M.A. (National Strategy) / Please refer to full text to view abstract

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Made available in DSpace on 2017-06-01T18:08:38Z (GMT). No. of bitstreams: 1 Maria Araujo.pdf: 667357 bytes, checksum: f60127390e48fbadda923c3d53fd0613 (MD5) Previous issue date: 2003-03-28 / This work analyzes, according to Freudian texts, the route to become a woman , its contributions and impasses today. It s in the encounter with the feminine, attempting to understand the meaning of fantasies and hysterical symptoms, that Freud found out the inconsciousness, the trauma, sex, that drove to childhood sexual experiences. Studying sexuality in perversion, we face childhood sexuality and its many-formed perverted nature. Sexuality leaves then, perversion field to come into impulse and desire field. In this context, Freud develops a theory of feminine sexuality referred to castration and phallic primacy, only way to the acquisition of a normal feminism. Reflecting and analyzing to become a woman according to Freud, sent it to the society of spectacle and narcissism worship. Woman, through this path, has conquered many spaces, creating new social links: has left private space, meant by marriage and motherhood, to be at the spectacle scenery. Viewing this scenery in the consumers´ universe society and its consequences in the feminine subjectivity, tending to analyze in details woman s relation with her own body and sexuality, stressed by sexual excess and tied to an ideal body, source of sorrow and pain. At present-day, that s the image of woman-body-sex that comes up with masks and technological devices, searching the desired-perfect body, trying to deceive failure incompleteness, death. It s body-sex as object of desire and consumption, that sells anything and becomes other s object of pleasure. It shows an open-wide sexuality, primitive, without limits. It changes from a hysterical to a body-sex woman, the one that plays the whore in the masculine fantasy, legitimated by the social, idealized and feminine model. Feminism meaning what the seduction and erotism game owns as the most sublime, mysterious and gorgeous-showed in a subtle erotic gesture, a neckline,a revelation has no value today. The woman shows, through her highly erotized body, the necessity of searching other knowledge s, before new forms of erotization she faces / Este trabalho analisa, partindo de textos freudianos, o percurso do tornar-se mulher suas contribuições e impasses na Contemporaneidade. No encontro com o feminino, na tentativa de compreender o significado das fantasias e sintomas histéricos, Freud descobriu o inconsciente, o trauma, o sexual, que remetiam às experiências sexuais infantis. Ao estudar a sexualidade nas perversões, depara- se com a sexualidade infantil e sua natureza perverso- polimorfa. A sexualidade deixa, então, o campo da perversão para se inscrever no campo pulsional e do desejo. Nesse contexto, Freud desenvolve uma teoria da sexualidade feminina referenciada à castração e à primazia fálica, único caminho para a aquisição de uma feminilidade normal. Reflete-se e analisa-se o tornar-se mulher em Freud, remetendo-o à sociedade do espetáculo e à cultura do narcisismo. A mulher, nesta travessia, conquistou vários espaços, criando novos laços sociais: abandonou o espaço privado representado pelo casamento e a maternagem, para ocupar a cena do espetáculo. Ao contextualizar-se à cena do espetáculo no universo da sociedade de consumo e suas conseqüências na subjetividade feminina, passa-se a analisar mais detalhadamente a relação da mulher com o seu próprio corpo e com a sua sexualidade, marcada pelo excesso sexual e escravizada a um corpo idealizado, fonte de angústia e sofrimento. Na Contemporaneidade, é a imagem da mulher-corpo-sexo que se apresenta, com as máscaras e os adereços tecnológicos, na busca do corpo perfeito e desejado, na tentativa de tamponar a falta, a incompletude, a morte. É o corpo-sexo, enquanto objeto de desejo e de consumo, que vende qualquer coisa e se constitui em objeto de gozo do outro. Revela-se uma sexualidade escancarada, primitiva, sem nenhum limite. Passa-se da mulher- histérica para a mulher corpo-sexo, aquela que ocupa o lugar da prostituta na fantasia masculina, legitimada pelo social, idealizada e modelo de feminilidade. A feminilidade significada naquilo que o jogo de sedução e erotismo possui de mais sublime, misterioso e belo --- expresso na delicadeza de um gesto erótico, de um decote e de uma revelação encontra-se destituída de seu valor na Contemporaneidade. A mulher evidencia, através do corpo excessivamente erotizado, a necessidade de se buscar outros saberes, frente às novas formas de erotização , que se apresentam

Robert Schumann's D-minor Symphony endured harsh criticism during the second half of the nineteenth century because of misunderstandings regarding his compositional approach to the genre of the symphony; changes in performance practices amplified the problems, leading to charges that Schumann was an inept orchestrator. Editions published by Clara Schumann and Alfred Dörffel as well as performing editions prepared by Woldemar Bargiel and Gustav Mahler reflect ideals of the late nineteenth century that differ markedly from those Schumann advanced in his 1851 autograph and in the Symphony's first publication in 1853. An examination of the manuscript sources and the editions authorized by Schumann reveals that he imbued the Symphony with what he called a "special meaning" in the form of an implied narrative. Although Schumann provided no written account of this narrative, it is revealed in orchestrational devices, particularly orchestration, dynamics, and articulation, many of which have been either altered or suppressed by later editors. A reconsideration of these devices as they are transmitted through the authorized sources permits a rediscovery of the work's special meaning and rectifies long-standing misperceptions that have become entrenched in the general literature concerning Schumann in general and the D-minor Symphony in particular.

Since his rise to fame in the late nineteenth century, Booker T. Washington has been incorrectly labeled a compromiser and power-hungry politician who sacrificed social progress for his own advancement. Through extensive research of Washington's personal papers, speeches, and affiliations, it has become apparent that the typical characterizations of Washington are not based exclusively in fact. The paper opens with an overview of Washington's philosophy, followed by a discussion of Washington's rise to power and consolidation of his "Tuskegee Machine," and finally the split that occurred within the African-American community with the formation of the NAACP. The thesis concludes that, while Washington's tactics were different from and far less visible than those of more militant black leaders, they were nonetheless effective in the overall effort.

My dissertation seeks to answer the following question: why did German Romantic composer Robert Schumann turn to the composition of sacred music in the early 1850s? From Schumann's earliest biographers to more recent commentators, critics have struggled to make sense of the composer's seemingly uncharacteristic production of a Mass and Requiem Mass, often explaining his work in these musical genres in terms of his struggles with mental illness and eventual institutionalization. I seek to revisit this question by taking a broader look at Schumann’s compositional output from his years in Düsseldorf, arguing that his interest in sacred genres reflected an active engagement with evolving questions of religious and national identity during these pivotal decades in the German states. To this end, I analyze three case studies. The first examines the tension between communal and individual understandings of Romantic religion through comparison of Schumann’s choral-orchestral Adventlied, Op. 71 and his song cycle Sieben Lieder, Op. 104. The second analyzes Schumann’s plans for a Martin Luther oratorio, which, although he never completed the project, reveal much about Schumann’s nationalist aspirations and understandings of German history and culture. The final case study looks at the Missa Sacra, Op. 147, highlighting Schumann’s investment in the history and future potential of church music. Examination of Schumann’s church music reviews from the 1830s and 40s, as well as his conducting and scholarly priorities during the late 1840s and early 1850s, suggests that Schumann esteemed and sought to contribute to the history of German church music. These case studies demonstrate how, using different means, Schumann was interested in and actively participated in larger currents of religious transformation in the mid-nineteenth century, transformations that were shaped by intersecting forces of nationalism, historicism, Romanticism, and the shifting roles and venues of religious identity and practice in German society and culture.

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This master's thesis project is the first half of a historical novel concerning the involvement of Elvira Field Strang Baker, the first plural wife of James Jesse Strang, with the "Beaver Island Mormons" who followed Strang from Nauvoo shortly after the death of Joseph Smith in 1844. The events portrayed are historical, although fictionalized. This portion of the novel contains a brief introduction to her childhood in Chapter One and follows her involvement with the Strangite movement beginning in April 1847 to the coronation of her husband in. Elvira was the first plural wife of James Jesse Strang who to this day is the only crowned American king. She married Strang in July 1849 and kept her marriage a secret for one year until Strang announced her as his wife during the above-mentioned coronation ceremony. Elvira was a woman ahead of her time. She was educated and had the opportunity to enjoy professional success which was rare for a woman of the mid-eighteenth century. She was a teacher, a trained tailor, an author of articles for her husband's newspapers, and one of his most capable administrators. While this portion of the novel focuses primarily on the early days of Elvira's acquaintance with James, his subsequent courtship, and the early days of their marriage, it also follows Elvira's movement within this unorthodox community that was supposed to be Zion.

The few studies of Mormon home literature that have been published to date dismiss it as inferior artistry, an embarrassing if necessary step in the progression towards true Mormon literature. These studies are inadequate, however, because they divorce the texts from their context, holding them up to standards that did not exist for their original audience. Jane Tompkins' theory of texts as cultural work provides a more satisfactory way of looking at these narratives. Home literature is thoroughly enmeshed in the cultural discourse of its day. Beneath the surface, these didactic stories about young Mormons finding love with their foreordained mates performed important cultural work by helping Mormons to think about their personal and collective identities, by co-opting mainstream fictional forms and giving them safe expression, and by reconceptualizing marriage in the wake of polygamy's demise. The stories of Susa Young Gates illustrate these functions well. Gates was a prominent youth leader and prolific home author during the 1890s. Her stories extend and enact Mormon cultural discourse of the time and point up the connections between Mormon fiction and mainstream models. The last decade of the nineteenth century marked the beginning of Mormonism's transition from an isolated separatist movement to a thoroughly assimilated and modem mainstream religion. As Mormons shifted away from the defining practices of polygamy, communal economics, and ecclesiastical dominance of politics, they sought for new ways to define themselves that would retain their sense of distinctness from a world they still viewed as sinful. The result was new emphasis on formerly dormant or relatively unemphasized practices such as the Word of Wisdom and the law of tithing. This emphasis shows up in the story "Donald's Boy" which repeatedly focuses on the necessity for Mormon youth to shun the corruptions of the world. "Seven Times," which ran in the 1893-94 volume of the Young Woman's Journal, shows Gates's debt to mainstream fiction in its extensive adoption of popular conventions, reworking such devices as the heroine's development, the divine child, the lecherous villain, and the sick bed ordeal into a Mormon conversion narrative. As in popular American fiction, the role of the narrator is central to the didactic intentions of the story. The narrator becomes the dominant personality of the text as she both creates and controls the emotion necessary to the formal and ideological demands of the narrative. Gates claimed to consider popular didactic fiction inconsequential, but her own comments and her wholesale use of its conventions suggests that her relationship with these novels was much more complex than she acknowledged. "John Stevens' Courtship" is Gates's most popular and ambitious work. Its setting in the early years of Mormon settlement in Utah at the time of the first large-scale influx of "outsiders" into Mormon society constructs an idealized view of early Mormon culture that contrasts with the diminished faithfulness Gates perceived in her day. Gates's artistic ambitions show up most clearly in her intense descriptions of her characters. These character descriptions draw on popular conventions to inscribe idealized gender constructs that interacted with Mormon ideology to remain in force in Mormon society long after they had faded elsewhere. Finally, Gates's emphasis on the idea of a foreordained mate replaces polygamy as the essential doctrine of marriage, an important shift in post-Manifesto Mormondom.