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Tesis para optar al grado de Magíster en Historia

Orientador: Rosângela Doin de Almeida / Banca: Sonia Maria Vanzella Castellar / Banca: Conceição Aparecida Cabrini / Banca: Maria Isabel Castreghini de Freitas / Banca: Silvia Aparecida Guarnieri Ortigoza / Resumo: A presente pesquisa possuiu como foco principal de investigação a evolução histórica dos conteúdos de Cartografia de 1824 até 2002 e seu papel no estabelecimento de uma cultura geográfica escolar. Identificou alternâncias, permanências e transformações curriculares desses conteúdos no período investigado, tomando como fontes da pesquisa os programas curriculares oficiais, mas, sobretudo, os compêndios e os livros didáticos de Geografia dirigidos aos alunos do primeiro ano do ensino secundário brasileiro. Além disso, foi realizada uma análise pormenorizada dos componentes disciplinares (vulgatas, exercíciostipo, avaliações docimológicas), desenvolvidos por professores-autores de obras publicadas durante o século XIX e o início do século XX. Por meio dessa visão sócio-histórica do currículo, foi possível evidenciar importantes diferenças epistemológicas entre o saber geográfico científico e o saber geográfico escolar. / Resumen: La presente pesquisa posee como foco principal de investigación la evolución histórica de los contenidos de Cartografía desde 1824 hasta 2002 y su papel en el establecimiento de una cultura geográfica escolar. Se identificó alternancias, permanencias y transformaciones curriculares de esos contenidos en el período investigado, tomando como fuentes de la pesquisa los programas curriculares oficiales, pero, sobretodo, los compendios y los libros didácticos de Geografía dirigidos a los alumnos del primer año de enseñanza secundaria en Brasil. Además, fue realizado un análisis pormenorizado de los componentes disciplinares (vulgatas, exercícios-tipo, evaluaciones docimológicas), desenvueltos por profesores-autores de obras publicadas durante el siglo XIX y el comienzo del siglo XX. Por medio de esa visión socio-histórica del currículo, fue posible evidenciar importantes diferencias epistemológicas entre el saber geográfico científico y el saber geográfico escolar. / Doutor

Mak, Ka Yu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 122-125). / Abstracts in English and Chinese. / "Introduction: Don Juan: ""the most readable poem of its length""" --- p.1 / Chapter Chapter One: --- Parodying Authorial Presence in Don Juan and Orlando --- p.12 / Don Juan and Orlando as Literary Jokes --- p.13 / Don Juan and Orlando as Cross-Genre Literature --- p.15 / Common Literary Predecessors --- p.18 / The Byronic Biographer --- p.22 / "Fictional Life, Real Life" --- p.28 / Literary Tyrant and Liberal Equivocator --- p.33 / Their Ambiguous Human Portraits --- p.42 / The Parodies' Resolution --- p.51 / Chapter Chapter Two: --- The Modern Artist's Listless Monologue in Don Juan and The Waves --- p.57 / Don Juan as a Modern Man's Monologue --- p.58 / The Waves as Don Juan's Modem Counterpart --- p.63 / "The Wave's Narrative Frame and ""Dramatic Soliloquies""" --- p.66 / The Complication of the Narrative Perspective(s) --- p.70 / Byron's Young Man --- p.74 / Yet Byron never made tea as you do --- p.77 / The Making of Modem Artists --- p.82 / The Infant and the World --- p.86 / "The Wo/Man ""Outside the Thinker""" --- p.96 / The Death of Heroes --- p.103 / Social Alienation --- p.108 / Ennui and Boredom --- p.111 / Yet Life Goes On --- p.115 / Conclusion --- p.118 / Works Cited --- p.122

After rising to a position of political and economic importance among the Latin American republics of the nineteenth century, Chile lost that leadership in the early 1900’s, much to the consternation of her leading statesmen and intellectuals. The economic dislocation following World War I exacerbated the already serious social conditions, while at the same the traditionally passive lower classes started to demand a voice in the management of their own affairs. The existing governmental system had proved itself powerless to solve the pressing problems facing the country at every turn. Chile desperately needed new leadership; the time was perfect for the emergence of a modern-style caudillo. As early as 1918, Arturo Alessandri was prominently mentioned as a likely candidate for the Presidency. He had established his charismatic qualities and his political prowess in his 1915 campaign for the Senate seat for Tarapacá, and in the short span of four years he became the “popular” choice for the highest office. Alessandri won nomination as the candidate of the Liberal Alliance coalition in 1920, and he was elected President by such a slim margin that the contest had to be decided by a Tribunal of Honor. His triumph made him Chile’s first middle-class chief executive—a victory for the middle sectors that voted for him and the lower classes that threatened revolution if he were denied the office. The magnitude of his win must be qualified, however, for the oligarchy was aware that without control of Congress Alessandri would be unable to effect even moderate reforms. He had promised to right all the things were so wrong in Chile but such promises were not to be fulfilled.

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This dissertation examines George MacDonald's preoccupation with his literary predecessor Percy Shelley. While eminently Victorian in many ways, MacDonald was equally a late Romantic, who was inspired by the Romantic poets and positioned himself as the heir to their radical tradition. While he channeled their visionary ardor, he also made it his duty to correct what he saw as their flaws. I read MacDonald through the figure of Shelley, with whom MacDonald seems to have personally identified, but to whose atheism MacDonald, a devout believer, objected. MacDonald's fascination with Shelley works its way into his fiction, which mythologizes literary history, offering fables about the transmission of the literary spirit down through the generations. Throughout his work, MacDonald resurrects Shelley in various guises, idealizing and reshaping Shelley into an image that is startlingly like MacDonald himself. This project contributes to MacDonald scholarship by offering a new approach to his work. It positions MacDonald, who is often portrayed as an ahistorical myth-maker, in an explicitly historical light, revealing him as a Victorian mythographer who was deeply invested in questions of literary criticism and historical succession. / Chapter 1 introduces MacDonald's concern with literary genealogy, and discusses how his work as a literary critic and historian idealizes Shefey. Chapter 2 examines how MacDonald's Phantastes portrays literary history as romantic quest, featuring Shelley as a heroic but fallen knight, and opening questions about literary fatherhood. Chapter 3 interprets the gothic tale "The Cruel Painter" as a myth about the transition from the Enlightenment to Romanticism, in which MacDonald rewrites the story of Shelley's involvement with Mary Godwin and her father William Godwin. Chapter 4 considers Sir Gibbie and Donal Grant, works in which MacDonald explicitly critiques Shelley, and implicitly positions himself as the savior of the English literary tradition. Chapter 5 investigates MacDonald's later works, The Flight of the Shadow and Lilith, in which Shelley---and evil itself---become more complex entities. Throughout the dissertation, particular attention is given to the issue of repeating history vs. redeeming history, a tension that is reflected in MacDonald's use of vampire imagery to portray the unredeemed past.

If one painstakingly analyzes and compares the novel, the theatrical and the libretto versions of Marguerite-Violetta, a several-time reborn character from the novel and drama Camille, one notices striking differences and gleans useful insights as to the peculiarity of the three genres involved (novel, theatre and opera) and as to the reductive work of the libretto writer who, by modifying the roles of the characters and the values they channel, achieves a synthesis that has no match in the works he draws from. / This thesis aimed precisely at highlighting the intervening differences among the three genres, while pointing out the changes which were introduced and the peculiar nature of the final product, the libretto of La Traviata .

No abstract available. / Thesis (M.A.)-University of Natal, Durban, 1988.