Orientador: Maria Clementina Pereira Cunha / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T21:24:16Z (GMT). No. of bitstreams: 1 Albuquerque_WlamyraRibeirode_D.pdf: 15892139 bytes, checksum: c103e565d7eb8094ba9d90bbf12d81c8 (MD5) Previous issue date: 2004 / Resumo: Esse trabalho discute a importância da idéia de raça no contexto da abolição da escravatura na Bahia. Tendo como ponto de partida quatro episódios ocorridos nas décadas de 80 e 90 do século XIX, analiso como a noção de raça estava sendo construída e engendrada nas relações sociais. A imenção é a de mapear o processo de racialização que a sociedade baiana vivenciou quando a escravidão estava em franca decadência. As fontes utilizadas foram, basicamente, registros policiais e administrativos, crônicas jornalísticas, testamentos e corresponJência pessoal / Abstract: This work discus~esthe importance uf the idea of race in the context of the abolition of slavery in Bahia. Drawing plimarily upon four episodes that took place during the 1880s and 1890s, I will analyze how the notion of race was being constructed and how it took root in Bahian society. The aim is to trace the process of racialization that occurred in social relations at the moment slavery was disappearing. The sources used inc1ude police and administrative reports, journalistic chronicles, testaments and personal correspondence / Doutorado / Historia Cultural / Doutor em História

Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura

From Verantwoording: By die ondersoek na die rol wat die aktualiteit in die poësie van A. Roland Holst speel, wou ons veral nagaan of die gedigte waarin elemente van die aktualiteit aanwesig is, in wese van sy orige werk verskil. Hoofstuk II, “Teen die Wereld” gaan veral sover dit die inhoud betref, op hierdie vraag in. In die derde en vierde hoofstukke is na aanleiding van ‘n aantal verteenwoordigende gedigte getrag om meer in besonderhede, en ook wat die vorm aangaan, die saak van nader te beskou, en die resultate van die ondersoek is in die Slotbeskouing saamgevat.

This essay compares Wordsworth’s and Arnold’s conceptions of nature and suggests reasons for the differences found. Both poets were keenly sensitive to the leveliness of the external world, and found in nature a soothing and healing power for the troubled mind of man. Both derived sensuous enjoyment from the beauties of nature, and found in nature permanence, peace, and tranquillity. The fundamental difference in their doctrines of nature is in their conceptions of abstract nature. To Wordsworth, nature was a benevolent force which actively participated in the moral and spiritual growth of man. His was a doctrine of joy and optimism. To Arnold, nature was a great and indifferent force which man must transcend. His was a doctrine of stoicism and pessimism. The differences are mainly due to the progress in science and thought from the mid-eighteenth to the mid-nineteenth century. Wordsworth inherited the eighteenth century belief in a benevolent and all-powerful Deity, who manifested his goodness in nature. By a synthesis of this philosophy, the assumptions of associationist psychology, and his own experience, he explained the moral and spiritual growth of man. Wordsworth believed that through love of nature, man was led to love of his fellow man and of God. He believed that nature participated in man’s moral growth, through the senses, with the aid of some super-sensuous power – ‘a superadded soul’, an ‘auxilier light’, which he believed to be the imagination. Through semi-mystical and visionary experiences, he became convinced of the unity between the soul of man and the soul of nature. This was the source of his joy in nature. Arnold took for granted many of the assumptions of nineteenth century science regarding nature. Through these, and his own search for truth, he lost faith in a benevolent force in the universe. He saw no evidence of harmony or teleological purpose in nature. He found in nature only an edifying example of tranquility, steadfastness, and stoicism. The central tenet of his doctrine was of the superiority of man over nature, through his reason and conscience. On a broader basis, the change in attitude to nature between Wordsworth and Arnold is due to the changed conception of men’s place in the Chain of Being. In the eighteenth century, man held the most important earthly place in nature’s Chain of Being. In the nineteenth century, he lost that place. The Industrial Revolution created a materialistic world in which only the fittest survived economically. Biologists and zoologists reduced man to the level of all other creatures. He lost his favoured place in the Chain of Being, and for him nature lost all order and purposiveness. A pessimistic view of nature was logical and common. / Arts, Faculty of / English, Department of / Graduate

This paper is an attempt to research a hypothesis concerning the policy formation processes of an open and of a closed political system. The paper opens with a discussion of the theoretical roots of the project. Particular attention has been paid to J.N. Rosenau's pre-theory of comparative foreign policy, and works by authors such as R.B. Farrell, Raymond Aron, and Alexis de Tocqueville on the differences between open and closed political systems. The hypothesis we tested was derived from the writings of R.B. Farrell. It reads: In a closed polity bureaucrats are less likely to provide information contradicting the leadership's known positions than in an open polity. In the second chapter the method of study, the case study, is introduced and discussed. Great Britain and Germany just prior to the First World War were chosen as examples of an open and a closed system. Their suitability as cases for this research project is critically analysed. Data on size, wealth, and political accountability are presented. In the third chapter four leaders are identified and their policy preferences outlined. The four are Edward Grey in Great Britain, Emperor William II, Chancellor von Bethmann- Hollweg, and Secretary of State for Foreign Affairs von Jagow in Germany. The fourth chapter discusses the kinds of messages which were being sent to these various leaders. We expected that in the case of Germany the content of these messages would be less contradictory of the positions of the above-mentioned German leaders than in the case of Britain and Sir Edward Grey. The conclusion of the study is that in the particular eases of pre-War Britain and Germany the hypothesis is not supported. In the final chapter explanations of why this might be so are suggested, two new hypotheses are formulated, and the findings are related briefly to the theory from which the paper originated. / Arts, Faculty of / Political Science, Department of / Graduate

Common to certain poems of John Donne and T. S. Eliot is the expression of a desire for a unity of experience which will involve a reconciliation of the apparently contradictory demands of flesh and spirit. In an early poem, Eliot aligns himself with the poetic sensibility he perceives in Donne, a spiritual suffering expressed in sensory terms in the image of “the anguish of the marrow". The poetry of each poet develops the analysis of thought and feeling involved in the search for unifying, transcendent experience: in the poems of Donne dealing with profane and divine love, the relationships between man and woman, and man and God, are explored with wit and dramatic fervour; in the dramatic dialogues of the early poems of Eliot, the poetic persona seeks spiritual purpose in a world apparently devoid of belief and meaning. Comparison of poetic vision and method in Donne and Eliot is most valid in examination of the two long poems, Donne's Anniversaries and Eliot’s Four Quartets. In these poems, an anatomization of the mutable, spiritually dead world is contrasted with the progress of the poet's own soul toward an understanding of divine love; divine love is seen to demand imitation of the suffering incarnate principle of virtue, symbolized by Donne as the maiden Elizabeth Drury, and by Eliot as the Incarnation of God. Similarity of technique in each poem consists in the use of a dialectical method of developing themes and definitions of "death", "birth", "wisdom", "love" and "joy". The imagery used by both poets involves paradoxes basic to Christian theodicy: death-as-life, darkness-as-light, ignorance-as-wisdom, suffering-as-love. The expression of his belief is seen by each poet as a holy task, in which the drawing of all experience into a new unity is imitative of the divine unifying order. / Arts, Faculty of / English, Department of / Graduate

This study attempts to determine what is the basic feature of Romanticism and in what relation to it Charles Baudelaire and T. S. Eliot stand. Since few terms are as misunderstood and as weighed down with numerous and contradictory meanings as Romanticism, this thesis begins by trying to "reconstruct the Romantic situation" and turns to its major aesthetician, Friedrich Schlegel, in order to discover in what the revolutionary new outlook consisted. The fundamental characteristic of Romanticism, that which distinguishes it from all other literary and cultural movements, is here maintained to be the awareness of fragmentation, of division, and of chaos. The great important realization of Romanticism was of the modern world's and man's fragmentation and disunity in contrast to the wholeness and order of the distant past. The task which it assigned itself was to strive for a reintegration of the severed forces — Spirit and Nature — in a new synthesis that would, in turn, create a new man and a new world. In seeking to achieve this harmony, Romanticism turned to symbol, myth, and religion. Two of the most important and influential poets of the modern age, Baudelaire and Eliot, were deeply entrenched in the Romantic Weltanschauung and tradition, although while the former was consciously and progressively so, the. latter was an unconscious and reactionary Romantic. Both poets continue that tradition by virtue of their essential awareness of the duality of man or, in Eliot's phrase, of the "dissociation of sensibility". The two fundamental principles of life and art, Spirit and Nature, are continually operative in their work and strive for harmony in their conflict. The conclusion to which this thesis comes, however, is that neither poet fully realized the Romantic goal: the harmony of Spirit and Nature. The two forces co-habit in their verse, but never surpass conflict in a higher third synthesis. The reason for this failure, it is maintained, is their misunderstanding of Nature. Both poets were hostile to and biased against Nature, preferring the exclusiveness of the Spirit. As a result, Baudelaire sought the way of transformation of Nature and Eliot the way of sublimation of Nature. With Eliot Romanticism came to a dead end, disavowing itself consciously yet tormented by its ever-pressing vision of the fragmentariness of man and art. Eliot, sought to heal the Romantic agony in a way which was not unorthodox for Romantics — conversion and conservatism. But the dilemma which the Romantic vision reveals so clearly — the dissociation of Spirit and Nature — has not thus been solved for modern man. This thesis maintains that Nature must be re-examined and re-understood for poetry to receive a new lease on life in our day. Only thereby will Romanticism once again find a new opening for creation. / Arts, Faculty of / English, Department of / Graduate

This ethnohistorical study examines the emergence of a Church of England, Church Missionary Society (CMS) Native Ministry in the Canadian North West. The intent is twofold. First it will re-evaluate the prevailing misconceptions and inadequate interpretations about the establishment, goals, and impact of Western Canada's first Indian education program. Second, it will analyse the conditions surrounding the decision of the CMS to recruit Native church workers and what motivated these men to participate. Rather than philanthropic evangelical zeal, it is clear that socio-economic and political factors forced the Hudson's Bay Company (HBC) in Rupert's Land to open its doors to mission activity among peoples whose way of life it intended to protect and maintain for its own purposes. The local HBC played a significant role in the dissemination of Western values, social order, and intellectual tools. It determined who would have access to "higher" learning and the quality they would received. Furthermore, it had no intention of bogging-down its Native labourers and fur gatherers with "civilized" notions that might induce them to neglect or abandon their primary occupations. However, a handful of converted and formally educated Native men emerged from the Red River mission school, where they were primed to partake in the religious and cultural transformations of their respective societies. By the 1850s Native catechists and schoolteachers traversed the boundaries of the Red River settlement, charged with the responsibility of paving the way for European Christian expansion. Until now, these men - their attitudes, activities, goals, and impacts - have been neglected by ethnohistorians interested in Indian-missionary encounters and socio-cultural change. Yet these men, were the forerunners, the buffers, and the middlemen in this process. The case study of one such man, Charles Pratt, indicates that their purpose and loyalties may' very well have been at odds with those of their superiors. Pratt syncretized Indigenous and European spirituality, skills, and ways of life in the best interests of his peoples' survival. This thesis proposes that a closer examination of these spiritual "middlemen," from the perspective of their prospective converts, as opposed to their European superiors, will have a profound impact on our future understanding of Indian responses to Christian missions, and their relative success or failure. / Arts, Faculty of / History, Department of / Graduate

The purpose of this study is to examine the extent of Katherine Mansfield's literary indebtedness to Anton Chekhov. Throughout the critical writing about Mansfield there are many suggestions that her work is similar to that of Chekhov, but, these allusions are, for the most part, vague in pointing out specific likenesses.