Orientador: Cristina Meneguello / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T02:08:13Z (GMT). No. of bitstreams: 1 Tasca_MichelleFernanda_M.pdf: 1057060 bytes, checksum: b2d9e9e1cf8891e1db627af922e694e5 (MD5) Previous issue date: 2012 / Resumo: Essa dissertação propõe uma análise das obras do historiador lusitano Alexandre Herculano e do brasileiro Francisco Adolfo de Varnhagen, buscando compreender as relações entre a história e a ficção nos escritos literários do século XIX e a forma como essas duas fontes de conhecimento dialogaram no contexto romântico português. Ao utilizarem a história como base temática para suas narrativas, escreveram textos que atravessaram as fronteiras de uma verdade histórica objetiva, ao mesmo tempo em que criaram universos ficcionais que já não podiam ser considerados como essencialmente imaginativos. Considerando as características especificas das obras de cada autor, a meta é investigar a relação desses escritores entre si e sua importância na construção e difusão do conhecimento histórico e literário oitocentista / Abstract: This study proposes an analysis of the works of the two historians, the Portuguese Alexandre Herculano and the Brazilian Francisco Adolfo de Varnhagen, seeking to understand the relationship between history and fiction in literary writings of the nineteenth century and how these two sources of knowledge were related in the context of the Portuguese Romanticism. By using the History as the thematic basis for their narratives, these authors wrote texts that crossed the boundaries of an objective historical truth in the same time they were creating fictional universes that could no longer be considered as essentially imaginative. Considering the specific characteristics of the works of each author, the goal is to investigate the relationship between these writers themselves and their importance in the development and dissemination of historical and literary knowledge in the nineteenth century / Mestrado / Politica, Memoria e Cidade / Mestre em História

James Brownlee was born in April 1824. He was the second of three sons (and five daughters) born to the missionary John Brownlee, and his colonial born wife Catharine. The importance of James as an historical character is obscured by that of his father and elder brother Charles. James had a varied career which was cut short by his untimely death in March 1851 at the youthful age of twenty-six years and eleven months. We are fortunate that he has left a vivid account of several aspects of the seventh Frontier War in a diary which he kept from April to September 1846. The diary also points to the significance of his family in the history of the Eastern Cape. Thesis, p. 1.

[From Introduction]. The name of John Fairbairn is remembered with honour in South Africa for the part he played in the achievement of a freer press in the Cape Colony, in the campaign to prevent Britain from establishing a convict station on Cape soil, and in the movement which resulted in the establishment of a form of representative government in the Cape in 1853. More controversial is his share, as the editor of the first modern newspaper in the Colony, in a campaign to secure just treatment for the natives both inside and outside of the Colony. It is with his treatment of the conflicts, both small and great, between the Colony and the AmaXhosa tribes on its Eastern Frontier that this study is concerned.

In the investigation of the Diary and its validity as evidence, the origin and structure of the treaty System, and the functioning of the treaties, in both their original form and subsequent modification, has been examined, with special reference to Stretch and the Gaika tribes.

It would seem almost inconceivable that art could, of its own accord, move society towards the kind of ultimate resolution of conflict necessary for an emergence of the egalitarian paradise on earth that was proposed by most Messianic philosophies in the nineteenth century. Art continually appears to be in the process of undermining any attempt by theoretical philosophy to contain or describe it as an absolute. This seems to be the source of much of the irony of art objects and their tacit philosophical implications. We can assume then that there is a somewhat paradoxical basis for the phenomenon of art as we have come to understand it historically. Any object, in order to be meaningful, has to carry a charge. Whether this is of a magical quality or pertains, as we conventionally recognize it, to some social understanding, what we call an ideology, the art-object does not exist without meaning. It is important to realize that I am not drawing a distinction here between ordering or disordering phenomena. Destruction is equally meaningful as construction, these are not value judgments, evil is as present a phenomena as good, and probably as intrinsically human. The concept of creativity that permeates our knowledge and respect for the powers art traditionally held, are historical understandings. As a civilization, we may have done away with mythological stories of our origins, cosmogonies, etc., but we have tended to unconsciously replace them with conceptual, as opposed to imagistic, alternatives, still largely mythic in construction, although we do not popularly recognize them as such. I am using myth here in Levi-Strauss' sense of the word, i.e.: "the unconscious social truths, those principles which provide the broadest base for a society's conception of itself.”¹ One task of this thesis will be to sort out the confusion which has resulted because of the ideological entanglement with mythic (religious) and scientific conceptions that has characterized the central arguments surrounding the arts in the early years of the twentieth century. Revoluntionary Russia now appears as a particularly dense arena for the combat of extreme or polarized beliefs as to the nature of art, and the artist's responsibility relative to an emerging mass consciousness. In this context there was a comparatively conscious merger of ideological propositions into what was previously considered a uniquely aesthetic or pure art production. Such a situation was contingent to the life and work of Kasimir Malevich (1878-1935). My intention is to demonstrate the art historical antecedents to such a period relevant to Malevich’s conceptions and the relationships which interconnect the development of his aesthetic with the philosophical and political concerns of his time. The ethos in which the artist emerges is especially indivisible in this instance from… [abstract continues] / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

Orientador: Edgar Salvadori De Decca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-01T00:02:45Z (GMT). No. of bitstreams: 1 Carvalho_Kelly_M.pdf: 11121148 bytes, checksum: 07812649f39a464849f90c62777c3b2e (MD5) Previous issue date: 2002 / Resumo: Dissertação de Mestrado em História Social do Trabalho que analisa o pensamento historiográfico e o ideal de Nação elaborado pelo historiador Francisco Adolpho de Varnhagen, durante o período compreendido entre 1839 a 1857. A leitura desse nosso trabalho evidencia a busca de analisar Varnhagen tentando resgatar os interlocutores do autor, os debates que endossava ou repelia, os motivos pelos quais aceitava ou não um detenninado argumento, as variantes do seu pensamento, tentando conhecer e estabelecer relações entre o seu pensamento historiográfico com o "secullo oscillatorio" no qual viveu e para o qual escreveu / Abstract: The master dissertation in Social History of Work that ana1yses the historiographic thought and the ideal of a nation, elaborated by the historian, Francisco Adolpho de Varnhagen, between the years 1839 and 1857. The literature of our work shows an ana1ysisofVarnhagen in an attempt to recover the interlocutions ofthe author, the debates which he endorsed or opposed, the motives for accepting or repeIling certain arguments, bis variants in thought; trying also to know and establish the relationships between bis historiographic thought and the "secullo oscillatorio" in which he lived and for which he wrote / Mestrado / Mestre em História

This thesis explores the major themes of William Cullen Bryant's poetry. Chapter II focuses on Bryant's poetic theory and secondary criticism of his theory. Chapter III addresses Bryant's religious beliefs, including death and immortality of the soul, and shows how these beliefs are illustrated by his poetry. A discussion of the American Indian is the subject of Chapter IV, concentrating on Bryant's use of the Indian as a Romantic ideal as well as his more realistic treatment of the Indian in The New York Evening Post. Chapter V, the keystone chapter, discusses Bryant's scientific knowledge and poetic use of natural phenomena. Bryant's religious beliefs and his belief in nature as a teacher are also covered in this chapter.

Franz Schreker (1878-1934) was a Jewish-Austrian composer of great success during the first decades of the twentieth century. Schreker’s reputation diminished after 1933 when Hitler came to power and, in 1938, his compositions were labeled Entartete Musik (“degenerate music”) by the Nazis in a public display in Düsseldorf. The Third Reich and post-war Germany saw Schreker as a decadent outcast, misunderstanding his unique style that combined elements of romanticism, expressionism, impressionism, symbolism, and atonality. This study of Schreker’s Lieder will pursue two goals. First, it will analyze the Mutterlieder (before 1898), the Fünf Gesänge (1909), and the first piece from Vom ewigen Leben (1923) stylistically. Schreker composed nearly four dozen Lieder, incorporating a wide range of styles and ideas. By studying and performing these songs written at various points in his career (including early songs, songs written after he met Schoenberg, and his last songs during the height of his fame), I hope to develop a clearer understanding of how Schreker synthesized the many cultural forces and artistic movements that seem to have influenced his compositional style. Second, this study will consider the sociopolitical circumstances that fueled the disintegration of his reputation. This disintegration occurred not just during the Third Reich, but also afterwards, notably in an often discussed essay by Theodor Adorno. Only in the last thirty years have scholarly voices critical of such rejections of Schreker emerged. My ultimate goal, then, is to join this reevaluation, studying and contextualizing this repertory to develop a new understanding of an oft-neglected chapter in the history of the German Lied.

The same theme of one unorthodox man opposing a self-appointed authoritative religious institution is interpreted is interpreted in two different ways in two related works by Karl Friedrich Gutzkow: his Novelle, Der Sadduzaer von Amsterdam (1834), and in his drama, Uriel Acosta (1846). Both works fictionalize the life Uriel Acosta (1585-1640), an unorthodox Jew who fled the Spanish Inquisition in Portugal to the relatively tolerant country of Holland. Acosta’s problems were not with the government of Holland, however, but with his own orthodox Jewish temple authorities. He opposed the written interpretations of the Talmud and attempted to question the very idea of institutionalized religion as a mere human invention. For this skepticism he was excommunicated and persecuted. Eventually he took his own life, leaving behind his autobiography, A Specimen of Human Life, which Gutzkow read. This thesis attempts to define the likenesses as well as the contrasts in Gutzkow’s two interpretations. The twelve year span elapsing between the two works effects changes in the author’s use of characterization and in his resolution of the plot. The method of investigation used was to analyze each work for plot, form, and content; the latter included style and characterization. Materials used were simply the two works themselves as well as supplementary reading regarding developments in the author’s life during the years between the writing of the Novelle and the drama.

This thesis attempts to ascertain whether Upton Sinclair's Democratic nomination for governor of California in 1934 caused the resurgence of the Democratic Party in California, or whether his nomination was a product of that party's resurgence between 1928 and 1942. Given Sinclair's decision on the unsuitability of the Socialist Party, were his judgments that: (1) the Democratic Party was in resurgence and, (2) it was moving to the left, sound ones? To make these determinations the thesis investigates why Sinclair rushed to capture the Democratic nomination, exploring his methods and techniques and those used to defeat him. It also examines the reactions of the Democratic Party leaders of the right and left wings toward the Sinclair candidacy, and analyzes the primary and general.election returns -- citing differences and similarities between Northern and Southern California -- which predicate that Sinclair's decision was: (I) based on faulty judgement, and (2) based on an inaccurate appraisal of the position of the Democratic Party.