceted, a cultural – while at the same time – economic component: it is woven into the fabric of nation-states, it contributes to increasing global competitiveness, it diversifies across borders, and its development is attached to temporality and context. Despite suggestions that the state is diminishing in power, education serves as an example to demonstrate that the state is very much alive and at the centre of certain areas of policy development at European level.

The energy used in non-domestic buildings accounts for 18 % of the energy use in the UK. Within the non-domestic building stock, 11 % of office buildings have a very high influence on the energy use. Thus, the retrofit of office buildings has a significant potential for energy efficiency and greenhouse gas emissions reduction within the non-domestic building stock. However, the replacement rate of existing buildings by new-build is only around 1-3 % per annum. Post-war office buildings, (built between 1945 and 1985) represent a promising sector for retrofit and energy demand reduction. They have disproportionately high energy consumption because many were built before the building regulations addressed thermal performance. The aim of the research is to evaluate the retrofit strategies for post-war office buildings accounting for the improved energy efficiency, thermal comfort and hence, productivity, capital and the running costs. The research seeks to provide the optimal generic retrofit strategies and illustrate sophisticated methods which will be the basis for guidelines about post-war office building retrofit. For this, multiple combinations of heating and cooling retrofit measures were applied to representative models (Exemplar) of post-war office buildings using dynamic thermal simulation modelling. The retrofit strategies include; applying envelope retrofit to UK Building Regulations Part L2B and The Passivhaus Institue EnerPHit standards for heating demand reduction and winter comfort. Passive cooling interventions such as shading devices and night ventilation and active cooling intervention such as mixed-mode ventilation were applied to overcome summer overheating. All retrofit combinations were evaluated considering future climate, inner and outer city locations and different orientations. In summary, the results showed that under current weather conditions Part L2B standard retrofit with passive cooling provided the optimum solution. In 2050, however, both Part L2B retrofit naturally ventilated cases with the passive cooling measures and EnerPHit retrofit mixed-mode ventilation cases provide the requisite thermal comfort and result in a similar range of energy consumption. It was concluded that to create generic retrofit solutions which could be applied to a given typology within the building stock is possible. The methodology and the Exemplar model could be used in future projects by decision-makers and the findings and analysis of the simulations could be taken as guidance for the widespread retrofit of post-war office buildings.

This thesis is about the children of former Far East prisoners of war (FEPOWs): their memories of childhood, how they fashioned those memories in adulthood, and the relationship between the two. The FEPOW experience reverberated through postwar family life, and continued to shape the lives of participants across the intervening decades. Although a great deal is now known about the hardships suffered by the men, captivity had a deep and enduring impact on their children, but their history is rarely heard, and poorly understood. In Roots of Remembrance I investigate the lives of these children through in-depth interviews, using a psychosocial approach to both interviews and analysis. By tracing intergenerational transmission through the life course, I show that the memory practices of the children of Far East POWs had psychosocial roots in the captivity experiences of their fathers. For some, childhood was coloured by overt physical or psychological trauma; for others, what passed as a ‘normal’ upbringing led later to a pressing desire to discover more about their fathers’ wartime histories. My research demonstrates the need for a more nuanced and holistic approach to understanding intergenerational trauma transmission within this particular group. I argue that participants made creative use of memory practices across the course of their lives to revisit, review and reconstruct their relationships with their fathers, in order to reach an accommodation with their childhood memories. Findings include the value of attachment theory in understanding the associations between childhood experience and later memory practices, the role of the body and other implicit means of transmitting trauma, and the need for a greater awareness of the impact of cumulative and complex trauma within these families. Finally, I conclude that the psychosocial methodology enabled me to access areas of subjectivity and intersubjectivity that might otherwise have remained in the shadows.

The thesis, entitled "The Avant-Postman: James Joyce, the Avant-Garde and Postmodernism," attempts to construct a post-Joycean literary genealogy centred around the notions of a Joycean avant-garde and literary experimentation written in its wake. It considers the last two works by Joyce, Ulysses and Finnegans Wake, as points of departure for the post-war literary avant-gardes in Great Britain, the USA, and France, in a period generally called "postmodern." The introduction bases the notion of a Joycean avant-garde upon Joyce's sustained exploration of the materiality of language and upon the appropriation of his last work, his "Work in Progress," for the cause of the "Revolution of the word" conducted by Eugene Jolas in his transition magazine. The Joycean exploration of the materiality of language is considered as comprising three stimuli: the conception of writing as concrete trace, susceptible to distortion or effacement; the understanding of literary language as a forgery of the words of others; and the project of creating a personal idiom as an "autonomous" language for a truly modern literature. The material is divided into eight chapters, two for Great Britain (from Johnson via Brooke-Rose to Sinclair), two for the U.S. (from Burroughs and Gass to Acker and Sorrentino) and three for France...