Syftet med denna uppsats är att dels visa koleraepidemins utbredning i Alingsås år 1834 samt att kort jämföra den med omgivande städer i Västsverige och då framförallt Borås, och dels se på vilka återverkningar, upplevelser och reaktioner sjukdomen skapade hos människorna vid denna tid. De frågeställningar som har använts för att utveckla ovanstående syfte har varit: Vilka tankar, intryck och upplevelser gav sjukdomen upphov till? Vilka drabbades hårdast av sjukdomen? Hur förhåller sig dödstal, ålder, tidsdatering och social tillhörighet bland döda i en jämförelse med Borås? Vilka rykten, myter och reaktioner följde i kolerans spår? Materialet består av dödböcker och husförhörslängder för Alingsås stad och landsförsamling, protokoll från sundhetsnämnden i Alingsås landsförsamling, kungörelser och nedskrivna samtal från 1834, dagbok och anteckningar från privatpersoner från nämnda år samt litteratur och avhandlingar om Alingsås och koleran i Sverige. Alingsås stad hade vid sjukdomens inledningsskede en viss brist på läkare men detta avhjälptes snabbt och situationen var inte värre än i andra städer vid denna tid. För landsförsamlingen var dock bristen betydande. Då koleran härjade som värst upplevde människorna i Alingsås, liksom i många andra drabbade städer, en stark oro och ångest. De som oftast föll offer för koleran i Alingsås var fattiga som troligtvis på grund av trångboddhet och hygieniska svårigheter hade svårt att hålla smittan ifrån sig. I jämförelse med Borås visar Alingsås upp många likheter men också skillnader i form av fler döda och större dödlighet bland de fattiga.

Within the context of the revolution of subject matter in painting and sculpture that occurred during the nineteenth century, especially in the work of French painters, the imagery of the nude has been explored of late mostly with a view to illustrating the underlying sexism of these images and the degrading treatment of women as objects in these works. In this discussion, the work of Edgar Degas, an artist whose subject matter in his mature work is dominated by the nude, has been treated very little. Yet with Degas, the development of this imagery is particularly clearly demarcated throughout his career. The nudes of his early period, the history painting nudes, are very different than those of his mature work, those executed after c.1885. As well, the fact that Degas abandoned the subject for a period of almost twelve years would tend to indicate an abrupt change in his conception of the imagery from his early to his mature paintings. With the publication by Theodore Reff of Degas's notebooks, it is now possible to trace his development of the subject with firmer dates than was possible heretofore. As his first explorations of the subject in oil and pastel occur in 1879, it is then obvious that Degas's monotypes of bathers and brothels, executed c.1876-78, are his first real treatment of the nude of modern life, a discovery that makes the monotypes all important to this discussion. Further, it can be readily demonstrated upon close examination of these prints in relation to size, handling, motifs and poses that Degas did not consider the bathers and the prostitutes as two separate subjects and that the distinction is one imposed by later cataloguers of the monotypes. Degas's interest in the subject of prostitution is by no means an isolated case in the later nineteenth century in France. Other writers and artists chose it as one which conformed to the prevailing theories of naturalism as a truly modern theme. Nor did Degas ignore a long tradition of nineteenth century lithographs with naughty subjects in his depiction of the nudes. The interest in prostitution in this context and Degas's awareness of the lithographic tradition shed some light on the reaction of the press and audiences towards Degas's mature nudes that he exhibited in 1886. His public found the pastels and oils offensive, probably because the images did resemble the prints of the lithographers of the Romantic era and the paintings of similar subjects by other artists in the seventies and eighties whose subjects could be clearly identified with the subject of prostitution and were rejected by the official body, the annual Salon. Degas's later, mature nudes were regarded as slightly salacious subjects for many years and their initial reception by the public in the eighteen-eighties forms yet another chapter in the study of the changes in subject matter that were hotly debated in artistic circles during the nineteenth century and beyond. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This paper analyzes and evaluates William Morris’s esthetic for community. He presented this esthetic in lectures, letters, newspaper articles, and the dream novel of a happier future England, News from Nowhere. At the age of forty-three, after becoming an eminent poet and a well-known decorative design artist, he began to devote most of the last twenty years of his life to generating an interest in the better community. First, he worked with people of the upper and middle classes, then he turned his attention to the working men. I divide the analysis and evaluation of this work of William Morris into five sections. The first section names the man and places him in the period, the Victorian Age. Within the over-all context of the rapid industrial development of this period, I trace the four kinds of change that played significant roles in turning William Morris to a commitment for an esthetic for community—an art-centered society for all Englishmen. These areas are political reform, religious change, scientific development, and a turning to the Middle Ages. I then relate Morris to each area and note his responses. The second section presents Morris’s esthetic philosophy as he outlined it in his first lecture, The Lesser Arts,” and elaborated it in two later lectures, “The Prospects of Architecture” and “How We Live and How We Might Live.” The third section outlines Morris’s ever-changing proposals for putting his esthetic into effect. Drawing from his knowledge of history, he first sought simple, much repeated methods that might produce results within the socio-political system as it was. Later, discouraged by lack of whole-hearted response, he moved to a serious consideration of changing the system and in turn recommended socialism, communism, and finally revolution for a period n the future. Through all this, he held to the basic idea that civilization had developed to the point where change could be consciously planned instead of unconsciously permitted as it had been in the past centuries. The main part of the thesis, section four, uses some thirty lectures and articles for analyzing his esthetic and uses elements of his novel News from Nowhere, for illustrative purposes. The major elements of his esthetic which carries with it its own politics, religion, education and morality are functionalism, art, beauty, the proper uses of nature, pleasureful work and play, and happiness. The conclusion suggests how Morris’s esthetic for community which defines a good life in a just and equal society may be relevant to our times. Morris accepted a challenge of his day—motivating the working men, the rising middle class, and the leisure ridden wealthy to the possibilities of a nineteenth-century self-developing esthetic. Our present day faces a similar challenge—motivating the poverty stricken, the well paid middle and lower classes and the overly affluent to a twentieth century self-developing esthetic.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

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Sanjoy K. Mitter. / Caption title. / Includes bibliographical references. / Supported by the Air Force Office of Scientific Research. AFOSR-85-0227 Supported by the Army Research Office through the Center for Intelligent Control Systems. DAAL-03-86-K-0171

Liuben Stoicho Karavelov was a Bulgarian intellectual, who called for political, social and cultural reforms. He was a firm convert to eighteenth century western socio-political philosophies of representative government, as well as to individual and national freedoms--a devotee of liberte, egalite, fraternite--who became the clarion voice of the south Slav and Bulgarian liberation movements on the Balkan peninsula during the latter half of the nineteenth century (1867-1879). Although little is known about him in the western, especially the English-speaking world, this Russian-educated Bulgarian journalist, publicist, revolutionary and literary figure, occupies a special place in the annals of modern Bulgaria. This dissertation examines the role of Liuben Karavelov in the final phase of the Bulgarian and south Slav liberation from the Ottoman empire, as a persistent proponent of unity among the south Slavs and their federation with the neighboring Christian nations on the peninsula. Native Bulgarian, Russian and Serbian sources are used. A brief historiographic and bibliographic essay introduces a study of Liuben Karavelov's background and educational preparation (1834-1866), his political and literary reform efforts in Serbia (1867-1868), his revolutionary propaganda contributions as the fiery editor of Svoboda Freedom and Nezavisimost Independence , Bulgarian language newspapers published in Bucharest, Romania (1869-1874), and his international efforts as foreign correspondent (1867-1868) and as war correspondent of the Russian newspapers Golos The Voice , Moskovskie Vedomosti Moscow Register , and Odesskii Vestnik Odessa Journal during the Serbo-Turkish war of 1876 and the Russo-Turkish war of 1877-1878.

This study of the views of Edward Irving on the person and work of Jesus Christ has been long delayed in its preparation. It is to be hoped that the time which has elapsed since its inception has served a beneficent purpose. It was Charles Darwin who wrote of one of his books, long postponed: "The delay in this case, as with all my other books, has been a great advantage to me; for a man after a long interval can criticise his own work, almost as well as it were that of another person." For material on which this study is based takes in the full range from the coarse venom of the London pamphleteer to the strong words of Thomas Carlyle. Irving himself wrote volume after volume, and the student is almost embarrassed by the material from the pen of this eccentric preacher. Whole sections of this first-hand material dealing with subjects prophetical were passed by as irrelevant to the theme. The "Life" by Mrs. Oliphant is most readable and gives an attractive picture of the hero. But the sentimentalism of the book casts a shade upon its historical value, and the student is thrown back on accounts of the life which, though less complete, were written shortly after his time.

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