This research examines the significance of water as it has been used as a subject in the visual arts, with particular concentration on the use of geometry as a means of accessing pictorial possibilities. The study focuses specifically on selected paintings by Joseph Mallord William Turner (1775-1851), Oscar Claude Monet (1840-1926) and Pat Steir (1940-) including some of Steir's etchings, to further demonstrate her thought processes and techniques. It is argued that the paintings of all three artists, although widely divergent yet include threads of commonality and convergence. All explore the fundamental structure of nature (in this case water) through geometry. In addition, spatial concepts through the use of light and colour are closely intertwined and give rise to metaphysical implications. Turner and Monet broke the bonds of the existing academic composition and style of painting. Their paintings pointed the way for artists of the twentieth century, like Steir to further explore the close relationship between the motif and abstract painting. References to paintings, other than the selected paintings, by these artists will be made in order to illustrate their different approaches yet similar objectives. Finally the relevance of the study to the candidate's own work will be correlated. The dissertation intends to offer a new interpretation of water as a subject in painting, by illuminating and illustrating aspects of the selected paintings by Turner, Monet and Steir. In conclusion, it is anticipated that this discourse will enrich and complement previous interpretations of water, when used as a subject in visual art. It is also envisaged that the study will suggest further research on the subject. / Thesis (M.A.)-University of Kwazulu-Natal, Pietermaritzburg, 2004.

The pedracista electoral coalition that was formed in Mexico during the 1828 presidential elections was deliberately ignored by the traditional historiography of the early national period. Instead it concentrated on the leaders of the liberal struggle, deeming this alliance unworthy of study. There were essentially two key reasons why this happened. On the one hand, General Manuel Gómez Pedraza (1789-1851) was not an archetypal liberal patriot in the mould of those heroes that were exalted and written about by Mexico’s Porfirian and PRIísta historians. His politics were associated with a certain ideological indeterminateness as a result of his moderate stance, proving problematic to historians who were intent on developing a liberal and subsequently post-revolutionary historia patria. On the other hand, the official historiography accepted, unquestioningly, the critical version of his actions that his opponents circulated at the time. As a result of this, the yorkino version of the events is the one that prevailed, casting Pedraza in the role of staunch anti-yorkino in a simplistic bipartisan vision of Mexican politics that depicted the political tensions of the time as a clear-cut confrontation between the pedracista aristocrats and the democratic yorkino followers of mulatto hero of the War of Independence, General Vicente Guerrero (1783-1831). This two-dimensional dichotomy has only recently started to be nuanced by the revisionist historiography of the last thirty years. This has been due, in great measure, to the fact that the traditional interpretation of the pedracista coalition posed a number of significant problems when attempting to understand the political behaviour of the people involved. Above all, it was an interpretation that proved incapable of explaining how such a variety of political tendencies, represented by those individuals who joined the alliance that backed Pedraza’s presidential candidacy, could have come together; i.e., anti-masonic groups, the imparciales, certain yorkinos and former escoceses. This thesis aims to explain what brought these individuals, whose political ideas were ostensibly incompatible, together, in what resulted in a particularly resourceful and successful electoral force. The pedracista coalition represented the first political formation in Mexico that came together specifically to win a presidential election. It was one which set out to bring an end to the political interference of Masonic societies in Mexico, and in particular, that of the Rite of York lodges. It also challenged the yorkinos’ electoral campaign by criticising their leader, Guerrero, and, by highlighting the negative aspects of their Masonic faction. It pointed out, moreover, the dangers inherent in a central administration led by guerrerista yorkinos and, in so doing, made clear the problems that were to be found in the political ideas these individuals stood for, depicting them as partisan, ignorant, and representative of the popular classes. The pedracista coalition argued that the presidency needed to go to someone who did not belong to any particular party, who was virtuous, who was renowned for being hard-working and energetic in government, and who belonged to the exclusive circles frequented by the “hombres de bien”. Given that Pedraza won the elections, it is evident that his coalition benefited from a constitutional structure that favoured his candidacy, gaining, at the same time, the public validation of the governmental authorities in place at the time. However, Pedraza’s candidacy was defeated by the armed mobilizations that ensued in the pronunciamientos pro-yorkino followers launched from October to November 1828, and was consequently eliminated from the political scene until late 1832 given that the leaders of the imparciales as well as Pedraza himself chose not to fight back or support a counter-revolution. During the electoral campaign, the pedracista coalition displayed, with astounding clarity, what it thought were the essential qualities a president needed to possess and, likewise presented a distinctive appreciation of how it thought the Mexican political class should behave. In this sense, the coalition’s views, captured in its votes, networks and press articles, offer a fascinating snapshot of what were the fundamental themes of the Mexican republic during its formative years as a nation-state, and how this ignored political grouping interpreted them. Of particular interest is the manner in which the pedracista coalition explored the ways in which political legitimacy, participation and representation were to be understood, defended, and systematised. By studying the pedracista coalition this thesis offers, for the first time, a detailed analysis of the nature and dynamics of Mexican politics in the mid-late 1820s, as experienced, discussed, and represented by the short-lasting yet effective alliance that was forged around the candidacy of Manuel Gómez Pedraza.

When the Great White Fleet visited Australia in 1908 it became the focal point of an on-going test of wills between Britain and Australia. Relations between the two countries had become increasingly strained since Britain’s decision in the mid-nineteenth century to establish a new kind of relationship with its colonies. For the Australian colonies this meant moving towards independence within the Empire framework and assuming more responsibility for their own defence. This change had serious repercussions for the Australian colonies and British-Australian relations. Politically and psychologically the Australian colonies had developed an image of themselves as the inferior daughters of the superior and protective Mother Country. By changing the nature of the British-Australian colonial relationship, Britain not only challenged this Australian colonial self-image, it also heightened existing divisions among the Australian colonists. Anglo- Australian loyalists, enamoured of things British, clung to the established colonial image and remained subservient to Imperial wishes. Australian nationalists, on the other hand, tried to establish a new relationship with Britain, one in which Australian colonial concerns would have a greater voice. (For complete abstract open document)

Se buscará analizar cómo a través de la representación de paisajes y descripciones dadas por viajeros que visitaron el Perú en el siglo XIX se definió una imagen del país, mostrando una diversidad de desigualdades en torno a la geografía, habitantes, costumbres y climas respecto a la Costa. Estas descripciones se fueron consolidando en el siglo XIX y se definieron algunas de las construcciones culturales que prevalecen hasta el día de hoy sobre el espacio geográfico. Los Andes se van presentando de una manera desfavorable para la integración nacional a diferencia de la Costa donde es evidente la circulación de bienes y personas entendiéndose como más fluida. Es en la Sierra donde se hace presente la imagen del indio que está acompañado de lo geográfico, donde indios y Andes se encuentran en un mismo vínculo, donde se inventa la tradición del paisaje como un lugar sombrío, deshabitado y nostálgico-, constituyendo un obstáculo que retarda el progreso nacional. Por medio de las descripciones y representaciones de paisajes, ejecutados por viajeros extranjeros como Antonio Raimondi, George Squier y Charles Wiener se intentará analizar los distintos puntos de vista que contribuyeron a la formación del paisaje de la Sierra del Perú en el siglo XIX. / Tesis

William Robertson Nicoll (1851-1923) founded the British Weekly in 1886 to exploit the need for a Liberal Nonconformist newspaper. Nicoll became the most important editor of a Free Church journal in the Edwardian period. The British Weekly provided a regular focus for political Nonconformity and Nicoll was a primary raiser of the Nonconformist consciousness and shaper of the collective conscience. This thesis considers the role of newspapers as conduits of political thought. As distributors of information, newspapers had a definite role in setting the political agenda and this work considers the programme which Nicoll pressed at the British Weekly. The newspaper is also considered as a nexus of religious and financial considerations. The analysis provides an examination of the British Weekly from its foundation in 1885, placing it in political context and setting down the editorial agenda. Nonconformist concerns were threatened both by the political preponderance of Irish interests and by the extension of the franchise to working class voters more concerned with social than religious equality. This thesis therefore looks at Nicoll's alignment with the Liberal Imperialists because they would rid the party of its commitment to Home Rule and (less importantly) because they appeared to respond to the needs of the working class. In 1902 the British Weekly misplaced its national efficiency agenda and became prominent in the Passive Resistance campaign against the Education Act. The thesis examines the way in which the protest was used to energise political Nonconformity. The campaign brought Nicoll into contact with Lloyd George and this work explores the mutual benefits of this relationship and also the way in which Nicoll was compromised as a lobbyist by the association. This is the first comprehensive examination of the political nature of the British Weekly. It highlights the increasing complexity of reconciling religion and politics in the twentieth century as pressing social issues could not be repaired by Victorian moral crusades.

A literatura romântica inglesa se constituiu basicamente de poesia, pois foi produzida em uma época em que ficção em prosa era vista como mero entretenimento. Alguns romancistas, excepcionalmente, são rotulados como “românticos”, mas Mary Shelley não aparece entre eles. Durante mais de um século, sua obra permaneceu restrita às sessões dos livros que tratam da exótica literatura gótica. A presente dissertação argumenta que a crítica literária não tem reconhecido a óbvia relação de Frankenstein com o romantismo inglês. Para evidenciar tal envolvimento, será apresentada uma análise do conjunto de imagens do romance que busque revelar os elementos românticos ali contidos. A análise se baseia, principalmente, nas idéias de Northrop Frye a respeito da natureza e função de imagens na literatura. O conceito de intertextualidade também será utilizado como ferramenta para a análise da inserção de imagens no romance e da inserção do romance no contexto do romantismo inglês. O trabalho é dividido em três partes. A primeira explora as relações de Frankenstein com a vida de Mary Shelley e com o romantismo inglês. A segunda expõe a base teórica em que esta dissertação se apóia. A última apresenta a minha leitura da teia de imagens do romance. Ao final, espero poder validar a tese proposta: que Frankenstein incorpora os valores estéticos e filosóficos do romantismo e merece, portanto, ser situado no seu devido lugar no cânone literário inglês como o representante legítimo do romantismo em prosa. / Romantic English literature – written at a time when prose fiction was predominantly a medium for sheer entertainment – is rooted in poetry. One or two novelists may exceptionally be granted the adjective “Romantic”, but Mary Shelley is not ranked among them. For centuries, her work has been restricted to that section in handbooks reserved for exotic Gothic literature. This thesis argues that literary criticism has failed to recognize Frankenstein’s obvious relation with the movement. The argument will be fostered by a brief look at such handbooks, and developed through the analysis of the imagery of the novel, so as to trace the Romantic elements there contained. The analysis relies mainly on the frame developed by Northrop Frye concerning the nature and function of imagery in literature. The concept of intertextuality will also be useful as a tool to account for the insertion of images in the novel, and for the novel’s insertion within the Romantic context. The work is divided into three parts. The first contextualizes the main issues set forth by Frankenstein, establishing connections with the life of the author and with the Romantic movement. The second exposes the theoretical basis on which the thesis is grounded. The last presents my reading of the novel’s web of images. In the end, I hope to validate the thesis proposed, that Frankenstein embodies the aesthetic and philosophical assessments of the English Romantic agenda, and therefore deserves to be situated in its due place in the English Literary canon as the legitimate representative of Romanticism in prose form.

O presente trabalho dedica-se a analisar comparativamente as obras The Pioneers (1823), The Last of the Mohicans (1826) e The Deerslayer (1841) de James Fenimore Cooper; e O Guarani (1857), As Minas de Prata (1863-65) e Iracema (1865) de José de Alencar sob a perspectiva historiográfica. Tal abordagem justifica-se por estas obras estarem inseridas no contexto de formação de uma cultura histórica no mundo ocidental, intensificado ao final do século XVIII, e que acabou por dar origem à História como disciplina. Logo, considera-se pertinente abordar o romance histórico, assim como outras formas de expressão cultural do período – entre eles a arte pictórica e os museus -, por fazer parte do surgimento do que hoje concebemos como historiografia. Assim, considerando as obras acima como representações do passado, conceito do historiador britânico Stephen Bann, procura-se estudar como elementos da história local – principalmente a paisagem e o passado indígena – articularam-se com convenções do romance romântico europeu, mais precisamente da tradição iniciada por Mme. De Staël, René Chateaubriand, Walter Scott, entre outros. Ao longo da análise, percebeu-se que entre as notas de roda-pé e eventuais referências ao longo das narrativas, tanto Cooper como Alencar referiam-se a documentos de época, o que tinha claramente o objetivo de garantir a veracidade e a verossimilhança de suas criações. Além disso, tais documentos, principalmente no caso de Alencar, onde a produção historiográfica encontrava-se centralizada principalmente no Instituto Histórico e Geográfico Brasileiro, eram similares aos utilizados por historiadores do período. Dessa forma, verifica-se que os primeiros traços da tentativa de se constituir uma literatura original – em contraposição à européia – nesses dois países tinham uma estreita relação com o fazer histórico, o que é o cerne desta contribuição para a compreensão da cultura histórica oitocentista. / The object of this study is to analyse comparatively the works The Pioneers (1823), The Last of the Mohicans (1826) and The Deerslayer (1841) by James Fenimore Cooper; and O Guarani (1857), As Minas de Prata (1863-65) and Iracema (1865) by José de Alencar under a historiographic perspective. Such approach is justified by the fact that these novels are part of the context of formation of a historical culture in the western world, intensified in the end of the eighteenth century, which lies in the origin of History as a discipline. It is, thus, pertinent to study the historical novel, as well as other means of expression – pictorial art and museums among them –, since they are involved in the forthcoming of historiography proper. Hence, considering these literary works as representations of the past, a concept developed by British historian Stephen Bann, we aim to analyse how elements of local history – mainly the landscape and native populations – were articulated with conventions belonging to romantic novels, specifically the tradition initiated with Mme. De Staël, René de Chateubriand, Walter Scott and others. Throughout the analysis, it was perceived that among footnotes and references in the texts themselves, both Alencar and Cooper reffered to documents of the time, which was clearly an attempt to achieve veracity and verisimilitude in their creations. Furthermore, such documents, especially in the case of Alencar, where the historiographic production was centered mainly in the Instituto Histórico e Geográfico Brasileiro, were similar to those used by historians of the time. Therefore, it is verified that the first traces of the effort in constituting an original literature – as opposed to European literature – in these two countries has a straight bond with History writing, which is the focus of this contribution to the understanding of nineteenth-century historical culture.

Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-02Bitstream added on 2014-06-13T20:13:43Z : No. of bitstreams: 1 alegrette_ay_me_arafcl.pdf: 573460 bytes, checksum: 4e564e7284dc1d936b52f3ee5ff8275f (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A dissertação de mestrado, “Frankenstein: uma releitura do mito de criação”, tem como principal objetivo demonstrar como a escritora inglesa Mary Wollstonecraft Shelley, por meio de seu romance Frankenstein, ou o moderno Prometeu (1818), conseguiu criar um novo mito, isto é, o mito de Frankenstein, contribuiu para a renovação do romance gótico e para a criação de uma nova modalidade literária - a ficção científica. No primeiro capítulo foi realizado um estudo sobre as origens, características e principais obras do romance gótico. No segundo capítulo é abordada a relação entre mito e literatura e são analisados quais mitos aparecem no enredo do romance de Mary Shelley, enfatizando-se a importância do relato mítico de Prometeu. No terceiro capítulo é estudada a construção do discurso narrativo mítico de Frankenstein e é demonstrada a intertextualidade dessa obra com outros textos, tais como poemas, romances e estudos filosóficos e científicos. No quarto e último capítulo é demonstrado a releitura do mito de criação feita por Mary Shelley, a conseqüente criação do mito de Frankenstein, e as diversas interpretações e releituras que o romance recebeu, terminando com Blade Runner (O caçador de andróides, 1982), filme do cineasta inglês Ridley Scott que, ao promover a atualização do mito de Frankenstein, deu uma contribuição significativa para sua permanência em nossa cultura / The main aim of this Master’s Thesis, “Frankenstein: a rewriting of the myth of creation, is demonstrate how the English writer Mary Shelley in her novel Frankenstein, or The Modern Prometheus (1818), created a new kind of myth, renewed the gothic novel and gave origin to a new literary genre - science fiction. The first chapter discusses – the origins, characteristics and main works of the Gothic literature. The second chapter explores the relationships between myth and literature, and analyses which myths are present in the plot of Mary Shelley’s novel, stressing the importance of the Promethean’s story. The third chapter is concerned with the construction of mythic narrative discourse and with the novel’s intertextuality with different kind texts, such as poems, another novels and philosophical and scientific studies. The fourth and last chapter concentrates on Mary Shelley’s rewriting of the myth of creation, on the different ways her novel was interpreted and read, and it finishes with study of the film by the English director Ridley Scott, Blade Runner (1982), that offered a major contribution to update and foster the permanence of the Frankenstein’s myth in our culture

Made available in DSpace on 2014-06-11T19:26:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-03-24Bitstream added on 2014-06-13T20:54:41Z : No. of bitstreams: 1 dias_ep_me_fran.pdf: 2067726 bytes, checksum: d46009ed43d04f6dfb71c5b9de1dd377 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Através desta pesquisa, buscou-se realizar uma análise da concepção de democracia desenvolvida pelo intelectual argentino Esteban Echeverría, utilizando como fonte principal um manifesto político publicado em 1839 com o título de Código o Declaración de los Principios que Constituyen la Creencia Social de la República Argentina. Sua segunda edição, publicada em 1846, recebeu o nome pelo qual ficou mais conhecido, Dogma Socialista de la Asociación de Mayo ou simplesmente Dogma Socialista. Este manifesto traz os princípios políticos referentes ao pensamento democrático do autor e dos integrantes de seu grupo, a “geração de 1837”. As concepções deste autor foram analisadas em uma perspectiva de compreensão das estruturas de sociabilidade de suas idéias, ou seja, pretendeu-se contextualizá-las no processo de circulação de um ideário político comum ao referido grupo. Todos esses elementos estão relacionados ao contexto político, social e cultural do início do século XIX na América, mais especificamente na Argentina, em meio aos debates e lutas do período pós-independência. / Through this research, we attempted to perform an analysis of the intellectual conception of democracy developed by Argentine Esteban Echeverría, using as a main source political manifest published in 1839 under the title Código o Declaración de los Princípios que Constituyen la Creencia Social de la República Argentina. His second edition, published in 1846, received the name which he became best known, Dogma Socialista de la Associación de Mayo or just Dogma Socialista. This manifest has the political principles for the democratic thinking of the author and members of his group, the “generation of 1837”. The conceptions of his author have been analyzed from the perspective of understanding the structures of sociability from their ideas, or were intended to contextualize them in the progress of circulation of a common political ideal to the group. All these elements are related to political, social and cultural life of early nineteenth century in America, specifically Argentine, amid the debates and struggles of the post-independence period.

O presente trabalho dedica-se a analisar comparativamente as obras The Pioneers (1823), The Last of the Mohicans (1826) e The Deerslayer (1841) de James Fenimore Cooper; e O Guarani (1857), As Minas de Prata (1863-65) e Iracema (1865) de José de Alencar sob a perspectiva historiográfica. Tal abordagem justifica-se por estas obras estarem inseridas no contexto de formação de uma cultura histórica no mundo ocidental, intensificado ao final do século XVIII, e que acabou por dar origem à História como disciplina. Logo, considera-se pertinente abordar o romance histórico, assim como outras formas de expressão cultural do período – entre eles a arte pictórica e os museus -, por fazer parte do surgimento do que hoje concebemos como historiografia. Assim, considerando as obras acima como representações do passado, conceito do historiador britânico Stephen Bann, procura-se estudar como elementos da história local – principalmente a paisagem e o passado indígena – articularam-se com convenções do romance romântico europeu, mais precisamente da tradição iniciada por Mme. De Staël, René Chateaubriand, Walter Scott, entre outros. Ao longo da análise, percebeu-se que entre as notas de roda-pé e eventuais referências ao longo das narrativas, tanto Cooper como Alencar referiam-se a documentos de época, o que tinha claramente o objetivo de garantir a veracidade e a verossimilhança de suas criações. Além disso, tais documentos, principalmente no caso de Alencar, onde a produção historiográfica encontrava-se centralizada principalmente no Instituto Histórico e Geográfico Brasileiro, eram similares aos utilizados por historiadores do período. Dessa forma, verifica-se que os primeiros traços da tentativa de se constituir uma literatura original – em contraposição à européia – nesses dois países tinham uma estreita relação com o fazer histórico, o que é o cerne desta contribuição para a compreensão da cultura histórica oitocentista. / The object of this study is to analyse comparatively the works The Pioneers (1823), The Last of the Mohicans (1826) and The Deerslayer (1841) by James Fenimore Cooper; and O Guarani (1857), As Minas de Prata (1863-65) and Iracema (1865) by José de Alencar under a historiographic perspective. Such approach is justified by the fact that these novels are part of the context of formation of a historical culture in the western world, intensified in the end of the eighteenth century, which lies in the origin of History as a discipline. It is, thus, pertinent to study the historical novel, as well as other means of expression – pictorial art and museums among them –, since they are involved in the forthcoming of historiography proper. Hence, considering these literary works as representations of the past, a concept developed by British historian Stephen Bann, we aim to analyse how elements of local history – mainly the landscape and native populations – were articulated with conventions belonging to romantic novels, specifically the tradition initiated with Mme. De Staël, René de Chateubriand, Walter Scott and others. Throughout the analysis, it was perceived that among footnotes and references in the texts themselves, both Alencar and Cooper reffered to documents of the time, which was clearly an attempt to achieve veracity and verisimilitude in their creations. Furthermore, such documents, especially in the case of Alencar, where the historiographic production was centered mainly in the Instituto Histórico e Geográfico Brasileiro, were similar to those used by historians of the time. Therefore, it is verified that the first traces of the effort in constituting an original literature – as opposed to European literature – in these two countries has a straight bond with History writing, which is the focus of this contribution to the understanding of nineteenth-century historical culture.