Dans cette étude il s'agit d'examiner les points de We exprimés dans le Journal des Goneourt, d'abord à propos du dix-neuvième siècle, ensuite des écrivains qu'ils connaissaient et finalement à propos de la religion et de l'amour. Le texte intégral du Journal, qui fut commencé par E'dmond et Jules de Goncourt en 1851 et qu'Edmond continua jusqu'à sa mort en 1896, ne parut qu'en 1956, quoique d'autres éditions incomplètes aient été déjà publiées, dont la première en 1887. II est évident que le dix-neuvième siècle ne plut point aux Goncourt, et leurs études historiques leur prouvèrent que c'était le dix-neuvième siecle qui leur aurait convenu, surtout à cause de son élégance et de l'importance attachée à ce moment-là aux oeuvres artistiques. La politique leur était indifférente, car au dix-neuvième siècle elle était en faveur de la bourgeoisie et même du peuple, pour qui ils avaient un mépris d'aristocrates. De même les écrivains qu'ils connaissaient ne gagnèrent que rarement leur suffrage, car ce n'était pas, à leur avis, de vrais artistes prêts à se donner complètement à leur art. Ecrivains et historiens, les Goncourt étaient aussi critiques d'art et collectionneurs, et ils étaient toujours déçus par l'indifférence de leurs collègues aux objets d'art. Dans leur Journal ils dénigraient Flaubert et Zola à cet égard. Ainsi se développa chez les Goncourt une certaine idée de leur supériorité qui leur rendait difficile l’occasion de se former de vraies amitiés. En plus il exista une telle intimité entre les deux frères que, jusqu'à la mort de Jules en 1870, ils pouvaient sans difficulté rester à l'écart des autres, et Edmond ne devait jamais trouver personne qui pût remplacer son frère. Les Goncourt se croyaient trop intelligents pour avouer une foi religieuse. La religion était, selon eux, pour les races primitives et les femmes. Leur propre religion c'était l'art, et l'Académie Goncourt, dont ils préparèrent la fondation, était leur monument à leur propre carrière littéraire. Envers les femmes et l'amour aussi ils avaient une attitude égoïste. Ils avaient des maitresses, mais c'était pour des raisons plutot hygiéniques, et ni l'un ni l'autre ne fut jamais amoureux. Leur égoïsme les empêcha de se sacrifier aux autres, et leur temps à eux était trop précieux pour le perdre dans la vie de familie. Ainsi peut-on justifier l'épithète "non-engagés" pour qualifier leur attitude sociale et religieuse, en observant le détachement des Goncourt envers tout ce qui entourait leur vie. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

In my thesis I will discuss two main literary works which reveal the development of the Russian intellectual: "The Life of Klim Samgin," by M. Gorki, and "The Life of Arsenev," by I. Bunin. My aim is to provide an analysis of the main characters in each work, and to criticize the artistic devices used by the authors. I will briefly mention several other well known Russian authors who were writing at the end of the nineteenth century and at the beginning of the twentieth, in order to place the main works under discussion in their historical context. In chapter one, some aspects of the development of the Russian intelligentsia in literature will be discussed, by presenting a brief survey of topically selected works of A. Chekhov, V. Korolenko, and V. Veresaev. The second chapter will be devoted to the analysis of "The Life of Klim Samgin." The third chapter will present a detailed analysis of "The Life of Arsenev." The fourth chapter will offer a comparative study of the artistic devices utilized in the two works. In conclusion, I will show the literary fate of both works. In one case it led to the proclamation of Gorki as the "Father of Socialist Realism," in the other it established the artistic value of Bunin in world literature. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Although Dickens' familiarity with Victorian theatre has been explored with reference to his own playwrighting, amateur theatricals, style, and characterization, little work has been done on his actual involvement with the adaptation of his works for the stage. For example, even though A Christmas Carol remains his most staged and filmed work, few critics have explored the degree of Dickens' involvement in the 'officially-sanctioned' adaptation by one of the Victorian theatre's most prolific adaptors, Edward Stirling. Dickens' letters shed some light on his involvement in the staging of the various Christmas Books, but they do not indicate much about the adaptations themselves. Furthermore, neither Malcolm Morley in his series of articles in the Dickensian nor F. Dubrez Fawcett in Dickens the Dramatist (1952) has considered the relationship between the final printed text of each novella, that of the corresponding official adaptation, and the original manuscript of the play that was submitted to the office of the Lord Chamberlain for licensing. While the intention of the following dissertation is to reveal the methods employed by Dickens' stage adaptors, it occasionally reveals passages that, rejected for the final text of the novella, were retained in the drama, based as it was on early proof sheets. The most notable instance of such a phenomenon occurs in the Mark Lemon/Gilbert A'Beckett adaptation of the second of the Christmas Books, The Chimes (1844), in which Dickens seems to have modified the plot in the final stages in order to make it less controversial. Although Dickens was not much involved in the staging of The Chimes, he appears to have worked closely with the company at the Royal Lyceum (his friends the Keeleys being both the comedic stars and managers of that theatre) and the adaptor, Albert Smith. In the 1846 production of The Battle of Life Dickens made innovative suggestions about the staging, including the transformation scene and the use of a miniature coach advancing through the background, climaxed by the appearance of a real carriage on stage. Dickens' letters attest to his being the originator of these innovations; reviews in the contemporary press attest to their effectiveness. Finally, despite their tremendous popularity in their own day, the dramatic adaptations of the Christmas Books seem to be accorded a place neither in studies of the early Victorian theatre nor in discussions of that most formative period in the literary career of Charles Dickens, the 1840s. The Christmas Books and their theatrical progeny occupied a good deal of Dickens' time between Martin Chuzzle-wit and David Copperf ield, but only recently have the importance of the Christmas Books and the scope of Dickens' works on stage been fully recognized. Another intention of this study is to reveal the extent of Dickens' role in the dramatisation of the Christmas Books through an examination of the texts of the sanctioned adaptations and the Christmas Books themselves. The dissertation has a two-fold structure in that it consists of a critical study of the plays and their contexts, as well as a (non-critical) edition of Stirling's Christmas Carol and Lemon's Haunted Man, which exist only in manuscript. No previous writer on the subject of Dickens and the drama has attempted to bring together information on the adaptors, actors and actresses, theatres, play manuscripts and published texts. This dissertation provides an exhaustive study of what is known about these subjects while endeavouring to establish the extent of Dickens' involvement in the writing and staging of the officially-sanctioned plays based on the Christmas Books. Would that Christmas lasted the whole year through, and that the prejudices and passions which deform our better nature, were never called into action among those to whom they should ever be strangers! (Charles Dickens, Sketches By Boz, p. 210) / Arts, Faculty of / English, Department of / Graduate

Orientador: Marisa P. Lajolo / Dissertação (mestrado) - Universidade Estadual de Campinas., Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-19T00:09:08Z (GMT). No. of bitstreams: 1 Rensi_LeilaTeresinhaSimoes_M.pdf: 2837867 bytes, checksum: 47020536d3b0acb87b6a596a1bd9dfcc (MD5) Previous issue date: 1988 / Resumo: Este trabalho procurou estudar as narrativas infanto -juvenis de Jerônimo Monteiro sob o ponto de vista da composição e do modo de produção. A existência de uma estrutura básica, que se repete em todas as histórias de Jerônimo Monteiro, sugeriu encontrarem-se nestas, ressonâncias dos contos primitivos e míticos. Dado que, diferentemente dos últimos, as narrativas de Jerônimo Monteiro se vinculam a uma tradição literária escrita, foi necessário rastrear possíveis contribuições da literatura anterior à época em que o Autor produziu sua obra. Esta análise apontou para semelhanças formais entre as estratégias de composição usadas por Jerônimo Monteiro e as utilizadas por alguns escritores oitocentistas - especialmente os que se dedicaram ao folhetim. Por outro lado, o fato de se tratar de uma obra gerada num contexto moderno de produção de bens culturais - portanto, com um horizonte prévio de consumo - legitimou laços de parentesco da literatura infanto-juvenil com o modo de produção da indústria cultural / Abstract: Not informed. / Mestrado / Teoria Literaria / Mestre em Letras

Orientador: Izabel Andrade Marson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-19T23:14:50Z (GMT). No. of bitstreams: 1 Blanco_SilvanaMotaBarbosa_M.pdf: 5847452 bytes, checksum: 34dc7f365a4359be217efdbc11c93a3d (MD5) Previous issue date: 1995 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História

During the eighteenth and nineteenth centuries, the xii Shoshones of Cache Valley evolved from scattered pedestrian hunter-gatherers to large, armed, mounted bands that hunted and gathered from the Great Basin to the Plains. Trade with European Americans helped initiate this evolution. However, Shoshones did not respond passively to the presence of European Americans. Shoshones actively sought change, and incorporated trade goods into their culture within a Shoshone context. They adapted to each wave of European Americans that they encountered. When Mormons dispossessed them of their land, Cache Valley Shoshones resisted by going on the offensive. Finally overwhelmed, the remnants of the Cache Valley Shoshones submitted--physically but not spiritually--to European-American oversight.

The aim of this study is to shed light on the women working as prostitutes in Malmö, Swedenduring the years 1874 to 1879. These women were all affected by a law that was implementedin the mid-19th century, which required them to attend regular medical check-ups in order toavoid further spread of sexually transmitted diseases. By applying a quantitative method onthe source material, which is retrieved from Malmö city archive, the study has examined thewomen’s place of birth, nicknames, the age when they were “seduced” and if they succeededin leaving prostitution. These results are presented in diagrams, and the theory of stigma hasalso been applied when analysing and discussing the source material. The results showed thatthe majority of women were “seduced” between the ages of seventeen and eighteen, with theoverall majority having moved to Malmö later on in life from surrounding municipalities orfrom more distant cities. Also, the study has established that the women who left prostitutiondid so by either marrying, moving away from Malmö or passing away.

No description available.

No description available.

No description available.