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La tesi di dottorato “Costituzione e Repubblica a Roma 1848-1849” si occupa di offrire una ricostruzione del retroterra ideologico che condusse tra l’autunno del Quarantotto e la primavera del Quarantanove a instaurare a Roma un sistema politico e istituzionale di tipo repubblicano, confermato poi, a posteriori, anche da una Costituzione-bandiera che tale sistema intendeva consegnare alla storia come simbolo della libertà della penisola da ogni condizionamento imposto dall’alto da potenze straniere, sia reazionarie come l’impero austriaco sia anche liberali come la Francia del 1848. Al netto di qualunque valutazione teologica, la ricostruzione degli eventi dall’ascesa al soglio pontificio di Pio IX nel 1846 al crollo della Repubblica romana nel luglio del 1849 si inserisce in una lettura dell’esperienza del tornante Quarantotto-Quarantanove sotto la lente delle aspettative, dei progetti e delle idee che animavano l’opinione pubblica di quei mesi e prova a seguire le suggestioni provenienti dalla più aggiornata storiografia sul Risorgimento. L’obiettivo è quello di comprendere in quale misura il progetto democratico fosse stato elaborato e abbracciato dai rivoluzionari romani in quanto intimamente convinti della necessità di abbattere lo Stato costituzionale inaugurato con lo Statuto fondamentale di Pio IX e valutare la caratura repubblicana di coloro che, effettivamente, la Repubblica a Roma finirono per fondarla. Infatti, proprio all’interno del contesto di instabilità scaturito dal vuoto di potere determinato dalla fuga del Papa a seguito dell’assassinio del ministro dell’Interno Pellegrino Rossi nel novembre 1848, la classe dirigente moderata lasciata acefala e in balia di un crescente malcontento che sarebbe potuto sfociare in anarchia, dovette farsi democratica e repubblicana. Per questa ragione la tesi introduce le categorie di ‘democratici d’occasione’ e ‘repubblicani per necessità’: i protagonisti della vicenda romana dovettero adeguarsi alla nuova situazione politica venuta a crearsi dall’assenza del capo dello Stato. Con questa lettura della vicenda costituzionale e istituzionale della Repubblica romana la presente tesi intenderebbe integrare e aggiornare la letteratura sul tema che si è sviluppata su vari filoni, storiografici e ideologici diversi ma lasciando quasi sempre in ombra gli aspetti istituzionali e costituzionali. Dall’analisi dei dibattiti in Assemblea, infatti, è stato possibile ricostruire le traiettorie lungo le quali i costituenti si mossero nel governare l’emergenza, nel tentativo di normalizzarla ma guardando comunque con nostalgia all’ordinamento precedente, di cui tentarono di ibridare le forme all’interno della nuova Repubblica.

This study is based upon the prose works of Poe and covers the topis of politics and social reforms, contemporary attitudes toward death, customs, science and pseudo-science, and contemporary literature. The thesis attempts to prove that Poe's works show manifest evidences of his being a product of his times.

Esta tese examina a experiência de colonização da colônia Dona Francisca, um dos maiores e mais importantes núcleos de colonização alemã do Brasil no século XIX. Fundada em 1851, na região nordeste de Santa Catarina, a colônia Dona Francisca, hoje município de Joinville, foi concebida e organizada pela Sociedade Colonizadora de 1849 em Hamburgo, empresa alemã especificamente constituída para colonizar parte das terras pertencentes ao patrimônio dotal da Princesa Dona Francisca em Santa Catarina. As principais fontes de arquivo utilizadas neste estudo compreendem um conjunto variado de documentos: títulos e listas de proprietários de terras, contratos de concessão, compra e venda de terrenos, correspondências de imigrantes, livros-caixa e documentos da direção da colônia, crônicas e jornais de época e relatórios da direção da Sociedade Colonizadora de 1849 em Hamburgo. As evidências apresentadas nesta tese questionam e complementam os estudos da história de Joinville e da formação econômica de Santa Catarina. Ao mesmo tempo, amplia o escopo de análise da história econômica do Brasil ao oferecer dados quantitativos, estatísticas e indicadores que permitem avaliar o grau de concentração da posse da terra e o desenvolvimento econômico inicial de Joinville, uma economia organizada a partir do trabalho livre do colono europeu e da pequena produção mercantil voltada aos abastecimentos interno e externo. / This thesis has examined the experience of colonization of the Dona Francisca colony, one of the largest and most important centers of German colonization in Brazil in the nineteenth century. Established in 1851 in the northeast region of Santa Catarina (Brazil), the Dona Francisca colony, current Joinville city, was conceived and organized by the \"Colonization Society of 1849 in Hamburg\", a German company specifically constituted in order to colonize part of the lands, which belonged to the Princess Dona Francisca\'s nuptial patrimony, in Santa Catarina. The main archive sources used in this research have included a varied set of documents. Among them are titles and lists of landowners, contracts of concession, buying and selling of lands, immigrants\' correspondence, and book of accounts and of documents of the colony direction, memorial and journal from that time beyond reports from Colonization Society of 1849, in Hamburg. The presented evidences in this thesis have questioned and complemented the studies on History of the Joinville city as well as the economic formation of Santa Catarina. Simultaneously, it has expanded the scope of Brazilian economic history analysis by offering quantitative data, statistics, and indicators that allow evaluating the concentration of land property and initial economic development of Joinville city, of which economy was organized from the free labor of the European colonists and small mercantile production that supplied both internal and external markets.

The romantic piano literature contains three important collections of nocturnes. The nocturnes of John Field (1782-1837) were the first to appear, and were followed by collections from Frederic Chopin (1810-1849) and Gabriel Faure (1845-1924). While the relationship of the nocturnes of Field to those of Chopin is well documented, the corresponding relationship between Faure and Chopin is not. This study contains a detailed examination of this relationship, and shows the precise nature of Chopin's strong influence on Faure's early nocturnes, as well as the nature of Faure's growth from that influence. Chopin's influence was strongest in the area of harmonic language, as Faure carried certain of Chopin's techniques to logical extremes. Faure also adopted ternary form as the important form for the piece from Chopin. Faure's use of this form shows both similarities and differences from that found in Chopin. Faure's early nocturnes employ the same basic textures as Chopin's nocturnes, but Faure's later works abandon this in favor of increasingly contrapuntal writing. Chopin's influence is weakest in the area of melodic construction, as Faure's melodies often show a rigorous motivic construction which is not found in Chopin.

Anne Brontë's Agnes Grey and The Tenant of Wildfell Hall were published more than forty years before the appearance of the feminist type that the Victorians called the “New Woman;” yet, both novels contain characteristics of New Woman fiction. By considering how Brontë's novels foreshadow New Woman fiction, the reader of these novels can re-enact the “gentlest” Brontë as an influential feminist whose ideology informed the construction of the radical New Woman. Brontë, like the New Woman writers, incorporated autobiographical dilemmas into her fiction. By using her own experiences as a governess, Brontë constructs Agnes Grey's incongruent social status and a morally corrupt gentry and aristocracy through her depiction of not only Agnes's second employers, the Murrays, but also the morally debauched world that Helen enters upon her marriage to Arthur Huntingdon in The Tenant of Wildfell Hall. Moreover, Brontë incorporates her observations of Branwell's alcoholism and her own religious beliefs into The Tenant of Wildfell Hall. Although Brontë's novels contain autobiographical material, her heroines are fictional constructions that she uses to engage her readers with the woman question. Brontë accomplishes this engagement through her heroines' narrative re-enactments of fictional autobiographical dilemmas. Helen's diary and Agnes's diary-based narrative produce the pattern of development of the Bildungsroman and foreshadow the New Woman novelists' Kunstlerromans. Brontë's heroines anticipate the female artist as the protagonist of the New Woman Kunstlerromans. Agnes and Helen both invade the masculine domain of economic motive and are feminists who profess gender definitions that conflict with dominant Victorian ideology. Agnes questions her own femininity by internalizing the governess's status incongruence, and Helen's femininity is questioned by those around her. The paradoxical position of both heroines anticipates the debate about the nature and function of art in which the New Woman writers engaged. Through her reconciliation of the aesthetic and the political, Brontë, like the New Woman novelists who will follow, explores the contradiction between art and activism.

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Thesis (MA)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: During the nineteenth century, Charles Darwin published The Origin of Species, inciting debate surrounding the validity of the Christian creation narrative. Prior to this, the Adam and Eve creation narrative was the central narrative around which Christian families modelled their own family structures – with the father as the head of the household. In this thesis I discuss the effect that Darwin’s publication had on the restructuring of families in the nineteenth century. I do this through analysis of Henrik Ibsen’s Ghosts and August Strindberg’s Easter, two domestic dramas that chronicle the effect of a society redesigning their religious philosophies owning to the toppling of the patriarchal structures of authority. I argue that Ibsen and Strindberg stand in polar relation to one another in terms of the debate surrounding the religiosity of the family and the position of the (F)ather within this framework (borrowing from Ross Shideler’s term conflating the notion of the divine Father and the earthly father). Relating the debate to the contemporary Afrikaner culture, the research aims to create a family drama (...van ons vaders) that addresses the decline of Afrikaner Calvinistic religious constructs in a similar manner to that of Ibsen and Strindberg, but in through a contemporary aesthetic approach. / AFRIKAANSE OPSOMMING: Gedurende die negentiende eeu is debat ontlok rondom die geldigheid van die Christelike skeppingsverhaal wanweë die publikasie van Charles Darwin se The Origin of Species. Voor dit, is die Adam-en-Eva verhaal die sentrale narratief waarvolgens Christelike families hulself gestruktureer het – met die vader as die hoof van die huishouding. In hierdie tesis bespreek ek die effek wat Darwin se publikasie gehad het op die herstrukturering van families gedurende die negentiende eeu. Ek doen dit aan die hand van Henrik Ibsen se Ghosts en August Strindberg se Easter – twee familiedramas wat sentraal in die debat staan rondom die herontwerp van geloofsfilosifieë en omvorming van patriargale gesagstrukture. Ek argumenteer dat Ibsen en Strindberg in polêre verhouding met mekaar staan in terme van die debat rondom die godsdienstigheid van die familie en die posisie van die (V)ader binne hierdie raamwerk. Hier leen ek Ross Shideler se term wat die idee van die goddelike Vader en die aardse vader saamsmelt. Dit word later in verband gebring met die kontemporêre Afrikaner kultuur om ten einde ‘n nuwe familiedrama (…van ons vaders) te skep, wat fokus op die hedendaagse hervorming van Afrikaner Calvinistiese geloofstrukture, in ‘n wyse soortgelyk aan dié van Ibsen en Strindberg, maar deur om gebruik te maak van ‘n kontemporêre estetiese benadering.

It has long been taken for granted that no serious drama work was done in Swedish schools before the 1950s. However, at the Tyringe Helpension – a progressive education girls’ boarding school that existed between the years 1909-1936 – drama was used as a method in many school subjects, as well as for social training. Ester Boman, the founder and principal of Tyringe, even talked about theatre as an experimental laboratory of the humanities. This study explores how that drama work evolved and why it has been forgotten. The study uses traditional history research methods with an emphasison hermeneutics, and with some addition from recent critical text analysis. The educational drama at the Tyringe Helpension is contextualized from five aspects: 1) The life and work of Ester Boman. 2) The private Swedish girls’ school system. 3) The international and the Swedish progressive education movement – Ester Boman was strongly influenced by Sofi Almquist and Ellen Key. She was also a member of the New Education Fellowship. 4) The teaching methods of the Tyringe Helpension as a whole. 5) Previous and contemporary use of drama in education and the theory of the dramatic instinct. The study shows that these five contexts were all important for the evolution of educational drama at the Tyringe Helpension and contributedin making the drama work there exceptionally rich and varied. These contexts are also crucial for the explanation of why this work was so quickly forgotten. However, it also had some importance that the Swedish drama pioneers of the 1950s were not particularly interested in what had been done before