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Jane Austen sprinkles deaths throughout her novels as plot devices and character indicators, but she does not tackle death directly. Yet death pervades her novels, in a subtle yet brutal way, in the lives of her female characters. Austen reveals that death was the definition and the destiny of women; it was the driving force behind the social and economic constructs that ruled the eighteenth-century woman's life, manifested in language, literature, religion, art, and even in a woman's doubts about herself. In Northanger Abbey Catherine Morland discovers that women, like female characters in gothic texts, are written and rewritten by the men whose language dominates them. Catherine herself becomes an example of real gothic when she is silenced and her spirit murdered by Henry Tilney. Marianne Dashwood barely escapes the powerful male constructs of language and literature in Sense and Sensibility. Marianne finds that the literal, maternal, wordless language of women counts for nothing in the social world, where patriarchal,figurative language rules, and in her attempt to channel her literal language into the social language of sensibility, she is placed in a position of more deadly nothingness, cast by society as a scorned woman and expected to die. Fanny Price in Mansfield Park is sacrificed as Eve, but in her death-like existence and in her rise to success she echoes Christ, who is ultimately a maternal figure that encapsulates the knowledge of the goddess, the knowledge that from death will come life. Emma Woodhouse in Emma discovers that her perfection, sanctioned by artistic standards, is really a means by which society eases its fears about death by projecting death onto women as a beautiful ideal. In Persuasion, Anne Elliotfindsthat women endure death while men struggle against it, and this endurance requires more courage than most men possess or understand. Austen's novels expose the undercurrent of death in women's lives, yet hidden in her heroines is the maternal power of women—the power to bear children, to bear language and culture, to bear both life and death.

Duzentos anos após seu falecimento, as obras de Jane Austen ainda ecoam nas pessoas. Elas têm sido adaptadas das formas mais variadas, nas mais diferente mídias. Os Diários de Lizzie Bennet é um projeto transmidiático que transpõe o romance Orgulho e Preconceito (1813) para uma vídeo-série veiculada no YouTube de 2012 a 2013 de forma serializada. Esta pesquisa analisa de que forma temas que influenciam a vida das mulheres, como casamento, classe social e dinheiro, foram transpostos do período regencial inglês para a Califórnia-EUA do século vinte-um. Esta análise considera que ambas as obras são compostas por duas camadas de significado: a primeira é constituída pela comédia romântica que dialoga com a cultura popular; a segunda é mais profunda, através da qual a crítica social é revelada. No que tange ao referencial teórico, a relação entre a noção de subjetividade na virada do século dezenove e a expansão da vida privada na esfera pública no século vinte-um, conforme Jon Dovey (2000), é base para compreender como a estrutura de ambas as narrativas contribui na produção de significado. As discussões sobre feminismo e pós-feminismo na cultura popular de Angela McRobbie (2009) e Imelda Whelean (2010) tornam possível a observação da construção dos temas. Em Orgulho e Preconceito, as instituições sociais estabelecidas não são amplamente questionadas. Em vez disso, a composição da subjetividade dos personagens, especialmente das mulheres, revela a crítica a elementos sociais da época. Os Diários de Lizzie Bennet, a seu turno, desafiam as representações da mulher provenientes da cultura popular pós-feminista. A análise da adaptação revela que as mulheres ainda estão restritas a determinados papéis sociais assim como aquelas situadas no romance. Ainda há a necessidade de se encontrar equilíbrio. / Two hundred years after her demise, Jane Austen’s works still resonate with people. They have been adapted in numerous ways through different media. The Lizzie Bennet Diaries is a transmedia project, which transposes the novel Pride and Prejudice (1813) to a videoblog series aired on YouTube from 2012 to 2013 in a serialised mode. This investigation analyses the ways issues concerning the lives of women, such as marriage, money and social class, were adapted from Regency England to twenty-first century California-USA. The analysis understands both works as consisting of two layers of meaning: a romantic comedy layer which converses with popular culture, and a deeper one through which social criticism is revealed. In theoretical terms, the relationship between the notion of subjectivity in the turn of nineteenth century and the spread of private life into the public sphere in the twenty-first century, as proposed by Jon Dovey (2000), informs the analysis of the structural elements of both narratives which contribute to the production of meaning. The discussions on feminism and post-feminism in popular culture by Angela McRobbie (2009) and Imelda Whelehan (2010) make it possible to observe the construction of the themes. In Pride and Prejudice, the established social institutions are not overtly questioned. Instead, it is the composition of the characters’ subjectivities, especially those of women, which reveals criticism on the social context of the time. The Lizzie Bennet Diaries, for its part, challenges the established representations of women as informed by postfeminist popular culture. In the end, it seems to propose that women are, in fact, still restrained by social roles, just as the ones in the novel are. There is yet a need to find balance.

Made available in DSpace on 2016-04-28T20:57:10Z (GMT). No. of bitstreams: 1 Aliciene F M Cordeiro.pdf: 961449 bytes, checksum: 93161441fe55b1b3eddf9012fd6f740f (MD5) Previous issue date: 2007-05-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The interventions carried out in the beginning of the nineteenth century involving the Aveyron s savage , who was called Victor, have been immortalized through Doctor-pedagogue Jean Marc-Gaspard Itard s words. The reports on the work he developed with Victor as well as other documents are the basis of the present research which intends to discuss Itard s contributions to the relations among education, the learning process and the human being development in the constitution of man as a cultural and historical being. In the social historiographical perspective, the following study has sought for the articulation of three, however not mutually excluding, levels of analysis. Firstly, the inner level, which involves the concepts, method, practices, in short, the straight-related aspects to Itard s work; secondly, the methodological basis in which the elements above acquired a certain conformation; and finally the articulation between Itard s work and the Parisian society of the eighteenth century considering the relationships produced in that particular time and place as well as all the aspects that had them established. Itard was a man of his time who had an enormous scientific commitment and was conformed in the sensualist epistemological basis: his ideas as well as his experience were overwhelmed by social, political, economical and cultural influences which resulted from the reality they were in. His work had its beginning in a time when men started being the center of scientific investigations. He contributes with important thoughts about the classificatory criteria used as instruments that define the kind of relationship that we are supposed to establish with the ones who have been evaluated. Through his practice, Itard presents an alternative to segregation, having us think upon social, historical and cultural paths built and supported by Psychology, Medicine and Education for those who failed the patterns determined by that society / As intervenções realizadas no princípio do século XIX envolvendo o selvagem do Aveyron , denominado Victor, ficaram imortalizadas nas palavras do médico-pedagogo Jean Marc-Gaspard Itard. Tendo como base os dois relatórios redigidos sobre seu trabalho com Victor bem como outros documentos, o objetivo central deste trabalho é discutir as contribuições de Itard sobre as relações entre educação, aprendizagem e desenvolvimento na constituição do homem como ser histórico e cultural. Na perspectiva historiográfica social, buscou-se articular três, mas não mutuamente exclusivos, níveis de análise: o nível interno que se refere aos conceitos, pressupostos, método, práticas, enfim aqueles aspectos relacionados diretamente à obra de Itard; a base metodológica na qual esses elementos adquiriram uma determinada conformação e a articulação entre a obra de Itard e a sociedade parisiense de 1800, considerando as relações produzidas nesse tempo-espaço específico e as forças que as determinaram. Itard foi um homem de sua época, com grande comprometimento científico, conformado na base epistemológica sensualista: suas idéias e sua prática sofreram determinações sociais, políticas, econômicas e culturais da realidade da qual faziam parte. Sua obra teve início em um momento histórico em que o homem se tornava centro das investigações científicas. Ela traz importantes reflexões sobre os critérios classificatórios utilizados como instrumentos que determinam o tipo de relação que devemos estabelecer com aqueles que são avaliados. Por meio de sua prática apresenta uma alternativa à segregação asilar, fazendo-nos pensar sobre os caminhos sociais, históricos e culturais traçados com ajuda da Psicologia, Medicina e Educação para aqueles que fracassavam perante os padrões estabelecidos por aquela sociedade

This dissertation examines the architecture of the French, American, and Haitian revolutions as well as the French 1848 Revolution and the Paris Commune. The traditional historiography of neoclassical and Beaux-Arts architecture considers it as coextensive with the establishment of the nation-state, culminating in the institution building of the French Second Empire and postbellum United States under the banner of liberal nationalism. By examining moments of insurrection against the state and spaces outside of the conventional construal of the nation, I complicate this interpretation by highlighting its slippages and crises. My hypothesis is that democracy, as a form of social and political life, is intrinsically anarchic and paradigmatically revolutionary, and that architecture cultivates the aims and paradoxes of revolution. Revolutionary conditions, I argue, render this radical capacity of architecture salient, showing the ultimate incommensurability between architecture and the regimes that determine and delimit it.

This dissertation is a study of the loyalist Church of England clergy in the American Revolution. By reconstructing the experience and identity of this largely-misunderstood group, it sheds light on the relationship between church and empire, the role of religious pluralism and toleration in the American Revolution, the dynamics of loyalist politics, and the religious impact of the American Revolution on Britain. It is based primarily on the loyalist clergy’s own correspondence and writings, the records of the American Loyalist Claims Commission, and the archives of the SPG (the Church of England’s missionary arm). This dissertation focuses on the New England and Mid-Atlantic colonies, where Anglicans formed a religious minority and where their clergy were overwhelmingly loyalist. It begins with the founding of the SPG in 1701 and its first forays into America. It then examines the state of religious pluralism and toleration in New England, the polarising contest over the proposed creation of an American bishop after the Seven Years’ War, and the role of the loyalist clergy in the Revolutionary War itself, focusing particularly on conflicts occasioned by the Anglican liturgy and Book of Common Prayer. The dissertation proceeds to follow those loyalist clergy who left the Thirteen Colonies as refugees, tracing their reception in Britain, their influence on conservative churchmen there, and their role in rebuilding the imperial Church of England in Nova Scotia and New Brunswick. Particular attention is given to the relationship between the loyalist refugees, the English high church movement, and the Scottish Episcopal church. Bridging British, Canadian, and colonial American history, it suggests that the American Revolution galvanised an Anglican religious revival in the British Empire and shaped an emerging alliance between the Church of England and conservative politics. It ends in the 1790s, as this alliance solidified under the influence of the French Revolution. Most scholarship on religion and the American Revolution is ultimately concerned with the politics of the revolution. This dissertation, by contrast, asks how the politics of the revolution affected the religious lives of those who lived through it. It provides a sympathetic account of the loyalist clergy’s religious identities and beliefs, and situates them in the context of early-modern British religious history. In doing so, it reconstructs a distinct spiritual culture which was concerned with the holiness of suffering, persecution, and martyrdom. It locates the clergy’s loyalism in the longer history of political martyrdom, a category that has been overlooked by secular-minded historians of loyalism. The loyalist clergy were also preoccupied with the lack of state support for the colonial Church of England. Together with their allies and sympathizers in Britain, they formulated a powerful critique of the British Empire’s religious pluralism: an important but overlooked contribution to counter-enlightenment and counter-revolutionary thought in Britain. By studying that critique, this dissertation highlights the limits of state support for the colonial Church of England prior to the American Revolution, and identifies a turn towards greater state support in the wake of American independence.

Louisiana's Red River region was shaped by and founded on the logic of racial power, the economics of slavery, and white supremacy. The alluvial soil provided wealth for the mobile, market-driven slaveholders but created a cold, brutal world for the commoditized slaves that cleared the land and cultivated cotton. Racial bondage defined the region, and slaveholders' commitment to mastery and Confederate doctrine continued after the Civil War. This work argues that when freedom arrived, this unbroken fidelity to mastery and to the inheritances and ideology of slavery gave rise to a visceral regime of violence. Continuity, not change, characterized the region. The Red River played a significant role in regional settlement and protecting this distorted racial dynamic. Racial bondage grounded the region's economy and formed the heart of white identity and black exploitation. Here, the long arcs of mastery, racial conditioning, and ideological continuities were deeply entrenched even as the nation underwent profound changes from 1820 to 1880. In this thesis, the election of 1860, the Civil War, and emancipation are not viewed as fundamental breaks or compartmentalized epochs in southern history. By contrast, on plantations along the Red River, both racial mastery and power endured after emancipation. Based on extensive archival research, this thesis considers how politics, racial ideologies, and environmental and financial drivers impacted the nature of slavery, Confederate commitment, and the parameters of freedom in this region, and by extension, the nation. Widespread Reconstruction violence climaxed with the Colfax Massacre and firmly cemented white power, vigilantism, and racial dominance within the regional culture. Freedpeople were relegated to the margins as whites reasserted their control over Reconstruction. The violent and contested nature of freedom highlighted the adherence to the power structure and ideological inheritances of slavery. From bondage to freedom, the Red River region remained unreconstructed.

Submitted by Cássio da Cruz Nogueira (cassionogueirakk@gmail.com) on 2017-01-04T11:53:18Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ArteIntuicaoIntelectual.pdf: 1028120 bytes, checksum: 2ee337d219d0e8a80299e5b02e8807c4 (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2017-01-09T12:32:47Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ArteIntuicaoIntelectual.pdf: 1028120 bytes, checksum: 2ee337d219d0e8a80299e5b02e8807c4 (MD5) / Made available in DSpace on 2017-01-09T12:32:47Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertacao_ArteIntuicaoIntelectual.pdf: 1028120 bytes, checksum: 2ee337d219d0e8a80299e5b02e8807c4 (MD5) Previous issue date: 2015-11-03 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo desta dissertação é investigar a relação entre arte e intuição intelectual em Schelling a partir da perspectiva das preleções da Filosofia da arte e do Sistema do idealismo transcendental. Dentro do conceito de filosofia da arte como construção do absoluto na forma da arte, pretendemos analisar a importância da absolutez da exposição simbólica para a objetividade das Ideias da filosofia. Assim, pelo lado desse modo absoluto de exposição, a arte pode realmente exibir os arquétipos da filosofia em um objeto concreto. Pelo lado da intuição, como nos mostra a sexta parte do Sistema do idealismo transcendental, isso significa que a produção da intuição estética é a única forma de objetivação da intuição intelectual, a qual permanece dubitável nas esferas teórica e prática por não haver objetos na experiência que correspondam ao objeto inteligível dessa intuição nesses dois âmbitos. / The aim of this dissertation is to investigate the relationship between art and intellectual intuition in Schelling from the perspective of his lectures on Philosophy of art and of the System of transcendental idealism. By the conception of philosophy of art as a construction of the absolute in the form of art, we intend to analyze the importance of the absoluteness of the symbolic exposition for the objectivity of the Ideias of Philosophy. Thus, on the side of this absolute way of exposing, art can really exhibit the archetypes of Philosophy through a concrete objet. On the side of intuition, as the sixth part of the System of transcendental idealism shows, this means that the production of the aesthetic intuition is the only form of objectification for the intellectual intuition, which remains doubtful in the theoretical and practical fields. For, there are no empirical objects that correspond to the intelligible objet of this intuition in these two fields.

The purpose of this thesis is to show that Charles Brockden Brown was influenced by the American Revolution and the incidents that come after it. It is suggested that Brown created a gothic fiction that was intended to be a critique on the American Revolution by using murder narrratives present during the time to create his characters. Gothic fiction consists of many elements such as setting arechetypal characters, terror, emotion, psychological turmoil and language use.

University of Macau / Faculty of Social Sciences and Humanities / Department of English