This project seeks to examine the ways in which the media of Holocaust photography and videography are represented in museums in Canada and Germany. Specifically, this project analyzes the Topography of Terror (Berlin), the Canadian Museum for Human Rights (Winnipeg), and the German Military History Museum (Dresden). The media of video- and photography are integral to a comparative examination of the intentional and unintentional effects and knowledge produced by these museums, since both media tend to be seen as more ‘authentic’ than text and remain somewhat outside the control of the museums; photographs and videos are often more than just a mouthpiece for museal goals. In order to adequately compare these representations in each of the three museums, they are analyzed simultaneously through the lens of distance and proximity between visitor and subject, and whether one is able to feel empathy for historical persons (and with whom) or not. / October 2016

II Title History interpretation in Fred Wander's literary works Abstract The topic of this diploma thesis is an interpretation of events during the Second World War in Fred Wander's literary work, an important representative of German written literature in the past century. The first chapter presents Fred Wander's life and work and is based on Wander's own autobiography and interviews. The following chapters are dedicated to individual analysis of his three writings: Der siebente Brunnen, Ein Zimmer in Paris and Hotel Baalbek. Wander especially focuses on mediating concrete personal life stories during that epoch. Hotel Haalbek work captures a situation during the first years of the war in the southern France. Der siebente Brunnen describes prisoners' lives in a concentration camp. Wander dedicates Ein Zimmer in Paris work to the topic of how to cope with war experience. The main target of this diploma thesis is about an interpretation of selected themes which are crucial for the mentioned works. It also points to the importance of history rendering in the writings by the author. Keywords Fred Wander, holocaust literature, the Second World War, judaism

This thesis deals with the guerrilla group Brdy - do not like and Francis Holman action within its organization. Resistance group Brdy - Displeasure was established in 1938. Beginning of its activities is associated with John Strap quantified from the village. In the first phase, which lasted until the summer of 1941, members of the organization materially and financially assist families of detainees. In June 1941 he fled from Prague Hořovice displeasure at Jaroslav, who came to arrest by the Gestapo because of his Communist activities in the First Republic. He was one of the accused in spy scandal in the Škoda factories. I do not like the end of 1941, hiding in the Joseph Paška quantified, then a connection with him II. illegal Communist Party central leadership, it becomes the active Member, in his resistance work continues on III bootleg central party leadership. It builds on the cover Újezd of which was controlled by guerrilla activity around Podbrdy. In November 1944 he was arrested by the Gestapo Jaroslav displeasure. In January 1945 is disposed újezdský bunker. The exact date of death of Jaroslav displeasure is not known, probably been beaten to death in early 1945. Francis Holman was one of the Members Horovice Brdy cells - do not like. Together with his colleagues performed the action between...

Doctor of Philosophy / Department of History / Mark P. Parillo / The Second World War internment of the West Coast Issei and Nisei remains a tragic moment in American history. It has long been viewed by historians as a singular act of mass social and political pressure to remove a racially constructed social group from the area, but it was carried out by the United States Army under the direction of the War Department. This dissertation studies the formation of the military policy that led to the Second World War internment of Japanese-Americans and the transformation of a reluctant American Army into an agent of a xenophobic West Coast civilian populace through external pressure, poor planning, and false assumptions. This study focuses on several aspects of civil-military relations associated with the Second World War internment of the Issei and Nisei. This includes the history of militancy and mob rule in the West Coast urban landscape and the borders of civil-military relations on the West Coast as they applied to the region’s xenophobic legislative government. Likewise, the relationship between the military and the militia, urban race relations, and the role of intelligence analysis play a central role in determining the distortion of facts, which shaped the American military’s internment policy. Finally, the disconnects between the East and West Coast arms of the federal government and the Justice and War Departments play an equally pivotal role steering the military’s response to the devolving state of affairs on the West Coast in the months following Pearl Harbor, resulting in the internment of over 110,000 Issei and Nisei in the following months.

This dissertation analyzes visual representations of Canadian women war workers during the Second World War, examining the intersections of labour, gender, beauty culture, bodies, media, consumer culture, advertising, class, whiteness, and sexuality featured in these images. It argues that without considering each of these themes, it is impossible to fully understand wartime representations of women workers. In examining these intersections, the dissertation highlights the power of visual representations and demonstrates the key roles of beauty culture and heterosexuality in munitions plants. By comparing images of women war workers in nationally-circulated magazines and advertisements, locally-produced newsletters from three southern Ontario war plants, archival photos, and newspaper coverage of the Miss War Worker beauty contest, this study shows that the beautiful woman war worker was a visual icon who symbolized the tensions, worries, and hopes around labour, beauty, and femininity, in wartime as well as in the postwar period, when war workers’ presumed next step into white motherhood was of particular importance to the national project. Women workers were constantly encouraged and pressured to engage with beauty culture and participate in self-fashioning. Probing the relationship between how war workers were depicted and what they experienced points to the power of images as well as the opportunities women had to exercise agency by pushing back against visual ideals as well as by emulating them. / Graduate / 2017-08-29

Après la tragédie de la Seconde Guerre mondiale, les mots semblent ne plus suffire pour désigner le réel. La littérature du XXe siècle invente alors un langage nouveau, qui tend vers le silence. C’est ainsi que, traumatisé par l’Histoire, Georges Perec se tourne vers une écriture du silence, manière pour lui de réfléchir au langage et à ses limites, et cette démarche est perceptible surtout dans Un homme qui dort, La Disparition et W ou le souvenir d’enfance. La première partie de cette thèse s’ouvre sur les définitions du silence, puis se propose d’examiner sa rhétorique et ses motivations, et enfin de traiter les divers aspects du blanc, l’équivalent visuel du silence. La deuxième partie se concentre quant à elle sur l’examen des techniques narratives servant à la mise en place d’une écriture du silence : les jeux de la narration liés à la présence ou l’absence du narrateur, le morcellement narratif où le silence réside à chaque arrêt, et le patchwork intertextuel dont les voix remplacent celle de l’auteur. La troisième partie aborde enfin la question de la quête autobiographique que Perec a menée de manière plus ou moins oblique. Les thèmes de l’étrangeté à soi et de l’oubli se présentent comme des éléments essentiels car c’est la perte de mémoire et d’identité qui entraîne une perte de la parole. Puisque l’écrivain ne peut pas témoigner de l’expérience concentrationnaire qu’il n’a pas vécue, il assimile cette histoire collective, écho de son histoire individuelle, à une histoire fictive. Enfin, l’écriture perecquienne est un travail de deuil : l’auteur se sert du silence comme thème et technique d’écriture pour parler de la disparition de la mère, victime de la Shoah. / After the tragedy of the Second World War, words seem insufficient to represent reality. The authors of the 20th century have invented a new language that tends towards silence. Traumatized by history, Georges Perec thus turns to writing about silence. Through writing about silence, Perec contemplates the language and its limits; this approach is noticed particularly in Un homme qui dort, La Disparition and W ou le souvenir d’enfance. The first part of this thesis deals with the definitions of silence, then examines the rhetoric and motivations of silence. The different aspects of “the blank”–visual equivalence of silence–are also taken into account. The second part focuses on the narrative techniques implemented for the writing of silence. These techniques include the dynamic of narrative voices connected to the narrator’s both presence and absence; a fragmented narrative where silence exists after certain breaks; and the replacement of the author’s voice by an intertextual patchwork. The third part investigates Perec’s autobiographical elements which are more or less obliquely presented. Perec’s own alienation and forgetfulness are employed as key factors contributing to the uniqueness of silence as loss of memory and identity undermines the ability to speak. Since the author could not testify the trauma in the concentration camp through first-hand experience, he transforms collective history, echoing his individual history, into fictional history. Finally, Perec’s writings can be regarded as a literature of mourning: the silence, deployed as themes and literary techniques, is an instrument for recounting the loss of Perec’s own mother—a Shoah victim.

Ao longo das duas Guerras Mundiais, observou-se o rompimento da humanidade com as normas de conduta inauguradas pelo Iluminismo, legitimando a violência como algo intrínseco à sociedade moderna. Essa mudança de valores foi acompanhada pelo crescente investimento científico e tecnológico, que atingiu um elevado desenvolvimento durante o século XX e trouxe, como um de seus resultados, os maiores genocídios realizados pelos Estados autoritários em nome de seus interesses políticos e econômicos. A barbárie nos leva a considerar um elemento para a reflexão: as testemunhas. Essas corporificam a necessidade de um resgate da humanização, da retomada dos valores morais perdidos com a banalização da violência. Assim, o testemunho confronta a história e demonstra que o desenvolvimento tecnológico não é sinônimo de desenvolvimento humano. Pelo contrário, permitem questionar a verdadeira intenção das nações que, em busca de hegemonia, destroem maciçamente populações inteiras. Nesse contexto, emergem as seguintes questões: o que é o testemunho e qual a sua importância para a sociedade moderna? O que levou, historicamente, ao surgimento das testemunhas? Qual o contexto histórico que proporcionou o desenvolvimento da bomba atômica? Por que houve a necessidade, por parte das nações em guerra, de exterminarem milhares de pessoas, principalmente civis? Qual a consequência do rompimento das normas de civilidade pelas duas Guerras Mundiais? Para responder a essas perguntas, investigou-se o Museu Memorial da Paz de Hiroshima no que diz respeito a sua exposição permanente, seus objetivos no que se refere à luta contra o esquecimento da catástrofe atômica e à coleta de testemunhos. Após esse primeiro momento da pesquisa, procedeu-se ao estudo do contexto histórico que culminou nas atrocidades cometidas ao longo das duas Grandes Guerras, os resultados dos extermínios em massa para a sociedade moderna e, finalmente, o estudo sobre o trauma e o testemunho em relação aos sobreviventes do bombardeio atômico de Hiroshima / Throughout the two World Wars, a disruption between humankind and the standards of conduct inaugurated by the Enlightenment was observed, legitimizing violence as something intrinsic to modern society. This change in values was followed by the increasing scientific and technological investment, which reached a high development during the twentieth century and brought, as one of its results, the greatest genocides carried out by the authoritarian States on behalf of their political and economic interests. The barbarism leads us to consider an element for reflection: the witnesses. They embody the need for redemption of humanization and the resumption of the moral values, both lost in the trivialization of violence. Thus, the testimony confronts history and shows that technological development is not a synonymous for human development. On the contrary, they allow us to question the true intent of the nations that, in their quest for domination, massively destroy entire populations. In this context, the following questions arise: what is the testimony and what is its importance to modern society? Historically, what had led to the appearance of witnesses? What is the historical context that provided the development of the atomic bomb? Why was there the need, by the nations at war, to exterminate thousands of people, mainly civilians? What is the consequence of breaking the rules of civility by the two World Wars? To answer these questions, the Hiroshima Peace Memorial Museum was investigated regarding its permanent exhibition, its goals regarding the struggle against forgetting the atomic disaster and the gathering of testimonies. After this first stage of the research, it was proceeded the study of the historical context that culminated in the atrocities committed during the two Great Wars, the results for modern society of the mass exterminations and finally, the study of trauma and testimony regarding the survivors of the Hiroshima atomic bombing

Le but de cette thèse est d’analyser l’emploi des blindés dans globalité et jusqu’aux plus petits échelons (pelotons, équipages) c’est-à-dire à hauteur d’hommes (slogan devenu à la mode depuis). En effet beaucoup d’écrits et d’études précédents restent souvent au niveau tactique voire stratégique. Il s’agit également d’étudier les éventuelles différences entre la théorie doctrinale et son application sur le terrain, voir si l’emploi des blindés variait en fonction des acteurs et si oui pourquoi. Cette étude se veut globale, elle prend en compte, les hommes (donc leur formation, leur origine, leur passé), la doctrine et le matériel car l’emploi au combat est la réunion de tous ces facteurs. Les recherches montrent que les trois GU blindées françaises n’étaient pas employées de la même façon, la raison principale résidant dans les conceptions d’emploi des chefs. Les unités blindées françaises étaient composées d’hommes au passé et au parcours différents. Des Gaullistes historiques au jeune engagé d’aout 1944 en passant par les rappelés de l’armée d’Afrique. Tous se retrouvèrent dans les tourelles avec un même but libérer le pays. Elles-mêmes avaient des origines diverses. Certaines n’avaient cessé de combattre, d’autres étaient restées en Afrique du nord ou en Afrique occidentale jusqu’au débarquement allié de novembre 1942. Mais toutes montrèrent un haut niveau de maîtrise tactique et de professionnalisme Leur équipement et leur organisation étaient homogènes car d’origine américain. Leur concept d’emploi était celui dicté par les FM qu’elles adaptèrent à leur main pour combattre à la Française et parfois marquer leur différence par rapport aux alliés. Une fois engagées, elles tinrent toute leur place aux côtés des unités alliés, prouvant leur valeur et marquant ainsi la renaissance de l’armée française. Cette unicité d’organisation, de doctrine et d’équipement masque cependant des différences dans l’emploi. Elles furent tributaires des grandes unités auxquelles elles étaient rattachées et de leur chef. L’emploi des unités blindées dépendait en grande partie des hommes. Des chefs d’abord dont tous n’avaient pas les mêmes conceptions d’emploi des unités blindées ce qui se traduisit par des frustrations et des conflits en particulier entre les généraux Leclerc et de Lattre. Mais également des équipages qui firent preuve d’un état d’esprit remarquable mais particulier et de beaucoup d’abnégation. / The aim of this thesis is to analyze the use of armored vehicles globally and up to the smallest levels (platoons, crews), that is to say at the level of men (slogan that has become fashionable ever since). Indeed, many previous writings and studies often remain at the tactical or strategic level. It is also a question of studying the possible differences between the doctrinal theory and its application in the field, to see if the use of armored vehicles varied according to the actors and if so why. This study is intended to be comprehensive, it takes into account, men (thus their training, their origin, their past), doctrine and equipment because employment in combat is the meeting of all these factors. Research shows that the three French armored GUs were not employed in the same way, the main reason residing in the chiefs' conceptions of employment. French armored units were made up of men with different backgrounds and backgrounds. From the historical Gaullists to the young worker of August 1944, passing by the recalled African army. All found themselves in the turrets with the same goal to liberate the country. They themselves had various origins. Some had continued to fight, others had remained in North Africa or West Africa until the Allied landings of November 1942. But all showed a high level of tactical mastery and professionalism. Their equipment and organization were homogeneous because of American origin. Their concept of employment was that dictated by the FM that they adapted to their hand to fight the French and sometimes mark their difference compared to the allies. Once engaged, they held their place alongside the allied units, proving their value and thus marking the rebirth of the French army. This uniqueness of organization, doctrine and equipment, however, masks differences in employment. They were tributaries of the great units to which they were attached and of their leader. The use of armored units depended largely on men. Chiefs first, all of whom did not have the same conceptions of the use of armored units, which resulted in frustrations and conflicts in particular between Generals Leclerc and de Lattre. But also crews who showed a remarkable state of mind but particular and a lot of self-sacrifice.

De 1993 a 2004, Walter Kempowski publicou uma série em dez volumes intitulada Das Echolot. Ein Kollektives Tagebuch. (A ecossonda. Um diário coletivo) Nessa obra, Kempowski procurou retratar alguns dos episódios principais da Segunda Guerra Mundial através da apresentação de documentos redigidos, em sua grande maioria, na época dos acontecimentos: diários, cartas, memórias, discursos ou programas de rádio. Esses documentos foram ordenados de acordo com o dia no qual foram escritos, compondo um grande diário coletivo que retrata os acontecimentos de uma perspectiva abrangente e multiforme. Nesta tese, o volume Barbarossa 41, que narra a invasão da URSS em 1941, foi tomado como exemplo para questionar o papel do autor nessa montagem monumental de citações que, à primeira vista, parece reduzir-se à organização formal dos documentos. Para analisar a forma como se estabelece o significado dos elementos organizados no livro observou-se 1) a própria estruturação do livro, 2) as citações de algumas das principais personagens, que podem ser consideradas como exemplares e 3) a sequência interna de dois dias completos do diário. As citações das personagens exemplares foram comparadas com os documentos originais de onde foram extraídas, buscando-se identificar as intenções que guiaram o autor na seleção e no recorte dos textos. O resultado dessa pesquisa indica que o papel do autor na constituição do sentido da narrativa nascida da conexão dos fragmentos é decisivo. Com uma outra seleção e um outro recorte, as personagens deixariam uma impressão diferente no leitor. Também foi confirmado que a organização específica do material criou um panorama da Segunda Guerra que se deve às intenções do autor, ainda que esse fato permaneça, em grande parte, despercebido pelo leitor. / From 1993 to 2004, Walter Kempowski published a sequence of ten books named Das Echolot. Ein Kollektives Tagebuch. (The Echo Sounder. A collective diary.) In these books, Kempowski aims to depict main episodes of the Second World War by presenting documents written mostly while the events took place: diaries, letters, memories, speeches or radio programs. Those documents were sorted according to the day they were written, and so they composed a great collective diary which depicts the events in a comprehensive and multifaceted perspective. In this thesis, the volume Barbarossa 41, which narrates the invasion of the USSR in 1941, was taken as an example to question the role of the author in this monumental montage of quotations that, at the first sight, seems to be just a formal organization of documents. In order to determinate how the meaning of the elements organized in the book gets established, the following items were observed: 1) the own structure of the book, 2) the quotations of some of the main figures that can be considered as exemplary and 3) the internal sequence in two whole days of the diary. The quotations of the exemplary characters were compared with the original documents, in order to identify the intentions that guided the author in the selection of the texts and the excerpts that would be published. The result of this research indicates that the role of the author in the constitution of the sense of the narrative which comes from the connection of the fragments is crucial. With another selection of texts and excerpts, the characters would leave a different impression on the reader; it was also confirmed that the specific organization of the material has created a panorama of the Second World War that is due to the intentions of the author, even if this fact remains mostly unnoticed by the reader.

Este estudo investiga e recupera a trajetória sócio-econômica dos (i)migrantes japoneses e seus descendentes em Jacareí, a partir de 1927 até 1951. Caracteriza o contexto local e regional em que esses sujeitos se inseriram e o seu cotidiano durante o governo do Estado Novo e da Segunda Guerra Mundial por meio da bibliografia relacionada à imigração japonesa e à História do Brasil, dentre outras, e fontes documentais, como imprensa escrita local, depoimentos, estatísticas e fotografias. Os (i)migrantes japoneses deslocaram-se para Jacareí nesse período com o objetivo de melhorar suas condições de vida. Grande parte fixou-se na zona rural e dedicou-se à produção agrícola, principalmente de tomate, progrediu econômica e socialmente; criaram uma associação e se preocuparam, de alguma forma, em se inserir na sociedade local. O estudo mostra que o contexto do Estado Novo e a Segunda Guerra Mundial, embora trágico, não refletiu de maneira sistemática em relação aos japoneses que viviam em Jacareí; ao contrário - a não ser em casos isolados - a maioria não se abateu, permanecendo no município; continuou desenvolvendo suas atividades e produzindo, abriu depósitos de cooperativas e outros (i)migrantes japoneses continuaram chegando para Jacareí, tornando-o um lugar de perspectivas de mudanças. / This study investigates and recovers the economic social trajectory of Japanese (im) migrants and their descendants in Jacarei from 1927 until 1951. It features the local and regional context in which it operated these subjects and their daily life during the government of Estado Novo and the Second World War through the literature related to Japanese immigration and to the history of Brazil, among others, and documentary sources, such as print media Local, testimonials, statistics and photographs. The Japanese immigrants moved to Jacarei in that period with the objective of improving their living conditions. The most of them stayed in rural and devoted themselves to agricultural production, mainly of tomatoes, economic and social progress; created an association and have been concerned in some way, they fall in local society. The research shows that the context of the Estado Novo and Second World War, although tragic, not reflected in a systematic way for Japanese (im)migrants who lived in Jacareí; unlike - except in isolated cases - the majority do not hit and remained in the city, continued developing their activities and producing, opened cooperatives and other Japanese (im)migrants continued coming to Jacareí and making it a place of prospects for change.