Charles Dickens é um autor cujos méritos literários são, muitas vezes, obscurecidos por sua enorme popularidade, sendo seus livros relegados por muitos à categoria de mero entretenimento. O propósito deste trabalho é analisar na forma do romance como - apesar de temas e estilo que se apresentam como populares - o texto de Hard Times pode revelar um interessante e profundo diálogo entre literatura e sociedade. Sentimentalismo e melodrama são estudados como formas tipicamente dickensianas de representação dos conflitos e transformações sociais que afetaram o século XIX. / Charles Dickens has sometimes had his literary qualities darkened by his enormous popularity, and his books have been considered by many critics as nothing but entertainment. The objective of this work is to analyse how the form of the novel - in spite of its popular style and theme- promotes in Hard Times an interesting and profound dialogue between literature and society. Sentimentalism and melodrama are studied as typically Dickensian forms of representation of social changes and conflicts in the 19th Century.

Die SLUB Dresden verfügt über zahlreiche Titel zur Technikgeschichte und beginnt mit Unterstützung der DFG die Digitalisierung ausgewählter technikhistorischer Schriften aus dem 19. Jahrhundert. Diese werden frei im Netz angeboten. Bis 2011 werden so 3 500 Bände der Erscheinungsjahre 1801 bis 1870 digitalisiert und erschlossen. Auch die Digitalisierung der wichtigsten technikgeschichtlichen Zeitschrift des 19. Jahrhunderts, „Dinglers polytechnischem Journal“, ist als Kooperationsprojekt von der Humboldt-Universität Berlin und der SLUB abgeschlossen. Damit wird auch das Sondersammelgebiet Technikgeschichte an der SLUB Dresden wesentlich aufgewertet.

Die Publikation zum 150-jährigen Jubiläum der Dresdner Philharmonie enthält neben einer Orchesterchronik vertiefende Beiträge zu ausgewählten Aspekten der Orchestergeschichte - angefangen von der 'Kunst des Hörens' bis hin zum Interpretationsvergleich und einer ausführlichen Darstellung der Dresdner Philharmonie in der NS-Zeit. Zahlreiche Abbildungen und Übersichten ergänzen das Buch.

[pt] Esta pesquisa pretende analisar qual o papel do negro na obra do intelectual Sílvio Romero. A análise, terá como base as obras A literatura brasileira e a crítica moderna (1880), A história da Literatura Brasileira (1888), Martins Penna: ensaio crítico (1901) e Brasil Social e outros estudos sociológicos (2001) nas quais o autor mobiliza um repertório racialista para se pensar a composição racial na identidade nacional. Acreditando na existência de uma lacuna no entendimento de como o intelectual sergipano pensa a população negra, se introduz essa questão em um contexto marcado pela ação da Geração de 1870 que elaborava uma cultura capaz de renovar mentalidades daquela contemporaneidade através dos ideais cientificistas caracterizados como sendo verdades absolutas, agindo em contraposição aos pilares imperiais que seriam representados como símbolos do atraso. Para realizar esse processo, a ação intelectual romeriana é dividida em três fases: crítica radical, crítica equilibrada e pessimismo, escolhendo obras que representassem essas fases e que trouxessem respostas para a seguinte pergunta: qual o papel do negro na obra de Sílvio Romero? / [en] This research intends to analyze the role of black people in the work of the intellectual Sílvio Romero. The analysis will be based in the works: A literature brasileira e a crítica moderna (1880), A história da Literatura Brasileira (1888), Martins Penna: ensaio crítico (1901) e Brasil Social e outros estudos sociológicos (2001) which the author mobilizes a racialist repertoire to think about racial composition in national identity. Believing in the existence of a gap in the understanding of how the Sergipe intellectual thinks about the black population, we will introduce this issue in a context marked by the action of the Generation of 1870, which elaborated a culture capable of renewing mentalities of that contemporaneity through the scientistic ideals characterized as being absolute truths, acting in opposition to the imperial pillars that would be represented as symbols of backwardness. To carry out this process, we divided the author intellectual action into three phases: radical criticism, balanced criticism and pessimism, choosing works that represent these phases and that bring answers to the following question: what is the role of black people in the work of Sílvio Romero?

Cette étude porte sur la pratique de l’artiste française Jeanne Rij-Rousseau (1870-1956). Au début du XXe siècle, cette créatrice évolue dans les cercles d’avant-gardes parisiens. Bien que ses œuvres soient régulièrement associées à l’esthétique cubiste, elle développe une technique originale, qu’elle appelle le vibrisme, et qui lui vaut une certaine reconnaissance de son vivant. Aujourd’hui toutefois, son œuvre est tombé dans l’oubli. L’objectif de cette première étude universitaire est de contribuer à la connaissance de cette figure. Ce mémoire vise à faire ressortir la spécificité de sa production artistique. Les nombreuses représentations de l’univers du sport qu’elle réalise dans les années 1920 ont particulièrement contribué à la fortune critique de l’artiste. L’étude s’appuie donc sur un corpus thématique d’œuvres à thème sportif qui incarnent la recherche d’une modernité plastique : Les Courses, Les Rameurs, Géo-Charles au Vélodrome d’Hiver et Les Lutteurs. L’analyse détaillée de celles-ci permet de mettre en valeur les rapports de l’art de Rij-Rousseau avec celui des cubistes et des futuristes, et de mieux situer son apport à l’histoire de l’art moderne.

No description available.

My concern in this thesis is with the production of British school atlases between 1870 and 1930. I interpret this particular genre of map and book through the rich resource of the Bartholomew Archive, which holds the business and personal records of the Edinburgh mapmaking firm John Bartholomew & Son. School atlases were instrumental in the dissemination of geographical knowledge at a time when geographers were moulding their subject’s place in the universities and schools in Britain and in parts of the Empire beyond. This thesis builds on concepts in the history of the book, the history of the map and archive history in order to gain knowledge about the people and processes through which this particular type of mapbook was produced, moved and used, and to understand how it was bound up in the development of a discipline. In chapter 1, I outline the main themes of the thesis. The theoretical and methodological ideas underlying it are reviewed in detail in chapter 2. Chapter 3 illuminates the themes threading through the following empirical chapters, providing insight into school atlas production through a consideration of Bartholomew’s production ledgers and what these reveal about the nature of geographical publishing. Interactions between individual atlas producers form the focus of chapter 4, particularly negotiations between publishers, mapmakers, geographers and other professionals over the meaning of ‘author’. In chapter 5, I go on to address atlas production in relation to the pedagogy of regional geography used in schools and, particularly, its impact on school atlases for pupils in ‘local’ settings across the UK. This leads in chapter 6 to an interpretation of how this localising of school atlases was adapted to readers’ locations throughout the British Empire. Questions about readers’ role in the shaping of textual meaning are considered further in chapter 7, which draws on specific instances of producer-reader-atlas interactions to support the argument that reading and reviewing were processes conducted not only, as I show, by readers on the published text but, as I also indicate, they were practices performed by both producers and readers during atlas production. My findings in this thesis shed light on the publishing history of British school atlases, hitherto largely unexamined by historians of the map and historians of geography, and they contribute to our understanding of the production, movement and use of geographical knowledge in the late nineteenth and early twentieth centuries.

In 1869-70 the Métis of the Red River region in Manitoba resisted the transfer of their homeland from the Hudson’s Bay Company to Canada. The Métis people responded to this transfer by blocking Canadian surveyors, government officials, and taking control of the territory through the establishment of representative institutions. Eventually, the Métis negotiated favourable terms with Ottawa which, this thesis argues, represented according to law, and to the Métis, a treaty. This thesis argues that this treaty was intended to protect the Métis homeland and provide political and social protections. The Manitoba Métis Treaty was intended to guarantee the Métis a land base in Manitoba the total size of which was to be 1.4 million acres. The reservation of this land came with protective obligations so that the entire community would receive a benefit from such lands. While Canada has developed a body of treaty law which will be used to interpret the Manitoba Métis Treaty, matters were convoluted by the enshrinement of this treaty agreement in the Manitoba Act of 1870, a document which would gain constitutional status a year later. The impact of this legislative history has led some researchers to link government obligations entirely to the Act, rather than to the negotiated agreement. Indeed, it would seem that the negotiations have been, for the most part, understood as nothing more than conversations. I reject that position and argue that both the negotiations and the Act must be taken into consideration when assessing the obligations undertaken by the Crown. The unique history of the Manitoba agreement means that Canada was under both constitutional and treaty law obligations to uphold the negotiated agreement between itself and the Métis. This thesis argues that not only is the treaty the correct legal interpretation of the events of 1869-70 but that the government of Canada failed to honour its commitments in several meaningful ways. The approach utilized in this thesis is designed to be reliant upon the basic structure and doctrines of Canadian law but to do so in a manner which gives weight to the Métis voice. It is neither a critique which is wholly internal to Canadian law nor is it completely dismissive of Canadian law. Instead, this thesis will illustrate that with only minor adjustments to the application and interpretation of colonial law, the Manitoba Métis Treaty could find a more receptive audience in Canadian legal thought. In the face of a reasonable alternative, such a project can allow other researchers to question why the courts have chosen a path which denies reception of Métis voice, community and culture in Canadian law.

Magíster en artes con mención en teoría e historia del arte / del arte y de la pintura en Chile, una marca que se sitúa entre el arte colonial y el arte de la nueva república, la cual buscaba con énfasis no sólo dejar su pasado colonial, sino que, acceder a la modernidad de su tiempo. Utilizando la metodología denominada el ojo de la época, desarrollada por Michael Baxandall y teniendo como referencia su obra “Pintura y vida cotidiana en el renacimiento” (BAXANDALL M., 2000), la presente tesis tiene por objetivo buscar una aproximación a través de la cual sea posible identificar en la pintura de Monvoisin particularidades de su tiempo, ya sea en lo cultural como en lo psicosocial, que estén contenidos en su obra, como resultado del proceso de construcción de la misma, particularidades que la mirada retrospectiva oculta dado el sesgo que originan los denominados cambios en los tipos de interés visual en términos sociales, éticos y espirituales en el Chile Decimonónico respecto a la mirada actual. Para alcanzar el objetivo trazado se ha utilizado fuentes bibliográficas primarias y secundarias, las cuales han permitido desarrollar esta investigación en el campo del arte, en particular en la pintura de Monvoisin, a fin de extraer conclusiones sobre su práctica artística, la cual constituiría el reflejo de la práctica cotidiana para la pintura de su época, la que a su vez contendría los elementos propios que sólo el ojo de la época puede distinguir. / 2018

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