Between 1880 and 1920, both urban England and essays published in urban England underwent seismic shifts and splits, as population grew, education and technology advanced, and periodical publishing expanded. The city grew both larger in size and smaller in units of comprehensibility, and many of its people were (or were perceived by certain thinkers to be) less free and more instrumental. The periodical essay too grew more common and, at the same time, smaller in size, less free, and more instrumental, as it developed closer ties with journalism, with the industrial city, and with readers of all classes. By an examination of various forms of essaying in the period, this thesis argues that the essay's transitions parallel modernity's transitions, not only because the essay reflects or enacts or follows trends in modernity, but also because modernity at the time was conditioned by the essay's way of thinking through its form and cannot be fully understood without reference to the activities of the urban periodical essay at the time. The essay between 1880 and 1920 was a highly social genre, and this sociability manifested in a number of ways this thesis will explore. Its periodical context allowed it a ritual, patterning relationship with its readers; its brevity and limitations pushed it into dialectical, double-glancing modes of thought that complemented its fragmented setting; its tendency to direct attention away from its own form gave it a unique, constitutive role in literary modernisms; its material connections to new technologies implicated it in new doubts concerning urban modernity, and its massed readership embroiled it in fears over anti- or a-intellectual over-simplification. This thesis tells the stories of the periodical essay, in London, as an actor in modernity's transitions, by examining four concepts central to both the essay and to emergent modernity: play, the trick, doubt, and wisdom. These concepts are treated, primarily, through the work of three writers-Oscar Wilde, G. K. Chesterton, and Virginia Woolf-all of whom, in their styling of the essay, embody different moments and essayistic registers in the transitions of modernity and reveal the cross-fertilising relationship between essaying and what is meant by 'the modern'.

Este trabalho tem como objetivo analisar o conceito de autoria no contexto da obra de George Eliot. Para realizá-lo, definiram-se dois aspectos relevantes da atividade do autor. O primeiro deles é sua existência empírica, situada dentro de determinadas práticas, como apontado por Martha Woodmansee, Michel Foucault, Marisa Lajolo e Regina Zilberman. O segundo, seu funcionamento intratextual, como instância discursiva, destilado das teorias enunciativas de Emile Benveniste e das proposições teóricas de Wayne Booth, Umberto Eco e Wolfgang Iser. A partir dessas elaborações, foram desenvolvidas as análises, de um lado, da trajetória de Mary Ann Evans (George Eliot) e seu papel como escritora do final do século XIX, e, de outro, do romance The Mill on the Floss, obra de 1860, na qual se percebe o autor George Eliot em funcionamento. Pode-se notar, através da reconstrução da vida da autora, sua reflexão própria sobre o significado da prática da autoria como missão social. É também notável, através de seu romance, a atuação de uma figura autoral que organiza o texto e encaminha a interpretação de seu leitor para determinadas direções. / This work’s objective is to analyze the concept of authorship in the context of George Eliot’s production. In order to do so, two relevant aspects of the author’s activity were defined. The first one is its empirical existence, located within certain practices, as pointed by Martha Woodmansee, Michel Foucault, Marisa Lajolo and Regina Zilberman. The second one, its intratextual operation, as a discoursive instance, distilled from Emile Benveniste’s enunciative theories and from the theoretical propositions of Wayne Booth, Umberto Eco and Wolfgang Iser. These elaborations allowed the development of two analyses: on one hand, of Mary Ann Evans’ (George Eliot’s) trajectory and her role as a late nineteenth century writer, and, on the other, of the novel The Mill on the Floss (1860), in which George Eliot’s authorship is perceived at work. It is noticeable, through the reconstruction of the author’s life, her own reflection on the meaning of authorial practice as a social mission. It is also remarkable, through her novel, the performance o an author figure which organizes the text and directs its reader’s interpretations to determined directions.

This dissertation argues that the richness and distinctiveness of modern Yiddish travel literature—with its emphasis on arriving rather than departing—reflects the complexity of such East European Jewish notions as home, homelessness, and wandering. It examines the ways in which the experience of travel affected the search for identity, home, and belonging by Yiddish writers from the first secularized and westernized generation of East European Jews. Yiddish travelogues written in the first four decades of the twentieth century show a curious trend with respect to the search for identity and the destinations that are their subject. These destinations fall into two categories: those with specific Jewish connotations and those without. For writers addressing the latter destination category, even though motivated by the search for a Jewish identity, locales beyond the Jewish map engender the greatest sense of empowerment. Even when their ostensible motivations and emphases are diametrically opposed, they arrive at the same conclusion, that Jews belong simultaneously nowhere and everywhere. Peretz Hirschbein and Melech Ravitch are exemplary illustrations of this tendency: the former laments the countless roads on which Jews have traveled and many borders that separate them; he longs for universal brotherhood and closeness to nature, and as such rejects the diversity of the Jewish experience; the latter, on the contrary, celebrates diversity. How can we explain this trend? It is born of the contradictory set of ideological and artistic aims and interests of a generation that rejected the traditional beliefs and lifestyle of their parents, and that aimed to create a body of modern literature in Yiddish that would equal major European literatures, and that internalized a number of European cultural (primarily literary) tropes. Moreover, this literature was the product of a generation of writers who yearned for an organic connection to Jewish past, present, and future and at the same time saw problems with every existing ideology. The Introduction situates the study within the context of Jewish cultural and literary history and addresses questions of scope and methodology. Chapter 1 analyzes Yiddish travel writers’ fascination with exotic destinations lacking specifically Jewish connotations and its role in these writers’ struggles to define their cultural identity. Chapter 2 analyzes the work of Peretz Hirschbein and argues that his longing for universal brotherhood and closeness to nature reflected both a reluctance to celebrate the diversity of the Jewish experience and an impulse to embrace its global proportions. Chapter 3 focuses on the life and work of Melech Ravitch and contrasts his passion for diversity with the opposite approach of Peretz Hirschbein. Chapter 4 explores Yiddish writers’ travel to Mandate Palestine and to Soviet Russia and focuses on the parallels between travelogues about these two politically charged destinations. Chapter 5 examines the development of Yiddish travel literature after World War II, focusing both on works that describe travel back to Eastern Europe and are dominated by the themes of mourning and preservation, and on later works, filled with the urge to affirm a worldwide Jewish presence. The Conclusion recapitulates the dissertation’s main points and stresses the uniqueness of the Yiddish travelogue and its importance in Jewish studies and beyond.

The purpose of this study is to demonstrate George Eliot's literary indebtedness to the Bible by isolating, identifying, and analyzing her various uses of Scripture in her novels. This study is an attempt to demonstrate in some detail George Eliot's literary indebtedness to the Bible, to show that in the course of her fictional career she made virtually every possible use of the Bible. She at times presents Bibles themselves as significant objects, she refers to the Bible-reading habits of various characters, and she quotes, paraphrases, and alludes to the Bible. She employs biblical words, passages, narratives, characters and objects for purposes of scene-setting, symbolism, authorial commentary, characterization, and presentation and underscoring of basic themes. Sometimes she uses the Bible to achieve a serious tone; at other times, she uses it with humorous intent. Sometimes she sounds traditionally Judaeo-Christian and employs the Bible to exhort the reader in homiletic fashion, but just as often she uses biblical material to preach her own Victorian gospel. The purpose of this study is to isolate, identify, and critically analyze these various uses of the Bible which together produce the recurrent Biblical overtones so notable in the novels of George Eliot.

Publicación a texto completo no autorizada por el autor / Busca explicar, a través de la aparición y evolución de las comunidades de culto, la creación y desarrollo de la memoria histórica del coronel Francisco Bolognesi Cervantes entre los años de 1880 y 1908. Este rango temporal inicia con su muerte en la batalla de Arica, en junio de 1880 y finaliza con la inauguración de la Cripta de los héroes, el 8 de setiembre de 1808, lugar donde finalmente descansarán los restos del héroe. Este lapso temporal o de mediana duración como lo propone Braudel, nos permitirá describir desde las primeras manifestaciones en favor de la memoria de Bolognesi, hasta la consolidación de las mismas en monumentos a la memoria de los soldados que cayeron en la guerra de 1879, como lo que se dispuso en la Cripta de los Héroes, inaugurado en setiembre de1908. Se explica los contextos históricos en los que vislumbró la configuración de la memoria del personaje en cuestión. Se analiza las manifestaciones de reconocimiento a Bolognesi, para identificar cuáles fueron los usos simbólicos que terminaron por dotarle de todos los elementos necesarios para convertirse no solo en héroe, sino en uno de los símbolos más importantes de la guerra con Chile. Se integran los diferentes enfoques expuestos sobre la configuración de la memoria de los héroes, con la intención de producir una explicación capaz de acercarse a la objetividad histórica necesaria para este aspecto, tan importante en la identidad peruana. La hipótesis plantea que ante los estragos de la guerra con Chile y la difícil situación política de los años de posguerra, la comunidad de culto fue determinante en la composición de la memoria histórica del coronel del ejército don Francisco Bolognesi Cervantes. En ese sentido la comunidad de culto se presenta como variable independiente, ya que gracias a sus esfuerzos, el héroe podrá ser conocido y a su vez, podrá mantener vigencia en la sociedad a través del tiempo. La memoria histórica de Bolognesi se ubica como la variable dependiente, ya que su creación dependerá de los impulsos que le dé la comunidad de culto, la cual alimenta y propone en el imaginario, el recuerdo de este personaje. / Tesis

<p>The purpose of this Masters thesis is to examine the representation of student life in Uppsala in the 1860s and 1870s in memoirs. This purpose is achieved by contextualising the memoirs in two different analyses. In the first, the representation of student life in the memoirs is compared to that in another literary genre, the university novel, and it is found that the two representational forms paint completely contradictory pictures, where in the novels the higher education is depicted as rotten and in dire need of reformation, whereas in the memoirs the system, albeit somewhat flawed, works. The memoirs and the novels thus seem to be competing systems of representation, created in different discourses, wherein the purpose and nature of higher education widely differed. In the second analysis, the examination of the memoirs is based on research concerning the nation building process in Sweden during the 19th century. The representation of student life in the memoirs fits well into this process, the stories of carnivals, of the drill of the special student militia and, especially, of the abundant student male choir singing, creates a picture of students as a defined societal group with a special political agenda. This place in society is idealized, the male choir singers are, for example, depicted as an avant-garde of national consciousness, and depicted as mainly harmonious</p>

The purpose of this Masters thesis is to examine the representation of student life in Uppsala in the 1860s and 1870s in memoirs. This purpose is achieved by contextualising the memoirs in two different analyses. In the first, the representation of student life in the memoirs is compared to that in another literary genre, the university novel, and it is found that the two representational forms paint completely contradictory pictures, where in the novels the higher education is depicted as rotten and in dire need of reformation, whereas in the memoirs the system, albeit somewhat flawed, works. The memoirs and the novels thus seem to be competing systems of representation, created in different discourses, wherein the purpose and nature of higher education widely differed. In the second analysis, the examination of the memoirs is based on research concerning the nation building process in Sweden during the 19th century. The representation of student life in the memoirs fits well into this process, the stories of carnivals, of the drill of the special student militia and, especially, of the abundant student male choir singing, creates a picture of students as a defined societal group with a special political agenda. This place in society is idealized, the male choir singers are, for example, depicted as an avant-garde of national consciousness, and depicted as mainly harmonious

Le présent travail vise à présenter la conception de l'intériorité que partagent Robert Musil et Ludwig Wittgenstein. Pour être en mesure d'apprécier à sa juste valeur l'originalité de leur pensée, il importe de comprendre que le sort du Moi, à Vienne, au début du vingtième siècle, était pour le moins incertain. À l'époque, on hésitait en effet entre deux tendances: soit rejeter complètement l'existence du Moi, soit le réifier et le recouvrir de concepts obscurs. La façon dont Musil et Wittgenstein conçoivent le rapport entre l'intérieur et l'extérieur se situe en marge de ces grands courants philosophiques, puisqu'elle n'endosse ni la thèse introspectionniste, ni la thèse comportementaliste. Pour bien faire comprendre le cadre conceptuel dans lequel s'inscrit leur pensée, nous avons mis en évidence la pensée de Ernst Mach qui a lui aussi cherché à circonscrire la vraie nature du Moi. Ne trouvant nul part une telle chose, il prononça son célèbre verdict: « Le Moi ne peut, en aucun cas, être sauvé». Musil et Wittgenstein ne vont pas aussi loin dans leur redéfinition du Moi, même s'ils présentent tous les deux une version minimale de l'intériorité. Le Moi, selon eux, doit être compris davantage comme un processus que comme une chose. Ce qui disparaît complètement chez Mach réapparaît ainsi sous une forme procédurale. Ainsi le Moi n'est pas un phénomène psychique, ni un sentiment interne, mais une capacité à transformer en pensée notre expérience du monde. Musil et Wittgenstein sont de ceux qui partagent la conviction qu'il existe bien quelque chose qui, dans l'expérience que nous avons du monde, dépasse le simple comportement, mais qu'il est difficile d'en parler directement sans s'empêtrer dans des confusions langagières. Le Moi dont parlent Musil et Wittgenstein est un Moi entièrement tourné vers l'extérieur, et pour le comprendre, il est vain de tenter de l'observer de l'intérieur. C'est plutôt par ses manifestations externes qu'il est possible de voir se profiler cette chose qui réagit d'une manière toute personnelle à ce qu'il trouve autour de lui. Nous ne prétendons pas, par ce travail, résoudre tous les problèmes philosophiques liés à la question de l'intériorité, mais plutôt exposer une conception qui tienne compte de la nature créatrice du Moi. Ce travail cherche aussi à montrer que la définition de l'intériorité que proposent Musil et Wittgenstein comporte une dimension éthique importante. En effet, cesser de concevoir l'intériorité comme quelque chose d'immuable, et la concevoir plutôt comme un processus, peut possiblement nous permettre, c'est du moins ce que croient Musil et Wittgenstein, de mieux vivre. Le pari qu'ils font est qu'une conception de l'intériorité qui nie l'existence matérielle du Moi, mais qui lui confère tout de même la fonction de donner un sens à l'expérience, oblige à se concevoir soi-même comme un processus qui évolue au fil de l'expérience. Aussi ne doit-on pas juger son Moi propre, de même que le Moi d'autrui, avec la sévérité des choses immuables, puisqu'il est toujours possible que le Moi et le monde prennent des formes différentes. Contre le pessimisme ambiant du début du vingtième siècle, et contre la nostalgie du monde d'hier, Musil et Wittgenstein proposent de retourner à la table de travail, et de faire de l'ordre dans nos conceptions du monde. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Intériorité, Moi, Éthique, Invention, Mach, Musil, Wittgenstein.

Reproduction de : Thèse de doctorat : Littérature française : Paris8 : 2007. / Titre provenant de l'écran-titre. Bibliogr. f. 460-511. Notes bibliogr.

Reproduction de : Thèse de doctorat : Litt. comp. : Paris : 1992. / Contient des extr. de textes en allemand. Bibliogr. p. 292-297. Index.