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This thesis is a study of four compositions written by Fanny Mendelssohn Hensel, older sister of Felix Mendelssohn. Her music is compared with four pieces composed by Felix. This study shows that Fanny was a gifted and creative composer, even surpassing Felix and predating Brahms with her compositional ideas and progressive uses of harmony. Despite her excellent education and recognition among those who knew her well, she did not publicize her talent in any way because of pressure from her father, Abraham, and Felix to stay within the prescribed societal confines of wife and mother.

The following study deals with the structural elements of the six Mendelssohn Organ Sonatas, opus 65. The problem excludes stylistic considerations. The Mendelssohn organ works are the greatest that appeared from the time of J. S. Bach until the nineteenth century. The Sonatas "have long been accepted as 'classics' of the instrument." Of them Mendelssohn himself wrote in a letter to his publisher, "I attach much importance to these Sonatas." They have no formal predecessor and no formal counterpart in subsequent organ literature. Their structures are hybrid, contrasting, unique, and unconventional; yet, to the writer's knowledge, there is no material available which presents a thorough, scientific formal analysis. It is hoped that the following study will fill this need.

Julia Margaret Cameron, Alfred Tennyson, and Virginia Woolf: three major figures of British art and letters who have received much critical attention individually, but have not yet been studied together. In this project I consider the valedictory works of these artists at their convergence, first through their obvious geographic, familial, and aesthetic relationships, then in more subtle, deeper, and overarching dimensions. The chief texts that are the focus of this dissertation are Tennyson's Idylls of the King, plus five of the Laureate's most popular poems; Cameron's photographic illustrations of these poems; and a selection of Virginia Woolf's late work, with a focus on "The Searchlight," Three Guineas, Between the Acts, and Anon. The dissertation also makes use of apposite poems, essays, life writing, and fiction created by these artists. Since "The Theatre of Anon" focuses primarily on Cameron's Illustrations, a chapter containing photographs of all the books' pages concludes the dissertation text. An additional selection of images is included as an appendix, in support of the central thesis of this project. The complex friendship between Tennyson and Cameron inspired the latter's only published book, a collection of poetic excerpts accompanied by images of his poems staged as scenes from amateur theatricals. The photos, with the photographer acting as their playwright-director, evoke the literary pageant in Woolf's last novel. In photographing the Illustrations, Cameron took control of the Laureate's poetry, metaphorically assuming the role of Vivien stealing Merlin's poetic spells. This dissertation traces Woolf's perception of her great aunt as it evolved over the decades, beginning with the eccentric, affected, and comical Cameron of Freshwater (1926) and ultimately portraying her as a dynamic, determined, and creative artist who helped provide inspiration for the character of the playwright-director Miss La Trobe of Between the Acts (1940). I argue that her great aunt's work influenced Woolf to create the figure she called Anon as a counterpart to Tennyson's King Arthur, and to place La Trobe's pageant-play at the center of her last novel, Between the Acts, as a final act of homage to Cameron. An aggregate of all anonymous minstrels, artists, and authors who ever lived, Anon appears in the guise of Miss La Trobe, whose communal, participatory art demonstrates how the traditionally monocular "eye" of history can be enlarged in community theatre from a single "I" to a collaborative project accommodating multiple perspectives. The Arthurian chivalry to which the ideology of Anon is set in counterpoint represents a conservative point of view based on the belief in a divinely-ordained social order headed by a monarch, with prescribed roles for each of its members. Valor in combat and devotion in courtly love, chivalry's two chief expressions, are the basis of Arthur's knightly code, which has influenced British national character and identity from the country's founding. Arthur reached his Anglophone apotheosis in the nineteenth-century's Gothic revival, epitomized in Tennyson's Idylls of the King. At the end of her career, at the start of the Second World War, Woolf came to believe that theatrical performance offered a better paradigm for social organization than the chivalric hierarchy at the root of the patriarchal British Victorian culture in which she had grown up. She saw in the community theatre a gathering place that could foster moments of transcendent unity, intellectual freedom, and imaginative inspiration, and in drama an art form resilient enough to withstand an audience's interruption and disillusionment. Performance provided a collaborative alternative to the conservative constraints that were her Victorian legacy; history, she felt, could be more accurately portrayed through the accretion of expressive theatrical performances than by the monolithic, linear narrative it had become as the official transcript of the nation's past. The theatricals scenes of La Trobe's pageant and Cameron's Illustrations - both composed of scraps and fragments of quotidian life rearranged and recombined - offer a new visual conception of the past. Working at the level of what Walter Benjamin has called photography's optical unconscious the dissertation demonstrates how Cameron's photographs reveal a reconstellation or reconfiguration, of the dominant British narrative from defamiliarized versions of the past that resonate with La Trobe's pageant. I propose that Cameron's photos re-envision canonical texts, inspiring a new mythology for Woolf, one that reflects a fluid and elastic version of the British national story. Challenging the received Carlylean conception of history as the biographies of great men, Woolf's counter-history, like Cameron's book of illustrations, features ordinary men and women playing extraordinary roles. The legendary Arthur, traditionally credited with uniting the country's thirteen tribes, founding Britain, and shaping the nation's identity, is but one actor among many in Woolf's pageant of history; his starring role in Tennyson's Idylls of the King is reduced to a few key scenes in the Illustrations and a cameo appearance in Between the Acts. Woolf implies that though there may still be room in history's narrative for heroic men, they will no longer dominate it. With its evolving, democratic nature, the community theatre created by Anon offers a paradigm of citizenship and social organization that Woolf believed could encompass British history, re-envision it, and offer the world's citizens hope for the future.

Orientador: Prof. Dr. Charles Morphy D. Santos / Dissertação (mestrado) - Universidade Federal do ABC, Programa de Pós-Graduação em Ensino, História, Filosofia das Ciências e Matemática, 2014. / Desde a publicação da obra máxima de Charles Darwin, On the origin of species, em meados do século XIX, a teoria da evolução tem passado por inúmeras reinterpretações e refinamentos. O objetivo principal do presente trabalho foi o de estabelecer os fundamentos conceituais para um Darwinismo Estendido, a partir de elementos da Síntese Estendida da Evolução, e definir os limites para uma extensão / ressignificação da teoria evolutiva. São também discutidas as bases para uma teoria da evolução que relacione o darwinismo tradicional com alguns dos seus importantes desdobramentos dos últimos cinquenta anos, tais como a biologia evolutiva do desenvolvimento, herança epigenética, a plasticidade fenotípica e a auto-organização de sistemas complexos. Partindo de uma análise geral dos requisitos conceituais de um Darwinismo Estendido, foi realizada uma análise histórica do conceito de evolução, discutindo a necessidade de uma nova teoria evolutiva estendida. Além disso, o conceito central do darwinismo ortodoxo, a seleção natural, foi rediscutido à luz dos desenvolvimentos recentes da teoria evolutiva. Em um Darwinismo Estendido, o mecanismo da seleção natural perde o seu potencial criativo, como era considerado na Síntese Moderna dos anos 1930-1940, e passa a atuar apenas a partir da variação determinada tanto pelo acaso (por mutações e recombinações cromossômicas), quanto por fatores como auto-organização e módulos dinâmicos. O controverso conceito de espécie também foi discutido aqui em um contexto que procura levar em conta a natureza contínua do processo evolutivo. Por fim, foram apresentadas algumas possíveis repercussões de um Darwinismo Estendido para o quadro conceitual epistemológico da teoria evolutiva. / Since the publication of Charles Darwin's masterpiece, On the origin of species, in the mid nineteenth century, the theory of evolution has gone through numerous reinterpretations and refinements. The main objective of the present work was to establish the conceptual foundations for an Extended Darwinism, based on elements from the Extended Synthesis of Evolution, and to define the limits toward an extension / reframing of the evolutionary theory. It was also discussed the basis for a theory of evolution which relates the traditional Darwinism with some of their important developments of the last fifty years, such as evolutionary developmental biology, epigenetic inheritance, phenotypic plasticity and self-organization of complex systems. Starting with an overview of the conceptual requirements of an Extended Darwinism, a historical analysis of the concept of evolution was performed, discussing the need for a new extended evolutionary theory. Moreover, the central concept of the orthodox Darwinism, natural selection, was revisited in light of recent developments in evolutionary theory. In an Extended Darwinism, the mechanism of natural selection loses its creative potential, as was considered Modern Synthesis during the 1930-1940s, and begins to act only from variation determined by chance (mutations and chromosomal recombinations), as well as by factors such as self-organization and dynamic modules. The controversial species concept was also discussed here in a context that seeks to take into account the continuous nature of the evolutionary process. Finally, some of the possible repercussions of an Extended Darwinism to the epistemological conceptual framework of the evolutionary theory were presented.

The object of this research project is to carry out a literary analysis of the contrast and similarities between the treatment of female portraits presented in some of Edgar Allan Poe’s and Nathaniel Hawthorne’s short stories, and further to illustrate the effect this treatment has on the whole thematic and socio-cultural articulation of these narratives. For this purpose the following short stories have been chosen: by Edgar Allan Poe; “Morella” (1835), “Eleonora” (1841), and “Ligeia” (1838), by Nathaniel Hawthorne; “Mrs Bullfrog” (1837) “The Wedding Knell” (1836), and “The Birthmark” (1843). Each of the selected stories has been a contribution to better understand the socio-cultural situation women during the time they were composed.

<p>Syftet med denna undersökning är att få en inblick i om och hur förlusten av sockenkyrkan påverkade livet i Nedertorneå-Haparanda församling socialt samt religiöst och i så fall hur eventuella förändringar yttrade sig när de efter kriget 1809 förlorade hemkyrkan på Björkön-Pirkkiö till Ryssland. Församlingskyrkan blev efter gränsdragningen kvar på ryskt område. Eftersom kyrkan ansvarade för ett flertal nuvarande statliga uppgifter under denna tid, har jag funderat på hur undervisning, fattigvård samt sjukvård fungerade utan kyrka och prästerskap. Hur förrättningar och gudstjänster fungerade i en sådan komplex situation är ytterligare faktorer jag studerat närmare.</p><p>För att ta reda på hur det förhöll sig med detta under den här tidsperioden har jag ägnat mig åt litteraturstudium; vilket till största delen varit av historisk karaktär. Det har rört sig om kyrkohistoria, studium av samhällsutveckling, samt allmän global och lokal historia.</p><p>Utifrån det samlade materialet har jag kommit fram till att livet påverkades ur flera aspekter för invånarna i Nedertorneå-Haparanda församling när de förlorade sockenkyrkan 1809. Undervisningen med husförhör fungerade inte som de skulle, negligering av förbud att bevista den gamla stenkyrkan förekom samt en likgiltighet hos föräldrarna att undervisa sina barn och hålla husandakt är några exempel på hur detta kom till uttryck hos lokalbefolkningen.</p>

Syftet med denna undersökning är att få en inblick i om och hur förlusten av sockenkyrkan påverkade livet i Nedertorneå-Haparanda församling socialt samt religiöst och i så fall hur eventuella förändringar yttrade sig när de efter kriget 1809 förlorade hemkyrkan på Björkön-Pirkkiö till Ryssland. Församlingskyrkan blev efter gränsdragningen kvar på ryskt område. Eftersom kyrkan ansvarade för ett flertal nuvarande statliga uppgifter under denna tid, har jag funderat på hur undervisning, fattigvård samt sjukvård fungerade utan kyrka och prästerskap. Hur förrättningar och gudstjänster fungerade i en sådan komplex situation är ytterligare faktorer jag studerat närmare. För att ta reda på hur det förhöll sig med detta under den här tidsperioden har jag ägnat mig åt litteraturstudium; vilket till största delen varit av historisk karaktär. Det har rört sig om kyrkohistoria, studium av samhällsutveckling, samt allmän global och lokal historia. Utifrån det samlade materialet har jag kommit fram till att livet påverkades ur flera aspekter för invånarna i Nedertorneå-Haparanda församling när de förlorade sockenkyrkan 1809. Undervisningen med husförhör fungerade inte som de skulle, negligering av förbud att bevista den gamla stenkyrkan förekom samt en likgiltighet hos föräldrarna att undervisa sina barn och hålla husandakt är några exempel på hur detta kom till uttryck hos lokalbefolkningen.

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