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This thesis discusses the oriental fiction of W. Somerset Maugham in the light of current theoretical models introduced by postcolonial and gender studies. Immensely popular from their time of publication to the present, Maugham's novels and short stories set in Asia and the South Pacific exhibit a consummate recycling of colonialist tropes. Through their manipulation of racial, gender, and geographical binarisms, Maugham's texts produce a fantasy of a seemingly stable British male subjectivity based upon emotional and somatic continence, rationality, and specularity. The status of the British male subject is tested and confirmed by his activity in the colonies. Maugham's situation of writing as a homosexual man, however, results in affiliations which cut across the binary oppositions which structure Maugham's texts, destabilising the integrity of the subject they strive so assiduously to create. Commencing with Maugham's novel The Moon and Sixpence, and his short story collection The Trembling of a Leaf, both of which are set in the South Pacific, the thesis moves to a discussion of Maugham's Chinese travelogue, On a Chinese Screen, and his Hong Kong novel, The Painted Veil. Further chapters explore the Malayan short stories, and Maugham's novel set in the then Dutch East Indies, The Narrow Corner. A final chapter discusses Maugham's novel of India, The Razor's Edge. Unlike many of his contemporaries, Maugham does not even attempt a liberal critique of British Imperialism. Writing and narration are, for him, processes closely identified with codes of imperial manliness. Maugham's putatively objective narrators, and the public "Maugham persona" which the writer carefully cultivated, display a strong investment in the British male subjectivity outlined above. Yet Maugham's texts also endlessly discover writing as a play of signification, of decoration, of qualities that he explicitly associates in other texts with homosexuality. If Maugham's texts do not critique the formation of colonial subjects they do, to a critical reader, make the rhetoric necessary to create such subjects peculiarly visible.

FREITAS, Roberta Kelly Bezerra de. Entre a pobreza e a loucura: O discurso psiquiátrico, o asilo de alienados e as cartas sobre a loucura (1874 a 1886). 2012. 122f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em História, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-10T16:45:37Z No. of bitstreams: 1 2012-DIS-RKBFREITAS.pdf: 993268 bytes, checksum: 4edec7e66b23244c99d2507b8ce85e23 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-10T17:29:13Z (GMT) No. of bitstreams: 1 2012-DIS-RKBFREITAS.pdf: 993268 bytes, checksum: 4edec7e66b23244c99d2507b8ce85e23 (MD5) / Made available in DSpace on 2013-10-10T17:29:13Z (GMT). No. of bitstreams: 1 2012-DIS-RKBFREITAS.pdf: 993268 bytes, checksum: 4edec7e66b23244c99d2507b8ce85e23 (MD5) Previous issue date: 2012 / Neste trabalho buscou-se reconstruir o contexto social e político que levou a constituição de um discurso psiquiátrico na capital da província do Ceará em relação aos pobres e aos loucos no final do século XIX. Para tanto este texto divide-se em três capítulos e dez subitens. Primeiramente analisamos contexto político e social na cidade de Fortaleza que gerou pela primeira vez uma discussão sobre um espaço asilar para os pobres e os loucos, o local em questão era o Asilo de Alienados São Vicente de Paula no Arronches que levou doze anos para ficar pronto entre os anos de 1874 a 1886 espaço temporal este que justifica o período dessa pesquisa. Depois estudamos as questões epistemológicas dos primeiros debates em torno do alienismo na França e a constituição desse saber médico nas faculdades de medicina do Brasil no final do século XIX. Finalmente analisamos a primeira publicação em Fortaleza sobre a loucura, a psiquiatria e as monomanias de autoria do médico e deputado cearense Dr. Francisco Ribeiro Delfino Montezuma no ano de 1882 no jornal Gazeta do Norte. A partir dessa discussão pudemos analisar em que contexto social gerou-se um discurso que deu visibilidades aos loucos no Brasil. / Dans ce travaille on a essayé reconstituer le contexte sociopolitique qu’a donné les conditions pour la constitution d’un discurs psychiatrique relatif aux pauvres et aux fous à la capital de la province du Ceará à la fin du XIXe siècle.Ce texte c’est divisé en trois chapitres et dix points. D’abord, on analise le contexte sociopolitique qu’a incité, pour la premiere fois, à la ville de Fortaleza, une discussion à propos d’un espace d’asile pour les pauvres et les fous; le lieu en questions s’agissait de l’Asile d’aliénés São Vicente de Paula à Arronches. Cet asile a été construit entre les ans de 1874 et 1886 qui s’agit du période d’estude de cet travaille. Ensuite, on étude les questions épistémologique des premiers débats à propos de l’aliénisme en France et la constitution d’un “savoir medical” dans les facultés de medicine du Brésil à la fin du XIXe siècle. À la fin, on analise la première publication à Fortaleza qu’a développé les débats à propôs de la folie, la psychiatrie et les monomanies, créée par le medicin et député du Ceará, le Docteur Francisco Ribeiro Delfino Montezuma en 1882 au journal Gazeta do Norte. À partir de ces débats on a pu analysé le contexte social dans lequel s’est developpé un discours qu’a mis em relief les fous au Brasil.

This thesis discusses the oriental fiction of W. Somerset Maugham in the light of current theoretical models introduced by postcolonial and gender studies. Immensely popular from their time of publication to the present, Maugham's novels and short stories set in Asia and the South Pacific exhibit a consummate recycling of colonialist tropes. Through their manipulation of racial, gender, and geographical binarisms, Maugham's texts produce a fantasy of a seemingly stable British male subjectivity based upon emotional and somatic continence, rationality, and specularity. The status of the British male subject is tested and confirmed by his activity in the colonies. Maugham's situation of writing as a homosexual man, however, results in affiliations which cut across the binary oppositions which structure Maugham's texts, destabilising the integrity of the subject they strive so assiduously to create. Commencing with Maugham's novel The Moon and Sixpence, and his short story collection The Trembling of a Leaf, both of which are set in the South Pacific, the thesis moves to a discussion of Maugham's Chinese travelogue, On a Chinese Screen, and his Hong Kong novel, The Painted Veil. Further chapters explore the Malayan short stories, and Maugham's novel set in the then Dutch East Indies, The Narrow Corner. A final chapter discusses Maugham's novel of India, The Razor's Edge. Unlike many of his contemporaries, Maugham does not even attempt a liberal critique of British Imperialism. Writing and narration are, for him, processes closely identified with codes of imperial manliness. Maugham's putatively objective narrators, and the public "Maugham persona" which the writer carefully cultivated, display a strong investment in the British male subjectivity outlined above. Yet Maugham's texts also endlessly discover writing as a play of signification, of decoration, of qualities that he explicitly associates in other texts with homosexuality. If Maugham's texts do not critique the formation of colonial subjects they do, to a critical reader, make the rhetoric necessary to create such subjects peculiarly visible. / Arts, Faculty of / English, Department of / Graduate

醫學知識的傳播在近代中國經歷了一個大衆化，普及化，商業化的過程。而以豐富的醫學著述而聞名的上海醫學書局的創辦人，集醫生、著述家、出版商、佛教居士等身份為一體的近代學者丁福保（1874-1952），則是這一過程中的關鍵人物。本文的研究主要建立在丁福保從1900年到1949年翻譯、自撰、編寫出版的各類醫學書籍及發表的醫學知識文章的基礎之上，從其產生的社會背景出發，試圖解釋出身傳統文人家庭的丁氏是如何應時代之變，一步步走向行醫及出版之路的。 / 從1909到1915年前後，丁福保和他創辦的醫學書局幾乎主導了晚清民初的醫書市場，介紹引進了日本明治維新以來出版的包括解剖生理、病理衛生等各科近百部西醫書籍，還有部分中藥及中醫著作。丁氏獲得成功的原因既在於他在商業、經濟及人際、社團網絡方面的影響力，也在於他出版的醫書適應了近代以來包括中醫、學生及普通市民在内的讀者需求。然而1915年之後，隨著西醫專業團體的興起，丁福保在西醫譯書市場中的壟斷地位迅速被取代。故對丁氏而言，1909至1915年是個非常有利的時段。本文對這個特殊時代的背景做出分析。在此之后，作爲一名佛學養生家，丁氏在醫書市場上貢獻最多的是關於個人保健衛生的通俗醫學知識。因此，丁福保的醫學知識與他對自身的認識，及其人生哲學的關係也在本文的討論範圍之内，以顯示一個傳統文人在中西醫學以及儒、道、釋文化的影響下，對以現代醫藥為代表的「現代性」的思考和身體力行。 / This thesis is a study of Ding Fubao (1874-1952)--a famous Chinese physician-publisher, lay Buddhist and classical scholar--and the role he played in the history of modern Chinese medicine. Ding’s medical ideas and practices as the founder of the Shanghai Medical Bookstore exactly mirrored the popularization and commercialization of medical knowledge in modern China. Focusing on the popularization of medical knowledge, this thesis explains how Ding--an educated man born in a traditional Chinese culture--could make use of political power, marketing and social networks to achieve success with a career of producing and disseminating modern medical knowledge. This process also reflected the relationship between Ding’s medical knowledge and his conceptions of the body with his philosophy of life; while further illuminating the conflicts and compromises in the Chinese medical circles of the time. This work is primarily based on medical books and journals produced by Ding Fubao during the Late Qing and Republican eras, from the collections of libraries in Beijing and Shanghai. / Ding Fubao and the Medical Bookshop he established in Shanghai dominated the medical book market in China from 1909 to around 1915. During this time, dozens of Japanese medical books from the time of Meiji restoration, covering areas ranging from Western medicine to Chinese medicine, were published and distributed from his bookshop. Ding’s success lay in his use of marketing and his social network. However, with the rise of Western medical professional societies, Ding lost his monopoly in the Western medical book market in China after 1915. This thesis analyzes this special background of the 1909 to 1915 area, a critical period for Ding. After 1915, as a lay Buddhist, Ding provided popular medical knowledge to the public through different kinds of modern periodicals. This dissertation also discusses the relationship between Ding Fubao's medical knowledge and his personal philosophies. Using this lens, this thesis reveals a traditional scholar of Chinese and Western medicine who was influenced by Confucianism, Buddhism and Taoism, as a representative of modern medical theory and practice. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 劉玄. / "2013年5月". / "2013 nian 5 yue". / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 173-183). / Abstract in Chinese and English. / Liu Xuan. / 中英文摘要 --- p.ii / 致謝 --- p.iv / 目次 --- p.vi / Chapter 圖一： --- 丁福保醫書廣告 --- p.vii / Chapter 圖二： --- 丁福保出版醫書與原著日本醫書封面對比 --- p.viii / Chapter 第一章、 --- 導論 --- p.1 / Chapter 第一節 --- 前言：從晚清時期《申報》刊登的一則廣告說起 --- p.1 / Chapter 第二節 --- 歷史背景與問題討論 --- p.8 / Chapter 第三節 --- 研究要旨與章節架構 --- p.24 / Chapter 第二章、 --- 從科舉生員到吸收新學的出版家：丁福保與「丁氏醫學叢書」 --- p.28 / Chapter 第一節 --- 從科舉生員到京師大學堂新學講師 --- p.29 / Chapter 第二節 --- 1909年南洋大臣醫科特考與赴日考察醫學 --- p.37 / Chapter 第三節 --- 商業、教育與實用的綜合-「丁氏醫學叢書」發行的考慮 --- p.43 / Chapter 第三章、 --- 海上知名度的建立：丁福保的社會交友網絡 --- p.57 / Chapter 第一節 --- 中西醫之間--丁福保與他的醫界同儕 --- p.58 / Chapter 第二節 --- 醫學與商業--丁福保與他的「授業門生」 --- p.75 / Chapter 第三節 --- 海上名耆聲望的擴大：丁福保與滬上各界社會名流的往來 --- p.83 / Chapter 第四章、 --- 「衛生普及」與「科學中醫」：丁福保在民國時期的醫學活動 --- p.95 / Chapter 第一節 --- 出版品的變化 --- p.96 / Chapter 第二節 --- 中西混雜的健壽法--丁福保與大眾報刊中的健康衛生知識 --- p.102 / Chapter 第三節 --- 「科學中醫」與《國藥新聲》 --- p.120 / Chapter 第五章、 --- 丁福保對「時代病」的時代認識與他的醫學世界 --- p.131 / Chapter 第一節 --- 「改良舊醫學」與「宣傳新衛生」：丁福保眼中的肺癆病 --- p.132 / Chapter 第二節 --- 「西醫」還是「國醫」：「中西醫名家」丁福保的醫學造詣探討 --- p.151 / Chapter 第六章、 --- 結語 --- p.162 / 參考書目 --- p.173

This thesis examines the publishing career of Gertrude Stein, an American expatriate writer whose experimental style left her largely unpublished throughout much of her career. Stein’s various attempts at dissemination illustrate the importance she placed on being paid for her work and highlight the paradoxical relationship between Stein and her audience. This study shows that there was an intimate relationship between literary modernism and mainstream culture as demonstrated by Stein’s need for the public recognition and financial gains by which success had long been measured. Stein’s attempt to embrace the definition of the author as a professional who earned a living through writing is indicative of the developments in art throughout the first decades of the twentieth century, and it problematizes modern authorship by reemphasizing the importance of commercial success to artists previously believed to have been indifferent to the reaction of their audience. / iv, 89 leaves ; 29 cm

This study examines the relativistic aspects of Arnold Schoenberg's harmonic and aesthetic theories in the light of a framework of ideas presented in the early writings of Ludwig Wittgenstein, the logician, philosopher of language, and Schoenberg's contemporary and Austrian compatriot. The author has identified correspondences between the writings of Schoenberg, the early Wittgenstein (the Tractatus Logico-Philosophicus, in particular), and the Vienna Circle of philosophers, on a wide range of topics and themes. Issues discussed include the nature and limits of language, musical universals, theoretical conventionalism, word-to-world correspondence in language, the need for a fact- and comparison-based approach to art criticism, and the nature of music-theoretical formalism and mathematical modeling. Schoenberg and Wittgenstein are shown to have shared a vision that is remarkable for its uniformity and balance, one that points toward the reconciliation of the positivist-relativist dualism that has dominated recent discourse in music theory. Contrary to earlier accounts of Schoenberg's harmonic and aesthetic relativism, this study identifies a solid epistemological core underlying his thought, a view that was very much in step with Wittgenstein and the Vienna Circle, and thereby with the most vigorous and forward-looking stream in early twentieth century intellectual history.

MORAIS, Cleidiane da Silva. De antídoto da desordem a obstáculo do progresso: ensino moral e religioso na Instrução Pública Primária do Ceará Imperial (1874-1890). 2017. 218f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em História, Fortaleza (CE), 2017. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-08-29T11:50:03Z No. of bitstreams: 1 2017_dis_csmorais.pdf: 4712816 bytes, checksum: f7300464fe4af865d76ff885e8500f3c (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-08-30T12:23:48Z (GMT) No. of bitstreams: 1 2017_dis_csmorais.pdf: 4712816 bytes, checksum: f7300464fe4af865d76ff885e8500f3c (MD5) / Made available in DSpace on 2017-08-30T12:23:48Z (GMT). No. of bitstreams: 1 2017_dis_csmorais.pdf: 4712816 bytes, checksum: f7300464fe4af865d76ff885e8500f3c (MD5) Previous issue date: 2017 / Nas últimas décadas do século XIX, na Província do Ceará, a formação moral e religiosa das crianças nas aulas públicas primárias estava baseada nos ensinamentos dos valores e princípios da doutrina cristã católica. Como parte do programa oficial de estudos da Instrução Pública, a “formação” dos aspirantes ao magistério apresentava como principal dever dos professores a tarefa de modelar condutas e fornecer exemplos para que fossem reproduzidos pelos alunos. Os professores, portanto, deveriam estar preparados quanto à instrução religiosa, quanto aos ensinamentos da doutrina cristã católica e praticá-los na sua vida cotidiana, pois sua “missão” seria moldar e preparar as crianças para o bom convívio entre seus pares, questão que passava pelo cultivo do espírito e da formação do caráter. Assim, este trabalho tem como objetivo investigar o lugar reservado ao ensino moral e religioso na educação das crianças no Ceará no período que compreende a década de 1870, com a “Questão Religiosa” (1874), até o fim do Padroado em 1890. Nesse momento, os debates nos círculos políticos e letrados (imprensa, Câmara dos Deputados, Assembleia Provincial, agremiações literárias e filosóficas) anunciavam a necessidade de reformas na Instrução Pública, sendo o Ensino Religioso um dos principais assuntos discutidos. Esta matéria ora identificada como entrave a constituição de uma mentalidade laica e baseada na razão, ora apresentada como antídoto da desordem e indisciplina, sendo fundamental ao “projeto” em que a Instrução Pública estava inserida, tida como alavanca para o progresso material e moral, será discutida e disputada pelas elites políticas e letradas, que em determinadas circunstâncias defenderão a secularização e uma maior ampliação do programa escolar ancorados nos princípios da ciência, da valorização da instrução moral e cívica e das exigências de preparação para o trabalho, devendo a instrução moral e religiosa ser de responsabilidade da Igreja e da família. Em outros momentos anunciarão como dever do Estado garantir a instrução nesta matéria, identificando o papel do professor mais como um agente disseminador de uma mentalidade moralizante do que como um construtor de conhecimentos junto aos alunos.

Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, Technik, und Kunst seiner Darstellung (the Gedanke manuscripts), written over the course of several years from the 1920s to the early 1930s. After emigrating to the United States in 1933, Schoenberg immediately began teaching and writing in an attempt to arrive at a comprehensive approach to his pedagogy. The remainder of Schoenberg's textbook publications, with the exception of Models for Beginners in Composition, were left unfinished, were edited primarily by Leonard Stein and published after Schoenberg's death in 1951. Preliminary Exercises in Counterpoint, Fundamentals of Musical Composition, and Structural Functions of Harmony complete his ouevre of theory publications. An examination of the Stein notes offers contributing evidence to Schoenberg's lifelong pursuit to find a comprehensive approach for teaching an understanding of the musikalische Gedanke. With the addition of an analysis of the first movement of Mozart's G minor Symphony, K. 550, which Schoenberg used often to illustrate examples of basic concepts as liquidation, transition, neutralization in the minor key, the role of the subordinate theme, retransitions, codettas, melodic and harmonic overlapping, and motivic analysis, this study focuses on Schoenberg's comprehensive approach to both analyzing the musical work and teaching methods of composing.

The purpose of this thesis is to investigate the use of isorhythm in two of Arnold Schoenburg's chamber works, the Third and Fourth String Quartets. The study of rhythm in twelve-note music has been generally relegated to a position less prominent than that held by the study of any of the other important aspects of the style. This condition is due probably to the fact that rhythm underwent less change with the advent of the twelve-note school of composition than melody, counterpoint, or harmony experienced. However, Rufer states that "rhythm has a special formal function in Schoenberg's twelve-note music, in addition to its motivic function and to that of creating subdivisions.