Cette thèse étudie la représentation de l’accueil et de la réinsertion des vétérans du Viêt-nam dans deux quotidiens américains de qualité, le New York Times et le Washington Post, de 1966 à 1978. La comparaison entre les deux journaux est complétée par les analyses de deux hebdomadaires, The Nation et Newsweek, et d’un bimensuel, la National Review, qui balayent toute la gamme des points de vue sur le sujet. Deux périodes peuvent être distinguées : de 1966 à 1970, la réintégration des anciens combattants semble être facile, selon les publications. De 1971 à 1978, la couverture médiatique s’intensifie dans un premier temps, du fait des difficultés de réinsertion que les Vietvets rencontrent et osent enfin exprimer avec force ; la presse paraît ensuite se désintéresser progressivement d’eux. L’évolution, dans les journaux, de la représentation des vétérans et de leur réinsertion reflète l’évolution de la société et de l’économie américaines. Si les deux quotidiens s’adressent, a priori, à des lectorats voisins, les réalités qu’ils choisissent de montrer, en les déformant suivant leur biais idéologique, divergent souvent. Il s’agit également de voir dans quelle mesure leurs représentations ont pu aider la réinsertion des anciens combattants ou, au contraire, la rendre plus délicate. / This thesis studies the reception and the reintegration in society of Vietnam war veterans as they are represented in two American dailies, The New York Times and The Washington Post. To this comparison between the two newspapers are added the analyses of two weeklies, The Nation and Newsweek, and a bimonthly, National Review, which provide a complete range of the various point of views on the subject. Two periods stand out: from 1966 to 1970, the reintegration of the former soldiers seemed to be easy, according to the newspapers. From 1971 to 1978, the coverage by the media first intensified owing to the difficulties of reintegration that the Vietvets faced and dared to voice loudly for the first time; the press then appeared to progressively lose interest in them. The evolution, in the newpapers, of the representation of the veterans and of their reintegration mirrored the evolution of American society and economy. If both dailies a priori addressed the same kind of readers, the reality that they chose to present and distort through their ideological bias often differed. The thesis also tries to show how their representations may have helped or hindered the reintegration of Vietvets in society.

無

The tragic and devastating September 11 attacks resulted in a variety of original musical responses. Exemplary works expressed their reactions through overt 9/11-concentric dialogues to express themes of mourning, military retribution, dissent and commemoration. An examination of such works concludes that effective musical responses express a direct message clarified by supporting musical and/or textual materials. Musical materials can accentuate the specific thematic message of the responsive work as they often evoke images and emotions reminiscent of the attacks and their aftermath. Compositional techniques used in these works are often reminiscent of historical works written in similar circumstances. The recurrence of these historical approaches illuminates the timeless compositional design of historical examples and exemplifies modern advancements in music composition and production. A comparison between classical and popular post-9/11 musical compositions concludes that certain classical and popular genres deal with responsive themes more effectively than others. A recommendation for further study is enclosed.

Although arsenic is naturally present in the environment, 99% of human exposure to arsenic is through ingestion. Throughout history, arsenic is known as “the king of poisons”; it is mutagenic, carcinogenic, and teratogenic. Even in smaller concentrations, it accumulates in the body and takes decades before any physical symptoms of arsenic poisoning shows. According to the World Health Organization (WHO), the safe concentration of arsenic in drinking water is 10 µg/L. However, this limit is often times ignored until it is decades too late and people begin showing symptoms of having been poisoned. This is the current situation for Vietnam, whose legal arsenic concentration limit is 50 µg/L, five times higher than the WHO guidelines. Groundwater in Vietnam was already naturally high in arsenic due to arsenic-rich soils releasing arsenic into groundwater. Then, in the past half century, with the use of arsenic-laden herbicides dispersed during the Vietnam War and subsequent industrial developments, the levels of bio-available arsenicals has dangerously spiked. With the proliferation of government-subsidized shallow tube-wells in the past two decades, shallow groundwater has become the primary source for drinking and irrigation water in Vietnam. This is a frightening trend, because this groundwater has arsenic concentrations up to 3050 µg/L, primarily in the +3 and +5 oxidation states, the most readily available oxidation states for bioaccumulation. This thesis argues that measures must be taken immediately to remedy the high concentration of arsenic in groundwater, which in Vietnam is the primary and, in some cases, the sole source of water for domestic consumption and agricultural production. Although there are numerous technologies available for treating arsenic in groundwater, not all of them are suited for Vietnam. By analyzing the historical, cultural, economic, and political parameters of Vietnam, several optimal treatments of groundwater for drinking water emerged as most recommended, a classification that is based on their local suitability, social acceptability, financial feasibility, and governmental support. Further research on irrigation water treatment is proposed due to the need for sustainable crop production, the safe ingestion of rice and vegetables, and the continued growth of Vietnam’s economy, which is heavily dependent on agriculture.

This thesis examines the American Military Assistance Advisory Group (MAAG) sent to French Indochina, from 1950 to 1956, when the United States provided major monetary and material aid to the French in their war against the communist Viet Minh. MAAG observed French units in the field and monitored the flow of American materiel into the region. Relying upon primary research in the National Archives, the thesis departs from previous interpretations by showing that MAAG held generally positive assessments of France‟s performance in Indochina. The thesis also argues that MAAG personnel were more interested in getting material support to the French, than in how that material was used, to the point of making unrealistic assessments of French combat abilities. By connecting primary research with the greater history of Cold War American military assistance, the thesis contributes to the scholarship on American involvement in Vietnam.

Thesis (Master of Military Studies)-Marine Corps Command and Staff College, 2008. / Title from title page of PDF document (viewed on: Dec 29, 2009). Includes bibliographical references.

Thesis (MPhil (Journalism))--University of Stellenbosch, 2009. / There are certain images of war that are horrific, frightening and at the same time, due to an outstanding compositional structure, they are fascinating and do not allow its observers to keep their distance. This thesis examines three images of war that have often been described as icons of war photography. The images “children fleeing a napalm strike” by Nick Ut, “the falling soldier” by Robert Capa and Sam Nzima’s photograph of Hector Pieterson are historical reference images that came to represent the wars and conflicts in which they were taken. It has been examined that a number of different factors have an impact on a war photograph’s awareness level and its potential to commit itself to what is referred to as collective consciousness. Such factors are the aesthetical composition and outstanding formal elements in connection with the exact moment the photograph was taken, ethical implications or the forcefulness of the event itself. As it has been examined in this thesis, the three photographs have achieved iconic status due to different circumstances and criteria and they can be described as historical reference images representing the specific wars or conflicts. In this thesis an empirical study was conducted, questioning 660 students from Spain, South Africa and Vietnam about their awareness level regarding the three selected photographs. While the awareness level of the Spanish and the South African image was rather high in the countries of origin, they did not achieve such a high international awareness level as the Vietnamese photograph by Nick Ut, which turned out to be exceptionally well-known by all students questioned. Overall, findings suggest that the three selected icons of war photography have been anchored in collective memory. Ut, Robert Capa, Sam Nzima, semiotics, Spanish Civil War, the falling soldier, Vietnam War

Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-24Bitstream added on 2014-06-13T21:00:17Z : No. of bitstreams: 1 paula_rm_me_sjrp.pdf: 2561833 bytes, checksum: 5e51329f8a6e197890cb17efd957b900 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este projeto examina as maneiras pelas quais a obra The Short-Timers (1979), de Gustav Hasford, e o filme Full Metal Jacket (1987), de Stanley Kubrick, revisitam a Guerra do Vietnã, dessacralizando a História oficial. Em seu romance The Short Timers (1979), o veterano Gustav Hasford narra a trajetória de um soldado e de seus companheiros durante o treinamento militar e o posterior combate no Vietnã. Tomando a perspectiva desse soldado, o narrador focaliza esse episódio da história dos Estados Unidos de forma diversa da tradicional; isto é, denunciando as angústias e dores vividas pelas tropas no treinamento básico e na batalha. Stanley Kubrick dirigiu a adaptação dessa narrativa para o cinema que recebeu o título de Full Metal Jacket (1987). Nela podemos notar como a guerra é revisitada de modo crítico. O cineasta apresenta as narrativas pessoais da personagem principal. Para analisar as obras literária e cinematográfica, serão utilizados textos teóricos acerca da relação entre Literatura e História (Hutcheon, 1989, 1993; White, 1985; Benjamin, 1985) e sobre Pós-Modernismo (Jameson, 1997; Hutcheon, 1989). Com base nestas teorias, propomos verificar como a Literatura e o Cinema representam a Guerra do Vietnã na contemporaneidade, mostrando diferentes pontos de vista sobre o conflito / This project investigates the ways in which Gustav Hasford’s The Short-Timers (1979) and Stanley Kubrick’s Full Metal Jacket (1987) revisit the Vietnam War rethinking official History. In his novel, The Short-Timers, the Vietnam veteran Gustav Hasford narrates the path of a soldier and his mates during military training and later combat in Vietnam. Taking this soldier’s perspective, the narrator focuses on this episode in American history differently than usual; that is, calling attention to the anguish and pains that the troops go through on training and in battle. Stanley Kubrick directed the adaptation of this work into the film Full Metal Jacket, in which can be noticed how war can be critically reevaluated. The filmmaker presents personal accounts by the main character. For the analyses, theories about the relationship between Literature and History (Hutcheon, 1989, 1993; White, 1985; Benjamin, 1985) and Post-Modernism (Jameson, 1997; Hutcheon, 1989) will be used. Based on those theories, we propose to investigate how Literature and Cinema represent the Vietnam War showing other points of view about this conflict

The purpose of this study was to provide a clear conceptualization of how Vietnam veterans who have previously been diagnosed with PTSD (Post Traumatic Stress Disorder) respond and cope with the emotional and psychological effects presented by the present war in Iraq.

The United States engagement in Vietnam began during the Second World War. With military bases established in China, the U.S. took part in fighting the Japanese troops in the Pacific theatre. When France surrendered to Nazi Germany in 1940, Japan would take over the French Indochina and the war would spread to Vietnam as well. In order to collect intelligence on Japanese targets, the Americans needed to operate secret services on the ground. After the Japanese coup de main in 1945, they would eventually partner with Ho Chi Minh and his organization Viet Minh. The Office of Strategic Services (OSS), the wartime predecessor of the CIA, provided intelligence training and equipment, while the Viet Minh would assist with valuable information on Japanese troops. To some extent, the OSS helped Ho Chi Minh and Viet Minh accede to power in Vietnam after the war.