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Crossland, R. Bert (Rodney Bert). "A Content Analysis of Children's Historical Fiction Written about World War II." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279151/.
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The purpose of this study was to investigate the evolution of children's historical fiction dealing with World War II in order to describe the changes that have occurred over the past 50 years. Two questions were asked in the study: (1) Has the characterization of protagonists portrayed in historical fiction about World War H evolved since 1943? and (2) Have the accounts of the events of World War H portrayed in historical fiction evolved since 1943? Content analysis was used as the method of collecting data. The sample consisted of 86 novels written from 1943 to 1993. Upon completing the reading and coding, the researcher discussed the categories and questions posed. As part of analysis, the discussion of the novels in each period was accompanied with an overview of trends in children's literature and events affecting society. The analysis led to the following conclusions: 1. Authors were impacted by changes in the social and political climate, as evidenced by the changes in the gender of the protagonists, an increase of violence, and the inclusion of women. 2. Novels written during the 1980s and 1990s were written with a stronger American perspective. 3. At the time that an increase of violence was seen in American society, descriptions of World War II events and protagonists' actions became more violent and more graphic. 4. Though the bombings of Hiroshima and Nagasaki ended the war with Japan, an inadequacy still exists in the number of novels that provide readers with details related to the atomic bombs. Though much of World War II was fought in the Pacific Rim, a deficiency remains in the number of novels set in Pacific Rim countries. Recommendations for further research include performing a study that examines other genres, analyzing the changes observed in the portrayal of protagonists. A study could be conducted to analyze the author's ethnicity and relationship to the war and determine if differences exist.
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Deon, Jane. "The Lines We Crossed." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1150.
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THE LINES WE CROSSED is a historical novel set in Umbria, Italy from 1943-1944. One October morning, Emilia Testadura awakes to find the Nazis have arrived in her village. Major Christoph Strauss presses Emilia into service as housekeeper for the soldiers who now occupy an abandoned palazzo in the village. As the stakes and complications rise in the war throughout winter and spring, so they do for Emilia. Brutal reinforcements arrive and conditions become very dangerous. Emilia realizes she is falling in love with Major Strauss. She learns secrets that change her view of her deceased father and herself. That knowledge leads her to take action which reveals Major Strauss’s true colors before he is sent south to engage the Allies. Once the Allies take Emilia’s village from the Nazis, Emilia makes a final discovery and a decision that leads her south, too, towards a future she had never imagined.
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Piep, Karsten H. "Embattled Homefronts: Politics and Representation in American World War I Novels." Miami University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=miami1109634736.
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Piep, Karsten H. "Embattled homefronts politics and representation in American World War I novels /." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1109634736.
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Klaebe, Helen Grace. "Creative work: Onward bound: The first fifty years of Outward Bound Australia and Exegesis written component: Creatively writing historical non fiction." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/16296/1/Helen_Klaebe_Thesis.pdf.
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Onward Bound: -- the first 50 years of Outward Bound Australia traces the founding and development of this unique, Australian, non-profit, non-government organisation from its earnest beginnings to its formidable position today where it attracts some 5,000 participants a year to its courses.
The project included interviewing hundreds of people and scouring archives and public records to piece together a picture of how and why Outward Bound Australia (OBA) developed -- recording its challenges and achievements along the way.
A mediated oral history approach was used among past and present OBA founders, staff and participants, to gather stories about their history. This use of oral history (in a historical book) was a way of cementing the known recorded facts and adding colour to the formal historical outline, while also giving credence to the text through the use of 'real' people's stories.
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Klaebe, Helen Grace. "Creative work: Onward bound: The first fifty years of Outward Bound Australia and Exegesis written component: Creatively writing historical non fiction." Queensland University of Technology, 2004. http://eprints.qut.edu.au/16296/.
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Onward Bound: -- the first 50 years of Outward Bound Australia traces the founding and development of this unique, Australian, non-profit, non-government organisation from its earnest beginnings to its formidable position today where it attracts some 5,000 participants a year to its courses.
The project included interviewing hundreds of people and scouring archives and public records to piece together a picture of how and why Outward Bound Australia (OBA) developed -- recording its challenges and achievements along the way.
A mediated oral history approach was used among past and present OBA founders, staff and participants, to gather stories about their history. This use of oral history (in a historical book) was a way of cementing the known recorded facts and adding colour to the formal historical outline, while also giving credence to the text through the use of 'real' people's stories.
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Crabb, Dawn Nora. "Navigating the Wreck: Writing women’s experience of the Japanese Occupation of Singapore. Salvaged from the Wreck: A novel -and- Diving into the Wreck: A critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2416.
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This thesis is in two parts. The first and major part consists of a historical novel followed, in part two, by an essay. The title of this thesis, “Navigating the Wreck”, refers metaphorically to the Fall of Singapore in 1942, the ensuing human tragedy unleashed on the people of Singapore and Malaya, and the literary and historical processes of exploring, interpreting and depicting the past. The Japanese occupation of Singapore has, to date, been described mostly by Western historians and former prisoners of war who have forged a predominant patriarchal narrative. In that narrative—despite the all-encompassing nature of the occupation and the cataclysmic effect it had on civilians—women are virtually invisible.
The objective of this thesis is to privilege women’s experiences by ethically gathering, analysing and re-imagining the accounts of a group of women of different ethnic and cultural backgrounds—Chinese, Indian, Malay, Eurasian—who lived through the occupation, using historical fiction to engage as broad a readership as possible. As well as literary praxis, research centres on analysis of relevant literature, including eight ethnically diverse published female memoirs and eleven women’s oral histories held by the National Archive of Singapore.
The essay discusses the artefact-centred, pragmatic and self-reflexive bricolage approach of this thesis, its feminist and phenomenological framework and my ethical responsibility and outsider authorial position as a white Australian woman reliant on local witness accounts. Feminist concerns addressed in the thesis are invisibility, plurality and intersectionality and I adopt a critical feminist phenomenology based on five aspects of Simone de Beauvoir’s The Second Sex to discuss the aims and the research and writing processes of the thesis.
Working within that framework, I summarised and categorised female oral interview data from audio and written transcripts enabling comparison of each woman’s individual experience of the war and the effects that the occupation had on each woman’s life situation, revealing a diverse set of experiences, some of which influenced my literary choices. By immersing myself in the particular remembered experiences of each of the female interviewees and considering their stories against the tapestry of my own extensive lived experience of the physical, cultural and social world of Singapore, as well as an in-depth investigation of other historical data and male and female written memoirs, I identified gaps and silences that needed to be addressed. These include the strategic household, wage earning, food-supplying and charitable role that women played in the dangerous and difficult situation of the occupation as well as the ignored or marginalised active participation of women in Singapore’s pre-war anti-colonial communist movements, support for and armed participation in anti-Japanese activities in China as well as the jungle-based guerrilla militias in Malaya, and the urban anti-Japanese underground in Singapore.
The essay weaves the creative thinking and practical processes of researching and writing the novel through discussion of practice, literature, theory, methodology and craft, retrieving and exposing what is usually submerged in the creative process to indicate a matrix of production.
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Patterson, Celia Ann. "On the edge of the war zone American women's fiction and World War I /." Access abstract and link to full text, 1990. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/9022958.
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Walton, Sarah-Jane. "Remembering and Recollecting World War Two: South African Perspectives." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/13025.
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Includes bibliographical references.<br>This thesis explores some of the memories and recollections of World War Two in South Africa today. It aims to address an absence of work done on South Africa in relation to World War Two, memory and commemoration. This thesis is as much about the diverse processes of remembrance and recollection as it is about the war itself and assumes that memories of the war can be located in different media. Accordingly the chapters herein are each delegated a media form, from newspapers, literature, memorials, film and photography to oral interviews, in which ‘memories’ of the war are located. The arrangement of the chapters mimics the history of the war’s remembrance in South Africa as it moved from public to private remembrance. This follows the historical context of South Africa from the war period until approximately mid-2013. The white Anglophone experience is given prominence in approaching the subject of commemoration and World War Two in Cape Town. This is motivated by Vivian Bickford- Smith and John Lambert, both of whom recognise it as South Africa’s ‘forgotten identity.’1 Nevertheless other non-white memories of the war are also discussed as important to understanding South Africa’s relationship to it. In particular, the sons and daughters of the Cape Corps briefly feature in this thesis in recognition of a greater Anglophone identity that is not necessarily bound by race. Black recruits are also touched upon as an oft-forgotten group involved in the war. Accordingly this thesis emphasizes that although some experiences and memories were shaped by race, there were others that transcended it. Lastly the different media forms discussed within this thesis are suggestive of technology’s advances and its impact on the way memories are stored and retrieved. Ultimately, despite the fact that the war has fallen out of public remembrance in Cape Town today, this thesis concludes that it remains important to a few groups and individuals for whom it continues to inform a sense of history and identity.
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Tate, Trudi. "Modernist fiction and the First World War : subjectivity, gender, trauma." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296653.
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Nicholas, Soraya Mae. "Sailing Wives." Thesis, University of Canterbury. English, 2010. http://hdl.handle.net/10092/4926.
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A novel depicting the very different lives of four war brides, sailing from London to New York to meet their husbands at the end of World War II. The four main characters become firm friends on their journey to the United States of America, however their lives as married women in their new country could not be more different.
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Thalassis, Alexandra. "Incarnations of Greekness in the Greek novel of World War II." Thesis, King's College London (University of London), 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288896.
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Mahoney, Cathy. "A historical sensibility : television, postfeminism and the Second World War." Thesis, Northumbria University, 2017. http://nrl.northumbria.ac.uk/35041/.
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Postfeminism is not an ideological position or coherent theoretical framework that can be applied externally to the analysis of texts. Indeed popular postfeminism – as distinguished in this thesis from academic postfeminism – is knowable only through its workings in culture, specifically in the representation of gender in “postfeminist” media texts. Therefore, this thesis does not adopt a postfeminist position or approach to analyse the source texts, but rather seeks to identify and deconstruct a postfeminist sensibility within them. This sensibility became apparent in 1990s depictions of characters such as Bridget Jones (Renée Zellweger) and Ally McBeal (Calista Flockhart); however, it prevails in texts created in the current moment and inflects their representation of women. This thesis seeks to identify the themes and characteristics of this sensibility at the site of their creation – media texts representing women – expose the reasons why they are problematic, and show that the same traits exist in the texts considered here. In so doing it seeks to demonstrate that postfeminist ideals are still informing representations of women in the media. Furthermore, it seeks to demonstrate that this postfeminist sensibility, despite being a product of 1990s postfeminism and the current post/post-post-feminist moment, inflects representations of women from different time-periods, specifically from the Second World War and immediate post-war period. Because of the media’s (and specifically television’s) central role in the formation of cultural memory, this creates a lens through which women’s history and women’s historical identities are viewed in the present day. This postfeminist lens, or sensibility (Gill 2007), is thereby dehistoricised as an aspect of essential femininity. In this way the politics of the present are cast onto the past. Through this process, the events of the past are drained of any independent meaning and repurposed/redeployed to meet the needs of the present. The centrality and ubiquity of such postfeminist visions of the past is such that postfeminist discourse has become a central component of what this thesis terms, the Historical Sensibility which informs and structures historical drama on television.
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Ormes, Sara. "A Masterable Past? Swiss Historical Memory of World War II." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/honors_theses/4.
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After World War II, every country that had been touched by or involved in the war had to come to terms with its past. In the case of Switzerland, the Swiss government, the army and some of the country’s leadership established a strong official historical memory of the war, portraying Switzerland as a neutral, benevolent and well-fortified country that remained innocent and untouched by the war.
From the 1960s onwards, Swiss artists and intellectuals challenged these myths by presenting alternative views of the Swiss past in their work. Beginning in the 1970s, Swiss historians published an increasing amount of scholarly research concerning Switzerland’s World War II past, and challenging the official historical memory promoted by the government.
In the 1990s, after the discovery of thousands of dormant Swiss bank accounts containing Holocaust assets, Switzerland was forced to adopt a more realistic memory of its involvement in World War II. An Independent Commission of Experts, established by the Swiss government, conducted thorough research about Switzerland’s wartime involvement and published its Final Report in 2002.
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Clay, Kevin M. "Asleep in the Arms of God." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2253/.
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A work of creative fiction in the form of a short novel, Asleep in the Arms of God is a limited-omniscient and omniscient narrative describing the experiences of a man named Wafer Roberts, born in Jack County, Texas, in 1900. The novel spans the years from 1900 to 1925, and moves from the Keechi Valley of North Texas, to Fort Worth and then France during World War One, and back again to the Keechi Valley. The dissertation opens with a preface, which examines the form of the novel, and regional and other aspects of this particular work, especially as they relate to the postmodern concern with fragmentation and conditional identity. Wafer confronts in the novel aspects of his own questionable history, which echo the larger concern with exploitative practices including racism, patriarchy, overplanting and overgrazing, and pollution, which contribute to and climax in the postmodern fragmentation. The novel attempts to make a critique of the exploitative rage of Western civilization.
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Cave, David P. "The treatment of World War Two in English fiction 1940-1990." Thesis, Aberystwyth University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310275.
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Iannone, Pasquale. "Childhood and the Second World War in the European fiction film." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5654.
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The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of the Night (1964) and Elem Klimov’s Come and See (1985). Spanning forty years, I will examine how these films, whilst sharing many thematic and formal concerns, are unquestionably diverse. They are products of specific socio-cultural milieux, but are also important works in the evolution of cinematic style in art cinema. The films can be aligned to various trends such as neorealism (Paisan, Germany Year Zero), Modernism (Ivan’s Childhood, Diamonds of the Night) and Neo-expressionism (Come and See). Structured in four parts – on witness, landscape, loss and play – I will suggest that just filmmakers utilise childhood experience – often fragmented and chaotic in terms of temporality - to reflect the chaos of war. The first part of my study focuses on the child as witness, the child as Deleuzian seer. I draw on the writings of Gilles Deleuze as well as post-Deleuzian interventions of Tyrus Miller and Jaimey Fisher to argue that whilst Deleuze’s characterization of the child figure as passive is somewhat problematic when applied to the neorealist works, it can, however, be more rigorously applied to Come and See, a film in which, I suggest, the child embodies a much purer form of the Deleuzian seer. In the second part of my study, drawing on the work of Martin Lefebvre and Sandro Bernardi amongst others, I discuss the representation of landscape and its relation to the figure of the child. The third part will examine the representation of loss as well as the symbolic quality of water and its links to the maternal with reference to psychoanalytic theory and the poetry of Rabindranath Tagore. The fourth and final part also draws on psychoanalysis in examining the role of play in the six films with particular reference to the work of D.W Winnicott and Lenore Terr. My study seeks to contribute to the comparatively under-explored subject of the child in film through close analysis of film aesthetics including mise-en-scène, editing, and film sound.
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Hooley, Tristram. "Visions of a new Jerusalem : predictive fiction in the Second World War." Thesis, University of Leicester, 2002. http://hdl.handle.net/2381/853.
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The Second World War has become central to British political culture. Narratives about the Blitz and the “New Jerusalem” sought by the 1945 Labour administration are frequently evoked to justify and contextualise contemporary political action. Increasingly, however, the nature of these narratives has been called into question by historians of the period. This thesis contextualises the imaginative fictions of the Second World War within relevant political and historiographical traditions. Focusing on fictions that imagined future or alternative societies, it is argued that there were a number of hidden discourses that called into question values that are assumed to have been dominant. The thesis goes on to examine the implications of these alternative discourses for both the historiography and literature of the period. A number of linked genres are identified that deal with possible futures or alternatives to British society. Fears about impending catastrophe and invasion are examined alongside imaginative presentations of fascist and communist societies. Finally the dystopian and utopian fiction of the period is examined and compared with non-literary fears and hopes about the post-war world. Through close engagement with the culture of the Second World War this study asks fundamental questions about the relationship between past, present and future. Examining how politics and culture interact, it aims to contribute to rethinking the way in which literature is studied and to argue for a reassessment of the historiography of the Second World War.
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Stern-Peltz, Marie Cecilie Hoxbro. "Coming of age : the First World War in British fiction, 1989-2014." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4130.
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This thesis breaks with conventional distinctions between British adult and young adult fiction to offer a comparative study of 'coming of age' in the historical novel since the late 1980s. 1989 marks the 75th anniversary of the outbreak of the First World War and the symbolic end of the Cold War. It inaugurates a period of reflection in Britain on the relationship between the past and the future that centres on tropes of childhood, adolescence, adulthood and personal growth. Drawing on Erik Erikson's theory of 'identity crisis', I bundle these manifold tropes together under the heading 'coming of age' in order to focus on these identities as transitional states of becoming rather than being. My thesis is split into four chapters, each focusing on a specific aspect of coming of age. In Chapter 1, I define the nineties' shift, arguing that Pat Barker's Regeneration Trilogy (1991-5) and Sebastian Faulks' Birdsong (1993) explore coming of age and the war in relation to a growing concern over the stability of adulthood and the past. In Chapter 2, I demonstrate that young adult fiction takes up the themes discussed in the previous chapter, but presents it more explicitly in terms of the transition from adolescent to adult. Michael Morpurgo's Private Peaceful (2002) and Linda Newbery's The Shell House (2003) in different ways engage with the teenage reader negotiating the present through reading about the First World War. Chapter 3 sustains this focus on young adult fiction, moving onto a discussion of coming of age in national contexts. Drawing on the work of Bryan Turner and others, I argue that Linda Newbery's Some Other War (1990), Theresa Breslin's Remembrance (2002) and Marcus Sedgwick's The Foreshadowing (2005) use the First World War to explore new ideas of citizenship in the context of gender and participation. Chapter 4 looks at adult novels which reflect on the First World War in relation to contemporary protagonists. Drawing on Svetlana Boym's theory of nostalgia, I argue that Pat Barker's Another World (1998) and Alan Hollinghurst's The Stranger's Child (2011) question whether it is desirable to reconstruct past models of masculinity and family. This thesis offers a new framework for thinking about the place of the First World War in contemporary British culture, in relation to shifting cultural constructions of adulthood, adolescence and British identity in the nineties and beyond.
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Arnold, Abigail. "Memento Mori and Other Stories." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2293.
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Abreu, Denise Borille de. "No woman's land?: women's writings and historical representation in World War I." Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/ECAP-7LQENE.
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A participação das mulheres em guerras, direta e indiretamente, tem sido objeto de estudo de narrativas de guerra desde a Antigüidade Clássica. A presente pesquisa busca analisar o papel significativo das mulheres na construção da memória cultural, e a evolução das representações femininas, desde a instância do mito, de Homero até o início do século XX, quando a Primeira Guerra foi declarada, para a presumida condição de 'vítimas silenciosas' para chegar, enfim, à situação de membros proativos de uma sociedade igualitária. Esta dissertação aponta, mais especificamente, para como as narrativas femininas da Primeira Guerra abordam o trauma da guerra, que afetou em igual escala mulheres, homens e crianças e como a Primeira Guerra Mundial abriu terreno para a reconfiguração de papéis sociais femininos.
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Riccardelli, Charlie Frank. "The Hoboken War Bride: A Novel." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248470/.
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The Hoboken War Bride is a work of historical fiction set in Hoboken, New Jersey during World War II. A young soldier named Daniel and an aspiring actress named Hildy marry days after meeting, though the marriage is doomed to fail. This young couple is not compatible. Daniel ships out to basic training the day after their hasty marriage, leaving Hildy behind with his family, the Anellos, who she quickly becomes attached to. Hildy is exposed to family in a way she had never lived with her own, embracing them even though she doubts she'll ever have a future with Daniel. When Daniel returns after the end of the war, the young couple try to make their marriage work, but it fails almost immediately. Both Hildy and Daniel struggle to pick themselves up after their divorce, finding themselves making choices they never thought they would when they were younger.
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Langlois, Suzanne 1954. "La résistance dans le cinéma français de fiction (1944-1994) /." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42073.
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The subject of this doctoral dissertation is a thematic study of the representation of the Resistance in French fiction films since 1944. This work encompasses the larger fields of history and memory of the Resistance and the Second World War. It is a cinematographic historiography which explores 50 years of film production about the French Resistance. It analyzes the historical choices put forward by film, the censorship which had to be overcome, as well as the sources it used. It also examines how film contributes to the formation of historical consciousness. These developments are compared with the written history of the Resistance. The sources for this work include both visual and written materials: films, preliminary documents, censorship files, and film criticism. Nine interviews provide an additional aspect to this corpus. The parallel drawn between the historiography of the Resistance and the films allowed for a better understanding of the fluctuating relationship between film and historical studies. Also, the examination of this filmography from the perspective of women resisters permitted filmic analysis to move beyond the traditional and politically oriented evaluations of films based on Gaullist or communist memory.
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Thurstance, Angela Joan. "Looking beyond the trenches : the First World War home front in contemporary fiction." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37460.
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This thesis explores how contemporary fiction provides new perspectives on the First World War by engaging with narratives which unfold on the Home Front and considering the ways in which they contribute to debates on the representation of conflict and trauma. In this study I will show how contemporary conflict and its impact on society are negotiated through interpretations and re-imaginings of the First World War since, despite their historical settings, these novels are underscored by contemporary preoccupations and reflect current issues and concerns. I will show how contemporary authors engage in debates about the role of literature in representing war. Across the literary spectrum, from the popular to the more literary, they use intertextuality and different genres to build on earlier literature to insert themselves into ongoing dialogues about the war. Through an appreciation of their position within a wider literary tradition they consider the power of literature, and more broadly that of language and the written word, to influence and inform and thus self-reflexively critique their own role in attempting to convey historical events and their protagonists’ experiences of them By turning to the Home Front, the thirteen novels included in this study draw on aspects of the war not usually foregrounded in its earlier representations. They show the impact of the First World War on those previously considered more peripheral or outside the main war effort, such as family members and conscientious objectors. In doing so they show how the experiences of contemporary society facilitate a re-evaluation of how war is remembered and represented. I will show how contemporary authors scrutinize the ways in which conflict can, and cannot, be adequately represented and thus challenge the possibility for any one version of history, or form of representation, to effectively convey the experience of war.
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Malvestio, Marco. "The conflict revisited: representing the second world war in twenty-first century fiction." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3427295.
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The thesis seeks to illuminate the post-postmodern poetics of contemporary global literature about World War II. Whereas twentieth-century novels concerned with the representation of the Second World War tend toward postmodern playfulness and deconstructivism, contemporary literatures about the Second World War, I argue, pay renewed attention to reality. Through textual examples, I convey how authors reprise the techniques of modern and classical genres in tandem with postmodern traits in order to realise the Second World War as an historical event as well as a discursive subject and a plot device through which to explore the intersections of human history and violence. This thesis considers in detail works by Chilean author, Roberto Bolaño; French author, Jonathan Littell; American author, William T. Vollmann; and Australian author, Richard Flanagan. It also makes comparisons between their approaches to representing World War II and those of other writers such as Philip Roth, Laurent Binet, Giorgio Falco, Martin Amis, Andrea Levy, Sarah Waters, Ian McEwan, and others. The breadth of authors analysed is intended to convey the extent to which contemporary representations of World War II converge around a postpostmodern return of the real, and therefore testify to the evolution of post-postmodern poetics as an international phenomenon and the form of the global novel.
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Francis, William. "A historical analysis of the Salvation Army Doughnut Girls in World War I." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Snavely, Christopher B. "Historical perspectives on developing and maintaining homefront morale for the War on Terrorism." Thesis, Monterey, Calif. : Naval Postgraduate School, 2002. http://library.nps.navy.mil/uhtbin/hyperion-image/02Jun%5FSnavely.pdf.
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Tector, Amy. "Wounded warriors: representations of disabled soldiers in Canadian fiction of the First World War." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210335.
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McMaster, Iain George. "Inside men : confession, masculinity, and form in American fiction since the Second World War." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33211.
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This thesis examines the use of form and spatial language in confessional fiction by men to elucidate how they conceptualise and negotiate material, corporeal, and psychological boundaries amidst the shifting social and political landscape of the United States since the Second World War. In light of increasingly urgent calls to address gender and racial discrimination in the United States, this study offers timely insight into an identity that, while culturally dominant, often escapes examination: white, heterosexual masculinity. Focusing on the representation of forms and spatial imagery, the chapters explore how five formally experimental novelists-Vladimir Nabokov, Joseph McElroy, Harry Mathews, William H. Gass, and Peter Dimock- employ the confessional genre to illustrate the way men perceive themselves as spatially and temporally circumscribed, and to look at the way they reinforce or transgress the boundaries of masculine identity. The post-war period in the United States witnessed a proliferation of confessional writing that coincided with the popularisation of Freudian psychoanalysis, the cold war rhetoric of suspicion, and the rise of second-wave feminism. As a result, the concept of the self increasingly becomes a repository for fantasies of potential discovery and hidden danger that rely, significantly, on metaphors of surface and depth. It is within, and often against, this cultural preoccupation with the self that these writers address, both directly and indirectly, the status of white masculinity. Drawing on innovative theories of forms and spatiality, this study examines the diverse language and imagery men use to describe their sense of selfhood as well as the bonds they form with others. The works considered in this study demonstrate a common preoccupation with the boundaries that separate interior from exterior and private from public. In response to pressures both intimate and impersonal, the narrators of the texts discussed in this thesis turn to confessional practices of written self-examination to locate themselves within networks of fluctuating relations and obligations. The question that this thesis seeks to resolve is whether the forms and spatial language the narrators employ enable or obstruct their efforts to negotiate the competing demands of ethical responsibilities to others and the desire to preserve a stable sense of self.
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Jozwikowska, Wanda. "Polish-Jewish fiction before the Second World War : a testing ground for polysystem theory." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/62308/.
Full textAbstract:
In this thesis, I intend to show that it is possible to offer a partial explanation for the fact that pre-war Polish-Jewish fiction has been recognised only to a very limited extent in Britain. In doing this, I embrace the limitations and unaddressed areas of polysystem theory, an approach that leads to several contributions to this theory so that it is more suited to look at marginal translations. In this study, the source context and the largely hypothetical target context (given the predominant lack of English translations) of pre-war Polish-Jewish fiction are conceptualised as systems informed by a variety of factors. I begin by introducing polysystem theory in Chapter 1, where I also explain the rationale for its use in this study. I also briefly define pre-war Polish-Jewish fiction and elaborate on the nature of its visibility in Britain. I then go on to consider, in Chapter 2, the origins and the characteristics of the literature in question in search of factors that inform the current status of this literature in Britain. In Chapter 3, I focus on specific aspects of British culture and history to identify factors embedded in the target context that inform the current limited recognition of pre-war Polish-Jewish fiction in Britain. In Chapters 4 and 5, I turn to the texts of the few English translations of Polish-Jewish works of fiction; and consider the dynamics of their publishing processes respectively. Finally, the conclusions I draw in final Chapter 6 are that polysystem theory can be applied to account for the limited attention paid to pre-war Polish-Jewish fiction as a whole in Britain; and, possibly, to account for other largely unacknowledged literary works in other contexts. Moreover, drawing on the results of this study, I suggest ways in which the current status of the literature I am concerned with can be changed in future. My main contribution is that of the new concept of a systemic gap, which in this study represents largely untranslated writing in British literature, and which has enabled me to address the question of the limited reception of Polish-Jewish fiction in Britain. In the light of these findings, I argue that it is useful to look at untranslated texts and largely unrecognised translations because such research can offer new insights into the practice and the theory of translation.
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Serraf, Lola. "Writing the ‘People’s War’. Evaluating the myth of the blitz in british women’s fiction of the second World War." Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664058.
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En la memoria popular de los británicos, el Blitz se recuerda como un periodo de la guerra durante el cual la moral de los civiles se mantuvo alta, las producciones del país se vieron poco afectadas por los bombardeos y la voluntad de vencer a los Nazis permaneció más fuerte que nunca en una sociedad fraternal, sin jerarquía social. La «guerra del pueblo» convirtió a los civiles en héroes extraordinarios en su rutina ordinaria, mientras ese nuevo tipo de «guerra total» se libraba tanto en las primeras líneas como en el «frente interno».
Sin embargo, desde fines de los años 1980, varios historiadores han empezado a cuestionar esa versión idealizada del coraje invencible del pueblo británico. En The Myth of the Blitz, Angus Calder escribe que la imagen de una nación unida en la adversidad y resistiendo las dificultades fue casi exclusivamente construida por la propaganda política de los años 1940. Considera necesario cuestionar la memoria colectiva del evento del Blitz, explicando que se ha ignorado lo aterrador y confuso que fueron los bombardeos (1991, p. 18).
Esta tesis sale del capítulo «Formulations of Feeling» en el libro de Calder, en el cual se le da poco crédito a la capacidad de los escritores de la segunda guerra mundial de ver más allá de la propaganda del gobierno británico. El historiador sugiere que la literatura del conflicto ofrece poco material para entender cómo fue realmente la experiencia individual durante los bombardeos, ya que pocos autores trabajan fuera del paradigma del «Mito» (1991, pp. 143-144).
Aunque sea verdad que la literatura fue reclutada dentro del esfuerzo de guerra por un gobierno que la recogía como un principio democrático (Hartley, 1997, pp. 6-7), me parecen reductivos e incompletos los argumentos de Angus Calder y Mark Rawlinson según los cuales los escritos de la guerra eran fuertemente determinados por su relación con los discursos oficiales de las autoridades británicas (Rawlinson, 2000, p. 205). Sostengo que es imprudente considerar que autores de la guerra no podían reflexionar críticamente sobre la sociedad y solamente crearon obras que participaban en la defensa de los objetivos del gobierno.
Esta tesis es entonces uno de los primeros trabajos de recerca que se basa en el marco teórico del «Mito del Blitz» de Angus Calder para analizar obras poco conocidas, escritas por mujeres en los años 1940. En su análisis, Calder deconstruye el ‘mito’ confrontándolo con datos históricos. En este trabajo, sigo la misma metodología, comparando aspectos específicos de la retórica de la «guerra del pueblo» con la producción literaria de escritoras. He destacado tres aspectos principios del estudio de Calder que considero cruciales en su definición del «Blitz spirit»: las «clases socioeconómicas», el «patriotismo» y, más abstracto, la «representación del cuerpo herido». Reflexiono sobre esos temas en los tres capítulos de ese trabajo, centrándome en tres textos diferentes en cada uno de ellos.
A través del análisis de los nueve textos elegidos, mi objetivo es echar luz sobre autoras olvidadas que produjeron obras que nos presentan una visión de la guerra que contesta, y hasta cuestiona, el contexto de propaganda política en el cual fueron escritas. Mi propósito principal es ayudar a colocar escritoras femeninas en una categoría de autores de la guerra talentosos y reconocidos, destacando su capacidad de mantener su individualidad y su habilidad de criticar y opinar, incluso estando rodeadas por la convincente y efectiva propaganda de Churchill.<br>In popular memory, civilians’ morale during the Blitz remained high, war production was little affected by the bombings and the will to fight the Nazis was stronger than ever in a classless, fraternal society. The ‘People’s War’ turned civilians into extraordinary heroes in their ordinary city life, as this new kind of ‘total war’ was fought equally as hard on the ‘frontline’ as on the ‘home front’. However, since the late 1980s, historians have started to question this seemingly idealised vision of the determined, invincible spirit of the Blitzed population. In The Myth of the Blitz, Angus Calder argues that the image of a nation united in adversity and resisting hardship was almost entirely constructed by the political propaganda of the 1940s. He believes it necessary to critically rethink the collective memory of the Blitz, stating that it has been ignoring ‘how frightening and confusing the period [...] was for the British people’ since ‘the Myth stands in our way’ (1991, p. 18).
Taking as a point of departure Calder’s chapter ‘Formulations of Feeling’, the main objective of my thesis is to oppose the historian’s idea that writers during the Second World War had a very limited ability to produce work that stood outside the People’s War rhetoric. Calder explains that although ‘the writer […] is in a position to defy the myth’s status as an adequate and convincing account of human feeling and behaviour’, unfortunately only few ‘work outside the myth’s paradigm’ (1991, pp. 143-144).
Whilst it is true that literature ‘was conscripted into the war effort’ by a government that ‘enshrined [it] as a democratic principle’ (Hartley, 1997, pp. 6-7), I believe too reductive Angus Calder and Mark Rawlinson’s argument according to which ‘the character of wartime writing was strongly determined by its relations to the discourses with which, in the broadest sense, Britain’s war effort was administered’ (Rawlinson, 2000, p. 205). I contend that it is unwise to consider that authors writing in a time of overwhelming social and cultural propaganda could not critically reflect on their surroundings and solely contributed to a literature that aimed to form a coherent defence of war.
This thesis is therefore one of the first pieces of research to take Angus Calder’s theoretical framework of the ‘myth of the Blitz’ as the main point of reference to discuss lesser known women’s texts of the 1940s. In his study, Calder deconstructs the ‘myth’ by confronting it with historical facts. In my thesis, I follow the same method by comparing specific values of the ‘People’s WaR4 rhetoric against the literary production of women writers. I have selected three main aspects of Calder’s work crucial to his definition of the constructed and superficial rhetoric of the ‘Blitz Spirit’: ‘class’, ‘patriotism’, and the more abstract ‘representation of the hurt body’. I analyse several novels by different authors in three separate chapters dedicated to each theme.
Through the close reading of the nine texts I focus on, my aim is to shed light on forgotten authors who produced works that present us with a vision of the war that questions, and even challenged the propaganda setting they were written in. My main objective is to help place women writers in a category of valuable, talented and recognised war writers by highlighting their ability to maintain their individuality and capacity to criticise even when surrounded with Churchill’s very forceful propaganda.
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Kinsey-Trotman, Matthew. "The statesman as historical narrator : Winston Churchill's view of France during World War Two /." Title page, contents and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09ark562.pdf.
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Plain, Gillian Mary. "Strategies for survival : fiction and reality in British women's writing of the Second World War." Thesis, University of Newcastle Upon Tyne, 1992. http://hdl.handle.net/10443/148.
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Eckstein, Simon J. "The shadow of the past : fantasy, modernism, and the aftermath of a world at war." Thesis, Swansea University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.678625.
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This study constitutes a single strand of a wider argument for a thorough-going reassessment of the place of fantasy literature within the canon. In particular, it aims to redress a marked lack of critical attention paid to the distinct movement towards fantastic modes of representation in the mid-twentieth century.
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Patterson, Gerald Francis. "An archaeological and historical investigation of a World War II military site at Goffs, California." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3268.
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This archaeological and historical investigation focuses on the area in and around the town of Goffs, California, which was used for support and logistical facilities and had some association with combat divisions during the period. The central question concerns the nature and the role of the military units from 1942 to 1944. Was this site a a significant part of the World War II era DTC? C-AMA, and how did it relate to the whole? Efforts to answer this question included document research and extensive field investigation. The result is a more complete view of the wartime activites at Goffs and their relationship to the whole DTC/ C-AMA, other governmental agencies, and other organizations.
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Zevitz, Richard Gary, and Michael Braswell. "Long Road Home : The Trials and Tribulations of a Confederate Soldier." Digital Commons @ East Tennessee State University, 2012. http://amzn.com/0828324654.
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A disgraced officer and an enlisted man forge an unlikely friendship through the desperate river battles waged along the Mississippi between Union forces and outnumbered Confederate defenders. Following their surrender, the two friends along with the other defeated Rebels are incarcerated in Northern prisoner of war camps where new challenges await them. Only one will survive. Based upon ten years of historical research, Long Road Home explores the trials and travails of George Spears and his friend, Eli Forrest.<br>https://dc.etsu.edu/etsu_books/1004/thumbnail.jpg
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Buckley, Ariel. "Writing the kitchen front: food rationing and propaganda in British fiction of the Second World War." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95227.
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This thesis explores ways in which Second World War food shortages, rationing, and propaganda affected midcentury British fiction. Arguing that food imagery offers a useful barometer of the domestic war climate, the thesis is divided into two main sections: the first focusing on the representation and regulation of food by the government, and the second analyzing the depiction of food in contemporary fiction as a response both to the government's martialization of food and to the shortages themselves. Taking novels by Barbara Pym and Elizabeth Taylor as examples, it discusses ways in which the official food narratives defined in the first chapter were acknowledged and transformed in contemporary fiction.<br>Cette thèse explore les façons dont les pénuries alimentaires, le rationnement de la nourriture et la propagande gouvernementale de la deuxième guerre mondiale ont touché la littérature britannique de l'époque. Soutenant que l'imagerie des aliments offre un baromètre utile du climat domestique de la guerre, la thèse est divisée en deux sections principales : la première se concentrant sur la représentation et la règlementation de la nourriture par le gouvernement, et la deuxième analysant la représentation de la nourriture dans la fiction contemporaine comme réponse à la fois à la « martialisation » de la nourriture par le gouvernement et aux pénuries alimentaires eux-mêmes. Prenant des romans par Barbara Pym et Elizabeth Taylor à titres d'exemples, elle traite de la façon dont les récits officiels des denrées alimentaires définis dans le premier chapitre ont été reconnus et transformés dans la littérature contemporaine.
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Onions, J. "The ideal of heroism in English fiction and drama about the First World War, 1918-1939." Thesis, Keele University, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373170.
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Barenberg, C. R. "Memory and representation of World War II in contemporary British and German fiction : a comparative analysis." Thesis, Nottingham Trent University, 2010. http://irep.ntu.ac.uk/id/eprint/95/.
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This thesis constitutes the first detailed attempt to compare British and German contemporary prose fiction in relation to the representation and transmission of collective memories of the Second World War. The primary aim of this comparison is to establish the existence of a transnational literary approach adopted by authors to address questions of how to remember the events that occurred during the Second World War in the absence of living memory. I will argue that prose fiction contributes to the interdisciplinary field of what could be loosely called 'memory studies' and that the similarities between British and German fictional responses to the Second World War indicate that there is a development towards a subgenre of memory fiction that transcends national boundaries. The work has identified the origins of platoon firing, its earliest form and its subsequent developments during the War of Spanish Succession, thereby correcting the long standing misidentification of the form that it first took and the idea that it remained largely unchanged from the 1680s to the 1740s. It has also identified when changes occurred and analysed the implications for the effectiveness of the firepower and, in some instances, been able to demonstrate in absolute terms, the effectiveness of that firepower. This work will enable military historians to achieve an understanding of how British infantry fought, how they achieved what they did, rather than simply what those achievements were. In using a practical military history approach it also proposes a new approach to military history that will enable an analysis of events to be given, rather than a simple narrative.
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Snelson, Tim. "Horror on the Home Front : The Female Monster Cycle, World War Two and Historical Reception Studies." Thesis, University of East Anglia, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522272.
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This study examines a distinct Hollywood production cycle from 1942 to 1946 in which women, for a brief moment, supplanted men in horror cinema's key role of the monster. Adopting a historical reception studies approach, this study analyses this industry strategy in relation to its wartime contexts of production, mediation and consumption. It summarily challenges established historical and theoretical understandings of the horror genre. It demonstrates that the success of Cat People (1942) inspired a cycle of more than twenty female monster films - ones with distinctive tropes, themes and stylistic traits - that were understood in relation to each other by industry and critics. Furthermore, analysis of the narrative and promotional strategies of these films demonstrates that they were targeted predominantly at female audiences, addressing their contextually specific desires, experiences and fears. This challenges dominant psychological approaches to horror that suggest that the genre is addressed almost exclusively towards male spectators. Having situated these films within their specific historical conditions of production and circulation, this study ultimately returns to the texts themselves. It suggests that these representations of corporeal conflict and contestation provided sites of confluence for diverse cultural concerns relating to wartime shifts in gender roles. As the aforementioned archival research suggests, these wider social dialogues and discursive struggles - ones that situated the female body as a key `transfer point' for debates about wartime nationhood - provided important and attractive `interpretative strategies' for female audiences. Therefore, through analysis of this unique horror cycle, this study challenges dominant assumptions about women's relationship to horror texts; it provides a compelling model for analysis of media production cycles; it reorients the understanding of production, reception and exhibition practices within this oft misunderstood period of Hollywood history; and it enlivens wider social histories addressing women's experiences of American home front life.
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Deyell, Stewart Toru. "Coping strategy and resource use : an analysis of the Japanese Canadian internment during the Second World War." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2726.
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During the Second World War, more than 22,000 Japanese Canadians were interned to
various locations throughout Canada. While more than 60 years have passed since these
events, there remains limited research on the impact that this event had on this group of
people. Using McCubbin and Patterson’s (1983) Double ABCX model of family stress and
adaptation as a framework, this study used historical narratives of 69 Japanese Canadians to
gain insight into a) how Japanese Canadians coped with the challenges associated with their
internment, and b) what resources they used during this same time period. The analysis of
the coping strategies was done using a modified version of existing measures of coping
strategies (Folkman, Lazarus, Dunkel-Schetter, DeLongis, & Gruen, 1986; Suedfeld, Krell,
Wiebe, & Steel, 1997), and the analysis of resources was done using an adjusted version of
Rettig’s (1995) and Tucker and Rice’s (1985) resource classification list.
There were no statistically significant differences between Japanese Canadian men and
women in their coping strategy use, but that there were differences between the Issei (first
generation) and Nisei (second generation). The Issei used Self Control, Positive Reappraisal,
and Denail more than the Nisei, while the Nisei used Seeking Social Support more than the
Issei. A strong relationship between coping and resources was found; a relationship that has
often been assumed, but never tested. The findings from this study also provided additional
support for the usefulness of using both narratives and the Double ABCX model in research.
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Endicott, David. "Spectacular fictions : the Cold War and the making of historical knowledge." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1117103.
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The Cold War can be considered the final grand narrative of modernity because of its deterministic influence on the making of knowledge in twentieth-century America. Likewise, Cold War events and the power of their individual narratives and images (their petits recits) created the needed condition for the advent of the age of spectacle. The Cold War existed in this state of contradiction: the final grand narrative and the first postmodern spectacle. Examples of the literature of the Cold War period, what I have labelled the literature of spectacle, serve to both elucidate the social conditions of the age of spectacle and their relationship to our media society. Spectacular fictions also provide a means of examining the postmodern concept of historiographic fictionalization. Don DeLillo's Libra' presents a Lee Harvey Oswald who manipulates the traces of his life to blur the image that he knows must enter the historical record. The Richard Nixon of Robert Coover's The Public Burning evolves to an intense consciousness of the contradictions of historiography that is realized only after he is brutally molested by Uncle Sam for the entire nation to witness, a rape that both strips Nixon of any remaining masculinity and thrusts him forward into America's Cold War history as the dark shadow of his future presidency looms throughout the novel. In The Book of Daniel, E.L. Doctorow's Daniel Isaacson attempts to counteract historiography (and the narrative of his infamous parents, the Rosenbergesque Paul and Rochelle) by writing his own story, telling his history as he feels it relates to the American experience of the Cold War. Daniel's self-history differs from Oswald's selfnarratization because Oswald's text is intentionally fabricated, while Daniel realizes that his narrative is a fabrication of the nation's history. Likewise, the characterization of Nixon differs from that of Oswald, though both are inspired by their actual historical counterparts. While the Nixon of the 1970s greatly shapes the Nixon of the novel, the historical Lee Harvey Oswald remains an enigma of America's recent past, perpetually residing in the margins of unknowability. From this space of marginalization, DeLillo's Oswald emerges.<br>Department of English
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Silvester, Philip. "Characterisation and ideology in recent crime fiction set in the First World War: a novel and exegesis." Thesis, Curtin University, 2016. http://hdl.handle.net/20.500.11937/1703.
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This thesis consists of two parts: a creative component, the novel “Watershed”, and a theoretical essay: the exegesis. Both address the question: What narrative strategies of characterisation might be utilised to represent the detective figure as a bearer of ideological significance in crime novels set in the First World War?
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Waldenström, Daniel. "Essays in historical finance /." Stockholm : Economic Research Institute, Stockholm School of Economics (Ekonomiska forskningsinstitutet vid Handelshögsk.) (EFI), 2003. http://www.hhs.se/efi/summary/620.htm.
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Todd, Jason. "Social remembering and children's historical consciousness." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:7a14abf5-e58c-44c7-98e7-c0465c68e121.
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This study explores how young people's engagement with history outside of the classroom shapes the development of their historical consciousness. Drawing on public discourses around the First World War (WW1), I address the implications of this engagement for history teachers and young peoples' learning. Recognising the active and dynamic construction of memory and meaning by young people, I develop the concept of social remembering. Building on socio-cultural perspectives, I examine the 'lived experience' of young people's memory work. Using WW1 as a context, and adopting an innovative mixed methods approach, the research was conducted over two stages. The first stage of the research used a quiz and survey to explore the extent and nature of young people's social remembering. In the second stage of the study I examined young people's memory work outside the classroom. I worked with several small groups of students to construct their own ethnographic accounts of societal and familial remembering and their emerging historical consciousness, fashioning these into ethnographic portraits. The research highlights the role that social remembering plays in young people's identities, including the ways in which they value and use history, attribute historical significance to events and orientate themselves in time. It shows how different forms of social remembering can both include or exclude young people and impact positively or negatively on young people's historical consciousness. An understanding of social remembering outside the classroom can support history teachers in the development of pedagogies that build on students' meaning making associated with public events such as commemorations. I argue that teachers can use the intersections between social remembering and disciplinary history to engage and support students in their study of history. Although the study originated within the context of history education, it has wider value, offering a ground breaking methodological approach to exploring young people's understandings of the past and in contributing to the historiography of historical memory.
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Meyers, Judith Marie. ""Comrade-Twin" : brothers and doubles in the World War I prose of May Sinclair, Katherine Anne Porter, Vera Brittain, Rebecca West, and Virginia Woolf /." Thesis, Connect to this title online; UW restricted, 1985. http://hdl.handle.net/1773/9336.
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Emanuel, Elizabeth Frances. "Writing the oriental woman : an examination of the representation of Japanese women in contemporary Australian crime fiction." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/64475/1/Elizabeth_Emanuel_Exegesis.pdf.
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This study considers the challenges in representing women from other cultures in the crime fiction genre. The study is presented in two parts; an exegesis and a creative practice component consisting of a full length crime fiction novel, Batafurai. The exegesis examines the historical period of a section of the novel—post-war Japan—and how the area of research known as Occupation Studies provides an insight into the conditions of women during this period. The exegesis also examines selected postcolonial theory and its exposition of representations of the 'other' as a western construct designed to serve Eurocentric ends. The genre of crime fiction is reviewed, also, to determine how characters purportedly representing Oriental cultures are constricted by established stereotypes. Two case studies are examined to investigate whether these stereotypes are still apparent in contemporary Australian crime fiction. Finally, I discuss my own novel, Batafurai, to review how I represented people of Asian background, and whether my attempts to resist stereotype were successful.
My conclusion illustrates how novels written in the crime fiction genre are reliant on strategies that are action-focused, rather than character-based, and thus often use easily recognizable types to quickly establish frameworks for their stories. As a sub-set of popular fiction, crime fiction has a tendency to replicate rather than challenge established stereotypes. Where it does challenge stereotypes, it reflects a territory that popular culture has already visited, such as the 'female', 'black' or 'gay' detective. Crime fiction also has, as one of its central concerns, an interest in examining and reinforcing the notion of societal order. It repeatedly demonstrates that crime either does not pay or should not pay. One of the ways it does this is to contrast what is 'good', known and understood with what is 'bad', unknown, foreign or beyond our normal comprehension. In western culture, the east has traditionally been employed as the site of difference, and has been constantly used as a setting of contrast, excitement or fear. Crime fiction conforms to this pattern, using the east to add a richness and depth to what otherwise might become a 'dry' tale. However, when used in such a way, what is variously eastern, 'other' or Oriental can never be paramount, always falling to secondary side of the binary opposites (good/evil, known/unknown, redeemed/doomed) at work.
In an age of globalisation, the challenge for contemporary writers of popular fiction is to be responsive to an audience that demands respect for all cultures. Writers must demonstrate that they are sensitive to such concerns and can skillfully manage the tensions caused by the need to deliver work that operates within the parameters of the genre, and the desire to avoid offence to any cultural or ethnic group. In my work, my strategy to manage these tensions has been to create a back-story for my characters of Asian background, developing them above mere genre types, and to situate them with credibility in time and place through appropriate historical research.
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Lueckel, Wolfgang. "Atomic Apocalypse - 'Nuclear Fiction' in German Literature and Culture." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281459381.
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Loveridge, Steven. "'Soldiers and Shirkers': An Analysis of the Dominant Ideas of Service and Conscientious Objection in New Zealand During the Great War." The University of Waikato, 2009. http://hdl.handle.net/10289/2762.
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During the First World War, ideas of duty and sacrifice were a dominant characteristic of public discourse in New Zealand. Specifically, concern centred on a perceived inequality of sacrifice, which saw brave soldiers die on the front lines, whilst other men remained on the home front, apparently avoiding duty. This thesis charts the prevailing and powerful ideas that circulated during wartime New Zealand around these two stereotypes; on the one hand there was the soldier, the ideal of service and duty; on the other, the conscientious objector, a target for the derogatory label of 'shirker'. While there are a few select critical works which examine the experiences of New Zealand World War One conscientious objectors, such We Will Not Cease (1939) and Armageddon or Calvary (1919), there is a near complete absence of studies which examine the home front and ask how conscientious objectors were perceived and consequently judged as they were. It is the contention of this thesis that ideas around the soldier and the 'shirker' were interrelated stereotypes and that both images emerged from the process of mass mobilisation; a highly organised war effort which was largely dependent for its success upon the cooperation of wider civilian society. In sum, the thesis examines and analyses the ideas within mainstream New Zealand society as they appeared in public sources (notably newspapers, cartoons and government publications), and in doing so, tracks how social mores and views towards duty, sacrifice and service were played out at a time of national and international crisis.
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De, Wet Michelle. "Fiction en tant qu histoire: une etude de l evolution des roles de la femme dans le vingtieme siecle dans le roman La Poussiere des Corons par Marie-Paul Armand." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/d1008392.
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Georges Duby and Michelle Perrot’s work, Histoire des femmes en Occident, Antoine Prost and Gérard Vincent’s work A History of Private Life as well as Chantal Antier’s work Les Femmes dans la Grande Guerre and Carol Mann’s work Femmes dans la Guerre, show that women have been largely ignored in the annals written about the twentieth century. This period was one marked by two World Wars, which had an enormous impact on women, especially in terms of their roles in society. These events resulted in women moving from the home to the world of work. These writers acknowledge that women in the twentieth century were mostly excluded from history. In contrast to others who have written about this time, these writers consider women and their roles in society and how these roles have changed as a consequence of the historical events of the time. Marie-Paul Armand was a popular writer of French fiction. At first glance her novels seem to be enjoyable historical, romantic fiction for readers who enjoy sentimental love stories. However on closer examination one can see that she rigorously researched the period in which her novels are set. These novels reconstitute the reality of women’s lives during the twentieth century. In her first award-winning novel La poussière des corons, Armand depicted the life of her main character, Madeleine, through the various stages of a woman’s life from her birth at the turn of the century, early childhood, adolescence during the First World War until old age in the 1960s. This novel mirrors the life of a woman in working class French mining society from the beginning of the twentieth century until the fifties and sixties when Western women underwent an unprecedented metamorphosis of their role. These novels would appeal to a wider readership than works by Historians with the same subject matter.