Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugones (1874-1938), Ricardo Rojas (1882-1957), and Manuel Gálvez (1882-1962). Their times were marked by contradictions: xenophobia and the desire for foreign approbation; pride in an imaginary, "barbaric" yet noble ideal wiped out by the "civilizing" ambitions of revered nineteenth-century leaders. Krausism, a system of ideas following the teachings of Karl Friedrich Krause (1781-1832), had an impact on the period as exhibited in the political philosophy of Hipólito Yrigoyen (1852-1933), who served as president from 1916 to 1922 and 1928 to 1930 when he was deposed by a right-wing coup d'état. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of Argentine nacionalismo, which address the meaning of the word as it was used in the early twentieth century, combined with an examination of major works of important literary figures of the Centenary provide a firmer ground for discussion. Gálvez paints a conservative portrait of a refined, well-traveled dilettante who finds true enlightenment only in his own rural, Argentine culture. A liberal, Rojas understands nationalism as devotion to the development of national institutions and local art. Lugones argues the foundation of national art should be the gaucho, and articulates the hierarchical sociabilities it should articulate. Boero adopts elements of Krausism and the nationalistic system of values advanced by the Centenary writers within an Occidentalist framework. Occidentalism describes cosmopolitan initiatives to incorporate the ideals of the West as structural to Argentine identity. It shares the liberal outlook of the central government that valued international openness and European and Anglo-American affinity. Boero wrote to satisfy the responsibilities of the various occupations he held as opera composer, pedagogue, and art musician, but was always dedicated to the strengthening of national institutions and development of what he perceived to be a native art. His pieces evince the Occidental ideal in their adoption of Impressionistic, Puccinian, and folkloric elements in varied ways, sometimes in individual pieces in isolation, other times all within the same work. The use of each of these styles is done in a thoroughly Eurocentric manner as even the "gaucho" elements are utilized according to traditional art music conventions. Boero demonstrates his mastery of a variety of techniques throughout his oeuvre and explores each of them in his magnum opus. The play El matrero, written by the contemporary Uruguayan playwright, Yamandú Rodríguez, draws on themes explored and celebrated by the Centenary writers and resonates with certain Krausist values. The libretto diverges from the play in a few significant ways that suggest a more conservative political outlook. More than simply a story told in the popular gauchesco style, the work is a kind of origin story with supposedly authentic depictions of rural life that present a model for contemporary sociabilities informed by the Krausism and liberalism of the era. Musical analysis of the opera confirms affinities with verismo and Impressionism, but also reveals a unique stamp, not only in the use of gauchesco topoi, but the harmonic language and interplay of styles. These styles are not blended into a single, cohesive unity but arise at key points within the heterogeneous work. A critical analysis allows the musical styles to be considered to articulate a social hierarchy marked by Krausist organicism already hinted at in the text. The various character groups of the opera have distinct voices that reveal separate classes. In line with current Argentine thought rooted in the nineteenth century and the Centenary, and due to the work's status as an origin story, the relationships between the groups may be seen to represent a model for contemporary society with the elite successfully managing the affairs of their underlings. The music helps articulate these relationships with moments of diegetic gauchesco music-making being relegated to the voices and bodies of the lower classes and the representatives of the upper class speaking with a mixture of art music styles and a sublimated folkloric style. The combined study of text and music reveals an Occidentalist perspective with the native Argentine elements subordinated to the European. In spite of their lower sociopolitical position, the folk are not despised but given a coherent musical language with which to express themselves, and the higher characters are musically united to their gaucho compatriots. The combination of musical styles creates an engaging, complex tapestry more than worthy of considered study and appreciation.

Desentrañar la idea de nación que se desprende de La Guerra del Pacífico de Ramón Rojas y Cañas, a la vez que se revela un libro poco conocido a la comunidad académica y se exponen las fisuras del discurso letrado-capitalino durante la ocupación extranjera. De tal manera que conceptos como patria, pueblo, nacionalismo e identidad; así como las categorías de discurso conmutado y épica del tremendismo, servirán de norte para establecer las características del texto de Ramón Rojas y Cañas y prefigurar una interpretación a la luz de su propuesta. / Tesis

This dissertation explores the history of the translation of world literature into Yiddish through a series of interconnected case studies, stretching from the “founding” decade of modern Yiddish literature through its interwar acme. It features diachronic studies of single translator-authors (Sh. Y. Abramovitsh; Der Nister; Isaac Bashevis Singer) which consider the relationship between translations and original writing; synchronic views of transformative moments in Yiddish literary (translational) history across its multiple centers (1903; 1910; New York, Warsaw, Moscow); and “distant” readings of periodicals and anthologies with an eye to their particular explicit and implicit translation theories and practices as well as to the role of editors and publishers (Sholem Aleichem; Avrom Reyzen) in shaping both real and imagined literary markets. Throughout, it mobilizes the chronically-neglected genre of homegrown Yiddish literary criticism and theory (I.L. Peretz, Chaim Zhitlowsky, Moyshe Litvakov) in the hopes of understanding the shifting stakes and meanings of translation on the terms of translators, authors, critics, and readers themselves. By attending to the ways in which translations functioned as both sources of livelihood and engines of literary growth, this dissertation examines the desired and intermittently realized modernization and “normalization” of Yiddish literature on the world stage.

The idea that the United States is bequeathed the special mission of leading mankind toward liberty has dominated U.S. foreign relations since the American Revolution. It remains the most pervasive theme in Americans' thought about the world to the extent that over time, it has become firmly embedded in the nation's historical and cultural consciousness. A study of diplomatic, intellectual, and cultural history, America in the World: Ideology and U.S. Foreign Policy, 1944-1950 examines the impact of this exceptionalist vision on the policies and public debates that influenced Americans' thinking about their role in the world from the beginning of their efforts to design the global post-World War II order to the outbreak of the Korean War in 1950. Believers in Lockean progress and advocates of modernization, the administrations of Franklin Roosevelt and Harry Truman sought to establish a one-world order based on American liberal political and economic ideals. At the heart of this American-designed postwar world stood the United Nations, created to ensure collective security and foster a spirit of international collaboration, and transnational institutions like the World Bank and the International Monetary Fund, envisioned to protect the global economy and promote free trade. These institutions served as concrete articulations of U.S. national interests yet at the same time they were intended to inaugurate a "New Deal" and a "Fair Deal" for the world. Interpreting American post-war and Cold War policymaking through the lens of exceptionalism provides a complementary methodological framework to the national security or economic theses more commonly employed to describe this period. When the Soviet Union refused to accept the American-designed one-world order, the American response - inside and outside of government - was overwhelmingly shaped by ideology. While economic considerations and national security influenced U.S. Cold War policy, this dissertation demonstrates that it was the challenge posed by Moscow's universalist aspirations and Communism's inherent teleological ideology that caused Americans to turn the Cold War into a battle for a way of life.

Boston personalism has generally been recognized as a philosophic system based upon a metaphysical idealism. What is less known, however, is that the founder of this school of thought and some of the major contributors to the early development of this tradition were committed members of the Methodist Episcopal Church. The purpose of this study is to examine the contributions made by the early Boston personalists to the cause of theological liberalism in the Methodist Church. It will be shown that personalist philosophers and theologians at Boston University ushered in and consolidated the liberal era in Methodist theology. Further, it will be argued that the religious demands of the philosophy of personalism eventually led some members of the tradition from theological liberalism to modernism and the beginnings of a religious pluralism. In other words, the thesis of this study is that the early Boston personalists were theological innovators in the Methodist Church, leading the denomination from its nineteenth-century evangelical pietism to the modernism and pluralism that was part of mid-twentieth century American Protestantism. The focus of this study will therefore be on the first two generations of personalists at Boston University: the founder of the personalist tradition, Borden Parker Bowne, and two of his most prominent students, Albert Cornelius Knudson and Edgar Sheffield Brightman. One chapter is devoted to each of figure, focused upon the impact of their personalist philosophy and methodology on their theology and philosophy of religion, and their influence on American Methodist theology. The period this study, which commences from the time of Bowne's appointment to the Department of Philosophy at Boston University in 1876 to the death of both Knudson and Brightman in 1953, reveals how Methodism grappled with the theological implications raised by the complexities of modernity and the emerging sciences. Attention will be focused on how the philosophical method of the personalists dictated their movement from pietism toward liberalism and onto modernism and pluralism. As such, this study demonstrates the integral role played by the Boston personalist tradition in theological development during the liberal era of American Methodism.

The purpose of this paper is to examine the background of the rift between the Soviet and Western allies by selecting several of the more critical points of controvercy involved with the formulation of the Truman Doctrine.

The problem involved in this study was to determine the success or failure of the use of the editorial in achieving a goal, specifically, editorials by Ray P. Holland in favor of the Migratory Bird Conservation Act of 1929 and the Migratory Bird Hunting Stamp Act of 1934. Editorials from the Bulletin of the American Game Protective Association and Field and Stream were classified into categories to show an editorial position over a selected time period. Material from the permanent collection of the Holland library at Wesleyan University and family information was used to record a biography of Holland's achievements. The study shows that Holland's contributions in journalism will stand as a benchmark to ensuing generations of journalists who seek to realize their goals through the proper use of the editorial.

Un tema pendiente para la historiografía sobre la Guerra del Pacífico (1879-1883) es el conocimiento de la dinámica llevada a cabo por la Cancillería y sus misiones diplomáticas en América y Europa para la consecución de los objetivos de la política exterior peruana. En ese sentido, el trabajo analiza las actividades de los diplomáticos peruanos desde los enfoques de la historia política y las relaciones internacionales. De esta forma, en la presente investigación se identifican dos etapas, siendo la primera aquella comprendida por el despliegue del frente diplomático (1879-1880) durante los gobiernos de Mariano Ignacio Prado y Nicolás de Piérola, en la que el Estado peruano plantea cuatro objetivos: obtención de nuevas alianzas, movilización de recursos bélicos, búsqueda de fondos y el estudio de propuestas de mediación. En la segunda etapa (1881-1884) se evidenció la desarticulación del frente diplomático tras la caída de Lima y se interrumpió la comunicación entre la Cancillería peruana y las legaciones. A ello se sumó la anarquía de la clase política expresada en la existencia de cuatro gobiernos paralelos con distintos intereses y con caudillos que se disputaron el poder (Francisco García Calderón, Lizardo Montero y Miguel Iglesias). Esta situación provocó el replanteamiento de los objetivos de la política exterior, manteniéndose los del periodo anterior, a los cuales se agregó el de reconocimiento internacional como gobierno nacional. Pese a los esfuerzos de mejores términos de negociación, Iglesias terminó aceptando todas las condiciones de paz exigidas por Chile en el tratado de Ancón (octubre de 1883), dejando al país devastado.

Les écrits semblent poser en principe un lien étroit entre langage et pensée. Autant on semble affirmer le principe de l'indissociabilité de ce lien entre le langage et la pensée, autant on explique peu comment s'établit ce lien. L'objectif de ce mémoire est d'étudier de plus près comment certains auteurs expliquent ce lien indissociable. L'objet second constitue une critique de cette indissociabilité. A l'aide de certains ouvrages, dont ceux de Gusdorf, Sapir et Wittgenstein, j'ai observé que les liens entre la pensée et le langage ont des similitudes et des divergences. Par exemple, par des chemins différents, Gusdorf et Sapir ont des positions qui se ressemblent. La réciprocité et le mutualisme semblent les principaux liens qui expliquent, selon ces auteurs, l'indissociabilité entre la pensée et le langage. Dans Investigations philosophiques, Wittgenstein suggère, pour sa part, l'indissociabilité entre la pensée et le langage. Pour cet auteur, le langage est antérieur à la pensée. Et c'est le langage qui fait apparaître la pensée. Dans Tractatus logico-philosophicus, de même que dans Remarques philosophiques, la pensée et le langage semblent dissociables. La pensée est plutôt affirmée comme étant antérieure au langage. Ce n'est pas le langage qui rend nécessairement manifeste la pensée; celle-ci doit se rendre manifeste d'elle-même. Si les philosophes semblent plutôt d'accord pour affirmer l'indissociabilité entre la pensée et le langage, je suis surpris de constater que les argumentations sont peu élaborées pour expliquer cette sorte de lien. L'indissociabilité entre la pensée et le langage serait-il un principe premier? Se peut-il que la culture, l'éducation aient indirectement fait en sorte que ce principe de l'indissociabilité du langage et de la pensée ne puisse être remis en question?

Nous considérons quelques écrivains et critiques littéraires chez qui la lecture de la philosophie d'Henri Bergson, du vivant de celui-ci, a fait naître une réflexion intense et rigoureuse quant à sa signification et à son avenir. Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet et Jean Paulhan – l'antibergsonien Julien Benda leur servant de contrepoint – éprouvent la nécessité de contester la quiétude de Bergson ou la manière qu'il a de refermer son problème. Ils restent néanmoins fidèles à ce problème, apparaissant dès lors surtout soucieux de recommencer le bergsonisme, de repartir de sa table rase. Bergson leur semble trahir inconsciemment ses propres principes : soit qu'il échoue à faire attention aux découpages propres du réel et qu'il cède à de faux problèmes, soit qu'il cède plutôt à de fausses solutions et laisse ses lecteurs dans l'incertitude, initiant malgré lui une « crise de la durée ». Ils ont le sentiment de pouvoir être bergsoniens mieux que Bergson, indissociablement avec et contre lui. Il leur semble surtout que l'accomplissement du bergsonisme comme philosophie ne puisse se faire que dans une œuvre de littérature : soit qu'ils trouvent dans Bergson une théorie inattendue de l'urgence d'écrire, soient qu'ils voient dans la littérature, notamment romanesque, la réalisation vraie de l'intention bergsonienne, ou le moyen d'atteindre une philosophie enfin durable. L'heure n'est plus à mettre la vérité du morceau de sucre dans sa dissolution, mais bien à laisser l'eau du temps gonfler les arêtes de la fleur de papier japonais – et refaire d'elle l'occasion de retrouvailles, de soi avec soi et de soi avec tous les autres. / I consider a few literary writers and critics whose reading of Henri Bergson's philosophy was careful and passionate enough to make them reflect on its true meaning and possible future. Each in their own way, Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet and Jean Paulhan – Julien Benda working here as a counterpoint – needed to criticize Bergson's tranquillity and rejected part of the solutions he offered. They nevertheless stayed true to his fundamental problem, thus offering more of a new beginning to bergsonism than a condemnation. They felt that Bergson unconsciously betrayed his own principles: either because he failed to pay attention to the true divisions of reality and was led to the formulation of fake problems, or because he accepted fake solutions on the contrary, and therefore left his readers in distress. In the latter case, they argued, the philosophy of duration did nothing but increase the destructive effect of time. They felt that they could be better bergsonians than Bergson. More importantly, they came to the idea that bergsonism as a philosophy could only be accomplished within the pages of a literary work. Some discovered in Bergson an unexpectedly positive theory of language. Some saw in the writing of novels the true realization of Bergson's intention. Others understood literature as the only way to escape the anguish created by philosophy and to slow down the pace of history. The truth of sugar lies not in its dissolving, unlike Bergson suggested, and one should rather let the water of time swell the edges of Proust's flower of japanese paper. In it lies the possibility of finding oneself again, as well as regaining a community.