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edited for the first time, together with a biographical study of Macrone, in which extensive use is made of previously unpublished and uncollected material.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

This thesis examines the compulsory smallpox vaccination controversy in Utah, 1899-1901. It looks at the two smallpox epidemics during 1899-1901 and follows the boards of health attempts to eradicate smallpox primarily by compelling the vaccination of school children.Dr. Theodore B. Beatty, secretary of the State Board of Health, championed the effort to vaccinate all Utahns; however, the opposition led by Charles W. Penrose, editor of the Deseret Evening News, produced anti-compulsion and vaccination information which influenced Utahns to generally oppose vaccination. Consequently, the legislature passed an anti-compulsory vaccination statute over the governor's veto to annul the courts decision that the health boards had the authority to compel vaccination.The research reveals that Utah's opposition to compulsory vaccination impeded medical progress. It also claims that this was the first controversy experienced by the members of the dominant religion in Utah which resulted in the expression of divergent viewpoints.

Throughout the history of the Mormon movement, certain members or groups of members, have exercised free agency in the form of dissent against the direction which the prophet of that church chose to lead his movement. The form of this dissent varied but the theme was usually quite consistant: a demand for moderation. For many of these dissenters the extremes of Mormon doctrine seemed to take them out of touch with prevailing American values.Joseph Smith III, a son of the Mormon founder, proved to be one of these moderates. He ultimately rejected all of his father's more radical theology as he created a movement in which the believers in his father's divine mission and the Book of Mormon could exercise their faith without losing the good will of the American people.