Ce mémoire de master se propose d’aborder l’ensemble des ouvrages de Ferdinand Denis concernant Louis de Camoens et les oeuvres qui lui sont attribuées, afin de reprendre la façon dont il a pu intervenir dans sa transmission au long du XIXe siècle. La chronologie de ce travail comprend la période allant de 1823 à 1857 et considère ses publications en forme de livre, sans prendre en compte celles issues de journaux ou de revues. Pour contextualiser les interventions de l’auteur, on expose d’abord des lectures et des entreprises éditoriales précédentes associées à Camoens, à partir de sa circulation initiale dans la péninsule Ibérique, en fournissant une vision d’ensemble large de la réception de l’héritage camonien en France en ce qui concerne ses différentes composantes et variétés. Ensuite, on présente le corpus à partir de sa matérialité distinctive et de sa répercussion immédiate, de façon à l’appréhender d’après ses dynamiques constitutives de production et réception. Dans un troisième temps, on analyse les pratiques biographiques à propos de Louis de Camoens et l’appropriation de son corpus poétique telles qu’elles ont été faites par Denis dans ses livres. On met en avant, à tour de rôle, la discussion du traitement des données historico-biographiques et des figurations du poète conséquentes, par le biais du contraste entre ressemblances et différences de composition et articulation de chaque texte ; et des formes d’inscription ainsi que les modes d’insertion de vers, poèmes, pièces et lettres dans lesdits ouvrages, ayant pour but de rendre visible les pratiques de citation et de commentaire de texte de l’auteur. Par ce cheminement, on tire des conclusions concernant les formes d’offre éditoriale ayant Camoens pour objet par rapport à l’élaboration d’une trajectoire littéraire et à l’usage des créations poétiques impliquées. On espère, ainsi, avoir fourni des acquis pour comprendre l’intervention de Ferdinand Denis dans la transmission de l’héritage camonien qui, ayant eu lieu au XIXe siècle, semble être toujours présent. / Esta dissertação se propõe a tratar do conjunto de trabalhos de Ferdinand Denis que abordam Luís de Camões e obras atribuídas a ele, a fim de discutir como ele pôde intervir em sua transmissão ao longo do século XIX. O recorte cronológico de que se trata abarca o intervalo entre 1823 e 1857 e diz respeito a suas publicações no formato de livro, sem levar em consideração as veiculadas em jornais e em revistas. Para contextualizar as intervenções do autor, expõem-se, inicialmente, leituras e empreendimentos editoriais anteriores associados a Camões, que fornecem uma visão ampla da recepção do legado camoniano na França, a partir de sua circulação inicial na Península Ibérica, em suas diferentes componentes e vertentes. Sucessivamente, apresenta-se o corpus a partir de sua materialidade distintiva e de sua repercussão imediata, de modo a apreendê-lo em suas dinâmicas constitutivas de produção e de recepção. Analisam-se, a seguir, os fazeres biográficos acerca de Luís de Camões e a apropriação de seu corpus poético como foram praticados por Denis nos livros em questão. Realiza-se, em dois momentos distintos, a discussão do tratamento dos dados histórico-biográficos e das figurações do poeta decorrentes, por intermédio do contraste de semelhanças e de diferenças na composição e na articulação de cada texto; e das formas de inscrição e dos modos de inserção de versos, de poemas, de peças e de cartas nas respectivas obras, com vistas a evidenciar as práticas de citação e de comentário do autor. Com base no percurso traçado, tecem-se conclusões sobre as formas de oferta editorial de que Camões foi objeto em relação à construção de uma trajetória literária e ao uso de criações poéticas implicadas. Espera-se, enfim, ter fornecido elementos para a compreensão da intervenção de Ferdinand Denis na transmissão do legado camoniano que, ocorrendo no século XIX, parece ainda se fazer presente.

Orientador: Maria Stella Martins Bresciani / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-28T06:20:40Z (GMT). No. of bitstreams: 1 Schreiner_Michelle_M.pdf: 10064439 bytes, checksum: 66145fdcd90fad2bc33b2ba5915f1e09 (MD5) Previous issue date: 2001 / Resumo: Nosso objetivo é analisar a constituição do "povo", bem como de alguns temas a ele relacionados, tais como nação, classe, raça, massa e outros agentes históricos na obra de Jules Michelet. Reconhecidos enquanto possuidores de uma existência própria, regulada por um conjunto de relações sócio-econômicas, visto que sujeita à ação do homem e revelada num tempo real, histórico e que se perfaz por meio de mudanças, esses operadores teriam sofrido um processo de historicização que faria parte do movimento romântico e cujo teor viria acompanhado por uma narrativa de cunho essencialmente político / Abstract: This work intends to analyse the constitutionof the "people" besides some other themes relating to it, just as nation, class, race, mass and another historical agents in Jules Michelet's work. These agents were admitted like possessed an own existence controlled by social and economic relations, inasmuch as be exposed to the human action and developed in a historical time by means of changes and transformations. This process that "see everything in a historical flux" proceeds of the romantic movement and its tenor comes followed with a political narrative / Mestrado / Mestre em História

Orientador : Luiz Carlos da Silva Dantas / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-03T07:55:08Z (GMT). No. of bitstreams: 1 Dias_Sandro_M.pdf: 3877717 bytes, checksum: 18a44a1622ea818b3dd4ce015254663b (MD5) Previous issue date: 2003 / Resumo: Este trabalho analisa algumas imagens construidas por Jules Michelet em Le Peuple, na primeira metade do século XIX, no contexto da "historiografia romântica". Essa análise constituiu-se de uma tríade: a identidade - a relação entre conhecimentos e afetos; a memória - a experiência como conhecimento; a observação - cenas do cotidiano / Abstract: Ce travail analyse quelques images construites par Jules Michelet dans "Le Peuple", à la premiére moitie du XIXe siécle, dans le contexte de "l historiographie romantique". Cette analyse s'est constituée d' une triade: l'identité - la rélation entre les connaissances et les affects; la mémoire - l'expérience comme connaissance; l'observation - les scénes du quotidien / Mestrado / Historia e Historiografia Literaria / Mestre em Teoria e História Literária

“Skeletal Testimony: Bony Biopolitics in the Early Atlantic” argues that colonial descriptions of Indigenous remains throughout the Atlantic World compose two archives: textual representations and physical remains. Because these remains explicitly demonstrate a relationship between embodied life and writing, they enable analysis of how settler writers depicted them and how Indigenous communities care for them. Emphasizing these moments through what I term “skeletal testimony,” I ask the question: what care resulted in the appearance of these remains, and how does this recognition change how we read these texts? Examining reports, histories, natural histories, speeches, poems, and engravings from New England through Suriname, I establish how colonial authors used formalized conventions of natural history empiricism and firsthand narration to represent Indigenous remains as collectible bones, often citing and reproducing one another’s work throughout the eighteenth-century Anglophone colonies. These descriptions figure remains as arising naturally and spontaneously from the landscape, enabling colonists to claim land and histories as they erase living Indigenous persons from these spaces. However, without pointed and prolonged physical care, many of these remains would have disappeared. By identifying the tension between this physical preservation and textual descriptions, I contend that these remains always attest to communities and carework, constituting a structural grounding to colonial texts, even as they attempt to obscure such relations. This emphasis in turn facilitates “narrative repatriation,” in which these narratives can be formally and thematically returned from colonial texts to ongoing histories of Indigenous life, a process most clearly demonstrated by formal reworkings and textual citations by Indigenous writers like William Apess. Because this reclaiming does not require political or historical recognition by colonial persons (a contrast to physical repatriation), narrative repatriation thus serves as a creative process of returning and belonging. Ultimately, “Skeletal Testimony” reckons with erasures—real and supposed—of colonial archives, providing a model for navigating settler colonial texts across the Atlantic World. I recalibrate how we do “early American literary studies” by insisting that we must always think about texts and bodies together, mobilizing this relationship to contribute to interdisciplinary conversations about how to respect Indigenous relations between the living and the dead.

These four sonatas of William Flackton (1709-1798) are probably the earliest collection of sonata literature written for the viola. They exist with a few other string sonatas from the Baroque period in England. It is essential to establish their place in English baroque music and to develop a performance milieu or stylistic preference that leads up to and lasts through the time span of Flackton's sonatas. The final tool to establish an interpretive plan will be to present a general analysis of the four sonatas with special emphasis on the D major sonata (opus 2, no. 4).

Carl Gottlieb Reissiger was a successful German composer, conductor, and teacher in the first half of the nineteenth century. At the height of his career, he was Hofkapellmeister of theater and opera in Dresden, a position he held until his death. He was a composer of more than 200 works in a multitude of different genres. Today he is mainly known as a composer of opera, a small portion of his total output as a composer. He wrote approximately eighty piano solos, eighty collections of songs or duets, nine masses, and many smaller sacred choral works, as well as 27 piano trios, seven piano quartets, and three piano quintets. In addition to these many works, he wrote five works for the clarinet: Concertino, op. 63, Duo Brillant for clarinet and piano, op. 130, Fantasie, op. 146, Second Fantasie, op. 180, and Adagio und Rondo alla polacca, op. 214. This document provides a biographical sketch of Reissiger, including his personal life, his life as a conductor, and his life as a composer. It also provides a look at the artistic life of his day: his fellow composers and the music they were writing for clarinet, outstanding clarinetists and the different instruments they were playing. The aim of this study is to provide a stylistic analysis of Reissiger's five works for clarinet, including a discussion of form, melody, harmony, and rhythm. This document puts forth the proposal that these works are worth resurrecting and that Reissiger, as a composer of clarinet music, is more than just a secondary composer.

No description available.

Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This study examines the socio-cultural issues in the praise poems of three Xhosa chiefs, namely, Nkosi Whyte Lent Mbali Maqoma of the amaJingqi, Nkosi Doyle Mpuhle Jongilanga of Dushane of Ndlambe and Nkosi Sipho Mangindi Burns-Ncamashe of amaGwali of Tshiwo. What comes out clear in the poems of these chiefs is that they experienced power problems after and before 1994. Their poetry protests about these political influences and calls for the restoration of the dignity of the chieftancy. The socio-cultural aspects of the praise poems of each chief are devoted to a chapter: Nkosi Whyte Lent Mbali Maqoma in Chapter 2, Nkosi Doyle Mpuhle Jongilanga in Chapter 3, and Nkosi Sipho Mangindi Burns-Ncamashe in Chapter 4. Attention is paid to each chiefs genealogy, praise names, names of oxen because of traditional significance in the life of the chief, the chiefs mother, and place names which have historical importance in the life of the chief. As part of the theoretical framework of praise poetry, praise poetry theory is handled in Chapter 1 of the study. It is concluded in Chapter 5 that Xhosa paramount chiefs still play and will playa crucial socio-cultural role in their communities. They are not only concerned about being custodians of culture but also with the development of their nations. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek sosio-kulturele vraagstukke in die prysgedigte van drie Xhosa opperhoofde, naamlik opperhoof Whyte Lent Mbali Maqoma van die amaJingqi, opperhoof Doyle Mpuhle Jongilanga van die Dushane groep van die Ndlambe en opperhoof Sipho Mangindi Burns-Ncamashe van die amaGwali groep van die Tshiwo. Die beeld wat na vore kom na aanleiding van 'n analise van die opperhoofde se prysgedigte dat hulle 'n magsprobleem ondervind het sowel voor as na 1994. Deur hulle poesie teken hulle protes aan oor bepaalde politieke invloede en hulle doen 'n beroep daarop dat die waardigheid van die hoofmanskap herstel word. Die sosio-kulturele vraagstukke wat na vore kom in die prysgedigte van elke opperhoof word behandel in individuele hoofstukke. Hoofstuk 2 ondersoek die prysgedigte van opperhoof Whyte Lent Mbali Maqoma, Hoofstuk 3 die prysgedigte van opperhoof Doyle Mpuhle Jongilanga, en Hoofstuk 4, die prysgedigte van opperhoof Sipho Mangindi Burns- Ncamashe. Aandag word gegee aan die genealogie van elke opperhoof, prysgroetvorme, die name van beeste, op grond van hulle tradisionele betekenis in die lewe van 'n hoofman, die opperhoof se moeder, asook plekname wat 'n historiese belang het in die lewe van die opperhoof. As deel van die teoretiese raamwerk vir die studie word die teorie van die prysgedig behandel in Hoofstuk 1. Hoofstuk 5 gee 'n samevatting van die belangrikste aspekte van die studie en motiveer die gevolgtrekking dat opperhoofde steeds 'n essenstele sosio-kulturele rol speel en ook in die toekoms sal speel in hulle gemeenskappe. Hulle is nie slegs die bewakers van die kultuurwaardes van hulle gemeenskappe nie, maar is ook fundamenteel betrokke by die ontwikkeling van hulle gemeenskappe. / ISISHWANKATHELO Olu luphando ngemiba yentlalo nenkcubeko kwizibongo zeenkosi zamaXhosa ezintathu, uNkosi uWhyte Lent Mbali Maqoma wamaJingqi, uNkosi uDoyle Mpuhle Jongilanga wemiDushane kaNdlambe noNkosi uSipho Mangindi Burns-Ncamashe wamaGwali kaTshiwo. Into evela ngokucacileyo kwizibongo ezingezi nkosi kukuba ngaphambili komnyaka we-1994 nasemva kwawo zifumene ubunzima ekulawuleni abantu bazo. Kwezi zibongo ukukhalaza ngokuphazamisa kwezopolithiko kulawulo Iwazo nelizwi lokubuyiselwa kwesidima sobukhosi kuvela ngokuthe gca. Iveliswa kwisahluko ngasinye imiba ephathelele kwezentlalo nenkcubeko evela kwizibongo zenkosi nganye: uNkosi Whyte Lent Mbali Maqoma kwisahluko 2, uNkosi Doyle Mpuhle Jongilanga kwisahluko 3, noNkosi uSipho Mangindi Burns-Ncamashe kwisahluko 4. Kuqwalaselwe umlibo wenkosi nganye, izikhahlelo zayo, amagama eenkomo ezinentsingiselo kwinkosi leyo, unina wenkosi namagama eendawo ezinentsingiselo kubomi benkosi nganye. Isikhokhelo esiyithiyori yezibongo sinikwe kwisahluko 1 solu phando. Kwisahluko 5 kuphethwa ngokuba iinkosi zamaXhosa zisenenxaxheba enkulu kwaye zisaya kuhlala zinayo kwimiba yentlalo nenkcubeko yabantu bazo. Aziphelelanga nje ekubeni zigcine inkcubeko yoluntu koko zikwanoxanduva lokunyusa umgangatho wobomi babantu bazo.

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, June 1993. / Includes bibliographical references (leaves 206-218). / This dissertation discusses the architectural writings of Louisa Tuthill ( 1798-1879), a little known nineteenth-century American author. Tuthill has been acknowledged for her History of Architecture from the Earliest Times (1848), the first history of architecture published in the United States. However, her numerous other books dealing with architecture have been largely ignored. As early as 1830, Tuthill published Ancient Architecture, a concise history of architectural origins for young readers. This volume was followed by three fictional works for juveniles describing the adventures of model Americans--an architect, an artist and a landscape architect. Tuthill also edited The True and the Beautiful, the first American collection of selections from Ruskin's work (reprinted twenty three times). Like her famous contemporaries, Downing and Ruskin, Tuthill associates architectural principles with moral qualities. Her educational books move beyond the sophisticated architectural and social theory of such authorities by presenting aesthetic ideas in popular literary forms for the common reader. While a tradition of male architectural writers addressed eager builders and wealthy patrons, Tuthill wrote for the American public of all classes and ages. In contrast to the tradition of builders' guides and style books, Tuthill contributed histories, advice books, children's stories and edited collections. When the History is placed within the context of Tuthill's other writings r it becomes part of a larger plan for elevating national morals, a plan requiring education in architecture history. / by Sarah Allaback. / Ph.D.

During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet's Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute's black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet's other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. It will then examine the continuing resonance and influence of Manet's Laure across successive generations of artists from Manet's own time to the present moment. The dissertation thereby suggests a continuing iconographic lineage for Manet's Laure, as manifested in iteratively modernizing depictions of the black female figure from 1870 to the present. Artworks discussed include a clarifying homage to Manet by his acolyte Frédéric Bazille; the countertypical portrayal by early modernist Henri Matisse of two principal black models as personifications of cosmopolitan modernity; the presentation by collagist Romare Bearden of a black odalisque defined by cultural, rather than sexual, attributes metaphoric of the cultural hybridity of African American culture; and direct engagement with Manet's depiction of Laure by selected contemporary artists, including Maud Sulter and Mickalene Thomas, often with imagery, materials and processes also influenced by Matisse or Bearden. In each case, the fitfully evolving modernity of the black female figure will be seen to emerge from each artist's fidelity to his or her transformative creative vision regardless of the representational norms of the day. The question of what, if anything, is represented by Manet's idiosyncratic depiction of the prostitute's black maid has seldom been comprehensively addressed by the histories of modern art. The small body of published commentary about Manet's Laure, with a few notable exceptions, generally dismisses the figure as meaning, essentially, nothing -- except as an ancillary intensifier of the connotations of immorality attributed to the prostitute. Manet's earlier portrait of Laure, rich in significations relevant to her portrayal in Olympia, is even more rarely discussed, and typically seen as a study for Olympia, rather than as a stand-alone portrait as this analysis suggests. The image of Laure as Olympia's maid is frequently oversimplified as a racist stereotype, a perspective that belies the metonymic implications of a figure that is simultaneously centered and obscured. It is in the extensive body of response to Laure's Olympia pose by artists, more than by historians, that the full complexity and enduring influence of the figure's problematic nuance can be seen. This dissertation, like the artists, takes its cues from the formal qualities of Manet's images of Laure, in the context of precedent images and the fraught racial interface within Manet's social and artistic milieu, to suggest new and revisionary narratives. It suggests that Manet's Laure can be seen as an early depiction of an evolving cultural hybridity among black Parisians- visible in Laure's placement, affect and attire--that took shape during the early years of the newly built northern areas of Paris that are today home to some of the largest black populations in central Paris. Within this context, an iconographic legacy of ambivalent yet innovative modernity can be asserted for the Laure figure -extending from Delacroix to Matisse, Bearden and beyond. This lineage can be seen as parallel to the long-established pictorial lineage for Manet's figuring of the prostitute Olympia. What is at stake is an art-historical discourse posed as an intervention with the prevailing historical silence about the representation and legacy of Manet's Laure, and by derivation about the significance of the black female muse to the formation of modernism. This analysis suggests that the black female figure is foundational to the evolving aesthetics of modern art. It suggests that Olympia's standing as a progenitor of modern painting can only be enhanced by breaking through the marginalization of Laure's representational legacy. It asserts that it is only when the bi-figural significance of Manet's Olympia is recognized that the extent and influence of Manet's radical modernity can be most fully understood.