The general plan of this study is to sketch the beginning of Ogden settlement and the early history up to the beginnings of the influence of the coming of the railroad, then to follow in more detail the conditions and influences that developed as the railroad was built and the changes that followed the completion of the line.

The primary function of this thesis was to determine, through the analysis of three randomly selected speeches, the speaking style of Heber C. Kimball. The selected speeches were presented in three different utah locations, and they covered a span of nine years (1856-65). All three speeches were presented to a Mormon audience and were religious in nature. Seven elements of style have been used for the analysis of the three speeches. They are: accuracy, clarity, propriety, economy, force, striking quality, and liveliness. It was determined that President Kimball's speaking style was weak in the areas of accuracy and clarity. In the areas of economy and propriety his style was good. In terms of liveliness, Kimball's speaking style was excellent. Heber C. Kimball's speaking style excelled in the areas of force and striking quality. All three speeches have a superior representation of force and the striking quality. In consideration of the historical setting of the three speeches, it was determined that Heber Chase Kimball was a very effective speaker.

My project explores the role of affective bonds of a sexual, romantic, and/or mentoring nature between male warriors in the production and maintenance of warrior identity during Japan's Warring States (1467–1603) period. Employing the notion of queer reading as a guiding principle, I examine the traces of intimate bonds between male warriors left behind in poetry, love oaths, personal correspondence, and other documents. I argue that male-male warrior intimacy played a central role, often undervalued by historians due to the conventional disciplinary emphasis on male-female marriage, in the construction of warrior retainer bands and the establishment of warrior alliances. Ranging from the purely hierarchical to the overtly sexual, relationships between warrior youths and their relatively older lords reproduced and reinforced warrior identity, through their violent oathing rituals, recreational activities, and function as a site for cultivating future trusted retainers. A young subordinate could also take advantage of the attention and trust given to him by making demands of his ostensible superior, disrupting the power asymmetries of the lord/retainer bond, or even by openly plotting a rebellion In considering warrior intimacy, the project occasions a reevaluation of the unification process that marks the Warring States period’s central narrative. I contend that the conventional interpretation, which relies on the trope of the Three Unifiers, minimizes the influence of male-male ties on events that effected significant historical change at the macro level, including the circumstances that enabled the Tokugawa clan’s ultimate victory, their vision of the social order, and the form of their sacred authority. I also explore the legacy of these bonds in the Edo period (1603–1868), repurposed as ideals of warrior masculinity and loyal retainership by both samurai attempting to find new purpose in a time of peace and commoners enjoying their newfound wealth and leisure time. Each chapter focuses on an influential warlord and his younger retainer: Ōuchi Yoshitaka (1507–1551) and Sue Harukata (1521–1555); Takeda Shingen (1521–1573) and Gensuke (dates unknown); and Date Masamune (1567–1636) and Tadano Sakujūrō Katsuyoshi (dates unknown), respectively.

This dissertation raises problems with the methodology of Schenkerian analysis and attempts to find solutions. Balancing ideological critique, intellectual history, and musical analysis with criticisms of the theory itself, my aim is to argue that Schenker’s conception of his own theory—and in particular of his background Urlinie—has greatly restricted the analytical possibilities of his methodology, including how it is practiced today. Chapter 1 will introduce and summarize this argument as a whole, including some of my musical and philosophical priors. Chapter 2 will explore how Schenker’s assumptions about his theory fulfill what I will (following Nicholas Cook) characterize as a “retrospective prophecy,” which I argue is continuous with the motivated and circular reasoning that propped up Schenker’s problematic wider ideology. Chapter 3 introduces two ideas that combat this tendency and inform my own analyses: the “modified” approaches to Schenker (in the work of scholars like David Neumeyer) as well as “oscillation” between different analytical interpretations (as Marianne Kielian-Gilbert describes work like Joseph Dubiel’s). Chapter 4 attempts to bring these two together, and I argue that this opens the way to a greater degree of analytical possibility than has hitherto been realized. In short, I argue that contemporary Schenkerian analysis has remained too tied to Schenker’s original formulation, to the detriment of the theory, but that not many Schenkerians have appreciated this. Along with attempting to find solutions to my problems, then, I want to convince Schenkerians that there are problems here to be solved in the first place, by showing how the very things analysts find valuable about the theory can be improved through the incorporation of “modified” and/or “oscillatory” approaches.

En considérant les positions de deux philosophes connus dans l'histoire des idées en éducation, à savoir Jean-Jacques Rousseau et Alain, nous tentons de voir quelles sont les principales similitudes et différences entre leurs conceptions philosophiques, premièrement, de la nature humaine, deuxièmement, de l'enfant en tant qu'être éducable et, troisièmement, de l'éducation vue sous l'angle principal de la formation morale et de la formation intellectuelle. Cette présentation de leur pensée éducative est doublée d'une réflexion critique qui prend son inspiration et ses fondements principalement du côté de la philosophie d'Aristote.

Esta dissertação intenta investigar como a condição de vida da escritora Higuchi Ichiyô vai modificando o seu pensamento literário levando-a à criação do universo da obra Nigorie (Enseada de águas turvas) tentando desvendar seus ideais sociais. A partir de sua visão perspicaz sobre as condições sociais do país, Ichiyô foi a primeira escritora da época a expressar de forma tão direta a tristeza das mulheres abandonadas por uma sociedade desumana. Considerando a importância da vivência pessoal de Ichiyô, um estudo sobre sua vida faz-se necessário para compreender a trajetória percorrida pela autora até a obra em questão. Ichiyô viveu nos arredores dos bairros de prostituição e manteve contato direto com o mundo das meretrizes, e essas experiências serviram-se de subsídios para a sua criação literária. Nigorie descreve a limitada e infeliz vida das mulheres socialmente degradadas que trabalham em um bairro de prostituição clandestina e os homens que o freqüentam. Sente-se em Nigorie um desejo velado de Ichiyô em denunciar ao mundo essa triste realidade e protestar contra a pobreza e o sistema social japonês de sua época. / This dissertation intends to investigate how the condition of life of writer Higuchi Ichiyô starts to modify her literary thought leading her to the creation of the universe of her work Nigorie (Troubled Creek) attempting to reveal her social ideals. From her talented vision on the social conditions of the country, Ichiyô was the first writer of her time to express in such a direct way the sadness of the women abandoned by an inhuman society. Considering the importance of the personal experience of Ichiyô a study upon her life becomes necessary to understand the trajectory the author went through as far as her work inherently. Ichiyô used to live in the outskirts of the prostitution quarters, keeping in touch with the world of prostitutes. These experiences turned into subsidies for her literary creation. Nigorie describes the limited and unhappy life of socially degraded women who work in a quarter of clandestine prostitution as well as the men who frequent it. It is felt in Nigorie a hidden desire of Ichiyô in denouncing this sad reality to the world, and besides, her intention to protest against the poverty and the Japanese social system of her time.

L’objet de ce travail est l’étude de la peinture au Karnataka depuis l’école de Vijayanāgar jusqu’à celle de Mysore, du XVIème au XIXème siècle. Nous avons tenté de réunir le corpus le plus large possible afin d’avoir une vision globale de l’art du Karnataka à travers ses peintures murales, ses manuscrits illustrés et ses images mobiles.Notre objectif était de mieux comprendre l’évolution de la peinture au Karnataka durant les trois cents ans qui séparent l’école de Vijayanāgar de celle de Mysore. Les seuls vestiges de l’école de peinture de Vijayanāgar se trouvent dans les peintures murales des temples Vīrabhadra de Lēpākṣī et celles du temple Virūpākṣa de Hampi. Nous présentons ces deux sanctuaires avant d’aborder l’école de peinture de Mysore et son iconographie, qui doit son rayonnement au roi Kṛṣṇarāja Woḍeyar III. A la même époque naissait aussi l’école de Surpur, inconnue jusqu’à aujourd’hui. Deux collections non publiées de miniatures provenant de Mysore et de Surpur nous ont permis de mieux comprendre l’évolution de ces écoles. La thèse prend aussi en compte d’autres développements spécifiques de l’art du Karnataka. Nous présentons en particulier les peintures murales du palais d’été de Tipu Sultan, qui se démarquent nettement des autres réalisations contemporaines, et des manuscrits d’un type original, nommés Uddharane, destinés à l’instruction des dévots adeptes du courant vīraśaiva. / The aim of this work is to study the paintings of Karnataka from the school of Vijayanagar to that of Mysore. It covers the period from the XVIth to the XIXth century. Our goal was to better understand the evolution of painting in Karnataka during the three hundred years that separate both schools. The only remains of the Vijayanāgar School of Painting can be found in the murals of the Vīrabhadra Temples of Lēpākṣī and those of the Virūpākṣa Temple in Hampi. We discuss these two temples before evoking the school of painting of Mysore through its murals, manuscripts and miniatures. This school is closely connected to King Kṛṣṇarāja Woḍeyar III. Contemporarily to the school of Mysore appeared the school of Surpur, unknown until now. Two unpublished collections of miniatures from Mysore and Surpur have allowed us to better understand the evolution of these schools. Other pictorial achievements present specific developments in the art of Karnataka. We present the mural paintings of Tipu Sultan's summer palace, which stands out clearly from the previous era, as well as the Uddharane manuscript intended for the teaching of the devotees.We have tried to bring together in this work the widest possible corpus of murals, manuscripts and miniatures in order to have a global vision of painting in Karnataka.

RODRIGUES, Eylo Fagner Silva. Liberdade ainda que precária: tornando-se livre nos meandros das leis, Ceará (1868-1884). 2012. 218 f. Dissertação (Mestrado em História) - Universidade Federal do Ceará, Departamento de História, Programa de Pós-Graduação em História Social, Fortaleza-CE, 2012. / Submitted by Raul Oliveira (raulcmo@hotmail.com) on 2012-06-25T13:06:59Z No. of bitstreams: 1 2012_Dis_EFSRodrigues.pdf: 1831654 bytes, checksum: 26b26fcc709c0e067209f0c0d06214e4 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-06-25T14:52:19Z (GMT) No. of bitstreams: 1 2012_Dis_EFSRodrigues.pdf: 1831654 bytes, checksum: 26b26fcc709c0e067209f0c0d06214e4 (MD5) / Made available in DSpace on 2012-06-25T14:52:19Z (GMT). No. of bitstreams: 1 2012_Dis_EFSRodrigues.pdf: 1831654 bytes, checksum: 26b26fcc709c0e067209f0c0d06214e4 (MD5) Previous issue date: 2012 / A luta pela liberdade reforçava-se, a cada nova lei, no horizonte de expectativa dos libertandos. Mas não eram as leis que incitavam seus passos nessa longa caminhada, senão o inverso disso. Códigos legais eram promulgados, como a lei provincial nº 1.254, de 1868, e a Lei 2.040, de 1871, repercutindo positivamente junto aos escravos, mas, na perspectiva das elites políticas e proprietárias do Brasil oitocentista, esperava-se, com o seu impacto, o cumprimento do papel hegemônico que o direito amiúde assume na sociedade. Contudo, quer nas negociações com os senhores, quer no contato com os membros das juntas classificadoras, ou ainda nos tribunais, os libertandos faziam valer suas diretrizes, deslocando, desse modo, as leis da conveniência de sua abstração. Nesses termos, procurou-se enxergar circunstâncias nas quais os libertandos aparecem movendo-se nos meandros das leis para conquistar a liberdade ainda que precária. / La promulgation de chaque loi contre l’esclavage elargissait l’horizon d’espoirs de liberté des esclaves et renforçait leurs combats pour la liberté. Il faut souligner qu’ils n’etaient pas les lois qu’encouragaient leurs actions dans la lutte contre l’esclavage, mais l’inverse. La promulgation des quelques code legaux, comme les lois provinciaux nº 1.254, de 1868, et nº 2.040, de 1871, ont eu une bonne répercussion entre les esclaves, mais, selon le point de vue des elites politiques et proprietaires foncière du Brésil au XIXe siècle, on espérait que l’impact des lois venaient pour faire accomplir le rôle de premier plan dont le droit fréquemment prend dans la société. Pourtant, même dans les négociations directes avec leurs propriétaires, ou dans le contact avec quelques membres des juntes de classifications, ou même dans les tribunaux, les esclaves qui etaient en procès de libération mettaient en valeur leurs dirrectives, ce qui deplaçait les lois de la convenance de leur abstraction. Dans ce cas, on a essayé voir les situations où les esclaves qui etaient en train d’être libérés apparaissent en se déplaçant entre les méandres des lois pour gagner la liberté, quand même précaire.

Esta dissertação intenta investigar como a condição de vida da escritora Higuchi Ichiyô vai modificando o seu pensamento literário levando-a à criação do universo da obra Nigorie (Enseada de águas turvas) tentando desvendar seus ideais sociais. A partir de sua visão perspicaz sobre as condições sociais do país, Ichiyô foi a primeira escritora da época a expressar de forma tão direta a tristeza das mulheres abandonadas por uma sociedade desumana. Considerando a importância da vivência pessoal de Ichiyô, um estudo sobre sua vida faz-se necessário para compreender a trajetória percorrida pela autora até a obra em questão. Ichiyô viveu nos arredores dos bairros de prostituição e manteve contato direto com o mundo das meretrizes, e essas experiências serviram-se de subsídios para a sua criação literária. Nigorie descreve a limitada e infeliz vida das mulheres socialmente degradadas que trabalham em um bairro de prostituição clandestina e os homens que o freqüentam. Sente-se em Nigorie um desejo velado de Ichiyô em denunciar ao mundo essa triste realidade e protestar contra a pobreza e o sistema social japonês de sua época. / This dissertation intends to investigate how the condition of life of writer Higuchi Ichiyô starts to modify her literary thought leading her to the creation of the universe of her work Nigorie (Troubled Creek) attempting to reveal her social ideals. From her talented vision on the social conditions of the country, Ichiyô was the first writer of her time to express in such a direct way the sadness of the women abandoned by an inhuman society. Considering the importance of the personal experience of Ichiyô a study upon her life becomes necessary to understand the trajectory the author went through as far as her work inherently. Ichiyô used to live in the outskirts of the prostitution quarters, keeping in touch with the world of prostitutes. These experiences turned into subsidies for her literary creation. Nigorie describes the limited and unhappy life of socially degraded women who work in a quarter of clandestine prostitution as well as the men who frequent it. It is felt in Nigorie a hidden desire of Ichiyô in denouncing this sad reality to the world, and besides, her intention to protest against the poverty and the Japanese social system of her time.

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