Thesis (M.M.S.)--U.S. Army Command and General Staff College, 2003. / Cover title. Includes bibliographical references. Also available via the World Wide Web.

Thesis (M. Sc. (Hons.))--University of Western Sydney, 2001. / "Research thesis submitted in fulfillment of the requirements for the degree of Master of Science (Honours) Social Ecology, School of Social Ecology and Lifelong Learning, University of Western Sydney, August 2001." Includes bibliographical references (leaves 398-400).

Thesis (MA)--Macquarie University (Division of Society, Culture, Media & Philosophy, Dept. of Media), 2006. / Bibliography: leaves 176-188.

The dissertation undertakes an analysis of the dramatic literature engendered by the Vietnam War in the 1960s and 1970s, and illustrates how the dramas of that period reflect the stresses and anxieties that assailed contemporary American society. It investigates the formative influences on the drama, the various styles in which it emerged, and the recurring themes and motifs. The thesis proceeds from the premise that the events of the 1960s fractured American society in a manner unknown since the Civil War. It demonstrates that the social, political, and intellectual divisiveness that characterized the society was interpreted in the theatre by dramatic metaphors of fragmentation of the individual and collective psyche, and that this fragmentation was reflected in characters who experienced a collective and individual sense of loss of cultural identity, cohesion and continuity. Included in the examination of the drama is a description of how the social upheaval of the period influenced playwrights to undertake a reassessment of American values and ethics, and to interpret in dramatic form the nature of the trauma of Vietnam for American society. The study includes a discussion of how individual and collective reality is based on cultural conditioning, and how the challenging of cultural myth in an extra-cultural milieu. / Arts, Faculty of / Theatre and Film, Department of / Graduate

No description available.

Thesis (Master of Military Studies)-Marine Corps Command and Staff College, 2008. / Title from title page of PDF document (viewed on: Jan 5, 2010). Includes bibliographical references.

No description available.

The war in Vietnam was a conflict that happened during the Cold War. In the 1960s USA chose to join the war with the hope of stopping the spread of Communism. The war did not go as planned; instead the outcome was that the Americans lost. During and after the war in Vietnam several songs have been made. Some as protest of the war, others the opposite and had a positive attitude about USA and their participation in the war. In this thesis seven songs regarding the war in Vietnam have been analyzed. The aim of the thesis was to investigate the use of history in different lyrics about the war in Vietnam. An oriented interpretation textual analysis has been applied to the content. The theoretical part of the thesis that was chosen is the use of history as a theory. The theory of the thesis is based on Klas-Göran Karlsson’s typology where he list Scientific, Existential, Morally, Ideological, Non-use, Political-pedagogical and Commercial use of history. To search for the answer in how the artists applied a use of history, the typology of Karlsson and also added Robert Thorp’s four different ways which are Traditional, Exemplary, Critical and Genetic. The result of the thesis was that the war in Vietnam does not appear as clearly in the earlier songs as it did in the songs from the 1980s. Regarding the use of history the result showed that the songs apply the use of history in different ways to state their message.

This thesis examines the role of communist special operations forces during the Vietnam War and the relevancy of the lessons learned from these units. The United States military, specifically Army Special Forces, Rangers, and Navy SEALS, were not the only forces capable of conducting successful special operations during the conflict. The People's Army of Vietnam also had a highly organized, well trained, and well equipped organization capable of carrying out special operations. This organization was the sapper arm, and it was composed of three separate types of units. The Urban Sapper was concerned with intelligence gathering, terrorism, assassination, and special operations in the large urban areas such as Saigon and Hue. The Naval Sapper was responsible for attacking shipping, bridges, and bases located near waterways. The Field Sapper conducted operations against deployed US and South Vietnamese troops, trained other communist troops as sappers, and gave the communist leadership an elite force for lightning raids. The sapper force had certain operational principles, organizational constructs, and functional methods that set it apart from any other communist military element used during the Vietnam War.

In this paper, I consider how Robert Heinlein's Starship Troopers (1959) and Orson Scott Card's Ender's Game (1985) allegorically treat U.S. Cold War fears of invasion by the Soviet Union. Given the texts' historical relationship to the Vietnam War and their use of very similar science fiction tropes (namely, invasion by communistic, insect-like aliens), I argue that Orson Scott Card reimagines the binary Cold War conflict, softening the rhetoric of Starship Troopers and allowing for a more qualified understanding of the relationship between the U.S.S.R. and the U.S. Through this analysis, I also consider how science fiction is a useful tool of cultural criticism in that it posits future worlds so as to reflect contemporary social concerns.