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This work provides an account of the Crimean residency of Nicholas II's mother, Dowager Empress Maria Fedorovna, Grand Duke Nicholas Nikolaevich, former Commander--in-Chief of the Russian Armies, and other members of the Romanov dynasty, from the abdication of the tsar (March 1917) until their departure aboard the H.M.S. Marlborough (April 1919). The first two chapters provide a background of conditions within the Imperial Family during the reign of Nicholas II. The remainder of the work traces their lives from arrival in the Crimea until the Dowager Empress accedes to the request of her sister, Dowager Queen Alexandra, to emigrate to England. The study concludes that the Romanovs played no active role in the Russian Civil War, although they were considered dangerous counterrevolutionaries by the Bolsheviks.

In March, 1990, I was hired to teach English in Japan at a small, private academy in Chitose, Hokkaido. The school was called the Academy of Clark's Spirit. My first day at work I was asked by my boss, Sato Masako: "So Mr. Walker, of course you know who Dr. Clark is?" I told Mr. Sato that I was sorry, but that I did not. "You said in your resume that you are a history student? We named this school after him. He's one of the most important people in Hokkaido's history," he said, looking disappointed. Mr. Sato explained that he wanted me to teach with the spirit of Clark in mind and bring to his classrooms what Clark brought to Hokkaido over a hundred years before. I nodded and asked to see my apartment. I began this study of William Smith Clark after my first stay in Hokkaido. It is the product of my interest in modern Japanese history, particularly Japan's relationship with the United States. The first leg of this project was started in Amherst, Massachusetts, where I met with Dr. John Maki. He directed me through the Clark collection at the University of Massachusetts at Amherst. I had several interviews with Maki during the week I was in Massachusetts and was given liberal access to the Clark collection under his influence. The second leg of my study was continued in Sapporo, Hokkaido. I met with Dr. Toshiyuki Akizuki at Hokkaido University and was shown through the Clark collection there. I lived in Hokkaido for about two years and have kept notes on the tribute paid to Clark and visible signs of his impact on the northern island. The focus of this study is to look at Clark's contribution to the development of Hokkaido by detailing his work in education, Christianity, and agriculture. By focusing on Clark's particular contribution to Hokkaido a larger historical trend, that is, the importation of foreign ideas in the history of Meiji Japan, is better understood. ~he results of this study conclude that Clark was an important figure in the history of Hokkaido's settlement, and to the development of nineteenth century Japan.,. ,Clark was also an important figure in the history of the relations between Japan and the United states., It is in lasting institutions like Hokkaido University and the Sapporo Independent Christian Church where Clark's impact is best illustrated. These institutions, particularly the university, were the nerve centers for Hokkaido's development, and Clark planted these seeds of enlightenment, under the direction of the Meiji government, in the fertile northern soil. I have gained a better understanding of Clark's stay in Hokkaido because of this project, but doubt that I could even now satisfy Mr. Sato's insistence that I teach with Clark's spirit. I do understand, however, why it was important to Mr. Sato that I try. Clark's phrase "Boys Be Ambitious" still embodies the spirit of many educators in Hokkaido and his success with Japanese students is one of the better examples of international exchange in any country. Clark is cherished by the people of Hokkaido as the spiritual pioneer of their island even though his stay

Disciple de Gaston Bachelard et maître de Michel Foucault, Georges Canguilhem (1904-1995) est connu à juste titre pour sa philosophie de la vie, articulée autour des notions de normes et de santé. Mais quand on retrace son itinéraire encore largement méconnu, on s'aperçoit que cette philosophie des normes est apparue assez tardivement chez Canguilhem, avec la publication, en 1943, de son œuvre maîtresse : l'Essai sur quelques problèmes concernant le normal et la pathologique. Le philosophe a alors 41 ans. Or, cette rencontre avec la vie au sens biologique est tout à fait étonnante. Car jusqu'au milieu des années 1930, Canguilhem est resté fidèle au courant qui a dominé l'enseignement philosophique sous la 3ème République. Il s'agit de la philosophie réflexive, dont les principaux représentants sont Jules Lachelier (1832-1918), Jules Lagneau (1851-1894), et Alain (1868-1951), le maître de jeunesse de Canguilhem. Opérant une synthèse entre Descartes et Kant sur la question du Je pense, la démarche réflexive est une philosophie du jugement et des valeurs dont l'objectif est de révéler, à la base de l'expérience phénoménale, l'activité par laquelle l'esprit ordonne et norme un divers d'impressions. J'ai donc nommé « École française de l'activité » cette lignée de philosophes d'inspiration kantienne qui considère que le point de départ de toute position philosophique réside dans cette activité essentielle de l'entendement qu'est le jugement. On remarquera cependant que cette philosophie intellectualiste est très éloignée de la position défendue par Canguilhem dans l'Essai de 1943. C'est pourquoi, après avoir retracé cette filiation inattendue et surprenante de Canguilhem avec le courant réflexif (première partie de la thèse), tout l'enjeu était ensuite de comprendre ce passage énigmatique d'une philosophie où c'est l'esprit qui est puissance de valorisation (philosophie réflexive), à une philosophie où c'est la vie qui est entendue comme position de valeurs. Dans la deuxième partie de ma thèse, j'ai défendu l'idée que c'est l'intérêt croissant de Canguilhem pour l'agir technique qui a conduit le philosophe à remettre en cause le paradigme réflexif fondé sur la toute puissance du jugement. Car la technique, à la différence de la science, doit répondre dans l'urgence à des besoins vitaux qui ne peuvent pas attendre les longues chaînes déductives de la science. Le technicien est autrement dit contraint de se déterminer sans qu'il puisse juger selon les exigences normatives de la méthode analytique. Cette faculté du technicien à anticiper sur le jugement de connaissance, Canguilhem la renvoie à un « pouvoir original » qui s'enracine dans les « exigences du vivant ». ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Canguilhem, Georges (1904-1995), Alain (1868-1951), Philosophie de l'action, perception, technique, travail, valeur.

Denna uppsats visar hur representationen av dekadent maskulinitet i svensk dekadenslitteratur från tiden strax innan sekelskiftet 1900 konstruerades. Genom att se till de tre författarna Ola Hansson (1860-1925), Emil Kléen (1868-1898) och Axel Wallengren (1865-1896) visas hur den dekadente mannen – dekadenten – skapas som karaktär och litterär figur. Dekadenten var, menar denna undersökning, extremt bunden av rum, socialitet och kropp, och kunde endast agera inom mycket snäva ramar skapade av dessa kulturella kategorier. Vad som framträder är närmast en schablon enligt vilken dekadensförfattarna arbetade, och rum, umgängesformer och kroppsligheter är så gott som utbytbara från verk till verk och författarskap till författarskap. I likhet med tidigare forskning på ämnet styrker denna uppsats bilden av den dekadenta maskuliniteten som en nervös och förment feminiserad maskulinitet, men vill till detta även tillföra att den, i egenskap av en motmaskulinitet i opposition mot den normativt borgerliga maskuliniteten, även var kapabel att erbjuda fysiskt motstånd.

A pair of eight-fold screens entitled "World-Map-and-Twenty-Eight-City" represents a colorful world map with the figures of peoples of the world on one screen. The painting is punctuated by numerous city markers, with the largest indicating the city of Rome. On the other screen, twenty-eight cities of the world and Christian and Muslim kings in ceremonial attire on horseback are depicted. This pair of screens was probably produced in the early seventeenth century. It was most likely painted by Jesuit-trained Japanese painters who had learned western themes and painting techniques: perspective and chiaroscuro. Until the sixteenth century, Japanese experience with and knowledge of the world was limited to its neighbouring lands, such as China, Korea, and India. Beyond the realm of Japan lay worlds formed through fascination and the imagination. In 1543, however, this changed with the appearance of the Portuguese, who journeyed to Japan in the pursuit of new lands to develop trade and to spread Christianity. The Portuguese and their culture had a strong impact on Japanese thoughts and activities, including the creation of many screens with European motifs and new views of the world at large. This pair of screens was drawn upon Dutch prototype made by Petrus Kaerius (1571-1646) in 1609. In my thesis I will examine how "World-Map-and-Twenty-Eight-City" screens performed a two-fold function. I will first examine how the screens marked Jesuit propagation of Christianity in Japan, and second I will examine how the screens articulated what might be called an emergent sense of Japanese collective identity. By this I do not mean identity based on nationalism, which emerged in Japan only in the nineteenth century. Rather, I mean an increasing awareness of the Self in relation to Other, and not only in relation to those outside the geographic confines of Japan but also within. What I intend to explore is how definitions of geography and culture in world map screens, and specifically "World-Map-and-Twenty-Eight-City" screens, prompted viewers to acknowledge a more distinctive Self. The end of the sixteenth and the beginning of the seventeenth centuries was a transitional moment for both the Jesuits and Portugal. Religiously, the Jesuits were in conflict with the Japanese government and, as well their authority was undermined by Mendicants from the Philippines. These conflicts were compounded further by the spread of Protestantism in Europe. Similarly, after a short prosperous trade in Asia, rising economic and political power of the Netherlands and England gradually pushed Portuguese trade out of Asia. By comparing "World-Map-and-Twenty-Eight-City" screens with "In-and-Around- Kyoto" screens, I argued that the Jesuit's hidden agenda of glorifying Christendom and God's order on earth emerged. Moreover, by comparing this pair with "Four-Continent-and- Forty-Eight-People" screens, I detect the emergence of sense of a Japanese Self, that was forged in relation to the Europeans. Although the screens give the impression of the orderly and peaceful world, they mask the unstable situation which the Jesuits and Portugal were experiencing at the time. In the end, I propose that "World-Map-and-Twenty-Eight-City" screens transformed and reworked the Dutch prototype from a geographical mode to one that is highly decorative. Rather than articulating a Japanese view of the world, the screens maintained the notion of a powerful Catholic world.

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Submitted by Andrea Ramon Ruocco null (ar_ruocco@yahoo.com.br) on 2017-12-29T01:32:06Z No. of bitstreams: 1 Andrea Ramon Ruocco_Dissertação_Arquivo Final.pdf: 2895291 bytes, checksum: 09322fb52384eb9ce9c29849d1b881b1 (MD5) / Approved for entry into archive by Laura Odette Dorta Jardim null (laura@franca.unesp.br) on 2018-01-18T12:12:14Z (GMT) No. of bitstreams: 1 Andrea Ramon Ruocco_Dissertação_Arquivo Final.pdf: 2895291 bytes, checksum: 09322fb52384eb9ce9c29849d1b881b1 (MD5) / Made available in DSpace on 2018-01-18T12:12:14Z (GMT). No. of bitstreams: 1 Andrea Ramon Ruocco_Dissertação_Arquivo Final.pdf: 2895291 bytes, checksum: 09322fb52384eb9ce9c29849d1b881b1 (MD5) Previous issue date: 2017-12-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O autor José Pereira da Graça Aranha, maranhense nascido em 1868, formado em Direito pela Escola do Recife e falecido em 1931, teve seu primeiro livro – o romance Chanaan – publicado em 1902; exerceu funções diplomáticas na Europa; foi membro da Academia Brasileira de Letras rompendo posteriormente com a mesma; participou da Semana de Arte Moderna discursando em sua abertura; e publicou obras distintas em gêneros e estilos. É, entretanto, um personagem pouco estudado pela historiografia literária. Além de caminhar no sentido de sanar esta lacuna, esta pesquisa não poderia ter encontrado um material mais oportuno e rico naquilo que se propõe: discutir as diversas formulações de nação que percorreram o território brasileiro no início do século XX, marcado pela ainda recente República e sob as discussões da Primeira Grande Guerra. Nestas obras, onde adere e/ou cria opções estéticas específicas para determinados discursos, três formulações se pronunciam de antemão: germanismo, latinidade e nacionalismo. Porém, entre posicionamentos aparentemente díspares, encontramos permanências, como a admiração de Aranha pela literatura alemã, pelas ideias nietzschianas e a preocupação com o universalismo. Para tanto, esta pesquisa discute alguns conceitos e perspectivas teóricas a propósito da produção cultural na qual Graça Aranha se insere, questionando a noção de “pré-modernismo” e a recente adoção de “literatura da Belle Époque”, e experimentando exercícios como o de José Paulo Paes ao reconhecer uma art nouveau na literatura. Acerca destas questões, a pesquisa perpassa outras duas importantíssimas: a exploração da literatura pela História e o trabalho com um personagem/autor que, como a temática da nação, nos leva a discussões acerca de narrativas e, por conseguinte, de linguagens. Inspirado na premissa de Mikhail Bakhtin na qual forma e conteúdo são indissociáveis na composição do discurso e a noção de trajetória adotada por Pierre Bourdieu, o presente trabalho se debruça sobre “a nação” como um construto não uníssono, modificado ao longo do tempo, mas também plural em discursos coexistentes, por vezes intercruzando formulações antagônicas, por vezes consonantes, e identificando Aranha como não sendo uma exceção. / The author José Pereira da Graça Aranha, born in 1868, graduated in Law School by the Escola de Recife and died in 1931. He had his first book - the novel Chanaan - published in 1902; he also had diplomatic duties in Europe and was a member of the Brazilian Academy of Letters, which he later broke apart with; He participated in the Week of Modern Art making an opening speech and published different works in genres and styles. He does however receive little attention by the literary historiography. Beyond the need to fill this gap, this research couldn’t find a richer material for what it proposes: to discuss the diverse formulations of nation present throughout the Brazilian territory during the early twentieth century, marked by the still young Republic and by the discussions around the First World War. In these works, where he deliberately creates or adopts specifics aesthetical choices for certain discourses, three formulations are pronounced in advance: Germanism, Latinity and nationalism. However, among seemingly disparate positions, permanencies are found, such as Aranha's admiration for German literature, for Nietzschean ideas and a concern for universalism. To do so, this research discusses theoretical concepts and perspectives about the cultural production in which Graça Aranha is inserted, questioning a notion of "premodernism" and a recent adoption of "Belle Époque literature", and trying exercises such as that of José Paulo Paes in recognizing an art nouveau in literature. Around those points, the research brings another two important aspects: the use of literature by History and working with a persona/author that leads us to discussions on narratives and therefore languages. Inspired by Mikhail Bakhtin's premise in which form and content are indissociable in the composition of a discourse and the notion of trajectory adopted by Pierre Bourdieu, the present research focuses on "the nation" as a non-unison construct, modified over time but also plural in coexistent discourses, sometimes interbreeding antagonistic, sometimes consonant formulations, and identifying Aranha as not being an exception. / CAPES: 1526690

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