This thesis examines the entry of women, during World War I, into industrial employment that men had previously dominated. It attempts to determine if women's wartime activities significantly changed the roles women played in industry and society. Major sources consulted include microfilm of the British Cabinet Minutes and British Cabinet Papers; Parliamentary Debates; memoirs of contemporaries like David Lloyd George, Beatrice Webb, Sylvia Pankhurst, and Monica Cosens; and contemporary newspapers. The examination begins with the early debates concerning the pressing need for labor in war industries, women's recruitment into industry, women's work and plans, the government's arrangements for demobilization, and women's roles in postwar industry. The thesis concludes that women were treated as a transient commodity by the government and the trade unions.

This thesis emerged from my emotional, tactile, and intellectual access to the actress, Yamaguchi Yoshiko (a.k.a. Ri Kōran or Li Xianglan), who embodied the cultural hybridity of Manchuria and represented a ‘modern girl’ on screen. I analyze four wartime melodrama-adventure films, in which she co-starred with Japanese actors: Song of the White Orchid (Byakuran no uta, 1939), China Nights (Shina no Yoru, 1940), Vow in the Desert (Nessa no chikai, 1940), and Suzhou Nights (Soshū no yoru, 1941). The formation of domesticity played an integral part in the making of modern nation-states. Intertexualizing with the discursive formation of the ie (house/family) between the mid 19th and mid 20th centuries, I first demonstrate that Japanese film subjects are made to embody the imagined Imperial nation through gendered performances in Song of the White Orchid. The interior and exterior are constructed to mirror the notion of imperial nation and the Asian ‘other’. Next, I extend the analytical framework to the three films, China Nights, Vow in the Desert, and Suzhou Nights, which employ films’ specific locations for different operations of gendered and ethnicized positioning. I also pay attention to some of the climaxes, which unconventionally present psychological dramas outdoors and action scenes indoors. Especially, my interest in this part of analysis is in interrelating metaphors of bodily boundary and national border. As delineating the signification of body and nation, I situate the relay of the gaze in the simultaneous blurring of bodily boundary and national communities that coincides with melodramatic highlights located outdoors. In order to shape a Japanese imperial subject, the films symbolically negotiate with three levels of power dynamics: the establishment of a national identity, the mimicry of the West, and the significance of China in Japanese imperial modernity. The delineation of cinematic space and subject positioning in Ri Kōran’s films reveals that Chinese, Japanese and the West are constituted as shifting positions that respectively represent past/obstructions, present/a mobile agency, and future/the envisioned goal. Ri Kōran attracts spectators’ gaze and mediates multiple locations to identify with, while Japanese male protagonists embody the gaze by making his corporeality absent.

This thesis emerged from my emotional, tactile, and intellectual access to the actress, Yamaguchi Yoshiko (a.k.a. Ri Kōran or Li Xianglan), who embodied the cultural hybridity of Manchuria and represented a ‘modern girl’ on screen. I analyze four wartime melodrama-adventure films, in which she co-starred with Japanese actors: Song of the White Orchid (Byakuran no uta, 1939), China Nights (Shina no Yoru, 1940), Vow in the Desert (Nessa no chikai, 1940), and Suzhou Nights (Soshū no yoru, 1941). The formation of domesticity played an integral part in the making of modern nation-states. Intertexualizing with the discursive formation of the ie (house/family) between the mid 19th and mid 20th centuries, I first demonstrate that Japanese film subjects are made to embody the imagined Imperial nation through gendered performances in Song of the White Orchid. The interior and exterior are constructed to mirror the notion of imperial nation and the Asian ‘other’. Next, I extend the analytical framework to the three films, China Nights, Vow in the Desert, and Suzhou Nights, which employ films’ specific locations for different operations of gendered and ethnicized positioning. I also pay attention to some of the climaxes, which unconventionally present psychological dramas outdoors and action scenes indoors. Especially, my interest in this part of analysis is in interrelating metaphors of bodily boundary and national border. As delineating the signification of body and nation, I situate the relay of the gaze in the simultaneous blurring of bodily boundary and national communities that coincides with melodramatic highlights located outdoors. In order to shape a Japanese imperial subject, the films symbolically negotiate with three levels of power dynamics: the establishment of a national identity, the mimicry of the West, and the significance of China in Japanese imperial modernity. The delineation of cinematic space and subject positioning in Ri Kōran’s films reveals that Chinese, Japanese and the West are constituted as shifting positions that respectively represent past/obstructions, present/a mobile agency, and future/the envisioned goal. Ri Kōran attracts spectators’ gaze and mediates multiple locations to identify with, while Japanese male protagonists embody the gaze by making his corporeality absent.

(in English): Aristocrats and war. Topic of this dissertation is the relation of nobility to the phenomenon of the war represented in this case by Czech nobility Chotek's family in the period Prussian- Austrian war in the year 1866 in our state territory. The basis for seeking of the answer were family correspondence and journals, which were created or have relation to the Prussian occupation in June and July of that particular year. According to the chosen standards documents, which are basis of adaptation of the edition, were selected. Two letters and two journals of members of the Chotek's family (Karel, Rudolf Karel and Arnošt) enriched with two public sources (Národní listy and Memorial Book of village Nové Dvory) provided ability of chronological comparison of the content of recorded events of these documents. The result of document analyses and comparison is, that counts Chotek's behavior and actions in this period showed no loyalty neither to the monarch nor patriotism but presented them as the large landowner, primarily interested in protection of their own property.

World War II affected individuals across the nation, both on the home front and on the front lines. Manti, Utah received a new industry, a parachute plant, in connection with the war. Hundreds of women from Sanpete County and neighboring counties were employed through the duration of the war in everything from sewing and inspection to supervision of production. Some of the women utilized childcare facilities, some formed a union, and many found community and familial support. For many of them, this wartime wage work provided a welcomed alternative to the work usually found in rural areas, such as farm work, housework, and café work. Women were primarily motivated to work out of patriotic duty and economic opportunity. In many wartime industries, women were in previously male-dominated occupations and lost their jobs at the conclusion of the war. In contrast, the parachute plant offered its women workers the opportunity to continue working when the plant began manufacturing clothing after the war, and the surrounding rural community was largely supportive of its working women. This study makes a case for the long-term impact of wartime work upon individual women. Work experience outside the home affected the women's estimation and definition of themselves. The war period was a crucial event in women's lives, not just an important passing stage. Oral histories allow interpretation in the context of their adult lives from a long-term perspective. By delving into community and family situations and looking at these women on an individualized basis in the long-term, this study goes deeper than surveys and makes substantive contributions to our understanding of the war's influence. The period of wartime work, when viewed in the long-term context of the women's lives, was significant especially in that women had additional economic resources at their disposal and acquired new-found confidence and skills. Women's work experiences provoked desire for future work and served as a source of confidence to them. Personal, individualized victories for women, often ignored or concealed by aggregate statistics on women's work during and immediately following the war, were a reality for women in Manti and likely elsewhere in America.

No description available.

No description available.

This work covering the period 1795 to 1948 has four main features. It firstly examines the role of international and domestic factors in determining regional interaction and cooperation between South Africa and Chile. Secondly, it documents the whims of the international community, and more particularly the world powers which was a motivating factor in Chilean and South African politics, economy, society and their bilateral relations. Thirdly it covers the period when Britain rose to world power status. Eventually, this gave way to her displacement by Germany and then ultimately the United States. This study's fourth feature is that it marks the first documented account of direct contact between the inhabitants at the Cape of Good Hope and Latin America. The period ends with a cornerstone in the history of South African-Chilean bilateral relations when direct diplomatic and consular relations were established by both South Africa and Chile in May 1948. / M.A. (History)

本文探討1940年代地方文學書寫，藉由台灣與朝鮮對照呈現當時地方書寫產生的特殊背景：不同立場對地方書寫的期待、作家1940年代書寫時如何表現。藉上述的角度，試圖呈現殖民地地方書寫的意義。 殖民地文學中，捕捉在地特色、獨有風物的題材向來備受關注。1940年代更受日本帝國面臨發展困境，走向動員戰爭之路策略影響。使得文藝因應總力戰策動各層面投入戰爭，而背負增進帝國認同的任務。「新體制」與「大政翼贊會」的推行與成立，顯示當時精神統制擴大、也反映東亞協同、對抗西方文明的框架，將殖民地作為帝國外緣／前線的策略。地方特色的突顯與應用即受到這些政策與思維籠罩。 此時，殖民地文藝創作環境面對權力集中一元化，不僅創作語言受限、言論出版高壓管制；官方更積極介入文藝團體、舉辦獎項，加強國策宣傳。文藝創作空間、資源侷限下，新體制與大政翼贊會為殖民地文化界帶來發揮的機會。在地方書寫蘊含國民認同基礎、傳統根源等元素，既呼應政策對於國民文化，殖民地文化人亦可爭取活動機會。這一類書寫，最初以地方色、鄉土色展現地方特殊性的書寫為普遍認同，後隨戰爭國策要求提高，強調服膺日本精神、支援戰爭的內容。 殖民地這一波的地方書寫當中，題材、作品氛圍、敘事型態皆與以往略有不同。題材上，應和國策創作增加、探索傳統價值與批判西方、塑造道德模範反省文化的進程。作品氛圍與敘事型態上，揮去不見希望的氛圍，轉為明朗、健康、動人，更以人物或藉由回歸自然、致力生產、甚至參與戰爭找到生命的意義與希望。 本文即選取兩組作家作品為代表。呂赫若、俞鎮午運用風俗習慣、傳統禮節，表現殖民地特殊風貌，並以倫理、全體性角度肯定傳統價值。張文環、金史良以鄉土為基底，在堅毅樸實的生活中獲得力量。他們在地方書寫框架中，迴避國策密切相關的題材，書寫熟悉事物表現地方特殊性，運用風俗習慣、神話傳說、禮儀、信仰等表現殖民地的人文風景，並一改先前啟蒙的批判角度。這些書寫策略具有保存殖民地文化甚而是民族精神的可能，卻也在時空限制下與戰爭動員的政策意識有所呼應。在兩地的同中有異的書寫成果裡，也見證地方書寫的政治策略、多種意涵，在殖民地的空間裡延伸出更多迂迴與曖昧。 / This article tries to analyze local literature in Taiwan and Chosen, Japan’s colonies in 1940’s. First of all, by analyzing the form of mobilization under the Total War System in 1940, it shows the influence on Japan’s military operation and manipulation. On one hand, the authority made use of centralized management on politics; on the other hand, ideas such as Overcoming Modernity and East Asia Alliance Leader were offered to let people acknowledge the war and sacrifice for it. Through these concepts, the authority reached to the notion which based on the native for people to possess. Secondly, after the foundation of Konoe shintaisei(新體制) and Taisei Yokusankai(大政翼贊會), literature was asked to proclaim the war more strategically. At that time, under the limitation of the amount of paper, local literature in colonies was requested to write in Japanese and scrutinized by the government. In addition, the authority even established literature and art organizations and set up literary prizes to advertise the war. In this way, local literature not only answered the policy but also gave the chance of displaying colonial features to those authors. In the beginning, both the authority and most of the writers accepted the method of using local color to exhibit the colony, however, this method was applied to announce the Japanese spirit and support the war little by little. Under this circumstance, colonies changed the way of literary expression. There were more subjects which conformed the national policy, explored the value of tradition, and criticized the Western to reflect the advancement of culture and then create moral standards. It was the atmosphere of the literature that turned to be bright and cheerful. Moreover, narrative patterns were performed on the characters, such as returning to nature, devoting to production, finding meanings and hopes by participating in the war. This article represents local literature in colonies in 1940 by taking examples of two groups of writers. One of the groups ,which is represented by Lü He-ruo (呂赫若) and You Jin-Oh (유진오), utilized traditional customs and manners as distinguishing features in colony. Furthermore, from the viewpoint of ethic and totalitarianism, they tried to approve the value of tradition. Yet, on the other hand, Chang wen-Huan(張文環) and Kim Saryan(김사량) gained power from difficulty and arduousness in life through the background of rural places. Both of them avoided responding to the national policy in this kind of writing pattern. As previously stated, these writers portrayed what they were familiar with to show the feature in local places. Ranging from customs, practices, folklore, manners to religions were what the writers employed to illustrate the cultural characteristics in colonies. Besides, the viewpoint changed from the criticism of enlightenment. These kinds of writing devices with the hope of preserving local culture and even national integrity. However, it was the restriction on politics and the times made literary works echo with the authority’s ideology at the same time. In the view of Compare Taiwan with Chosen, difference in literary works were testified to show the various meanings from colonial strategies in politics and writers characters in the meantime.

Extensive sources have been reviewed and analysed to piece together for the first time a detailed academic study of civilian evacuation to Devon viewed against the national backdrop. The primary focus of this thesis is the large number of unaccompanied children who were officially evacuated to the County under the auspices of the Government Evacuation Scheme during the Second World War. However, Chapter Six discusses the evacuation of mothers and accompanying children, unofficial (private) evacuees and private school parties. The majority of evacuated children arriving in Devon originated from the London area and southeastern counties. In addition large numbers of children were also evacuated to the County from Bristol and within the County from Plymouth (Devon) during 1941 and briefly from Exeter in May 1942. Each of the three national evacuation waves is considered individually throughout the text as they are quite distinct in complexion, a fact frequently ignored in generalised accounts which tend to focus on reaction to the initial wave. This thesis argues that: 1. lack of regional and local research has resulted in evacuation largely being viewed in generalised and stereotypical terms without due regard for the socioeconomic and geopolitical variance between those areas involved or the particular localised features of the evacuation process 2. the acclimatisation of evacuated children was particularly successful in Devon and drift back less than the national average 3. local evidence supports the argument that contemporary national reports of impoverished, dirty and ill mannered evacuees were frequently exaggerated 4. evacuation was central in accelerating postwar reform in areas of education, child care and welfare The civilian evacuation during World War Two was a remarkable event in the history of modern Britain. Interest in the subject has recently increased but there is enormous scope and need for further research both to broaden our understanding of the nature and impact of evacuation and to test entrenched views. The over-arching aim of this thesis is to contribute to this exploration.