This paper is a study of the major influence of the German philosophy, Krausism, in the writings of Benito Perez Galdds. The study is an analysis of the effects of this ideology on Spain and her people, as illustrated in the works of the most representative writer of the nineteenth century in that country. Also included is a discussion of historical incidents of the period which is necessary to place the acceptance of both this philosophy and the works of Perez Galdos in its proper perspective.

Il était une fois...l'histoire d'une petite fille curieuse qui, en suivant un lapin blanc, découvre un pays merveilleux habité par d'étranges créatures. Cette fillette et cet univers, nous les connaissons, c'est l'Alice au pays des merveilles de Lewis Carroll. Ce conte a fait du chemin depuis sa parution en 1865 et ses pas l'ont mené jusqu'à aujourd'hui dans les mains d'un pionnier de la littérature d'horreur au Québec: Patrick Senécal. Depuis 1994, cet auteur est de plus en plus présent dans le panorama littéraire québécois, mais c'est son quatrième roman, Aliss, publié en 2000, qui retient ici notre attention. Dans ce roman, Senécal réécrit l'Alice au pays des merveilles de Carroll à l'aide d'un travail intertextuel et de réécriture. L'enjeu de ce mémoire est de découvrir de quelle manière s'opère la réécriture transformant le conte de Carroll en un nouveau texte qui propose une version moderne du sujet. Le récit de Senécal s'inscrit dans ce que Gérard Genette appelle l'hypertextualité : toute relation qui unit un texte (hypertexte) à un autre texte (hypotexte) dont il dérive. Dans nos recherches, ce sont les théories et la typologie intertextuelle qui servent de premiers moyens d'investigation. En sollicitant les catégories de la citation, de la référence et de l'allusion, nous sommes en mesure d'identifier et d'étudier les relations qu'entretient le récit de Senécal avec le conte de Carroll, mais également avec d'autres intertextes. Les théories de la réécriture et les concepts de répétition et de variation qui lui sont relatifs nous permettent d'analyser en profondeur les transformations apportées à Alice au pays des merveilles pour devenir Aliss. La réécriture joue notamment sur trois aspects. On assiste d'abord à un changement générique qui fait que l'on passe du merveilleux à une oeuvre se trouvant à la frontière entre le récit fantastique et le récit d'horreur. C'est notamment l'aspect cauchemardesque et fantastique déjà suggéré dans le conte de Carroll qui devient la source du glissement de genre. Pour parler de réécriture, il faut que l'on en reconnaisse obligatoirement le modèle. L'étude de la transposition des épisodes et des personnages d'Aliss, construits en miroir avec leur double carrollien et influencés par le changement générique, est donc nécessaire à la compréhension du phénomène. Finalement, en plus de s'approprier le conte de Carroll, Senécal intègre dans son récit l'auteur d'Alice au pays des merveilles et en fait un horrible personnage. Dans le dernier chapitre, la manière dont Senécal reprend les éléments caractéristiques de la vie de Carroll et de son oeuvre pour construire ce double subversif est étudiée. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Intertextualité, Réécriture, Fantastique, Horreur, Conte, Lewis Carroll, Patrick Senécal, Alice au Pays Des Merveilles, Aliss.

Author's Habilitationsschrift--Georg-August-Universität Göttingen. / Includes index.

Mary Shelley’s Frankenstein is a prelude to the Anatomy Act of 1832, which indulged the anatomists’ scientific ambition, granting a legitimate and sufficient source of cadavers to dissect legally. When read in concert with the history of anatomy and the historical record of body snatching, including case law and anatomy legislation, Frankenstein exemplifies the issues in medico-legal history at the turn of the nineteenth century, for Victor Frankenstein and the Creature’s stories are set amid the context of anatomical study, grave-robbery, crime, punishment and the illicit relationship between medicine and murder. This thesis accordingly addresses the medico-legal history of anatomy, the anatomist’s ambition and complex inhumanity, and the mingled identity of the anatomical subject as illegitimate and criminal. This analysis demonstrates that Frankenstein sheds light upon the anatomist’s ambition, the identity of the human cadaver, and the bioethical consequences of meddling with nature.

John Macrone (1809-1837) was a Scotsman who arrived in London around 1830 and became a publisher, in partnership with James Cochrane between January 1833 and August 1834, and independently between October 1834 and his death in September 1837. A friend of Dickens and Thackeray, he published Sketches by Boz and, posthumously, The Paris Sketch Book. One of his other projects was a life of Scott, which he began to write soon after the death of the novelist; but his book, chiefly remembered because Hogg wrote his Anecdotes of Scott for inclusion in it, fell under the displeasure of Lockhart, and was cancelled shortly before it was to have been published. A fragmentary manuscript, however, was recently discovered by the author of this thesis and has now been edited for the first time, together with a biographical study of Macrone, in which extensive use is made of previously unpublished and uncollected material.

Isaac J. Barrera, a noted scholar of Ecuadorian literature, succinctly described the nineteenth-century Liberal essayist, Juan Montalvo, in this way. "Two completely different aspects exist in the intellectual personality of Montalvo, that of the elegant, traditional writer ... and that of the terrible polemicist, possessing a scathing pen [and] ignited rage." Indeed, it was Montalvo's "scathing pen" and "ignited rage" combined with his exceptional mastery of the Castillian language which distinguished his writing from that of other Ecuadorian reformers. Yet, the Ecuadorian's insulting polemics and violent rhetoric encouraged and perpetuated an already existing "culture of revolution" in Ecuador. Indeed, the eyes of the country seemed fixed on Montalvo. He was at the center of Ecuadorian political thought and he personified the hope of those of radical opinion. For example, in 1875, after reading The Perpetual Dictator, his polemical pamphlet directed against the tyrannical practices of then Ecuadorian President, Gabriel Garcia Moreno, three of Montalvo's disciples assassinated the Dictator. Montalvo, believing he now had proof of the power of his words, exclaimed, "No doubt my ideas took root; ... it is my pen that killed him."This thesis will examine three aspects of Juan Montalvo and the culture of revolution in Ecuador. The second chapter entitled, "'It is My Pen that Killed Him!': The Assassination of Garcia Moreno," will examine Montalvo's rhetoric of violence and its results. Chapter three, "Montalvo as Icon: Nationalism, Personalism and Rebellion," will explore how a nation's heroes influence the cultural and revolutionary flavor of the particular region or country. The fourth chapter, "Indoctrination of the Innocent: Montalvo in Education," will analyze how the culture of revolution has not only penetrated Ecuadorian education but is perpetuated through the education of the Ecuadorian youth.This investigation will also provide supplemental awareness of Montalvo's general motives as well as a representative sketch of a nineteenth-century, Latin American liberal. An understanding of this Ecuadorian is also necessary for related research regarding other twentieth-century, Spanish speaking authors, such as Miguel Unamuno, for whom Montalvo was an influential figure. Furthermore, a clear assessment of Montalvo, and the forces against which he fought, portrays Latin American authoritarianism and personalism and reflects the social and religious mentality of the Ecuadorian elite and middle class in the nineteenth century. Despite Montalvo's influential position in Ecuador and his worldwide reputation as an opponent of tyranny and defender of liberty, only a few select passages of his writings have been translated into English. Likewise, English language scholarship on Montalvo is sorely lacking; most of the few existing articles are sparse, replete with errors, and tailored to a popular audience. / Department of History

Mary Shelley’s Frankenstein is a prelude to the Anatomy Act of 1832, which indulged the anatomists’ scientific ambition, granting a legitimate and sufficient source of cadavers to dissect legally. When read in concert with the history of anatomy and the historical record of body snatching, including case law and anatomy legislation, Frankenstein exemplifies the issues in medico-legal history at the turn of the nineteenth century, for Victor Frankenstein and the Creature’s stories are set amid the context of anatomical study, grave-robbery, crime, punishment and the illicit relationship between medicine and murder. This thesis accordingly addresses the medico-legal history of anatomy, the anatomist’s ambition and complex inhumanity, and the mingled identity of the anatomical subject as illegitimate and criminal. This analysis demonstrates that Frankenstein sheds light upon the anatomist’s ambition, the identity of the human cadaver, and the bioethical consequences of meddling with nature.

Acompanha anexo de ilustrações / Orientador: Jorge Coli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-21T11:48:17Z (GMT). No. of bitstreams: 1 Alvim_PedrodeAndrade_M.pdf: 15600000 bytes, checksum: 2f6d6f815fc49b5f072ac053928a445d (MD5) Previous issue date: 1996 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História

Orientador: Jorge Sidney Coli Junior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-15T03:08:25Z (GMT). No. of bitstreams: 1 Miyoshi_AlexanderGaiotto_D.pdf: 47320743 bytes, checksum: fdb0ea22a0086d29898e0044c8c42df3 (MD5) Previous issue date: 2010 / Resumo: Voltado inicialmente ao estudo da pintura Moema (1866), de Victor Meirelles, e da escultura homônima de Rodolpho Bernardelli (1895), este trabalho ampliou-se às compreensões da personagem desde o seu surgimento, no poema épico Caramuru (1781), até as primeiras décadas do século 20. Moema foi convertida num emblema da cultura brasileira. No processo de transformação, a obra de Meirelles tem um especial sentido. O corpo nu e inerte da índia, em meio à natureza do quadro, foi a adequação de um gênero pictórico à nação que adotou a imagem idealizada do índio como símbolo. O bronze de Bernardelli, mais provocante, acompanha as inquietações decadentistas do fim de século. Para além das duas obras, Moema inspirou outros autores, cujas visões e modos de abordagem contribuíram à permanência da personagem. Mas é a pintura de Meirelles, até hoje pouco compreendida, a sua versão mais brilhante, além de um poderoso comentário do seu tempo / Absctract: This work was initially devoted to a painting and a sculpture, they both named Moema, the former completed in 1866, by Victor Meirelles, and the latter in 1895, by Rodolpho Bernardelli. But it was expanded to understand the character since her creation, in 1781, by Caramuru, an epic poem, until the 20th century beginning. A Native woman, Moema became a Brazilian symbol. Meireles' painting has a special role in that transformation. Moema's naked dead body was an adjustment, concerning to a country that, in the 19th century, took the allegorical image of the Indian as a national symbol. Bernardelli molded a much more provocative Moema. In his bronze, she became more disturbing, taking part of the fin de siècle delight and morbid feelings. Beyond they both, Moema inspired several authors, important to consolidate the character. But Meireles' Moema is the brighter version, a powerful comment of its time, disregarded even in our days / Doutorado / Historia da Arte / Doutor em História

Orientador: Júlia Ziviani Vitiello / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T09:54:20Z (GMT). No. of bitstreams: 1 Lourenco_Robson_M.pdf: 4093412 bytes, checksum: 5644ca1ce88fba83b6892a2fee5237a4 (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa propõe a investigação entre duas áreas de conhecimento: Dança e Embriologia Humana. A primeira é desenvolvida através das técnicas de dança e práticas artísticas. Através da Embriologia Humana considera algumas das reflexões sobre a fenomenologia de Johann Wolfgang Goethe (1749-1832), a qual desenha inter-relações a partir da observação da estrutura total dopróprio fenômeno, onde o individuo não está separado da pesquisa, mas faz parte integral da experiência. Desenvolve uma metodologia do corpo na dança, onde o conhecimento não deve vir através de fenômenos isolados, mas sim através de suas inter-relações entre sujeito e objeto de pesquisa, onde os sentidos, a intuição e o raciocínio devem ser usados para acompanhar a experiência do fenômeno.Nos relacionamentos entre Dança e Embriologia Humana é possível criar procedimentos artísticos diferenciados, visando tanto a compreensão corporal dos conteúdos da embriologia, quanto para a criação de um solo de dança / Abstract: This research proposes the investigation of two areas of expertise: Dance and Human Embryology. The first is developed through the techniques of dance and artistic practices. Through the Human Embryology considers some of the reflections on the phenomenology of Johann Wolfgang Goethe (1749-1832), which draws inter-relationshipsfrom the observation of the total structure of the phenomenon itself, where the individual is not separate from research, but is an integral part of the experience.This research develops a methodology of the body in dance, where knowledge should not come acrossas isolated phenomena, but rather through their inter-relationships between subject and object of research, where the senses, intuition and reasoning should be used to monitor the experience of the phenomenon. Inrelationships between dance and Human Embryology is possible to create different artistic procedures, aimed at both understanding in content of embryology and for the creation of a solo dance / Mestrado / Artes Cenicas / Mestre em Artes