Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The object of this study was the novelette A Christmas Carol, by the English writer Charles Dickens (1812-1870+), specially concerning about its presentation on Dickens Public Readings, spectacles in which, on stage, the author would read pieces of his books. The objective was to observe the transformation process of the novelette to the Public Reading performances. Dickens adapted the text for stage through manuscript notes on a printed edition of the original text. This volume, named by Philip Collins as prompt-copy and by us, in Portuguese, as Roteiro de Leitura (Reading Script), was used as a guide for rehearsals and performances. We had access to the prompt-copy by means of the manuscript facsimile, edited by Philip Collins in the book A Christmas Carol: the Public Reading Version (1971). Firstly published in 1843, the novelette A Christmas Carol was already on the repertoire of the author s first Public Reading, presented, in 1853, with the intention of collecting funds for charity. Five years later, Dickens began to perform professionally, in a career that lasted twelve years. His repertoire counted with sixteen items, being A Christmas Carol one of the most enjoyed by the author and by the public. Such repertoire was carefully adapted for the stage. Dickens not only read the contents, but interpreted each character, seeking to create a variety of voices, gestures and emotions. Altogether, he presented about 470 times, in England, in Ireland, in Scotland, in Paris and in the United States. A Christmas Carol, the longest item in the repertoire, was read in no less than 127 performances, being part of the author s last Reading, in 1870. First, we made a historic contextualization of Dickens Public Readings, seeking to understand which aspects of that context were favorable to their good reception and that made them possible. Then, understanding Paul Zumthor s concept of performance, we analyzed A Christmas Carol s Public Readings, observing them with respect to the textual and performance aspects. In this way, we tried both to perceive the adaptation process of the text, through the analyses of the manuscript, and to form an idea about the scenic aspects of the Public Readings, by registers of spectators who witnessed them. / O objeto deste estudo foi a novela A Christmas Carol, do escritor inglês Charles Dickens (1812-1870+), em especial o que se refere à sua apresentação nas Leituras Públicas de Dickens, espetáculos em que, no palco, o autor lia trechos de seus livros. O objetivo foi observar o processo de transformação da novela para as performances de Leituras Públicas. Dickens realizou a adaptação do texto para o palco por meio de anotações manuscritas feitas em uma edição impressa do texto original. Esse volume, o qual nomeamos de Roteiro de Leitura, era usado como guia para os ensaios e para as performances. Tivemos acesso ao Roteiro por meio do fac-símile do manuscrito, editado por Philip Collins no livro A Christmas Carol: the Public Reading Version (1971). Inicialmente publicada em 1843, a novela A Christmas Carol já constava no repertório da primeira Leitura Pública do autor, realizada, em 1853, com o intuito de arrecadar fundos para caridade. Cinco anos mais tarde, Dickens passou a se apresentar profissionalmente, numa carreira que durou doze anos. Seu repertório contou com dezesseis itens, sendo A Christmas Carol um dos preferidos do autor e do público. Tal repertório era cuidadosamente adaptado para o palco. Dickens não apenas lia o conteúdo, mas interpretava cada personagem, buscando criar uma variedade de vozes, gestos e emoções. Ao todo, ele se apresentou por volta de 470 vezes, na Inglaterra, na Irlanda, na Escócia, em Paris e nos Estados Unidos. Item mais longo do repertório, A Christmas Carol foi lida em não menos que 127 performances, fazendo parte da última Leitura do autor, em 1870. Inicialmente, fizemos uma contextualização histórica das Leituras Públicas de Dickens, procurando entender quais aspectos daquele contexto favoreceram-lhes a boa acolhida e tornaram-lhes possível a realização. Num segundo momento, entendendo o conceito de performance de Paul Zumthor, analisamos as Leituras Públicas de A Christmas Carol, observando-as com respeito a dois aspectos: o textual e o performático. Desse modo, procuramos tanto perceber o processo de adaptação do texto, pela análise do manuscrito, quanto formar uma ideia dos aspectos cênicos das Leituras Públicas, por meio de registros de espectadores que as testemunharam. / Mestre em Teoria Literária

Esta dissertação teve como objetivo analisar as representações e os usos políticos da guerra e da ocupação do Paraguai realizados por alguns periódicos argentinos como El Nacional, La Tribuna, La Nación e El Mosquito durante o período compreendido entre a morte de Solano Lopez, em 1870, e a retirada das tropas aliadas do país em 1876. Durante estes seis anos de ocupação, Brasil e Argentina discordaram em relação aos tratados definitivos de paz e limites a serem assinados com o novo governo paraguaio. Estas disputas eram intensamente abordadas pela imprensa de Buenos Aires, que estava, por sua vez, vinculada com as facções políticas de maior envergadura na Argentina: o nacionalismo e o autonomismo. Nacionalistas e autonomistas utilizaram a guerra recém terminada assim como os eventos políticos que ocorriam no Paraguai, como as negociações de paz, as revoltas e insurreições contra o governo de Assunção ou as manobras da diplomacia brasileira naquela república como instrumento de ataque, crítica e de desqualificação da facção rival, principalmente durante períodos eleitorais. Dadas as características da imprensa argentina durante a década de 1870, em alguns períodos de desacordos entre Brasil e Argentina, estes jornais criavam não somente uma arena pública de debate a respeito das questões referentes ao Paraguai, mas também um ambiente de apreensão e preocupação na capital Buenos Aires. As discordâncias, as missões diplomáticas, as negociações estabelecidas entre os governos brasileiro, argentino e paraguaio bem como toda a repercussão e os usos políticos que delas realizaram os periódicos consultados evidenciam que, pelo menos entre a imprensa da capital argentina, a Guerra da Tríplice Aliança foi mais além de Cerro Corá. / This Project aims to analyze the representations and the political uses of the war and of the Paraguay’s occupation, which were made by a few argentinian journals as El Nacional, La Tribuna, La Nación e El Mosquito in the period from Solano Lopez’s death, in 1870, to the withdrawal of allied troops of the country in 1876. During these six years of occupation, Brazil and Argentina did disagree about the final peace and limits treaties to be signed with the Paraguayan government. These disputes were massively used by Buenos Aires’ press, which was connected with meaningful Argentinian political factions: nationalism and autonomism. Nationalists and autonomists used the just finished war – as the political events which were occurring in Paraguay, as the peace negotiations, the rebellions against Assunção’s government, or the maneuver of Brazilian diplomacy at that republic – as an instrument of attack, of criticism na of disqualification of the rival faction, specially during the election period. Given the characteristics of the Argentinian press during the decade of 1870, in some periods of disagreement between Brazil and Argentina, these journals criticised not only a public arena for debates regarding Paraguay’s events, but also an atmosphere of apprehention and concerns at the capital of Buenos Aires. The disagreements, the diplomatic missions, the negotiations established between Brazilian, Argentinian and Paraguayan governments, as all the repercussion and diplomatic uses that resulted in the consulted periodicals highlight that, at least between the press of the Argentinian capital, the Triple Alliance War was beyond Cerro Corá.

Orientador: Pedro Paulo Abreu Funari / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-12T06:36:02Z (GMT). No. of bitstreams: 1 AlarconJimenez_Andres_M.pdf: 1239842 bytes, checksum: c68438c196664a2c7c8eb603a5ed91a2 (MD5) Previous issue date: 2008 / Resumo: Essa dissertação aborda, estuda e debate diversos tópicos centrais sobre os usos do passado por meio da analise da construção da noção de sujeito contido nos livros didáticos de história da Colômbia de Jesús María Henao e Gerardo Arrubla, escritos por eles durante a comemoração do primeiro Centenário da independência da nação. Com esse intuito, essa pesquisa enfoca-se na forma na que eles reconstruíram a vida e figura de Policarpa Salavarrieta, heroína notável das suas narrativas por tratar-se duma das poucas figuras femininas que possuem um papel protagonístico nelas, bem como numa reconstrução do universo material onde os autores desenvolveram-se como seres humanos, nesse caso, a cidade de Bogotá, capital da Colômbia, nas últimas décadas do século XIX e na primeira do XX. A analise experimental concreta desenvolve-se ao redor da discussão e aplicação da teoria histórico-genética da cultura sobre as narrativas dos autores, bem como sobre diversas fontes secundárias escritas ou elementos da cultura material, que permitem dilucidar a forma do universo material contemporâneo deles. Portanto, trata-se dum enfoque epistemológico que procura estabelecer elos entre os processos ontogenéticos - aqueles que explicam o desenvolvimento do ser humano desde a infância desde um ponto de vista biológico e epistemológico -, e psicogenéticos - aqueles que explicam a ordem material do mundo a partir do qual cada sujeito constrói a sua própria subjetividade. Nesse sentido: a nossa idéia central é que cada um de nós constrói a sua própria idéia de história e de passado desde a infância e esses textos são um dos primeiros contatos que temos com uma área especializada em produzir e estudar discursos e conjuntos de cultura material para reconstruir o passado com o intuito de atingir as mentes dos sujeitos. / Abstract: This dissertation studies and debates central topics about the uses of the pasto Through experimental analysis, we try to reconstruct the idea of subject as presented in the Colombian history text-books written by Jesús María Henao and Gerardo Arrubla in the first decade of the XX century, in Bogotá, the country's capital, as part of the celebration the first 100 years of Colombian independence. To accomplish our goals, we focused our analysis in the figure of Policarpa Salavarrieta, the most prominent female character of their historical narrative aimed at children's education and, also, in their own material world. Our main task is to test the utility of the historic-genetic theory of culture as a way to study the process of internalization of history and memories through a lookingglass that allow us to conceive the interaction of each subject with its concrete environment and historical settings. In that context, our main goal is to explore the idea that each one of us develops its notion of "history" or "past", among, many other categories and skills, since childhood. / Mestrado / Historia Cultural / Mestre em História

The tenorhorn and baryton (euphonium), as members of the valved conical brass family, were highly regarded by Oskar Böhme (1870-1938) and Victor Ewald (1860-1935). This study examines the role the tenorhorn and baryton played in selected works by these two composers of the Russian Chamber Brass School. A chronology of the research leading to the discovery and naming of the Russian Chamber Brass School is included as well as a discussion on brass chamber music performance practice both then and now.

The subject of the present thesis is origin, evolution and analysis of a book collection of South Bohemian native, Prague citizen and patriot Jan Dobromil Arbeiter (1794-1870) in cultural, social and political context of his time. The work is based on archive sources and book provenance recordsand its main goal is to trace the journey of collection from its founder, via library of Reálné gymnázium (Human Studies Secondary School) in Tábor, and State Archive in Tábor to the possession of contemporary holder and maintainer Hussite Museum in Tábor. An analysis of the linguage structure, printing places and printers is based is one of the main parts of the work Majority of the book collection consists of the books in Czech language printed in the Bohemian region, predominantly in Prag. Most of them were printed in the printing house of Pospíšil family active in Prague and town of Hradec Králové. The main task of this thesis was to analyse the structure of Arbeiter book collection and to establish genre typology of books. The collection consists of books typical for the printing production of its time, but also of the books exceptional, either because of the year of publishing, content or its outer shape (e. g. illumination). Among others, beletry, dramatic pieces and religious books form the basic part...

Im Dresdner Großen Garten wurden von jeher Veranstaltungen ausgetragen. Die hieraus resultierenden Schäden lagen und liegen im Kontrast zum Gebot des Substanzerhalts dieses Kulturdenkmals. Eine Untersuchung des historischen Veranstaltungsmanagements zwischen 1870 und 1930 und ihr Umgang mit diversen Großveranstaltungen, analysiert Lösungsansätze für den Umgang mit dem Park und kann auch Antworten auf den aktuellen Nutzungsdruck finden.

. This thesis consists of an introduction and four previously published articles. The joint empirical focus is papermaking based on textile rags as fibre raw material. Furthermore the physical environment is central in the studies. The relationship between continuity and change is a prevailing theme. The thesis also pays attention to the use of different sorts of rags and to the connection between this kind of papermaking and the textile industry. The overall purpose is to throw new light upon the paper industry based on rags – a part of early industry seldom mentioned in historical surveys of the industrialization process in Sweden. The aim is also to question the prevalent Swedish historical writing commissioned by the branch, characterized by set divisions between different phases of technical and industrial development, from simple craft to modern industry. One of these borderlines has been drawn between papermaking by hand and papermaking by machine, with the 1830s as the selected transition period. By studying and analysing changes in the traditional and seemingly static papermaking as well as the opposite: the traditional that has lingered in the new, this thesis shows that the course of events was much more complicated than that. An outcome of the studies is that the industrialization of the rag based paper industry has been a complex, uneven and prolonged process. The first main part of the thesis consists of two Swedish regional studies centred on the province of Östergötland in a long-time perspective. The focus is mainly on the long continuity of papermaking by hand, which was carried out between 1628 and 1968. The study shows that a variety of types and sizes of mills regarding ownership, forms of production, location, paper qualities and techniques can be identified. Continuity was the dominating feature but within this framework technological and industrial change also took place. The second main part of the thesis has a Nordic perspective and deals with a shorter period, mainly 1830-1870. One study examines the introduction of the paper-machine and the establishment of the first machine-made paper mills in Denmark, Sweden, Norway and Finland with special attention given to the Swedish mill Holmen in Norrköping and the Finnish Tammerfors mill, both situated in textile mill towns. A second Nordic study surveys hand-made paper mills founded during and after the time when the paper-machine technology had been established. As the studies show, two parallel development tracks were prevalent in the paper industry in the Nordic countries during the period 1830-1870 – papermaking by machine and papermaking by hand. The first paper machines were imported from Britain to some of the oldest and largest paper mills. The introduction of the new technology led to changes in for instance the paper mill buildings and the organization of work regarding the papermaking process. In the preparatory and finishing work manual methods remained, and as before it employed mostly women. At the same time, papermaking by hand continued to change and new hand-made paper mills were founded until as late as the 1890s. The study discusses possible explanations, among them growing markets for special qualities and combinations with other branches of industry. All the studies show a connection between hand-made paper mills and wool mills on one hand, and machine-made paper mills and cotton and linen mills on the other hand. The paper industry based on rags could in fact be characterized as a kind of textile industry / <p>QC 20101129</p>

The character of the detective in Victorian literature and entertainment seems to be a paradox: tasked with surveillance but enacting it via disguise and other performative and even theatrical hallmarks. Scholars have often read the detective as an extension of the panoptic state, as a policing figure whose investigative work is undertaken through surveillance. How, then, are we to explain why Victorian detectives are so performative, which seems hardly compatible with surveillance? In this dissertation, I look beyond surveillance as the detective’s main function, towards the process of detection overall—which I demonstrate is completed through the detective’s use of performance and involves the manipulation of spectacle and evaluation of audience expectations. In redefining detection as a performative practice, I look at four different cases in which Victorian fictional detectives rely on a specific performance practice, style, or tradition to complete their detective work. The first two chapters establish the embeddedness of performance within the practice of detection, focusing on feats of non-theatrical performance by detectives who rely on and cultivate spectacle around them. In Chapter One, I analyze Dickens’s detectives, Mr. Nadgett of Martin Chuzzlewit and Inspector Bucket of Bleak House: conjuror figures who rely on controlled concealment, illusionistic demonstrations, and enthralling revelations to crime-solve, in a way that will win the favor of the Victorian public. In Chapter Two, I detail how Sherlock Holmes borrows the spectacular conventions of Victorian scientific performance to legitimize his own “Science of Deduction” as a discipline. The third and fourth chapters examine cases in which the feats of performance undertaken by detectives demonstrate the ways that detection is essential to the practice of performance—and that performance itself is not only a logical act, but also an interactively educational one. In Chapter Three, I analyze the practices of “lady detective” characters who have had prior careers as professional actresses and use the acting skills they cultivated on the stage to un-spectacularize themselves, achieving a level of invisibility that allows them mobility, access, and information. In Chapter Four, I look at two stage detective characters who are themselves performing roles: Hawkshaw in Tom Taylor’s The Ticket-of-Leave Man and Gripper in W.S. Gilbert’s A Sensation Novel. I analyze how these plays showcase the detective’s acting to refocus the ways that the actor is doing detection—that is, the ways in which, through performance, the theater is able to disseminate news and critique institutions of power, like the police itself.

This thesis examines the letters, proclamations, and addresses of the four presidents of the Republic of Texas, David G. Burnet, Sam Houston, Mirabeau B. Lamar, and Anson Jones, to determine how these men faced the major crises of Texas and shaped policy regarding land, relations with Native Americans, finances, internal improvements, annexation by the United States, and foreign relations. Research materials include manuscript and published speeches and letters, diaries, and secondary materials.

[ES] El propósito primordial de esta Tesis Doctoral se fundamenta en poner en valor y difundir el legado de la producción artística y la biografía del pintor alzireño, Teodoro Juan Andreu Sentamans (Alzira, 1870 - Valencia, 1935), con la finalidad de cubrir las lagunas historiográficas existentes hasta la actualidad y aportar datos documentales inéditos de su trayectoria artística. El reconocimiento del artista hasta la fecha ha estado subyugado a haber sido discípulo del gran Joaquín Sorolla y Bastida, sin que se haya contemplado y haber tenido en cuenta su importante actividad artística y docente, sus comisariados en exposiciones, particulares y de otros artistas; su participación asidua en exposiciones nacionales e internacionales, siendo galardonado en varias de ellas; ni el logro de proyectos importantes atribuidos a otras figuras, o simplemente olvidados. Dos circunstancias han confluido para propiciar la inmerecida desatención a la obra de Andreu: ser coetáneo a su maestro, Sorolla, y ser fiel a su estilo costumbrista, negándose a evolucionar hacia una pintura más avanzada. En consecuencia, y fruto del vacío historiográfico, surge la necesidad de realizar este profundo trabajo de investigación, mediante el cual se quiere reivindicar su actividad artística desarrollada entre finales del siglo XIX y principios del XX. Para ello se ha confeccionado un inventario general de gran parte de su producción artística clasificado según la etapa cronológica, y un catálogo razonado de sus obras más relevantes mediante la elaboración de unas fichas técnicas. Debido a la estrecha relación existente entre Sorolla y Andreu se ha llevado a cabo un estudio analítico de una parte representativa de su producción artística, dilucidando, mediante la obtención de resultados y comparativas con la obra seleccionada de Joaquín Sorolla, si el pintor Teodoro Andreu siguió los pasos de su maestro, o utilizó su propia metodología en el uso de la teoría del color y sus pigmentos. Por lo tanto, en este trabajo también se ha elaborado un estudio de los pigmentos utilizados por Andreu en una parte de su obra: análisis realizados por espectrometría de fluorescencia de Rayos X dispersiva en energía (EDXRF), cuyos resultados aportan datos y conclusiones inéditas y determinantes en la obra de Andreu. Uno de los resultados propiciados en esta investigación ha sido que un alto porcentaje de su obra se encuentra localizada en colecciones privadas. En base a esta realidad se ha confeccionado, mediante un programa informático, un museo virtual donde se recoge parte importante de la obra "escondida", a través de una plataforma digital exprofeso, aportando un repertorio de contenidos digitales sustentado con la documentación aportada en este trabajo de investigación, ofreciendo la posibilidad de realizar un recorrido museográfico virtual donde el visitante puede disfrutar de la obra sita en colecciones particulares / [CA] El propòsit primordial d'aquesta Tesi Doctoral es fonamenta a posar en valor i difondre el llegat de la producció artística i la biografia del pintor alzireny, Teodoro Juan Andreu Sentamans (Alzira, 1870 - València, 1935), amb la finalitat de cobrir les llacunes historiogràfiques existents fins a l'actualitat i aportar dades documentals inèdites de la seua trajectòria artística. El reconeixement de l'artista fins hui ha estat subjugat a haver sigut deixeble del gran Joaquín Sorolla i Bastida, sense que s'haja contemplat i haver tingut en compte la seua important activitat artística i docent, els seus comissariats en exposicions, particulars i d'altres artistes; la seua participació assídua en exposicions nacionals i internacionals, sent guardonat en diverses d'elles; ni l'assoliment de projectes importants atribuïts a altres figures, o simplement oblidats. Dues circumstàncies han confluït per a propiciar la immerescuda desatenció a l'obra d'Andreu: ser coetani al seu mestre, Sorolla, i ser fidel al seu estil costumista, negant-se a evolucionar cap a una pintura més avançada. En conseqüència, i fruit del buit historiogràfic, sorgeix la necessitat de realitzar aquest profund treball de recerca, mitjançant el qual es vol reivindicar la seua activitat artística desenvolupada entre finals del segle XIX i principis del XX. Per a això s'ha confeccionat un inventari general de gran part la seua producció artística classificat segons l'etapa cronològica, i un catàleg raonat de les seues obres més rellevants mitjançant l'elaboració d'unes fitxes tècniques. A causa de l'estreta relació existent entre Sorolla i Andreu s'ha dut a terme un estudi analític d'una part representativa de la seua producció artística, dilucidant, mitjançant l'obtenció de resultats i comparatives amb l'obra seleccionada de Joaquín Sorolla, si el pintor Teodoro Andreu va seguir els passos del seu mestre, o va utilitzar la seua pròpia metodologia en l'ús de la teoria del color i els seus pigments. Per tant, en aquest treball també s'ha elaborat un estudi dels pigments utilitzats per Andreu en una part de la seua obra: anàlisis realitzades per espectrometria de fluorescència de Raigs X dispersiva en energia (EDXRF), els resultats dels quals aporten dades i conclusions inèdites i determinants en l'obra d'Andreu. Un dels resultats propiciats en aquesta investigació ha sigut que un alt percentatge de la seua obra es troba localitzada en col·leccions privades. Sobre la base d'aquesta realitat s'ha confeccionat, mitjançant un programa informàtic, un museu virtual on es recull una part important de l'obra "amagada", mitjançant una plataforma digital exprofeso, aportant un repertori de continguts digitals sustentat amb la documentació aportada en aquest treball de recerca, oferint la possibilitat de realitzar un recorregut museogràfic virtual on el visitant pot gaudir de l'obra situada en col·leccions particulars. / [EN] The main purpose of this Doctoral Thesis is based on valuing and expanding the legacy of the artistic production and the biography of the painter from Alzira, Teodoro Juan Andreu Sentamans (Alzira, 1870 - Valencia, 1935) in order to cover the existing historiographical gaps up to the present day and provide unpublished documentary data on his artistic career. Up to the present moment, the recognition of the artist has been subjugated to having been a disciple of the great Joaquín Sorolla y Bastida, without having contemplated and taken into account his important artistic and teaching activity, his curatorships in exhibitions, individuals and other artists; his regular participation in national and international exhibitions, being awarded in several of them; nor the achievement of important projects attributed to other artists, or simply forgotten. Two circumstances have come together to promote undeserved neglect of Andreu's work: being a contemporary of his teacher, Sorolla, and being faithful to his traditional style, refusing to evolve towards a more advanced painting. Consequently, as a result of the historiographical gap, the need of carrying out this deep research arises now. Through it, I want to vindicate Andreu's artistic activity developed between the end of the 19th century and the beginning of the 20th century. For this, a general inventory of all his work has been made, artistic production classified according to the chronological stage, and a reasoned catalog of his most relevant works through the preparation of technical sheets. Due to the close relationship between Sorolla and Andreu, an analytical study of a representative part of his artistic production has been carried out, elucidating, by obtaining results and comparisons with the selected work of Joaquín Sorolla, whether the painter Teodoro Andreu followed the footsteps of his teacher, or used his own methodology in the use of colour theory and its pigments. Therefore, this work has also carried out a study of the pigments used by Andreu in part of his work; analysis carried out by energy dispersive X-ray fluorescence spectometry (EDXRF), whose conclusions in Andreu's work. One of the results fostered in this investigation has been that a high percentage of his work is located in private collections, base don this reality, a virtual museum has been created through a computer programme where all the "hidden" work is collected. Through a digital platform expressly made, it provides a repertoire of digital content supported by the documentation provided in this research work, offering the possibility of taking a virtual museum tour where the visitor can enjoy the work located in private collections. / Ibáñez Bartolomé, M. (2023). Teodoro Andreu Sentamans (1870-1935): Catalogación y estudio analítico de su producción artística [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/195349