Mémoire numérisé par la Direction des bibliothèques de l’Université de Montréal. / Les journaux de la Chambre d'assemblée du Bas-Canada de 1815-1837 fournissent les données d'une étude de la Chambre sous le double aspect de sa composition ethnique et politique. La liste des députés élus à chaque Parlement et les présences en Chambre permettent d'établir le rapport qui a existé entre les députés canadiens-français et les autres ainsi que la valeur représentative de la députation. L’inventaire des réélections et des nominations aux comités spéciaux fait ressortir les personnages qui détiennent le plus d’influence à l’Assemblée.

Après la chute de Napoléon à Waterloo en 1815, le roi Louis XVIII reprend les rênes d’une France affligée de profondes divisions sociales et politiques. La volonté du nouveau roi de réconcilier la France se heurte aux velléités des ultraroyalistes qui rêvent d’un retour à l’Ancien Régime, et d’un royaume épuré de ses éléments républicains et bonapartistes. Dans ce contexte, le maréchal Ney devient une cible pour les ultraroyalistes : ayant montré des signes de loyauté au roi en 1814, Ney trahit sa parole et rejoint Napoléon lors des Cent-Jours. Accusé de haute trahison, ce maréchal célébré sous l’Empire est exécuté publiquement le 7 décembre 1815 à Paris, Place de l’Observatoire. Ce mémoire est une enquête parisienne sur la commémoration du maréchal Ney sous les monarchies censitaires (1815-1848). D’une part, la notion de « commémoration » inclut tant des actions politiques dans l’espace public, que la littérature ou les arts. D’autre part, la trajectoire mémorielle est un moyen d’analyser de quelle(s) manière(s) les Parisiens s’appropriaient la figure du maréchal Ney. La trajectoire mémorielle de Ney se manifeste sous trois figures qui sont étudiées dans les différents chapitres du mémoire : le traître, la victime/martyr, le héros. Chacune répond aux inquiétudes, espoirs et projets de différents groupes, et se développe selon une temporalité particulière. En fin de compte, c’est la figure du héros qui s’impose par-dessus les autres, et qui aujourd’hui encore est présente sur la scène publique en France. / After the fall of Napoleon in Waterloo in 1815, King Louis XVIII takes up the reins of a France plagued by a deep social and political divide. The new king’s eagerness to reconcile France faces the inclinations of the Ultra-Royalists who dream of a return to the Ancien Régime on the one hand, and a Kingdom cleared of its Republican and Bonapartist components on the other. In this setting, Marshal Ney becomes a target for the Ultra-Royalists: having shown signs of loyalty to the King in 1814, Ney breaks his word and joins Napoleon during the Cent-Jours. Accused of high treason, the Marshal, once celebrated under the Empire, is publicly executed on 7 December 1815 at Place de l’Observatoire, in Paris. This memoir is a Parisian enquiry on commemoration of Marshal Ney under census suffrage monarchies (1815-48). On the one hand, the notion of commemoration includes political action in the public space as well as in literature or the arts. On the other, analyzing the commemorative patterns is a means of assessing the way(s) in which Parisians appropriated the figure of Marshal Ney. These patterns reveal three main figures, which will be studied in the different chapters of this memoir : the traitor, the victim/martyr, the hero. Each echoes the concerns, hopes and projects of various groups, and evolves according to particular temporalities. In the end, it is the figure of the hero that prevails over the former, and that is still the case today in the public sphere in France.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-05-04T13:40:50Z No. of bitstreams: 1 Rachel Sant'ana Valdrighi.pdf: 6084627 bytes, checksum: c6e189957a277401362ec7f17d980c4f (MD5) / Made available in DSpace on 2018-05-04T13:40:50Z (GMT). No. of bitstreams: 1 Rachel Sant'ana Valdrighi.pdf: 6084627 bytes, checksum: c6e189957a277401362ec7f17d980c4f (MD5) Previous issue date: 2018-03-20 / This work intends to study artifacts of textual construction in Martins Pena's play Os Dous ou o Inglês Maquinista, written probably in 1840 and published in 1843. The goal was to analyze the comic devices used by the playwright, with the specific objectives of not only to investigate which devices are, but also how they occur, what kind of laughter they may cause, and how they serve as a herald of comedy for the future staging. To that end, one wonders: What are the comic devices present in the play Os Dous ou o Inglês Maquinista? Can these be understood as indicators of comedy for a future staging? How do they work and what kind of laughter do they cause? The questioning was guided by the following hypotheses: the play Os Dous ou o Inglês Maquinista uses different devices of comedy, generators of different types of laughter that imply social and aesthetic tension; the comedy operationalized in the textual composition foresees effects that are intended in the staging, in other words, in the play as a spectacle. As a theoretic foundation, it relies on scholars of Comedy, such as Bergson, Propp, among others. Building a work within the traditional structures of comedy, Martins Pena use several elements that generate laughter, from satire and caricature, such as exaggeration, nonsense and misunderstandings / Este trabalho tem como objetivo estudar artifícios da construção textual na obra Os Dous ou o Inglês Maquinista, de Martins Pena, escrita provavelmente em meados de 1840 e publicada em 1843. Buscou-se analisar os artifícios cômicos utilizados pelo dramaturgo, tendo como objetivos específicos não só investigar quais são tais artifícios, mas também como ocorrem, que tipo de riso geram e como servem de arauto da comicidade para uma futura encenação. Para tanto, pergunta-se: Quais são os artifícios de comicidade presentes na obra Os dous, ou o inglês maquinista? Esses artifícios podem ser compreendidos como indicadores de comicidade para futura encenação? Como atuam e que tipo de riso geram? O questionamento foi orientado pelas hipóteses: a obra Os Dous ou o Inglês Maquinista faz uso de diferentes artifícios de comicidade, geradores de diferentes tipos de riso que implicam tensão social e estética; a comicidade operacionalizada na composição textual antevê efeitos pretendidos na encenação, isto é, na obra como espetáculo. Como fundamentação teórica, apoia-se em estudiosos da Comédia como Bergson, Propp, entre outros. Construindo uma obra dentro das estruturas tradicionais da comédia, Martins Pena emprega vários elementos geradores do riso, a partir da sátira e da caricatura, como o exagero, o nonsense e os equívocos

Immortalisé par Victor Hugo dans Les Misérables, le général Lamarque est surtout connu pour ses funérailles qui ont dégénérées en juin 1832, en une insurrection républicaine réprimée par le pouvoir orléaniste. Pourtant, sa vie ne saurait se résumer à cette image d’Épinal : grâce à des archives souvent inédites ou peu exploitées, le travail de l'historien a permis de dissocier le mythe, qui s'est construit autour du personnage, de la réalité historique pour dresser un portrait inédit de ce Landais engagé dans les affaires de son temps. Issu de la bourgeoisie de robe, il adhère rapidement aux idées d'une Révolution qui lui donne les moyens d'être un acteur des événements : garde national,Jacobin, officier dans un bataillon de volontaires. Instruit et cultivé, il est également pourvu d'un grand courage physique. Sans jamais appartenir aux premiers cercles du pouvoir, il est proche des membres de la famille Bonaparte qui assurent son ascension.Sa carrière militaire sous l'Empire n'est toutefois que de second ordre et c'est à la périphérie de l'Europe qu'il se distingue dans la contre-guérilla. Déçu par la Restauration, il rallie Napoléon lors des Cent-Jours qui l'envoie en Vendée. Cette affectation le compromet durablement aux yeux du pouvoir royaliste qui ne voit plus en lui qu'un général bonapartiste. Exilé, il ne revient en France qu'en 1818 et embrasse une carrière littéraire tout en cherchant à garder son rang dans la société. Au contact de l'opposition libérale, il renoue avec la politique au quotidien. Sa reconversion en politique n'est pourtant pas une évidence. Ce n'est qu'en 1828 qu'il devient député et ce n'est que sous la monarchie de Juillet qu'il devient un héros populaire. / Immortalized by Victor Hugo in « Les Misérables », General Lamarque is mainly known for his funerals in June 1832, which turned into a republican insurrection,suppressed by Orléanist power. However, his life could not be summarized by this stereotyped image : thanks to unexploited or less exploited archives, the historian’swork permitted to dissociate the myth shaped around his character from historical reality, to get an original portrait of this character from the Landes. Coming originally from the bourgeoisie of the robe, he soon stuck to Revolution ideas which gave him the means to be an actor of events : National Guard, Jacobin, officer in a Volunteers Battalion. Educated and cultured, he also came complete with his physical courage. He never was a part of first circles of power, he was close to the House of Bonaparte which provided his rise. His military career under the Empire is yet only second-rate. It is atthe Europe's periphery he stands out in Guerrilla warfare. Disappointed by theRestoration, he rallied to Napoleon during The Hundred Days, who sent him to theVendée. This posting sustainably compromised him to the eyes of royalist power whichonly saw him as a Bonapartist general. Exiled, he only came back to France in 1818 and decided for a literary career as well as he tried to keep his position in society. Through contact with the liberal opposition, he joined politic in everyday life. This change of career was not obvious though. He only became a Member of Parliament in 1828. Hewas only recognized as a popular hero under July Monarchy.

Napoleon’s defeat in 1813 generates a number of explanations from historians regarding why he lost this epic campaign which ultimately resulted in France losing control over the German states. Scholars discussing the French marshalate of the Napoleonic era frequently assert that these generals could not win battles without the emperor present. Accustomed to assuming a subordinate role under Bonaparte’s direct supervision, these commanders faltered when deprived of the strong hand of the master. This thesis contributes to this historiographical argument by positing that the pre-professional nature of Napoleon’s marshalate precluded them from adapting to the evolving nature of warfare during the First French Empire. Emerging from non-military backgrounds and deriving their capabilities solely from practical experience, the marshals failed to succeed at endeavors outside of their capacity. An examination of the military administration of the Old Regime, the effects of the French Revolution on the French generalate, and the circumstances under which Bonaparte labored when creating the imperial marshalate demonstrates that issues systemic to the French high command contributed to French defeat in 1813. This thesis also provides evidence that Napoleon understood this problem and attempted to better prepare his marshals for independent command by instructing them in his way of war during the 1813 campaign.

Call number: LD2668 .T4 1964 C28 / Master of Science

William Selby Harney, born in Tennessee in 1800, entered the United States Army as a lieutenant at age seventeen. Like many officers, he learned on the job, and in some ways he resembled the stereotypical, hell-raising, blood-and-guts, Indian-fighter of modern-day novelists and movie makers. He was quarrelsome, quick-tempered, and sometimes vicious, and his frequent bickering typified the entire officer corps. After years of routine duty, in 1829 Harney participated in the Atkinson Expedition against Arikara Indians on the upper Missouri River. Promoted to captain, he performed garrision duty in the Old Northwest and in 1832 fought in the Black Hawk War. In 1833 Harney married Mary Mullanphy of St. Louis and secured a paymaster's appointment and major's rank. He failed at this job, though, and in 1834 murdered a slave. He avoided punishment and in 1836 was appointed lieutenant colonel in the Second Dragoons. Subsequently Harney earned widespread recognition for effective Indian campaigns. During the Second Seminole War he developed new amphibious riverine tactics. During the Mexican War his attack on Cerro Gordo prepared the way for American capture of Mexico City. Afterward in Texas, he advocated using more mounted troops against plains Indians. In 1855-56 he decisively defeated the Sioux in Nebraska and set precedents for future army operations. In the 1850s Harney helped maintain civil order in "Bleeding" Kansas and in Utah, where Mormons resisted federal authority. He was subsequently promoted to brigadier general, but the remainder of his career proved frustrating. While commanding the Department of Oregon in 1859, he almost thrust America into war with Great Britain by occupying jointly claimed San Juan Island. In 1861, while commanding the Department of the West, he failed to take firm action to assure Union control of Missouri, and that called into question his loyalty to the Union. President Lincoln removed him from command. Harney's career illustrates both the army's successes and its failures in facilitating westward expansion and suggests that the military performed as well as it could with its limited resources. Harney died in 1889.

Hintergrund: Experimentelle Studien konnten zeigen, dass Taurolidin intraperitoneales Tumorwachstum durch lokale intraperitoneale Applikation reduzieren kann. Erste Studien zur tumorstatischen Wirksamkeit nach systemischer Bolus-Applikation zeigten keinen Effekt auf das intra- und extraperitoneale Tumorwachstum. In einem neuen Experiment wurde die Wirkung einer einwöchigen intermittierenden Therapie versus einer Bolus-Therapie mit steigenden Konzentration von Taurolidin bis 3% auf das intraperitoneale und subkutane Tumorwachstum untersucht. Methoden: 80 Ratten (BD IX) wurden einer medianen Laparotomie unterzogen. Anschließend wurden 2 x 104 syngenetische Adenokarzinomzellen (DHD/K12/TRb) intraperitoneal und subkutan am Rücken instilliert. Die Tiere wurden in acht Gruppen randomisiert. Vier Gruppen erhielten postoperativ eine intravenöse (iv) Bolustherapie (Taurolidin 1%, 2%, 3%, Ringer-Lösung), vier Gruppen erhielten die Therapie über eine Woche intermittierend viermal täglich über ein iv Port-System. Nach vier Wochen erfolgte die Obduktion und Auswertung des Tumorwachstums hinsichtlich Tumorgewicht und Anzahl der Tumorknoten. Ergebnisse: Die Anzahl der subkutanen Tumorknoten war unter 3% Taurolidin gegenüber der Kontrollgruppe reduziert (p=0,035). Darüberhinaus war ein Trend der Reduktion des subkutanen Tumorgewichtes unter steigender Taurolidinkonzentration zu verzeichnen (p=0,048). Diskussion: Nur die Langzeittherapie über eine Woche mit 3% Taurolidin-Lösung konnte eine diskrete subkutane Tumorreduktion bewirken. Unerwünschte Arzneimittelwirkungen traten bis auf passagäre vagotone Wirkungen bei zu schneller Applikation nicht auf. Schnelle Injektionen sollten vermieden werden. Die Ergebnisse führen über zu weiteren Studien, die die Wirksamkeit von systemischer Applikation an etablierten, vaskularisierten Tumoren untersuchen. / Background: Experimental studies have shown that taurolidine suppresses intraperitoneal tumor growth following local application in rats. In opposite, a single intravenous therapy affected neither intraperitoneal nor subcutaneous growth of malignancies. Thus, an intravenous bolus and long term therapy with 1%, 2% and 3% taurolidine was investigated in rats with intraperitoneal and subcutaneous tumor load. Methods: At the beginning of the operation 10,000 colon adenocarcinoma cells (DHD/K12/TRb) were applied subcutaneously at the back of the rats. Then the animals (n=80, BD IX rats) were randomized into eight groups and underwent a standardized 4 cm midline laparotomy for 30 minutes. At the end of the operation a bolus (1 ml Ringer´s solution) versus a long term intravenous therapy (7 days, eight-hourly 1 ml 1%, 2%, or 3% taurolidine) were performed. For long term therapy a jugularis vein port catheter system was placed and left for one week. The influences on subcutaneous tumor growth, animal growth, general side effects and leukocyte granulocyte counts were analyzed. Total tumor weights were determined four weeks after cell application. Results: The metastatic (subcutaneous) tumor growth showed a dose-dependent reduction of tumor weight (p=0.048) under long term therapy with statistical significancy in solid tumor counts (p=0,035). A slight and temporary depression in animal growth was observed only in long term therapy groups. Independent of the therapeutic agents and the application forms, the operation itself caused a slight leukopenia shortly after the operation compensated by a moderate leukocytosis in the following course. Fast injections of taurolidine led to temporary reduction of breathing rate. Conclusions: Only the intravenous long term therapy of 3% taurolidine led to a slight downregulation in metastatic (subcutaneous) tumor growth. The slight changes of leukocyte counts were not affected by taurolidine. Fast injections have to be avoided. The findings prompted us to start new experiments to determine the influence of increasing doses of taurolidine on progressive tumor growth in rats.

by Wong Man Kong. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1993. / Includes bibliographical references (leaves 182-195). / Abstract --- p.1 / Acknowledgements --- p.3 / Introduction --- p.5 / Chapter PART ONE: --- BIOGRAPHICAL REMARKS / Chapter 1 --- THE MAKING OF A CHINESE MISSIONARY SCHOLAR --- p.10 / Missionary Zeal --- p.10 / James Legge's Family --- p.12 / "William Milne, William Charles Milne and James Legge" --- p.14 / James Legge's Choice for Career --- p.19 / Procedure or Obstacle: Legge's application to the L.M.S --- p.24 / Samuel Kidd and James Legge --- p.25 / Legge's Marriage --- p.29 / Was James Legge Extraordinary? --- p.30 / Chapter 2 --- WORKING AS A MISSIONARY --- p.32 / The Ultra-Ganges Mission --- p.32 / James Legge's appointment at the College --- p.35 / James Legge's Works and Vision for the Mission --- p.38 / James Legge and Relocation of the College --- p.42 / Missionaries' Perspectives on the Founding of Hong Kong --- p.46 / James Legge's View of the Opening of China and the Opium War --- p.53 / James Legge and Hong Kong Cadets --- p.58 / James Legge and the Union Church --- p.61 / Chapter PART TWO: --- THE USE OF EDUCATION / Chapter 3 --- JAMES LEGGE AND EDUCATION IN HONG KONG (1843-1873) --- p.66 / Education in 19th Century England --- p.67 / Education in the Early Colonial Period of Hong Kong --- p.70 / Morrison School --- p.71 / The Anglo-Chinese College in Hong Kong and James Legge --- p.75 / James Legge And the Grant-in-Aid System --- p.85 / James Legge's Appointment in Education Committee --- p.91 / James Legge and Secular Education in Hong Kong --- p.93 / James Legge and His Text Book Circle of Knowledge --- p.97 / James Legge's Labour in Education: A Retrospect --- p.100 / Chapter 4 --- JAMES LEGGE AND CHINESE STUDIES AT OXFORD --- p.106 / The Establishment of the Chair of Chinese Professorship --- p.107 / Analysis of Questions in the Davis Chinese Scholarship --- p.114 / San Zi Jinq --- p.116 / Emphasis on the Pre-Zhou and Zhou periods --- p.118 / Emphasis on Translation --- p.119 / Chapter PART THREE： --- THE USE OF TRANSLATION / Chapter 5. --- JAMES LEGGE AND TERM QUESTION --- p.123 / Motivation of James Legge's Participation in Bible Translation --- p.124 / James Legge's Position in the Controversy --- p.128 / Confucianism in Relation to Christianity： A Manifesto of His View towards the Term Question --- p.133 / Encounter of Confucianism and Christianity --- p.136 / Chapter 6. --- JAMES LEGGE AND WANG TAO --- p.141 / The Meeting of Legge and Wang --- p.142 / Wang's Assistance to Legge's Translation --- p.146 / Chapter 7. --- Conclusion --- p.156 / Chapter Appendix One: --- Resolutions Made by the Board of Mission of the L.M.S. towards Her China Mission after the Opium War --- p.160 / Chapter Appendix Two: --- An Examination Paper for the Cadets in Hong Kong --- p.162 / Chapter Appendix Three: --- James Legge's Publications at Oxford University --- p.163 / Chapter Appendix Four: --- Subscribers for the Chair of Chinese Professorship --- p.167 / Chapter Appendix Five: --- Questions of Davis Scholarship --- p.169 / Pictures --- p.177 / Bibliography --- p.182 / Glossary --- p.196

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.