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

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.

Orientador: Antonio Carlos Rodrigues de Amorim / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T11:47:45Z (GMT). No. of bitstreams: 1 Carvalho_FabioReynolde_M.pdf: 7529586 bytes, checksum: fd58977b1e3e378dfbf2479ab8f2e2d9 (MD5) Previous issue date: 2011 / Resumo: Muito antes de uma guerra começar, uma outra fora construída no imaginário de leitores brasileiros. A guerra que ainda não começara era a Segunda Guerra Mundial. Aquela construída foi uma guerra mundial de contornos próprios gerada, principalmente, a partir dos efeitos provocados por imagens e por conjuntos imagem-texto publicados durante o ano de 1939 no almanaque Eu Sei Tudo, do Rio de Janeiro. Fotos, ilustrações e textos e o conjunto desses elementos distribuídos nas páginas da publicação proporcionaram interpretações, sensações, fantasias e movimentaram jogos de significação únicos e que vão além da lógica representacional formal e trazem novas visões e formam novos sujeitos. Reimaginar essas realidades e analisar os efeitos possíveis dessas matérias foram os eixos que guiaram este trabalho. Aproximar-se da potência e das potencialidades de uma fotografia e mergulhar nesse mar de significações fizeram parte da metodologia / Abstract: Well before starting the war, another one was built inside imagination of Brazilian readers. The not yet started war was the Second World War and the built one was a world war with its own contours generated due to effects of pictures and picture-text sets published during 1939 year at "Eu Sei Tudo" almanac, from Rio de Janeiro. Pictures, illustrations, texts and a set of these elements distributed on pages of that publication provided interpretations, sensations, fantasies and played unique games of significations which go beyond formal logic and bring new visions and form new subjects. Reimagining these realities and analyzing possible effects of the magazine stories were the base of this work and helped to guide it. Approaching the power and potentiality of a picture and diving into the sea of its significations made part of adopted methodology / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural

This study aims to examine the differences and similarities between the propaganda used by the United states and the Nazis during the second world war. The object for the analysis are movies, and what expressions of propaganda that can be seen and deciphered. This study will also try to explain why there are similarities and differences between the two countries propaganda. The tool for the analysis of the movies is based on Ralph Donald’s method to interpret propaganda used in Hollywood movies. I have made some modifications to his method in order to apply it on Nazi movies as well. The movies used in this study are the American The Great Dictator and the German Die Rothschild’s. I have narrowed it down to two movies because of the time limit of this study. Furthermore, I have presented a small, but crucial part of the previous research in the field of propaganda to suit and to strengthen my arguments and conclusions in the analysis of the movies. The reason why the research is narrow is because of the immense field of propaganda. The results from this study shows that there are similarities and also differences between the propaganda used by the Americans and the Nazis, and that this in part can be explained by the propagandas purpose to dehumanize the enemy. It can also be explained by the fact that propaganda is used to boost the morale of the Homefront during wartime.

1 Abstract A renewal of the fundamental functions of parish in the contemporary society is one of the most discussed issues in the Czechoslovak Hussite Church. This thesis deals with a revitalization of parish. Analysing a process of renewal of three different parishes, it draws general rules for revitalization and proposes steps for its implementation. A particular attention is paid to institutional, economic and pastoral aspects of this process.

During the Second World War, Japanese Canadians were uprooted from their homes along the coast of British Columbia and forced to leave the province. In 1946, almost 4,000 individuals were exiled to Japan. The Canadian government deemed their departure ‘voluntary,’ and labelled them ‘disloyal’ to Canada. However, a close reading of the evidence illustrates that ‘loyalty’ had little to do with their departure, and exposes the intent of federal and provincial officials to forcefully remove Nikkei from B.C. For those exiled to occupied Japan, life was filled with hardship and many were forced into difficult or unfamiliar situations. Many longed to return to Canada, but faced numerous restrictions, while others prospered and stayed in Japan for the duration of their lives. This thesis examines the experiences of many of those exiled to Japan, and explores the process by which the Canadian government facilitated their forced removal from B.C. and Canada. / Graduate

Shortly after landing in France on D-Day, 6 June 1944, the British began a programme of care for the military dead of North-West Europe which would last for some seven years. The dead included not only the fatal casualties of the 1944-45 campaigns to liberate the occupied countries and conquer Germany, but also those who had died during the defeats in Norway and France in 1940. In addition, there the many thousands of missing RAF airmen who had been lost throughout the six years of the war. The Royal Navy, for obvious reasons, had few land-based dead, and thus it was the Army and the RAF who carried out the complex programme, ranging over vast areas of Europe and into Soviet territory as the Cold War began. The Army had the central role in registrations, exhumations, and the creation of the new military cemeteries, whilst the RAF’s focus was almost entirely upon the search for its missing airmen. The Services had different motivations and different agendas, but the ultimate goal of each was the honourable burial of the dead and the creation of registers of the long-term missing, who would later be commemorated on memorials. The British search and graves units, by the nature of their work, often discovered evidence of war crimes. The high cultural standing of the British dead was intrinsically related to the horrors of the Nazi regime, and revulsion against the nation responsible for so much suffering led to difficult policy decisions on servicemen’s graves in Germany. It was a matter of pride, however, that the German dead, many thousands of whom became the responsibility of the British, were treated in almost exactly the same way as their own servicemen.

Many historians have presented the narrative of Canada’s Second World War experience as a “good” war. Individuals and communities came together in patriotism and a common purpose to furnish the national war effort with military manpower, labour, financial contributions, and voluntary efforts. As the dark years of the Great Depression gave way to unprecedented levels of industrial and economic growth, falling unemployment rates, increased urbanization, and a wealth of social programs, Canada’s future was bright. However, this optimistic picture is not representative of Canada as a whole. Some regions fared better than others, and industrial Cape Breton was one of those that benefited the least from the opportunities presented by the war. Glace Bay, Cape Breton’s largest mining town and long-time hotbed of industrial strife and labour radicalism, serves as an ideal case study of the region’s largely unprofitable and unchanging wartime experience. Long plagued by poverty, poor living conditions, and underdeveloped industry, and desperately seeking to break free of its destitution, Glace Bay tried and failed to take advantage of wartime opportunities for industrial diversification and local improvement.

Since its rise to prominence in the 1920s, Canadian radio drama has become a topic of growing interest among scholars in the fields of media studies, communications, and literature. During the Second World War, radio drama became an important medium of entertainment for home front civilians, and was utilized as propaganda by the CBC to garner support for the Canadian war effort. At this time, radio drama also became an important artistic outlet for wartime artists to express their political and social values and beliefs during the war. While scholars have examined the art of radio drama in light of its artistic, dramatic and literary value, few have yet to examine the music composed for these dramas. This thesis draws on these scholars as well as archival materials from the John Weinzweig fonds and the CBC Music Library fonds located at Library and Archives Canada, and the CBC radio drama script collection located at the Concordia Centre of Broadcasting and Journalism Studies to examine the incidental music written by John Weinzweig for CBC wartime radio dramas. By considering how composing for this artistic medium impacted his musical language at this time, this thesis examines his scoring for the series New Homes for Old. Specifically, I problematize the modification and simplification of the serial technique in his incidental works, and consider the challenges that informed Weinzweig’s approach to radio drama composition. I propose that Weinzweig’s simplification of his serial technique may be understood in relationship to the social and political climate of the 1930s and 1940s, and within the context of leftist socialist movements, notably the Popular Front. I argue that Weinzweig’s engagement with radical socialism during this period may have prompted him to adopt a simpler and more accessible musical language that reflected and embodied the cultural, political, and aesthetic ideals of the Popular Front. Le théâtre radiophonique canadien est devenu un sujet très prisé parmi les chercheurs dans les domaines des médias, des communications, et de la littérature. Pendant la Deuxième Guerre mondiale, le théâtre radiophonique est devenu une forme de divertissement populaire pour les Canadiens et était souvent utilisé comme un outil de propagande par la CBC. À cette même époque, le théâtre radiophonique est aussi devenu une forme d’expression pour les artistes du temps de guerre pour exprimer leurs valeurs sociales et politiques. Bien que plusieurs chercheurs aient examiné l’art du théâtre radiophonique sous l’angle de sa valeur artistique, dramatique, et littéraire, peu ont examiné la musique qui a été composée pour ces drames. En se servant des matériaux d’archives trouvés dans les fonds “John Weinzweig” et les fonds “CBC music library” situés à la Bibliothèque et Archives Canada (BAC), ainsi que la collection “CBC Radio Dramas” située au Centre for Broadcasting and Journalism Studies (CCJBS) à l’Université Concordia, cette thèse examine la musique de scène écrite par John Weinzweig pour les émissions de théâtre radiophoniques présentées par la CBC pendant la Deuxième Guerre mondiale. En considérant comment le genre radiophonique a influencé le langage musical de Weinzweig, cette thèse examine ses oeuvres pour la série New Homes for Old. Plus précisément, cette thèse examine la modification et simplification de la technique sérielle utilisé par Weinzweig dans ses oeuvres radiophoniques, et considère les défis qui ont influencé son approche compositionnelle. Je suggère que la simplification de la technique sérielle utilisée par Weinzweig peut être étudiée en fonction des conditions politiques des années 1930 et 1940, et aussi en fonction des mouvements politiques de gauche et plus particulièrement du Front populaire. Je soutiens que l’engagement de Weinzweig avec les valeurs socialistes lui a permis d’adopter un langage accessible qui reflète les idéaux culturels, politiques, et esthétiques du Front populaire.