In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

Typescript (Photocopy) Bibliography: leaves 305-319.

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In 1879 the British Colony of New South Wales hosted the first international exhibition in the Southern Hemisphere. This was immediately followed by the Melbourne International Exhibition of 1880 in the colony of Victoria and the success of these exhibitions inspired the Melbourne Centennial Exhibition, which was held in 1888 to celebrate the centenary of white settlement in Australia. My thesis is that these international exhibitions had a profound impact on the development of our cities, the evolution of an Australian ethos and the gaining of nationhood. The immense popularity and comprehensive nature of the exhibitions made them the only major events in late nineteenth-century Australia that brought the people together in an almost universally shared experience. The exhibitions conveyed official ideologies from the organising elites to ordinary people and encouraged the dissemination of new cultural sentiments, political aspirations, and moral and educational ideals. Many exhibition commissioners, official observers and ideologues were also predominantly involved in the Federation movement and the wider cultural sphere. The international exhibitions assisted the development of an Australian urban ethos, which to a large extent replaced the older pastoral / frontier image. Many of the more enduring ideas emanating from the exhibitions were physically expressed in the consequent development of our cities ??? particularly Sydney and Melbourne, both of which had achieved metropolitan status and global significance by the end of the nineteenth century. The new urban ethos, dramatically triggered by Sydney 1879, combined with and strengthened the national aspirations and sentiments of the Federation movement. Thus the exhibitions created an immediate connection between colonial pride in urban development and European and American ideals of nation building. They also created an increasing cultural sophistication and a growing involvement in social movements and political associations at the national level. The international exhibitions, more than any other single event, convinced the colonials that they were all Australians together and that their destiny was to be united as one nation. At that time, Australians began to think about national objectives. The exhibitions not only promulgated national sentiment and a new ethos, but also provided opportunities for independent colonial initiatives, inter-colonial cooperation and a more equal position in the imperial alliance. Thus they became a powerful impetus, hitherto unrecognised, for the complex of social, political and economic developments that made Federation possible.

Thesis (MA)--Stellenbosch University, 1966 / Voorwoord: Dr Johan Philip, die eerste superintendent van die Londense Sending genootskap in Suid-Afrika. Rondom sy persoon is sedert sy dood in 1851 baie verhale en beelde gebou. In die dertig jaar van sy verblyf in Suid-Afrika was hy voortdurend in die nuus en dikwels die middelpunt van heftige geskille. Na sy dood is hy nog steeds die middelpunt van heftige meningsverskille en word sy naam dikwels gebruik om total verskillende standpunte te verdedig.

Made available in DSpace on 2018-07-27T17:13:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-28. Added 1 bitstream(s) on 2018-07-27T17:16:52Z : No. of bitstreams: 1 000901718.pdf: 1096974 bytes, checksum: 8120160a281138e459b3d4326f76f817 (MD5) / Esta tese tem por objetivo o estudo de duas obras literárias que têm como personagens cientistas criadores e suas criaturas artificiais. Trata-se das obras de Villiers de l'Isle-Adam (1838-1889) e de Mary Shelley (1797-1851), representadas pelos romances L'Ève future e Frankenstein, respectivamente. Para tanto, e em primeiro lugar, traçamos um histórico do desejo humano de criar uma criatura artificial perfeita desde a Antiguidade até os dias atuais. Em seguida, passamos à análise das referidas obras, caracterizando e comparando os criadores e suas respectivas criaturas, concluindo, ao final, o que ambas representam em termos metafóricos / This dissertation aims to study two literary works whose characters are creators scientists and their artificial creatures. The following novels are studied: L'Ève future by Villiers de l'Isle-Adam (1838-1889) and Frankenstein by Mary Shelley (1797-1851). Firstly, it was made a survey of the human desire to create a perfect artificial creature from Antiquity to nowadays. Secondly, we started to analyze such literary works, characterizing and comparing the creators and their creatures, and finally, getting the conclusion what both represent metaphorically

Romantic heroes are questers, according to Harold Bloom and Northrop Frye. Whether employing physical strength or relying on the power of the mind, the traditional Romantic hero invokes questing for some sense of self. Chapter 1 considers this hero-type, but is concerned with defining a non-questing British Romantic hero. The Romantic hero's identity is problematic and established through contrasting narrative versions of the hero. This paper's argument lies in the "inconclusiveness" of the Romantic experience perceived in writings throughout the Romantic period. Romantic inconclusiveness can be found not only in the structure and syntax of the works but in the person with whom the reader is meant to identify or sympathize, the hero(ine). Chapter 2 explores Byron's aesthetics of literature equivocation in The Giaour. This tale is a consciously imbricated text, and Byron's letters show a purposeful complication of the poet's authority concerning the origins of this Turkish Tale. The traditional "Byronic hero," a gloomy, guilt-ridden protagonist, is considered in Chapter 3. Byron's contemporary readers and reviewers were quick to pick up on this aspect of his verse tales, finding in the Giaour, Selim, Conrad, and Lara characteristics of Childe Harold. Yet, Byron's Turkish Tales also reveal a very different and more sentimental hero. Byron seems to play off the reader's expectations of the "Byronic hero" with an ambiguous hero whose character reflects the Romantic aesthetic of indeterminacy. Through the accretive structure of The Giaour, Byron creates a hero of competing component characteristics, a focus he also gives to his heroines. Chapters 4 and 5 address works that are traditionally considered eighteenth-century sentimental novels. Mathilda and Evelina, both epistolary works, present their heroines as worldly innocents who are beset by aggressive males. Yet their subtext suggests that these girls aggressively maneuver the men in their lives. Mathilda and Evelina create a tension between the expected and the radical to energize the reader's imagination.

One aspect of the current revaluation of Victorian thought and literature is the examination of the crisis of religious faith, in which the proponents of doubt and denial took different directions: they became openly cynical and pessimistic; they turned from religion to an aesthetic substitute; or they concluded that since mankind could look only to itself for aid, the primary duties of the individual were to find a tenable creed for himself and to try to alleviate the lot of others. The movement from the agony of doubt to a serene, or at least calm, humanitarianism is the subject of this study. The discussion is limited to four novelists in whose work religious doubt and humanitarianism are overt and relatively consistent and in whose novels the intellectual thought of the day is translated into a form appealing to the middle-class reader. Their success is attested by contemporary criticism and by accounts of the sales of their books; although their work has had no permanent popularity, they were among the most discussed authors of their time.

Presenting and applying an ideal developmental model for the classical existential hero, or main character, provides a functional paradigm for discrimination between essentialist and existential texts. In particular it allows for degrees of fine existential differentiation amongst the hero's acts of any literary work. The paradigm does so by making it possible clearly to discern and describe the "recuperation" that a reader must do to render an "impaired" text intelligible. The paradigm covers four phases of transformational activity by the hero, more or less successfully negotiated, depending on the given work under analysis; vacillation/bad faith; crisis/arrest; abrogation/nothingness; and nihilation/project choice. Only one of the three novels so analyzed, Camus' The Stranger, contains a hero, Meursault, who is able to engage this paradigm successfully. The other two novels, not generally associated with existentialism, Heller's Something Happened and Chopin's The Awakening, reveal important and explicable variations of the model, but neither finally gives an exemplary authentic hero. The value of this paradigm is the way it functions as a dynamic heuristics, as a template, to isolate and render meaningful the dimensions of the career of each main character of these works as an "existential murderer." After an introduction of the paradigm, the thesis analyzes the tragic suicide of Mrs. Edna Pontellier, the comic infanticide of Bob Slocum, and the tragicomic homicide of Meursault.

Writers of early American texts frequently express astonishment at the abundance of swarming things found in nature, from rustling clouds of insects to ponds teeming with fish to forests of countless trees. They report feeling overwhelmed, fascinated, and threatened by the dynamic, formless grouping of the swarm, in which the distinction between part and whole is lost in a blur of motion. In this dissertation, I trace these experiences of swarming across religious tracts, natural histories, philosophy texts, and historical fiction to argue that the swarm is crucial for understanding early American ways of relating to the environment. Scholars of the colonial period have long maintained that settlers viewed the American continent as a vast and empty land, available for settlement and resource extraction, and that the settler mind sought to manage the perceived chaos of their new surroundings through the application of European systems of thought and order. I argue, however, that the experience of the swarm indicates another kind of environmental relation, one in which the viewer and the natural world become ecologically entangled. In this entanglement, settlers found their preconceived ideas challenged, forcing them to revise or generate anew their theories of the world. While these ecological experiences of the natural world appear in texts by the settler writers Jonathan Edwards, Hector St. John Crèvecoeur, William Bartram, and James Fenimore Cooper, the ideas that develop through the swarm are influenced by or overlap with the epistemologies of the Native American peoples who inhabited the lands these settlers occupied. The project also addresses Indigenous modes of environmental relation and philosophies through Haudenosaunee cosmologies, Maskoke origins stories, and the work of the Tuscarora writer David Cusick. Overall, this dissertation offers an epistemological history of the colonial period that not only revises long- accepted characterizations of the settler mindset but that also takes seriously the histories of Indigenous philosophies as early American intellectual movements. In detailing experiences in which the mind and the natural world are not in fact separate entities, my work presents alternative modes of environmental relation and offers suggestions to today’s urgent need to rethink our orientation toward the natural world.