Es gibt wohl kaum Wissenschaftsgebiete, in denen die wechselseitige Beeinflussung stärker ist als zwischen Mathematik und Physik. Eine wichtige Frage ist dabei die nach der konkreten Ausgestaltung dieser Wechselbeziehungen, etwa an einer Universität, oder die nach prägenden Merkmalen in der Entwicklung dieser Beziehungen in einem historischen Zeitabschnitt. Im Rahmen eines mehrjährigen Akademieprojekts wurden diese Beziehungen an den Universitäten in Leipzig, Halle und Jena für den Zeitraum vom Beginn des 19. bis zur Mitte des 20. Jahrhunderts untersucht und in fünf Bänden dargestellt. Der erste dieser Bände erschien in den Abhandlungen der Sächsischen Akademie der Wissenschaften zu Leipzig, die nachfolgenden (u.a. der vorliegende) als eigenständige Reihe unter dem Titel “Studien zur Entwicklung von Mathematik und Physik in ihren Wechselwirkungen“. Ein weiterer und abschließender Band dieser Reihe beinhaltet die Beiträge einer wissenschaftshistorischen Fachtagung im Jahr 2010, die das Thema in einem internationalen Kontext einbettet. Der vorliegende Band behandelt den Zeitraum von 1816 bis 1900 an der Universität Jena. Die Entwicklung der Alma Mater Jenensis ist durch deren Stellung als Landesuniversität von kleinen, politisch unbedeutenden Herzogtümern Thüringens mit vergleichsweise geringer Finanzkraft gekennzeichnet. Dies führte u.a. zu der bis ins letzte Viertel des 19. Jahrhunderts bestehenden Repräsentanz von Mathematik und Physik durch einen gemeinsamen Lehrstuhl. Eine weitere Besonderheit an der Salana war die mehrere Jahrzehnte andauernde Verknüpfung beider Disziplinen mit der Philosophie durch Jacob Friedrich Fries und Carl Snell. Ebenso bemerkenswert ist der durch das Wirken von Ernst Abbe eingeleitete grundlegende Wandel in der Vertretung von Mathematik und Physik in Jena. Aus Abbes Zusammenarbeit mit dem Mechaniker und Firmengründer Carl Zeiss erwuchs innerhalb weniger Jahrzehnte ein Musterbeispiel für die enge, für beide Seiten vorteilhafte Verbindung zwischen Universität und Wirtschaftsunternehmen. Insbesondere erfuhren Mathematik und Physik eine stake finanzielle Förderung durch die Carl-Zeiss-Stiftung, was zugleich einen Einblick in die wachsende Bedeutung des Stiftungswesens gibt.:Karte: Die sächsisch-ernestinischen Herzogtümer nach Gebietsveränderungen 1815-1826 Vorwort 1 Einleitung 2 Thüringen und seine Universitäten am Anfang des 19. Jahrhunderts 2.1 Thüringen und die Industrielle Revolution 2.2 Die Blüte der Universität Jena um 1800 und ihr Weg ins 19. Jahrhundert 3 Die Veränderungen im Lehrkörper für Mathematik, Physik und Astronomie an der Salana 3.1 Die Verknüpfungen von Mathematik und Physik in einem Lehrstuhl 3.2 Ein Philosoph als Ordinarius für Mathematik und Physik – die Ära Fries 3.3 Von Suckow bis Apelt: Privatdozenten – wichtige Stützen des Lehrbetriebs, doch wenig gefördert 3.4 Der Nachfolger von Fries: Snell 3.5 Ein Hauch von moderner mathematischer Forschung: Schlömilch – ein Intermezzo 3.6 Abbe und die folgenreiche Verbindung von Physik und Instrumentenbau 3.7 Die Astronomie an der Salana 3.7.1 Die Errichtung der Sternwarte und ihre ersten Leiter bis 1823 3.7.2 Die Leitung der Sternwarte durch Schrön 3.7.3 Abbes Engagement und der Neubeginn mit Knopf 3.8 Die Trennung des Lehrstuhls für Mathematik und Physik 3.9 Die ersten Jahrzehnte des Mathematischen Seminars 3.10 Die Besetzung des physikalischen Lehrstuhls 3.11 Der Ausbau des Physikalischen Instituts bis zur Jahrhundertwende 3.12 Die Errichtung einer Professur für theoretische Physik 3.13 Die Carl-Zeiss-Stiftung 4 Das Vorlesungsangebot in Mathematik, Physik und Astronomie in Jena 4.1 Ein Überblick 4.1.1 Mathematik 4.1.2 Astronomie 4.1.3 Physik 4.2 Mechanik, mathematische und theoretische Physik 4.2.1 Erste Phase (1816 – 1863): mäßiges Angebot 4.2.2 Zweite Phase (1864 – 1893): Anstieg 4.2.3 Dritte Phase (1894 – 1900): Weitere Steigerung 4.3 Ein Vergleich des Jenenser Lehrangebots mit dem anderer Universitäten 4.4 Der Übungsbetrieb in Gesellschaften als Ergänzung zur Lehre und Vorläufer zur Seminargründung 5 Mathematische und physikalische Forschungen an der Universität Jena 5.1.1 Physik als Teil der „angewandten Mathematik“: Die Ära Voigt 5.1.2 Mathematik und Physik im Rahmen der mathematischen Naturphilosophie: Fries und seine Schüler 5.1.3 Meteorologie und Optik – Aktivitäten der Jenenser Astronomen 5.1.4 Das Verharren in alten Traditionen 5.2 Ernst Abbe und die Formung der physikalischen Forschung 5.2.1 Der Weg zur Optik als zentrales Forschungsfeld 5.2.2 Sohncke und Winkelmann – die ersten Ordinarien für Experimentalphysik in Jena 5.2.3 Die Etablierung der theoretischen Physik mit dem Fokus auf Optik und Materialforschung 5.3 Logik, elliptische Funktionen und projektive Geometrie – Schwerpunkte am Mathematischen Seminar 5.3.1 Freges Ringen um die Begründung der Arithmetik 5.3.2 Thomaes Lehrbücher und die Profilierung der mathematischen Forschung 6 Jenenser Mathematiker und Physiker und die örtlichen gelehrten Gesellschaften 6.1 Die Naturforschende Gesellschaft zu Jena 6.2 Die Medicinisch-Naturwissenschaftliche Gesellschaft zu Jena 7 Mathematik und Physik in Jena und die Besonderheit ihrer Wechselbeziehungen 7.1 Mathematik und Physik im 19. Jahrhundert 7.1.1 Der beginnende Aufschwung 7.1.2 Der weitere Ausbau der Disziplinen nach der Jahrhundertmitte 7.1.3 Neue Aspekte in den Wechselbeziehungen zwischen Mathematik und Physik nach 1850 7.2 Die Wechselbeziehungen an der Salana im Kontext 7.2.1 Die Beziehungen der in einem Lehrstuhl vereinigten Mathematik und Physik 7.2.2 Die Wechselbeziehungen im Zeichen der Optik Anhang: Verzeichnis der Vorlesungen zur mathematischen und theoretischen Physik (Sommersemester 1816 bis Wintersemester 1900/01) Literatur und Quellen Abbildungsverzeichnis Verzeichnis der Diagramme Personenverzeichnis Grafik: Vorlesungstätigkeit der in Jena im Bereich der Mathematik, Physik und Astronomie lehrenden Dozenten (1816 – 1900)

Various interpretations of the Germanic invasions of the early Middle Ages have been advanced. These present to the student of historiography a fertile field for inquiry. In this thesis the interpretations of the Germanic invasions propounded by Jules Michelet (1798-1874) and Gustav Freytag (1816-1875) are examined with a view to establishing the cultural context in which their mutually exclusive versions were formulated, and the extent to which that context lent the interpretations of both writers a perceptible national and aesthetic bias.

Las veladas literarias que organizó Juana Manuela Gorriti en 1876 y 1877 significó un espacio de difusión y discusión, entre hombres y mujeres de letras, acerca del devenir nacional, la situación de la mujer y su función dentro de este, y el cuestionamiento de su educación para potenciar o limitar el cumplimiento de los mandatos de madre y patriota en el progreso de la república. Las mujeres ilustradas disertaron abiertamente sobre dichas cuestiones, aunque, claro está, de forma solapada, pues podrían ser tildadas como ridículas o pedantes. Al respecto, sin perder de vista los trabajos sistemáticos previos acerca de la posición de la mujer frente a los discursos liberales o modernos que se desarrollaron en Argentina y Perú (como los realizados por Cristina Iglesia, Lea Fletcher, en calidad de editoras, y Francine Masiello para el país argentino, y por Francesca Denegri para el caso peruano), la presente tesis tiene como finalidad demostrar que la novela Peregrinaciones de una alma triste (sic) de Juana Manuela Gorriti se separa de las ficciones fundacionales que buscaban construir un proyecto nacional homogéneo y socava las formas decimonónicas de concebirlo, pues en ella se cuestiona los mandatos sociales que exige dicho proyecto e indaga su imposibilidad en los sujetos y espacios marginales. Por ello, la novela esboza una respuesta solapada a los dictámenes que la élite criolla demandaba a la mujer (cuidado de la familia y formadora de los hijos en ciudadanos) y un cuestionamiento a los discursos que intentaban menguar su desarrollo social y ciudadano. / Tesis

José Fernando de Abascal y Sousa, virrey del Perú entre 1806 y 1816, tuvo que lidiar con diversas situaciones durante su periodo de gobierno: crisis monárquica, inicio del periodo liberal, juntas autónomas, primeros movimientos revolucionarios, entre otros. Su éxito ha hecho que el virreinato del Perú sea considerado en la historiografía como el bastión del fidelismo en Sudamérica. Sin embargo, esta consideración no solo se debió al accionar del virrey. Junto a él, estuvieron los intendentes, personajes que son el objeto de estudio de esta tesis. La presente investigación analiza a un grupo de intendentes, criollos y peninsulares, durante el gobierno de virrey Abascal para entender su accionar en conjunto y su rol dentro del proceso contrarrevolucionario. De esta manera, lo que se busca entender, al mismo tiempo, es como expresaron los intendentes su fidelidad al Rey durante un periodo tan convulso. / José Fernando de Abascal y Sousa, viceroy of Peru between 1806 and 1816, had to deal with various situations during his term of government: monarchical crisis, the beginning of the liberal period, autonomous juntas, first revolutionary movements, among others. His success has made the viceroyalty of Peru to be considered in the historiography as the bastion of fidelity in South America. However, this consideration was not only due to the actions of the viceroy. Next to him, were the intendants, characters that are the object of study of this thesis. The present investigation analyzes a group of intendants, creoles and peninsular, during the government of viceroy Abascal to understand their actions as a whole and their role in the counterrevolutionary process. In this way, what is sought to understand, at the same time, is how the intendants expressed their loyalty to the King during such a convulsive period.

This dissertation explores the ambiguous nature of the social criticism in Charlotte Brontë’s novels — Jane Eyre, Shirley, Villette and The Professor — particularly pertaining to patriarchal ideology and its associated power relations. I shall explore how, through her novels, Brontë sought to redefine subjectivity and the feminine ideal, and in so doing, reconfigure patriarchy’s gender norms and its ideologies which were oppressive to women. However, Brontë’s varying contestation of and acquiescence to female Victorian stereotypes, along with her equivocal representation of ideology, identity, gender, and the self, undermine her efforts to create a new model of womanhood and female empowerment. Nonetheless, through Brontë’s intimate depiction of her characters’ struggles between their desires and patriarchal prescripts, she offers a novel, more indirect and significant challenge to the patriarchal status quo. In this way, Brontë’s social criticism is confined by her conservatism. / English Studies

This thesis is a study of the presentation of the orphan child in eighteenth and early nineteenth century English literature, and focuses on William Blake's Songs of Innocence and Experience, Charlotte Bronte's Jane Eyre, and Emily Bronte's Wuthering Heights. It is concerned with assessing the extent to which the orphan children in each of the works are liberated from familial and social constraints and structures and to what end. Chapter One examines the major thematic concern of the extent to which the motif of the orphan child represents a wronged innocent, and whether this symbol can also, or alternatively, be presented as a revolutionary force that challenges society's status quo in Blake's Songs of Innocence and Experience. Chapter Two considers the significance of the child "lost" and "found", which forms the explicit subject of six of Blake's Songs of Innocence and Experience and explores the treatment of these conditions, and their differences and consequences for the children concerned. Chapter Three focuses on Charlotte Bronte's depiction of the orphan in Jane Eyre, which presents two models of the orphan child: the protagonist Jane, and Helen Burns. The chapter examines these two models and their responses to orphan-hood in a hostile world where orphans are mistreated by family and society alike. Chapter Four determines whether the orphan constitutes a subversive threat to the family in Emily Bronte's Wuthering Heights and also explores the notion that, although orphan-hood often entails liberation from adult guardians, it also comprises vulnerability and exposure. The thesis concludes by considering the extent to which orphan-hood can involve a form of liberation from the confines of social structures, and what this liberation constitutes for each of the three authors.

This dissertation explores the ambiguous nature of the social criticism in Charlotte Brontë’s novels — Jane Eyre, Shirley, Villette and The Professor — particularly pertaining to patriarchal ideology and its associated power relations. I shall explore how, through her novels, Brontë sought to redefine subjectivity and the feminine ideal, and in so doing, reconfigure patriarchy’s gender norms and its ideologies which were oppressive to women. However, Brontë’s varying contestation of and acquiescence to female Victorian stereotypes, along with her equivocal representation of ideology, identity, gender, and the self, undermine her efforts to create a new model of womanhood and female empowerment. Nonetheless, through Brontë’s intimate depiction of her characters’ struggles between their desires and patriarchal prescripts, she offers a novel, more indirect and significant challenge to the patriarchal status quo. In this way, Brontë’s social criticism is confined by her conservatism. / English Studies / M.A. (English Literature)

Three of the most notable English women authors, Jane Austen, Charlotte Bronte, and George Eliot, explore similar themes of the individual, particularly the young woman, in relation to a hierarchical, patriarchal society, more specifically a crumbling paternalist society. My focus is on three Victorian novels' representations of society's transformation from a paternalistic nature to one of greater individualism; and in particular, I explore how women defined for themselves positions of power within these structures. So this study is twofold, one on representations of gender and the other of class; for the two are inseparable in discussing power relationships of Victorian women. Austen, Bronte, and Eliot understood and, to some degree, accepted the pervasive paternal values. Their novels, however, do not advocate radical social change; rather, their heroines willingly turn to domesticity. I aim to argue that each author, although dissatisfied with aspects of society, did not desire to radically alter women's role within society. The fictitious lives they created became both a representation and a critique of the ideologies surrounding them. The texts of Emma, Jane Eyre, and Middlemarch are representative of traditional social norms and yet question some of the culture's dominant codes, especially in relation to paternalism and gender. What strikes me about these novels is that although the female characters are limited by society, they are not ineffectual. Rather the authors portray women in control of their lives and able to make choices for themselves within the framework of society. My research includes social, philosophical, and political attitudes of the decades in which each novel was written, as well as personal philosophies held by Austen, Bronte, and Eliot in relation to gender and class and the influence of these philosophies in their art. Finally, my reading of the texts explicates evidences of the culture's and author's attitudes in relation to paternalism and gender.

A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of Doctor of Philosophy, Johannesburg, 2016. / This thesis is concerned with the meeting point between theatre and religion in the mid-Victorian consciousness, and the paradoxical responses that this engendered particularly in the novels and thought of Dickens, Newman and Charlotte Brontë. It contributes to the still growing body of critical literature that attempts to tease out the complex religious influences on Dickens and Brontë and how this manifests in their fiction. Newman is a religious writer whose fictional treatment of spiritual questions in Callista (1859) is used as a foil to the two novelists. There are two dimensions to this study: on the one hand it is concerned with the broader cultural anti-Catholic mood of the period under consideration and the various ways in which this connects with anti-theatricality. I argue that in the search for a legitimate means of expressing religious sentiments, writers react paradoxically to the latent possibilities of the conventions of religious ceremony, which is felt to be artificial, mystical, transcendent and threatening, inspiring the same contradictory responses as the theatre itself. The second dimension of this study is concerned with the way in which these sentiments manifest themselves stylistically in the novels under consideration: through a close reading of Barnaby Rudge (1841), Pictures From Italy (1846), and Villette (1852), I argue that in the interstices of a wariness of Catholicism and theatricality there is a heightening of language, which takes on a ritual dimension, evoking the paradoxical suggestions of transcendent meaning and artificiality associated with performance. Newman’s Callista (1859) acts as a counterpoint to these novels, enacting a more direct and persuasive argument for the spiritual value of ritual. This throws some light on the realist impulse in the fiction of Brontë and Dickens, which can be thought of as a struggle between a language that seeks to distance and explain, and a language that seeks to perform, involve, and inspire. In my discussion of Barnaby Rudge (1841) I argue that the ritual patterns in the narrative, still hauntingly reminiscent of a religious past, never become fully embodied. This is because the novel is written in a style that could be dubbed “melodramatic” because it both gestures towards transcendent presences and patterns and threatens to make nonsense of the spiritual echoes that it invokes. This sense of a gesture deferred is also present in the travelogue, Pictures from Italy (1846). Here I argue that Dickens struggles to maintain an objective journalistic voice in relation to a sacramental culture that is defined by an intrusive theatricality: he experiences Catholic practices and symbolism as simultaneously vital, chaotic and elusive, impossible to define or to dismiss. In Villette (1852) I suggest that Charlotte Brontë presents a disjuncture between Lucy’s ardour and the commonplace bourgeoisie world that she inhabits. This has the paradoxical effect of revitalising the images of the Catholic religion, which, despite Lucy’s antipathy, achieves a ghostly presence in the novel. In Callista (1859), I suggest that Newman concerns himself with the ritual possibilities and limitations of fiction, poetry and theatre. These dramatic and literary categories invoke and are ultimately subsumed in Christian ritual, which Newman considers the most refined form of language – the point at which detached description gives way to communion and participation. Keywords: Victorian literature, Charles Dickens, Charlotte Brontë, John Henry Newman, ritual, religion, realism, theatricality, anti-Catholicism

Cheung Fung-Ling. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (leaves 106-112). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.v / Chapter Chapter One --- Introduction --- p.1 / Chapter Chapter Two --- Passionate Impulses in Childhood and Adolescence --- p.26 / Chapter Chapter Three --- Moral Dilemmas in Love --- p.52 / Chapter Chapter Four --- The Ultimate Return --- p.75 / Chapter Chapter Five --- Conclusion --- p.99 / Notes --- p.104 / Bibliography --- p.106