"Rum, Rome, and Rebellion: The Reform of Reform in the Political Fiction of the Gilded Age" examines a collection of American political novelists who were active during the mid- to late-nineteenth century. These writers were not only active in politics, they also used their experience in politics to compose realist fiction that typically contained a great deal of humor and satire. Despite their different backgrounds, each of these writers challenged the literary and political conventions of Romanticism, championing ironic detachment and cosmopolitanism. Although fiction about quotidian political life rarely achieves canonical status, such literature has always enjoyed a large readership, both in the nineteenth-century and in our own time. This dissertation attempts to untangle why we find (or don’t find) literature about quotidian political life entertaining and/or instructive, while also providing insight into this transitional period in American history. Each chapter concentrates on the fifty-year period between 1848 and 1898 from a different location, forming what are essentially four cross-sectional samples. This serves two interconnected purposes. One, it reorients the periodization of American literature and history away from 1865 by highlighting cultural continuities between the periods before and after the Civil War And two, it serves to highlight the integration of American literature, culture, and politics, with the broader, nineteenth-century Atlantic world, where the year 1865 carries less cultural significance. The first chapter begins in the nation's capital and examines the anti-populist liberalism of Henry Adams and John Hay. From Washington, we move north to New England where we encounter Henry James’s Bostonians. With the exception of Lionel Trilling, few major critics have championed James’s "middle period," which provides quasi-ethnographic sketches of political movements on both sides of the Atlantic. I reveal James’s long-standing fascination and engagement with the political analyses of Alexis de Tocqueville, Nathaniel Hawthorne, and his friend, Henry Adams. I show how the novel anticipates George Santayana’s notion of "the genteel tradition" which dominated northern American culture during this period. After examining two canonical figures, I turn my attention in a more southerly direction, to two lesser known authors. The first is Maria Ruiz de Burton, a Mexican writer from the Southwestern Borderlands who immigrated to the U.S. after the Mexican-American War. Ruiz de Burton has primarily been read as a proto-Chicana/o author, but I view her as a cosmopolitan whose observations about American culture and politics resemble those of James and Santayana. My last chapter is set in Louisiana, where we encounter and recover an eccentric, Spanish-Creole politician and author named Charles Gayarré and his 1856 novel The School for Politics, a satire of local machine politics. Largely forgotten today, Gayarré was connected to intellectual circles in both Europe and Latin America, and was acquainted with American writers like Herman Melville and Henry Adams. I relate The School for Politics with his later political novels in which anti-imperialism and a pluralistic plea for the tolerance of ethnic minorities also implicitly serve as an apology for racial segregation in the Jim Crow South.

El quiebre del sistema virreinal y el nacimiento de la república del Perú, generó diversas respuestas en quienes vivieron tan complejo proceso. La elite -tanto de origen peninsular como criollo- tuvo que tomar decisiones apresuradas ante los vaivenes del momento, particularmente desfavorables para el sector leal a la corona. Los realistas -o fidelistas- fueron los grandes perdedores en aquellos cambios. Esta tesis analiza dos conductas que no pudieron ser más contrastadas entre quienes se opusieron a la ruptura con España. Fueron dos caras de una misma moneda: una fue la representada Gaspar Antonio de Osma, un funcionario peninsular vinculado a la aristocracia mercantil limeña, mientras que el otro, Pedro José de Zavala, fue un noble militar, de añeja estirpe en Cuzco y Lima. Mientras el primero -siendo español- optó por adaptarse al Perú independiente, el segundo -habiendo nacido en estas tierras- se negó a hacerlo, emigrando a España. Estos casos muestran dos posturas extremas, que fueron posiblemente los márgenes de un abanico de opciones. La del peninsular que se quedó en el Perú republicano, al lado de su familia, debió ser menos traumática que la del criollo desarraigado de su lugar de origen. Osma se adaptó al nuevo sistema mientras su contraparte, Zavala, no logró más éxito que unos distintivos honoríficos, antes de volver al final de su vida a un país que, paradójicamente, pasaba por una coyuntura más estable que la España de mediados del siglo XIX. / The fall of the viceregal system and the birth of the Republic of Peru, generated various responses in those who lived through such a complex process. The elite - both peninsular and criollo in origin - had to make hasty decisions in face of the fluctuations of the moment, particularly unfavorable for the sector loyal to the crown. The realistas (or fidelistas) were the big losers in those changes. This thesis analyzes two behaviors that could not be more contrasted among those who opposed the breakup with Spain. They were two sides of the same coin: one was represented by Gaspar Antonio de Osma, a peninsular bureaucrat linked to Lima´s commercial aristocracy, while the other was a military nobleman of ancient ancestry in Cuzco and Lima. While the former -being Spanish- chose to adapt to independent Peru, the latter -having been born on these lands- refused to do so, emigrating to Spain. These cases show two extreme positions, which were possibly the margins of a range of options. That of the peninsular who remained in republican Peru, next to his family, must have been less traumatic than that of the uprooted army officer from his place of origin. Osma was able to adapt to the new system while his counterpart, Zavala, achieved no more success than a few honorary distinctions, before returning at the end of his life to die in a country that, paradoxically, was going through a more stable situation than mid XIXth century Spain. / Tesis

[EN] This thesis takes the Teatro Principal Valencia as a sample of study and raises questions to deepen the awareness of its history, architecture and acoustics. Our final objective has been to analyse and reconstruct the acoustic conditions of our theatre in different historical moments, providing a new way of approaching the Valencian architectural heritage with it. In addition to this, we intend to show the potentiality of our current tools of acoustic simulation and auralization for the study of the most widely deployed theatrical architectural typology in Europe in the seventeenth century: Italian baroque theatre. The Teatro Principal Valencia is a representative example of an Italian-style theatre because of meeting each and every formal characteristic that define this building typology. Inaugurated in the year 1832, it is the oldest theatre in Valencia and one of Spain's oldest Italian-style venues, prior even to pioneer projects of the Teatro Real de Madrid (1850), and the Gran Teatre del Liceu de Barcelona (1847). We have carried out archive research data, the screening of press, bibliographical research, as well as document consultation and compilation, planimetry and images (many of them unpublished), which have made the recovery of the history of the Valencian theatrical venue possible, blurred with the passing of time. That represented in itself an objective of this thesis, and as such it is presented in the section on results. This detailed historical study of our theatre has allowed us to select five moments in which its morphological differences could manifest changes in its acoustics: 1832, 1859, 1928, 1968, and 2015. Normalised acoustic measures have been carried out in the Teatro Principal, and we have developed three-dimensional computer models of the five selected morphologies. The current acoustic model has been adjusted with measures on-site. From the aforementioned model, volumetric, geometric measurements and absorption and/or diffusion coefficients have been introduced with the object of virtually revert each architectural intervention that our theatre has experienced, always basing ourselves on documented historical criteria. All of this has allowed us to rebuild the sonic history of the Teatro Principal Valencia, being able to compare the changes that its acoustic parameters have experienced in more than 180 years of its life. As a key outcome to this thesis, the geometrical model of the Teatro Principal has been studied thoroughly on its graphics realism through the use of texturization techniques and virtual photorealistic rendering, achieving a model that can experiment on auralizations in a striking immersive graphic environment (CAVE, PowerWall, etc.), opening the door to new lines of research. / [ES] Este trabajo toma el Teatro Principal de Valencia como materia de estudio y plantea profundizar en el conocimiento de su historia, arquitectura y acústica. Nuestro objetivo final ha sido analizar y reconstruir las condiciones acústicas del teatro en diversos momentos históricos, aportando con ello una novedosa forma de acercamiento al patrimonio arquitectónico valenciano. Pretendemos, además, mostrar la potencialidad de las actuales herramientas de simulación acústica y auralización para el estudio de la tipología arquitectónica teatral más extendida en Europa desde el siglo XVII: el teatro barroco a la italiana. El Teatro Principal de Valencia es un ejemplo paradigmático de teatro a la italiana al reunir todas y cada una de las características formales que definen esta tipología edilicia. Inaugurado en el año 1832, es el decano de los teatros valencianos y uno de los recintos a la italiana en activo más antiguos de España, anterior incluso a los proyectos pioneros del Teatro Real de Madrid (1850) y del Gran Teatre del Liceu de Barcelona (1847). Hemos llevado a cabo trabajos de búsqueda en archivo, vaciados de prensa, investigación bibliográfica, así como consulta y recopilación de documentos, planimetría e imágenes (inéditas muchas de ellas) que han hecho posible la recuperación de la historia del recinto teatral valenciano, desdibujada en gran medida por el paso del tiempo. Todo ello ha constituido en sí mismo un objetivo de esta tesis, y como tal se presenta en el apartado de resultados. Este estudio histórico pormenorizado del teatro nos ha permitido seleccionar cinco momentos en los que sus diferencias morfológicas podrían poner de manifiesto cambios en su acústica: 1832, 1859, 1928, 1968 y 2015. Se han realizado medidas acústicas normalizadas en el teatro y hemos desarrollado modelos informáticos tridimensionales de las cinco morfologías seleccionadas. El modelo acústico actual ha sido ajustado con las medidas in situ. A partir de dicho modelo, se han introducido modificaciones volumétricas, geométricas y de coeficientes de absorción y/o difusión con objeto de revertir virtualmente cada una de las intervenciones arquitectónicas que ha experimentado la sala teatral, siempre basándonos en criterios históricos documentados. Todo ello nos ha permitido reconstruir la historia sonora del Teatro Principal de Valencia, pudiendo comparar los cambios que sus parámetros acústicos han experimentado en sus más de 180 años de vida. Como colofón a la tesis, se ha profundizado en el realismo gráfico del modelo geométrico del Teatro Principal actual mediante el empleo de técnicas de texturización y realidad virtual fotorrealística, habiendo conseguido un modelo que permite experimentar auralizaciones del Teatro Principal en un impactante entorno gráfico inmersivo (CAVE, ProwerWall, etc.) que abre la puerta a nuevas líneas de investigación. / [CA] Aquest treball pren el Teatre Principal de València com a matèria d'estudi i planteja aprofundir en el coneixement de la seua història, arquitectura i acústica. El nostre objectiu final ha estat analitzar i reconstruir les condicions acústiques del teatre en diversos moments històrics, aportant amb això una nova forma d' apropar-nos al patrimoni arquitectònic valencià. Pretenem, a més, mostrar la potencialitat de les actuals eines de simulació acústica i auralització per a l' estudi de la tipologia arquitectònica teatral més estesa a Europa des del segle XVII: el teatre barroc a la italiana. El Teatre Principal de València és un exemple paradigmàtic de teatre a la italiana ja que reuneix totes i cadascuna de les característiques formals que defineixen aquesta tipologia edilícia. Inaugurat l 'any 1832, es tracta del degà dels teatres valencians i un dels més antics d'Espanya, anterior fins i tot als projectes pioners del Teatro Real de Madrid (1850) i del Gran Teatre del Liceu de Barcelona (1847). Hem dut a terme treballs de recerca en arxiu, buidats de premsa, recerca bibliogràfica, així com consulta i recopilació de documents, planimetria i imatges (moltes inèdites) que han fet possible la recuperació de la història del recinte teatral valencià, desdibuixada en gran mesura pel pas del temps. Tot això ha constituït en si mateix un objectiu d' aquesta tesi, i com a tal l' hem presentat en l' apartat de resultats. Aquest estudi històric del teatre ens ha permès seleccionar cinc moments en què les seues diferències morfològiques podrien posar de manifest canvis en la seua acústica: 1832, 1859, 1928, 1968 i 2015. S'han realitzat mesures acústiques normalitzades al teatre i hem desenvolupat models informàtics tridimensionals de les cinc morfologies seleccionades. El model acústic actual ha estat ajustat amb les mesures in situ. A partir d'aquest model, s'han introduït modificacions volumètriques, geomètriques i de coeficients d'absorció i / o difusió a fi de revertir virtualment cadascuna de les intervencions arquitectòniques que ha experimentat la sala teatral, sempre basant-nos en criteris històrics documentats. Així hem pogut reconstruir la història sonora del Teatre Principal de València i comparar els canvis que els seus paràmetres acústics han experimentat al llarg de la seua vida. Com a colofó de la tesi, hem aprofundit en el realisme gràfic del model geomètric del Teatre Principal actual mitjançant l' ús de tècniques de texturització i realitat virtual fotorealística, havent desenvolupat un model que permet experimentar auralitzacions del Teatre Principal en un impactant entorn gràfic immersiu (CAVE, ProwerWall, etc.) que ens obri la porta a noves línies d' investigació. / Barba Sevillano, A. (2016). La acústica virtual como herramienta arqueológica. Historia y sonido en el Teatro Principal de Valencia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62687

Ce mémoire met en lumière la mixité culturelle au sein des élites québécoises entre 1791 et 1900 en se penchant sur une de ses dimensions les plus intimes : la famille. En nous penchant sur l’exemple de la famille de l’ancien premier ministre Félix-Gabriel Marchand, nous montrons que ces couples s’inscrivent dans les mêmes stratégies de reproduction sociale que les élites endogames. Toutefois, la mixité les amène à revoir les structures familiales et à adopter une culture mixte qui n’est pas très éloignée de chacun des deux milieux. En effet, les élites partagent une culture commune tout en ayant leurs particularités à cette époque. En nous appuyant essentiellement sur la correspondance de cette famille et, dans une moindre mesure, sur le journal intime de Joséphine Marchand, nous montrons également que les enfants nés de ces unions adoptent rapidement la culture d’un des deux parents – dans ce cas-ci, celle du père. Cependant, cela ne les empêche pas de conserver une plus grande ouverture au groupe ethnolinguistique duquel est issu leur second parent et de s’imposer comme un pont entre ces deux communautés.

This thesis is divided into two main parts. The first, comprising the three initial chapters, looks, in chapter one, at the specifically German origins of the Bildungsroman, its distinctive features, and the difficulties surrounding its transplantation into the literary contexts of other countries. Particular attention is paid to the ethical dimension of the genre, i.e. to the relation between the individual self and the exterior world, and how it affects individual formation. The focus then shifts to American literature, and the term 'narrative of initiation' is recommended as a credible alternative to 'Bildungsroman'. Allowing for similarities between them, it is none the less strongly suggested that the Bildungsroman of German origin and the American narrative of initiation should be seen as being intrinsically different, principally because of the different cultural backgrounds that shaped them. Several features of the theme of initiation are postulated as decisive factors in the discrepancies between the initiatory narrative and the Bildungsroman. Analysis of six texts - three of each literary tradition - follows, to provide support for the theoretical discussion of the terms introduced in chapter one. Three Bildungsromane are considered in the second chapter, namely Goethe's Wilhelm Meisters Lehrjahre, Stifter's Der Nachsommer and Keller's Der grune Heinrich, and three narratives of initiation in chapter three: Twain's The Adventures of Huckleberry Finn, Crane's The Red Badge of Courage and Anderson's Winesburg, Ohio. Their relevance to the tradition of German and American fiction as a whole and as precursors of Mann's Der Zauberberg and Hemingway's The Nick Adams Stories is considered. A direct comparison between Mann's and Hemingway's texts constitutes the second part of this thesis, wholly contained in chapter four. In addition to a comprehensive critical reading of both narratives, the contemporaneity of Der Zauberberg and The Nick Adams Stories is taken into account, and consequently special consideration is given to the texts' close relation with the cultural and historical realities of the early twentieth century, particularly the impact of the First World War. With the assistance of Jung's theories, an increased awareness of death and of the dark side of the psyche - though dealt with differently in both texts - is put forward as a significant factor in the deviation of Der Zauberberg and The Nick Adams Stories from the traditions of the Bildungsroman and of the narrative of initiation. This departure leads to a re-appraisal of the relation between the protagonists and their society, and to a new ethical attitude that presupposes different, more modem conceptions of what Bildung and initiation represent in the context of the early twentieth century. How and why they changed and if they survived as literary notions are questions this thesis attempts to answer.

This thesis examines the relationships between different nations and cultures in Ivanhoe, The Talisman, Quentin Durward, Anne of Geierstein and Count Robert of Paris using Post-colonial theory. An analysis of Scott’s conception of society in general shows that 18th century Scottish historiography is fundamental to his vision of the world because it forms the basis of his systematization of history, social development and interaction between communities. It also profoundly influences his imagery and descriptions, as well as providing him with a range of stereotypes that he manipulates so skilfully that his great dependence upon them is occulted. Contemporary ideas and his own attitude to the Union of Scotland and England lead him to conceive of nation formation in terms of descent and hybridity. In part, he sees the nation as a community of blood. Yet, his acceptance of the Union means that he also considers it to be a body of different ethnic elements that live together. His use of the 18th century metaphor of family to figure the nation allows him to incorporate heredity and miscegenation into his analysis of national development through father-daughter couples. The father represents traditional culture, and the daughter, the nation’s present and future; her marriage to a foreigner signifying that people of differing descent can cross the nation’s porous borders. Religion is the final frontier: Christian nations cannot absorb non-Christians. Scott sees dominance and subordination as a complex part of human relationships. Apparently-subordinate subjects possess occulted power because their support of the hegemonic is often essential if the latter is to maintain its superiority. While his conception of society in patriarchal terms means that his female characters cannot offer violence to men, he shows that passive resistance is very effective. Through mimicry, the subordinate threatens the power and identity of the dominant. Power is not only conceived of in political terms. In Ivanhoe, Scott reveals the importance of moral stature which allows Rebecca to dominate the work although she is at the bottom of the political and racial hierarchy that structures English society. Scott’s conception of time is fundamental to the manner in which he conceives of the nation. Historical cultural forms are physicalised through chronotopes. Politically subordinate cultures base their actions in the present on pedagogic time, while the dominant ignore their past and live only in the present and the future. He also expresses dominant-subordinate relationships through speed, with time moving quickly for the powerful and slowly for the weak. Time, whether in the form of history, the characters’ perception of it or speed amalgamates all the various elements of Scott’s conception of nationhood into a seamless whole.<p><p>Cette thèse analyse par le biais la théorie post-coloniale les relations internationales dans Ivanhoe, Quentin Durward, Anne of Geierstein et Count Robert of Paris. Les théories historiques élaborées en Écosse au XVIIIème siècle sont fondamentales dans la vision scottienne parce qu’elles forment la base de la systematisation de l’histoire, du développement sociale et, par conséquent, des relations entre les différentes communités. Ces théories influencent profondement les images qu’il utilise et la façon dont il décrit les caractères et les scènes. De plus, elles lui fournissent une gamme de stéréotypes qu’il manipule très adroitement. Sa conception de la manière dont se forment les nations vient des idées contemporaines et de sa propre expérience de l’union politique de l’Angleterre et de l’Écosse. Il considère la nation comme une communauté fondée sur l’ascendance par le sang mais aussi comme un groupe d’ethnies différentes qui vivent ensemble. Sa description de la nation emprunte à la métaphore de la famille courante au XVIIIième. Celle-ci lui permet d’inclure dans son analyse l’héridité et la mixité au moyen des couples formés par un père et sa fille. Le père représente la culture traditionelle, et la fille, le présent et le futur national. Son marriage avec un étranger signifie que les gens d’ascendance différente peuvent traverser les frontières perméables d’une nation. La religion est la frontière ultime: les nations chrétiennes ne peuvent absorber de non-chrétiens. Scott considère que la domination et la sujetion forment une partie complexe des relations humaines. Les sujets qui paraissent subordonnés possèdent en fait un pouvoir occulte, le dominant ayant besoin de leur soutien pour maintenir sa position. Bien que sa conception patriarcale de la société fasse que les caractères feminins ne manifestent pas d’agression envers les hommes, il montre que la résistance passive est très efficace. En imitant le sujet dominant, le sujet subordonné menace le pouvoir et l’identité de ce dernier. Le pouvoir ne s’exprime pas seulement dans la politique. Rebecca dans Ivanhoe revèle l’importance que revêtent le caractère et la moralité. Bien qu’elle soit au bas de la hiérarchie structurante de la société anglaise, elle domine le roman. <p>La conception que Scott se fait du temps est fondamentale à celle de la nation et de la culture. Au moyen du chronotope, les cultures historiques prennent des formes physiques. Les cultures qui sont subordonnées politiquement basent leur action au présent sur le “temps pédagogique”. Au contraire, le dominant rejette son passé et ne vit qu’au présent et au futur. Les relations entre le pouvoir dominant et le subordonné s’expriment aussi par la vitesse: le temps passe vite pour les puissants, mais lentement pour les faibles. En définitive, tous les éléments de la conception scottienne de la nation sont liés au temps, qu’il s’agisse de l’histoire, de perception par les caractères, ou de la vitesse.<p> / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished

Wilhelm August Ernst Haden (1800 Dresden - 1882 Lotzdorf), war Freigutsbesitzer zu Lotzdorf bei Radeberg, Abgeordneter und Zweiter Vizepräsident im Sächs. Landtag. Das interessante und bisher unerforscht gewesene Leben und die Karriere Hadens, als Sohn einer Dresdner Beamtenfamilie, ist eng mit der politischen Entwicklung im Königreich Sachsen ab 1830 bis zur Revolution 1848/49 verbunden. Hadens politische Karriere setzte mit der Revolution 1830 ein, die Veränderung des Parlamentarismus der Verfassung 1831 und seine Berufung 1832 als „Ablösungskommissar“ und Deputierter im Sächsischen Landtag als Abgeordneter der II. Kammer, ermöglichten ihm, sich umfassend der Befreiung der Bauern und dem Aufbau einer modernen Landwirtschaft zu widmen. Im Vormärz bekennt er sich zu den demokratischen Zielen des „Vaterlandsvereins“, kandidiert für diesen und wird unter Landtags-Präsident Joseph (1811-1869) zum 2. Vizepräsidenten der I. Kammer gewählt. Nach der Niederschlagung des Maiaufstandes durch den sächsischen König und eine Neubildung des Landtages wird Haden, der sich nicht unmittelbar an den revol. Unruhen beteiligt hatte, wiederum ins Parlament aufgenommen, er verweigerte jedoch 1850 den Eid auf die durch den König oktroyierte Verfassung, die alte Gesetzlichkeiten von vor 1831 beinhaltete. Sein Sohn Gustav Haden, beteiligt an den Maikämpfen, wurde zwei Mal zum Tode verurteilt und nach Begnadigung des Landes verwiesen.

Indiana University-Purdue University Indianapolis (IUPUI) / The landscape of James A. Garfield’s Mentor, Ohio home (now preserved at James A. Garfield National Historic Site) contains multiple layers of historical meanings and values. The landscape as portrayed in political biographies, political cartoons, and other ephemera during Garfield’s 1880 presidential campaign reveals the existence of the dual cultural values of agrarian tradition and agricultural progress in the late nineteenth century. Although Garfield did not depend on farming exclusively for his livelihood, he, like many agriculturalists of this era participated in a process of mediation between these dual values. The function of the landscape of Garfield’s farm between 1876 and 1880 is a reflection of this process of mediation. After President Garfield’s assassination in 1881, his wife and children returned to their Mentor home. Between 1885 and c. 1905, Garfield’s widow Lucretia made numerous changes to the agricultural landscape, facilitating the evolution of the home from farm to country estate. Despite the rich history of this landscape, its cultural complexity and evolution over time makes it difficult to interpret for public audiences. Additionally, the landscape is currently interpreted exclusively through indoor museum exhibits and outdoor wayside panels, two formats with severe limitations. I propose the integration of deep mapping into interpretation at James A. Garfield National historic site in order to more effectively represent the multi-layered qualities of its historic landscape.