Marinmåleriet som genre i allmänhet, och dess undergenre skeppsporträttet i synnerhet har länge haft en marginaliserad ställning inom svensk konsthistorieskrivning. Genom att undersöka den svenske marinmålaren Pehr Wilhelm (P W) Cedergrens (1823-1896) skisser söker jag ta reda på utifrån vilka premisser svenska marinmålare under 1800-talets senare hälft. Detta gör jag genom att undersöka vilka motiv som förekommer i P W Cedergrens skisser, och hur konstnären skildrar fartyg i dessa. Fokus i undersökningen är Cedergrens skissbok från sin studieresa i samband med Världsutställningen i London 1851. Metoden för undersökningen är kvalitativa arkivstudier, där jag sedan utför formal- och kontextanalyser på mitt urval. Analysen av skisserna utförs med hjälp av sociolog och konstvetare Janet Wolffs marxistisk-inspirerade teorier om konst som social produktion. Uppsatsens analysdel består av Världsutställningens bakgrund, en historisk redogörelse för det västerländska marinmåleriets framväxt, en biografi över Cedergren, analyser av konstnärens skisser samt en avslutande diskussion. Resultatet av undersökningen visar dels att förutom fartyg avbildar Cedergren en mängd andra motiv såsom landskap, byggnader och människor. Dels visar undersökningen att Cedergrens avbildningar av fartyg i de analyserade skisserna ofta är präglade av tekniska aspekter, snarare än estetiska. Då dessa aspekter förekommer i en del av materialet är detta dock snarare avhängigt kontexten.

This dissertation charts a lineage of nineteenth-century British literary interventions into the arena of science and philosophy jointly known as vitalism. Intended in part as a contribution to the history of science, Passive Life reconstructs the largely forgotten genealogy of a robust tradition of Victorian-era materialist vitalism, or vital materialism: the theory that a principle of life inheres in all physical matter. I connect this scientific trend to a concurrent surge of cultural engagement with the seventeenth-century philosophy of Baruch Spinoza, whose monist doctrine received renewed attention as experimental developments in biology, physics, physiology, and epidemiology increasingly supported a vital materialist account of the nature of life. Through readings of novels by Mary Shelley, Harriet Martineau, and George Eliot, I position these three women writers as key figures in vitalism’s cultural reception. By attending to the thematic resonances between their novels and materialist vitalism’s major principles and provocations, Passive Life traces the narrative arc of Victorian vitalism, deepening and expanding extant scholarly accounts of the rich interchange among literature and science in the nineteenth century. Moving beyond reception history, however, this dissertation argues that the novels of Shelley, Martineau, and Eliot worked to construct critical interpretations of vitalist theory with a shared emphasis on passivity as a fundamental feature of life. Through innovative techniques of description and characterization, their fiction locates the passivity of life at the level of the material body, in its inherent contingency, fluidity, and impressibility. The view of embodied subjectivity that thus emerges from these novels complicates the liberal humanist model that rose to predominance in Victorian culture and privileged an active, self-determining subject. Within the counter-tradition to which Shelley, Martineau, and Eliot belonged, the idea of “passive life” occasioned pressing ethical and political quandaries involving the relationships between self and other and between subject and environment. On the one hand, treating embodied life as passive pointed speculatively toward more liberated, open-ended, and mutually sustaining forms of communal being. On the other hand, “passive life” also suggested the vulnerability and precarity of bodies helplessly exposed to their material and affective surroundings, raising important questions regarding intention, obligation, and accountability. How do we live well in a world where so many other embodied lives impress upon our own? Can pain and harm be prevented in such a world? What habits of perception and practices of sociality might be evolved and adapted to the realities of passive life? In confronting these questions, nineteenth-century British fiction provides conceptual frameworks well suited to interrogating the political and ethical implications of the twenty-first-century new materialist turn.

Este trabajo académico reconstruye el itinerario y los aportes del viajero franco-austriaco Charles Wiener. Su visita al Perú se inició en febrero de 1876 y concluyó en agosto de 1877. Por su recorrido y los sitios visitados, fue el más extenso que emprendiera un viajero con fines científicos al Perú en el siglo XIX. Su monumental obra, Pérou et Bolivie, fue publicada en 1880, dos años después de la Exposición Universal de París de 1878, en la cual tuvo un papel central, así como la colección de miles de objetos que llevó del Perú. Al revisar las referencias al trabajo de Wiener, pude constatar que había una línea de crítica a este autor que provenía de estudiosos franceses y alemanes, algunos de los cuales lo catalogaban de exagerado y pretensioso en su versión más suave, de haberse apropiado de los hallazgos de otros investigadores, y en su versión más dura, de ser un embustero. Me sorprendieron estas acusaciones en especial una de que en el tiempo que estuvo en Perú no pudo abarcar el itinerario que describe en su relato. Mis indagaciones desmienten estos extremos. Creo que se requiere poner más atención a las fuentes de la época. Lo que nadie discute es que la sociedad, la economía, los conflictos y abismos que desgarraban a su población, constituyen un extraordinario fresco que es necesario consultar para comprender el Perú del siglo XIX en vísperas de la Guerra del Pacífico. Esta visión desde el interés de la Historia trasciende la desmesura que podría afectar su relato.

Cette étude se place dans le champ des études transatlantiques afin d’analyser les modalités selon lesquelles les romances historiques ont constitué une réponse aux exigences lancinantes de doter les États-Unis d’une littérature nationale dans la première moitié du XIXe siècle. Créé en Grande-Bretagne par Walter Scott, ce genre est repris et adapté par ses contemporains américains, en particulier James Fenimore Cooper, Washington Irving et Catharine Maria Sedgwick. Dans un premier temps, nous avons étudié la réception de Walter Scott et de ses Waverley Novels et leur impact sur le marché du livre américain. Une analyse, notamment, des journaux qui fleurissent lors du regain de patriotisme de l’après-Guerre de 1812, a permis de montrer que se côtoient alors panégyriques de Walter Scott et appels récurrents à l’émergence d’un « Scott américain ». C’est ensuite la réponse des auteurs américains que nous avons étudiée. S’ils adoptent certains codes génériques scottiens afin de répondre à la volonté nationale de mettre en scène l’Histoire américaine, Cooper, Irving et Sedgwick font de leurs romances historiques le vecteur privilégié d’une mise en valeur de la matière américaine : une Histoire riche en événements, des ancêtres à célébrer, un territoire national aux propriétés spécifiques, qui la mettront sur un pied d’égalité avec les nations européennes. Alors que les romanciers utilisent leurs œuvres pour promouvoir une nation américaine culturellement distincte, s’opère une recomposition générique. La romance historique se fait alors le lieu d’une mythogenèse pour l’Amérique via l’écriture d’une épopée nationale, qui permet de remonter les âges vers une temporalité indéfinie afin de fonder la Jeune République en une nation organique, digne de soutenir la comparaison avec ses homologues outre-Atlantique. / This work, belonging to the field of transatlantic studies, analyses to what extend historical romances formed a response to the ongoing wish to provide the United States with a national literature in the first half of the nineteenth century. The genre, fashioned in Great Britain by Walter Scott, was taken up and adapted by his American contemporaries, and in particular, James Fenimore Cooper, Washington Irving, and Catharine Maria Sedgwick. The first chapter tackles the reception of Walter Scott and of his Waverley Novels, and their impact on the American book market. Our analysis in particular of the newspapers and periodicals that flourished in the surge of patriotism following the War of 1812, has enabled us to show that the panegyrics for Walter Scott stood just alongside the recurrent calls in the same pages for the birth of an “American Scott.” The response given by the American authors forms the second part of our analysis. As they appropriate some of the generic traits of the Scottian historical romance in order to comply to the nation’s wish for a portrayal of American history, Cooper, Irving, and Sedgwick use the genre to showcase the American matter – a history full of events worth narrating, ancestors worth celebrating, and a national territory with its own features – that would bring the United States on a level with the European nations. As the writers thus promote a culturally distinct American nation, the genre gradually morphs into a form of national epic. Through this mythogenesis at work in the writings under study, the United States are given a timeline that dissolves into an indeterminate temporality, thereby shaping the Early Republic as an organic nation, fit for contention with its transatlantic counterparts.

La biographie intellectuelle de François Picavet (1851-1921) fournit l’occasion d’explorer les débuts de l’histoire de la philosophie médiévale en tant que discipline institutionnalisée, en France, de 1880 à 1920. Figure oubliée du médiévisme philosophique, Picavet fut maître de conférence à l’EPHE (section des sciences religieuses) dès 1888, puis directeur d’études à partir de 1907, secrétaire du Collège de France en 1904 et chargé de cours en histoire des philosophies médiévales à la Faculté des lettres de la Sorbonne dès 1906.Le parcours académique de Picavet s’inscrit dans un contexte particulier, qui voit l’histoire de la philosophie médiévale s’implanter de façon structurée et stable dans l’enseignement supérieur français. De même que d’autres disciplines institutionnalisées, l’histoire de la philosophie médiévale tire profit de la nécessité d’une réforme profonde du système universitaire, articulée dans les sphères politiques et scientifiques dès les années 1860 puis prolongée sous l’impulsion de la IIIe République, et qui aboutit à l’émergence de nouvellesstructures institutionnelles dans l’enseignement supérieur français (fondation de l’EPHE en 1868, création de nouveaux enseignements à la Sorbonne, dont une charge de cours en histoire de la philosophie médiévale en 1906). L’historiographie originale de Picavet restreint la signification des questions philosophiques médiévales qui demeurent liées à leur contexte historique d’origine: chaque système philosophique est ainsi l’expression partielle d’une civilisation donnée, au même titre que les expressions scientifiques, artistiques et artisanales que celle-ci est en mesure de produire et qui la caractérisent. / The intellectual biography of François Picavet (1851-1921) is an opportunity to explore the early days of the history of mediaeval philosophy as an institutionalised discipline in France from 1880 to 1920. A forgotten figure of the study of mediaeval philosophy, Picavet was a lecturer at EPHE (Religious Sciences department) from 1888 and director of studies from 1907, secretary of the Collège de France in 1904 and lecturer in the history of mediaeval philosophy at the Arts Faculty of the Sorbonne from 1906 onwards. Picavet’s academic career took place within a particular context in which the history of mediaeval philosophy came to be established in a structured and stable manner in French higher education. Like other institutionalised disciplines, the history of mediaeval philosophy benefited from the need for deep-seated reform of the university system, which was expressed in political and scientific circles from around 1860 and continued under the Third Republic, resulting in the emergence of new institutional structures in French higher education (the foundation of EPHE in 1868 and the creation of new courses at the Sorbonne, including a history of mediaeval philosophy course in 1906). Picavet’s original historiography confines the significance of mediaeval philosophical questions, which remain bound to the historical context in which they originated: thus, every philosophical system is the partial expression of a given civilisation, just like the scientific, artistic and craft related expressions which it produces and which characterise it.

The word "necrophilia" brings a particular definition readily to mind – that of an act of sexual intercourse with a corpse, probably a female corpse at that. But the definition of the word did not always have this connotation; quite literally the word means "love of the dead," or "a morbid attraction to death." An examination of nineteenth-century literature reveals a gradual change in relationships between the living and the dead, culminating in the sexualized representation of corpses at the close of the century. The works examined for necrophilic content are: Mary Wollstonecraft’s Mary, A Fiction, Mary Shelley’s Frankenstein, Emily Brontë’s Wuthering Heights, and Bram Stoker’s Dracula and The Jewel of Seven Stars.

After 1815's eruption of Mount Tambora, the following period was named the "Year without a Summer" and experienced irregularly cold weather, failed crops, rampant disease, and riots. In the summer of 1816, Lord Byron, Percy Bysshe Shelley, and Mary Wollstonecraft Shelley met in the Alps and wrote "Darkness," "Mont Blanc," and Frankenstein respectively. This thesis focuses on these works' depictions of nature in light of how these features may have been impacted by the climate. It argues in Chapter One that the volcanic eruption caused global climate changes that affected these writers. In Chapter Two, it illustrates differences in nature's representation between first generation and second generation Romantic works. The conclusion synthesizes the arguments made in Chapters One and Two, suggesting that 1816's climate affected these writers in such a way as to produce an environment from which science fiction could emerge in Frankenstein. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Made available in DSpace on 2016-04-25T20:23:03Z (GMT). No. of bitstreams: 1 MarceloSantos.pdf: 2271831 bytes, checksum: 2c9f5178a62484c7f5970eff9b285e2a (MD5) Previous issue date: 2005-06-21 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Este trabalho tem por objeto estudar a mentalidade política de duas importantes personagens da primeira República (1889-1930), a dizer: Rui Barbosa e Pinheiro Machado. O propósito da pesquisa é mostrar que o senador Rui Barbosa estava ligado ao pensamento que pode ser identificado como progressista enquanto o senador Pinheiro Machado estava ligado ao pensamento conservador. Para demonstrar isso, na pesquisa lançar-se-á mão de método histórico e far-se-á a reconstrução dos embates políticos que ocorreram a partir do lançamento da candidatura do marechal Hermes da Fonseca à sucessão do presidente Afonso Pena - lançamento este que foi feito pelo senador Pinheiro Machado e provocou a ruptura entre este último e o senador Rui Barbosa. A pesquisa também remeterá à eleição presidencial de 1910, que passou para a história com o nome de Campanha Civilista por conta da disputa entre o militar Hermes da Fonseca e o civil Rui Barbosa. Por fim, na pesquisa estudar-se-á importantes acontecimentos do Governo Hermes da Fonseca (1910-1914) como, por exemplo, a Revolta dos Marinheiros e o movimento de intervenção nos Estados (Salvações), para verificar como Rui Barbosa e Pinheiro Machado agiram diante de tais acontecimentos e mostrar que o primeiro atuou sob a égide de idéias progressistas e o segundo de idéias conservadoras. Para mostrar que o senador baiano estava ligado ao pensamento progressista e o senador gaúcho estava ligado ao pensamento conservador, na pesquisa, além de recorrer a acontecimentos históricos, utilizar-se-á a tipologia elaborada pelo sociólogo húngaro Karl Mannheim, que apresenta as características tanto do conservantismo quanto do pensamento progressista.

Made available in DSpace on 2016-04-26T14:57:57Z (GMT). No. of bitstreams: 1 MarceloSantos.pdf: 2271831 bytes, checksum: 2c9f5178a62484c7f5970eff9b285e2a (MD5) Previous issue date: 2005-06-21 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Este trabalho tem por objeto estudar a mentalidade política de duas importantes personagens da primeira República (1889-1930), a dizer: Rui Barbosa e Pinheiro Machado. O propósito da pesquisa é mostrar que o senador Rui Barbosa estava ligado ao pensamento que pode ser identificado como progressista enquanto o senador Pinheiro Machado estava ligado ao pensamento conservador. Para demonstrar isso, na pesquisa lançar-se-á mão de método histórico e far-se-á a reconstrução dos embates políticos que ocorreram a partir do lançamento da candidatura do marechal Hermes da Fonseca à sucessão do presidente Afonso Pena - lançamento este que foi feito pelo senador Pinheiro Machado e provocou a ruptura entre este último e o senador Rui Barbosa. A pesquisa também remeterá à eleição presidencial de 1910, que passou para a história com o nome de Campanha Civilista por conta da disputa entre o militar Hermes da Fonseca e o civil Rui Barbosa. Por fim, na pesquisa estudar-se-á importantes acontecimentos do Governo Hermes da Fonseca (1910-1914) como, por exemplo, a Revolta dos Marinheiros e o movimento de intervenção nos Estados (Salvações), para verificar como Rui Barbosa e Pinheiro Machado agiram diante de tais acontecimentos e mostrar que o primeiro atuou sob a égide de idéias progressistas e o segundo de idéias conservadoras. Para mostrar que o senador baiano estava ligado ao pensamento progressista e o senador gaúcho estava ligado ao pensamento conservador, na pesquisa, além de recorrer a acontecimentos históricos, utilizar-se-á a tipologia elaborada pelo sociólogo húngaro Karl Mannheim, que apresenta as características tanto do conservantismo quanto do pensamento progressista.

A presente dissertação tem como objetivo estabelecer um diálogo entre três obras da literatura britânica do século XIX: o romance Frankenstein (1818), da autora Mary W. Shelley; a novela O Médico e o Monstro (1886), de autoria de Robert Louis Stevenson; e o romance A Ilha do Dr. Moreau (1896), de H. G. Wells. Tal comparação será feita com base nas convenções advindas dos gêneros Gótico e Ficção científica, presentes nas obras. Como principal alicerce teórico para a definição de gêneros entendem-se as considerações de Tzvetan Todorov, que defende que os gêneros são inevitáveis como horizonte de interpretação, além de serem entidades em constante mudança numa cadeia de influências através da qual novos gêneros são criados a partir de outros pré-existentes. O presente trabalho parte desse pressuposto para determinar de que maneira os gêneros Gótico e Ficção científica estão presentes nas obras, observando como os traços do Gótico, ao se adaptarem através do tempo, deram lugar a convenções ainda semelhantes, mas que já apontavam para o que posteriormente seria considerado um novo gênero literário. Primeiramente, são feitas considerações sobre conceitos de gênero textual/literário através do tempo, as quais mostram o quanto seu estudo permaneceu constante. A seguir são definidas certas convenções dos dois gêneros, assim como o modo como dialogam entre si. A segunda parte do trabalho analisa as duas primeiras obras em ordem cronológica, Frankenstein e O Médico e o Monstro, de maneira a perceber a predominância de convenções do Gótico – especialmente relacionadas ao conflito interior dos personagens, como o "duplo" – ao mesmo tempo que a emergência de temas da ciência, como os de criador/criatura e ambição científica. O último capítulo verifica como a primeira fase da Ficção científica de H. G. Wells em geral e A Ilha do Dr. Moreau em particular resgatam convenções dos dois gêneros supracitados, ao mesmo tempo servindo como consolidador das convenções do último. Conclui-se, portanto, que houve uma evolução que possibilitou a emergência de um novo gênero ligado ao contexto histórico das obras, o que legitima a consideração dos gêneros como entidades mais livres e não restritivas, que podem estar presentes em diversas obras ao mesmo tempo e ampliar seu horizonte de interpretação. / This thesis establishes a dialogue among three books from 19th century British literature: the novel Frankenstein (1818), by M. W. Shelley; the novella Strange Case of Dr. Jekyll and Mr. Hyde (1886), by Robert Louis Stevenson; and the novel The Island of Dr. Moreau (1896), by H. G. Wells. This comparison is made based on the specific Gothic and Science fiction conventions present in the books. The main theoretical support for the definition of genres employed here comes from Tzvetan Todorov. The author argues that genres are inevitable as horizons of interpretation, entities in constant change which tend to create new genres from pre-existent ones, in a chain of influences. This thesis considers this supposition to determine how Gothic and Science fiction make themselves present in the works analyzed, in a way that Gothic traits, being adapted through time, give way to similar but yet innovative conventions, which subsequently would be considered a new literary genre. Primarily, considerations concerning the concept of genres through history are made, all of which show how this study was kept constant. Hereafter, certain conventions regarding both genres are defined, as well as the manner they dialogue amongst themselves. The second part of the thesis is dedicated to the analysis of Frankenstein and Strange Case of Dr. Jekyll and Mr. Hyde, and establishes the predominance of Gothic conventions – especially the ones related to the inner conflict of the characters, such as the "double" –, while considering the emergence of scientific themes, such as the creator/creature relationship and scientific ambition. The last section verifies how the first cycle of H. G. Wells' Science fiction in a broad sense, and The Island of Dr. Moreau in a strict sense, reemploy conventions of both genres, serving to consolidate the latter. Therefore, it is concluded that there was an evolution which enabled the emergence of a new genre, considering the historical contexts and the books analyzed. This consideration justifies genres as wide-ranging, non-restrictive entities, which may be present in various works simultaneously and broaden their horizon of interpretation.