Orientador: Robert Schwarz / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-19T18:54:51Z (GMT). No. of bitstreams: 1 Berriel_CarlosEduardoOrnelas_D.pdf: 6970174 bytes, checksum: a9cffe80eb87733d82e53024aace37e6 (MD5) Previous issue date: 1994 / Resumo: Esta tese busca interpretar a obra de Paulo Prado e situá-la dentro de suas circunstâncias históricas e literárias - sociedade do café, Semana de Arte Moderna. Paulo Prado foi, pelo depoimento dos modernistas, o grande organizador da Semana de 22. Mas foi também aquele que convertia as idéias estéticas deste movimento em discussões sobre a realidade nacional: juntava, assim, estética e cultura à política. Através de sua obra - Paulística e Retrato do Brasil - o Modernismo constituiu um importante vínculo com o pensamento da Geração de 70 da literatura portuguesa, principalmente com Eça de Queirós, Oliveira Martins e Antero de Quental. Sua obra também expressou um desejo de autonomia nacional, de emancipação cultural que significou, também, a aspiração à uma hegemonia da oligarquia do café sobre o destino da sociedade brasileira. É possível ver também nesta obra tópicos que serão reelaborados pelo ensaísmo de 30. / Abstract: Not informed. / Doutorado / Historia e Historiografia Literaria / Doutor em Teoria e História Literária

This dissertation attempts to demonstrate how Nathaniel Hawthorne's lifelong friendship with Franklin Pierce influenced the author's literary imagination, often prompting him to transform Pierce from his historical personage into a romanticized figure of notably Jacksonian qualities. It is also an assessment of how Hawthorne's friendship with Pierce profoundly influenced a wide range of his work, from his first novel, Fanshawe (1828), to the Life of Franklin Pierce (1852) and such later works as the unfinished Septimius romances and the dedicatory materials in Our Old Home (1863). This dissertation shows how Pierce became for Hawthorne a literary device—an icon of Jacksonian virtue, a token of the Democratic party, and an emblem of steadfastness, military heroism, and integrity, all three of which were often at odds with Pierce's historical character. Chapter 1 provides an overview of the Hawthorne-Pierce friendship. The chapter also assesses biographical reconstructions of Pierce's character and life. Chapter 2 addresses Hawthorne's years at Bowdoin College, his introduction to Pierce, and his early socialization. Chapter 3 demonstrates how Hawthorne transformed his Bowdoin experience into formulaic Gothic narrative in his first novel, Fanshawe. Chapter 4 discusses the influence of the Hawthorne-Pierce friendship on the Life of Franklin Pierce, Hawthorne's campaign biography of his friend. The friendship, the chapter concludes, was not only a context, or backdrop to the work, but it was also a factor that affected the text significantly. Chapter 5 treats the influence of Hawthorne's camaraderie with Pierce on the author's later works, the Septimius romances and the dedicatory materials in Our Old Home. Chapter 6 illustrates how Hawthorne's continuing friendship with the controversial Pierce distanced him from many of the prominent and influential thinkers and writers of the day, including Ralph Waldo Emerson and Elizabeth Palmer Peabody. Chapter 7 offers a final summation of the influence of Pierce on Hawthorne's art and Hawthorne's often tenuous role as political artist. Finally, the chapter shows how an understanding of Hawthorne's relationship with Pierce enhances our perceptions of Hawthorne as writer.

This study will focus on the development of Andrew Jackson's attitude toward the American Indian and the effect of these attitudes on the shaping of official United states policy toward the Indians. Jackson was born and raised on the frontier. There his prejudices were acquired and his personality was formed. Chapter I deals with Jackson's early life as a young frontiersman, politician and Indian-fighter. His championing of the rights of the westerner, his attitudes toward the Indian and his love for the martial spirit led him into the Tennessee militia and the United States Army during the Indian wars. The military period of Jackson's life also is covered in Chapter I. Chapter II discusses the problems arising from the contact between the American colonist and the Indian as the white frontier pressed against and into Indian land. Jackson agreed with the general political justification for expansion: that the frontier must be advanced to provide security for settlements and farms. The average frontiersman would add that expansion also brought land into the hands of those who were meant to use it. Though acquisition of additional land was usually a result rather than a cause of war, few would deny that getting it by conquest was more desirable than buying it. With the cry for removal reaching a crescendo, the advocates found their champion in Andrew Jackson. He would implement the final solution to the Indian problem. Chapter III deals with the Indian removal policy and with Jackson's administration of removals, the dominant Indian feature of his presidency. The policy is described in detail, and the various attempts to justify it are considered. An important part of the removal story involves the relationship between the federal government and the states, the subject of Chapter IV. Jackson believed in the basic rights of states and had no desire to increase the power of the national government at their expense. In the controversy over Indian lands, he felt that the states had jurisdiction. This attitude the stage for this refusal to come to the aid of the Indians, in spite of treaty obligations to them. Chapter IV also covers the reaction to the removal policy by the public and by the Indians. Jackson's tendency to contradict himself is much in evidence in his Indian attitudes and policies. Chapter V attempts to show that he was a pragmatist. He was willing to do whatever was necessary to accomplish his ends, even if it meant completely reversing a principle that he had previously taken great pains to defend. In Chapter VI, conclusions are drawn on the effects of Jackson's Indian attitudes on the people of his own day and on generations that followed. Finally, an attempt is made to explain why Jackson felt and acted as he did in his relationships with the Indians. This section also deals with the charge that he was a racist and that he held the Indian in contempt as an inferior human being. Since the study is concerned primarily with Jackson's attitudes, the principal sources consulted were his letters and speeches. Published collections of Jackson's works proved especially valuable. Particularly helpful were Correspondence of Andrew Jackson, volumes I, II, and III, edited by John S. Bassett and J. F. Jameson and A Compilation of the Messages and Papers of the Presidents, volumes II and III, edited by James D. Richardson. To record the response to Jackson's Indian policies, contemporary newspapers were consulted, especially the New York Evening Post. Secondary sources were examined for detail and description rather than for analysis.

No description available.

Call number: LD2668 .T4 1985 S56 / Master of Arts

During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet's Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute's black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet's other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. It will then examine the continuing resonance and influence of Manet's Laure across successive generations of artists from Manet's own time to the present moment. The dissertation thereby suggests a continuing iconographic lineage for Manet's Laure, as manifested in iteratively modernizing depictions of the black female figure from 1870 to the present. Artworks discussed include a clarifying homage to Manet by his acolyte Frédéric Bazille; the countertypical portrayal by early modernist Henri Matisse of two principal black models as personifications of cosmopolitan modernity; the presentation by collagist Romare Bearden of a black odalisque defined by cultural, rather than sexual, attributes metaphoric of the cultural hybridity of African American culture; and direct engagement with Manet's depiction of Laure by selected contemporary artists, including Maud Sulter and Mickalene Thomas, often with imagery, materials and processes also influenced by Matisse or Bearden. In each case, the fitfully evolving modernity of the black female figure will be seen to emerge from each artist's fidelity to his or her transformative creative vision regardless of the representational norms of the day. The question of what, if anything, is represented by Manet's idiosyncratic depiction of the prostitute's black maid has seldom been comprehensively addressed by the histories of modern art. The small body of published commentary about Manet's Laure, with a few notable exceptions, generally dismisses the figure as meaning, essentially, nothing -- except as an ancillary intensifier of the connotations of immorality attributed to the prostitute. Manet's earlier portrait of Laure, rich in significations relevant to her portrayal in Olympia, is even more rarely discussed, and typically seen as a study for Olympia, rather than as a stand-alone portrait as this analysis suggests. The image of Laure as Olympia's maid is frequently oversimplified as a racist stereotype, a perspective that belies the metonymic implications of a figure that is simultaneously centered and obscured. It is in the extensive body of response to Laure's Olympia pose by artists, more than by historians, that the full complexity and enduring influence of the figure's problematic nuance can be seen. This dissertation, like the artists, takes its cues from the formal qualities of Manet's images of Laure, in the context of precedent images and the fraught racial interface within Manet's social and artistic milieu, to suggest new and revisionary narratives. It suggests that Manet's Laure can be seen as an early depiction of an evolving cultural hybridity among black Parisians- visible in Laure's placement, affect and attire--that took shape during the early years of the newly built northern areas of Paris that are today home to some of the largest black populations in central Paris. Within this context, an iconographic legacy of ambivalent yet innovative modernity can be asserted for the Laure figure -extending from Delacroix to Matisse, Bearden and beyond. This lineage can be seen as parallel to the long-established pictorial lineage for Manet's figuring of the prostitute Olympia. What is at stake is an art-historical discourse posed as an intervention with the prevailing historical silence about the representation and legacy of Manet's Laure, and by derivation about the significance of the black female muse to the formation of modernism. This analysis suggests that the black female figure is foundational to the evolving aesthetics of modern art. It suggests that Olympia's standing as a progenitor of modern painting can only be enhanced by breaking through the marginalization of Laure's representational legacy. It asserts that it is only when the bi-figural significance of Manet's Olympia is recognized that the extent and influence of Manet's radical modernity can be most fully understood.

Made available in DSpace on 2016-04-27T19:31:57Z (GMT). No. of bitstreams: 1 Silvia Muto.pdf: 1347513 bytes, checksum: 4182192173055e263b862be1e92b9ea2 (MD5) Previous issue date: 2008-10-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The following dissertation aims at reflecting on the relationship between history and the intellectual constitution of the emotional memory in the process of creating local and national identities. This study analyses the relation between Paulo Prado s books Paulística (1925) and Retrato do Brasil (1928) and the early 1900 s Society in Brazil, and in the city of São Paulo. Struggling to build a Brazilian identity, Paulo Prado s work sheds light into the links between Nation, modernism and local culture. Moreover, it investigates the importance of recorded history in building up local and national identities / Esta dissertação propõe uma reflexão sobre a história e sua relação com a organização intelectual da memória afetiva do passado no processo de construção de identidades regionais e nacionais. Analisa as relações estabelecidas entre as obras escritas por Paulo Prado Paulística (1925) e Retrato do Brasil (1928) com a sociedade paulista e brasileira nas primeiras décadas do século. Inseridas no processo de luta por acomodação de um princípio identitário harmônico no Brasil, as obras e Paulo Prado colaboram para compreender as inflexões entre nação, modernismo e regionalismo. Outrossim, investiga a centralidade da escrita da História como operação central nestas construções

No description available.

During the late nineteenth and early twentieth centuries, white middle and upper class women active in reform became involved in the movement for American Indian reform. Focusing on the so-called "Indian problem," groups such as the Women's National Indian Association (WNIA) were formed to address the injustices against, and sufferings of, American Indian people at the hands of the U.S. military due to the increasing pressures and demands of western migration. This study addresses the role white women played in the movement for Indian reform through their involvement either as part of the WNIA membership or as missionaries, teachers or field matrons. The thesis is concerned, above all, with the ways in which their involvement reflects larger historical trends that enveloped white middle class women during the late nineteenth and early twentieth centuries. The work of reform groups like the WNIA helped transform missionary and field positions into jobs which were identified as specially suited for women. While missionary work was, before the 1870s, part of the male or public sphere, through the feminization of American religion, Victorian tenets of domesticity and moral superiority, and changing economic and commercial opportunities, the way was opened for women to serve as missionaries without the "protection" of a husband. The WNIA provides an impressive example of the scope and influence of women's reform organizations during the Progressive era. However, the goals and beliefs of WNIA leadership provide a contrast to the goals and beliefs of women working in the field. This contrast illuminates women's intentions in their quest for Indian assimilation and their role in that pursuit. The thesis is based upon the individual experience of women who worked as missionaries, teachers and field matrons. Four case studies explored in chapter III provide a window into the redefinition of "true womanhood" that took place at the turn-of-the century through the ways in which the subjects of this thesis arrive at a new self consciousness about their role in Indian reform.

No description available.