Esta Dissertação de Mestrado examina o tema Utopias/Distopias e o discurso totalitário em duas obras de caráter e gênero distintos: A República, de Platão (Filosofia), e Admirável Mundo Novo, de Aldous Huxley (Literatura). Tendo como objetivo principal a comparação de elementos narrativos, temáticos e ideológicos encontrados nessas duas obras, utiliza como metodologia a análise embasada em referenciais da Literatura Comparada e da Teoria da Literatura (Narratologia e a Tematologia), da Análise do Discurso Francesa, dos estudos da obra de Platão e de estudos sociológicos. Esta análise segue a sequência de apresentação dos pressupostos teóricos, análise das obras de Platão e de Huxley (em seus aspectos internos e externos), para, finalmente, apresentar um quadro comparativo com os discursos totalitários retirados dessas obras - discursos esses que são analisados em pormenores. Por fim, esta Dissertação culmina com a compreensão de que o tema utopia/distopia, e os discursos acerca dele, não se restringe somente à literatura ficcional, mas pode ser encontrado em estudos filosóficos e políticos, e no nosso dia a dia. / This thesis examines the theme of Utopia/Dystopia and the totalitarian discourse in two works of different nature and genre: Plato's Republic (a work of Philosophy) and Brave New World (a work of Literature) by Aldous Huxley. The thesis' main objective is to compare narrative, thematic and ideological elements. In order to perform this analysis, the author will make use of methodologies taken from Comparative Literature, Literary Theory (Narratology and Thematology), the French school of Discourse Analysis, studies on Plato's works and sociological studies. After presenting and explaining those theoretical references, the author shall perform an analysis of Plato's and Huxley's works, considering their internal and external aspects; afterwards, a final analysis shall be performed, comparing the totalitarian discourses contained within those works. After examining minutely those discourses, the thesis concludes by stating that the theme of Utopia/Dystopia is not restricted to fictional literature; it can be found, also, within the frame of philosophical and political studies, and in our day-to-day lives.

A presente dissertação tem como objetivo estabelecer um diálogo entre três obras da literatura britânica do século XIX: o romance Frankenstein (1818), da autora Mary W. Shelley; a novela O Médico e o Monstro (1886), de autoria de Robert Louis Stevenson; e o romance A Ilha do Dr. Moreau (1896), de H. G. Wells. Tal comparação será feita com base nas convenções advindas dos gêneros Gótico e Ficção científica, presentes nas obras. Como principal alicerce teórico para a definição de gêneros entendem-se as considerações de Tzvetan Todorov, que defende que os gêneros são inevitáveis como horizonte de interpretação, além de serem entidades em constante mudança numa cadeia de influências através da qual novos gêneros são criados a partir de outros pré-existentes. O presente trabalho parte desse pressuposto para determinar de que maneira os gêneros Gótico e Ficção científica estão presentes nas obras, observando como os traços do Gótico, ao se adaptarem através do tempo, deram lugar a convenções ainda semelhantes, mas que já apontavam para o que posteriormente seria considerado um novo gênero literário. Primeiramente, são feitas considerações sobre conceitos de gênero textual/literário através do tempo, as quais mostram o quanto seu estudo permaneceu constante. A seguir são definidas certas convenções dos dois gêneros, assim como o modo como dialogam entre si. A segunda parte do trabalho analisa as duas primeiras obras em ordem cronológica, Frankenstein e O Médico e o Monstro, de maneira a perceber a predominância de convenções do Gótico – especialmente relacionadas ao conflito interior dos personagens, como o "duplo" – ao mesmo tempo que a emergência de temas da ciência, como os de criador/criatura e ambição científica. O último capítulo verifica como a primeira fase da Ficção científica de H. G. Wells em geral e A Ilha do Dr. Moreau em particular resgatam convenções dos dois gêneros supracitados, ao mesmo tempo servindo como consolidador das convenções do último. Conclui-se, portanto, que houve uma evolução que possibilitou a emergência de um novo gênero ligado ao contexto histórico das obras, o que legitima a consideração dos gêneros como entidades mais livres e não restritivas, que podem estar presentes em diversas obras ao mesmo tempo e ampliar seu horizonte de interpretação. / This thesis establishes a dialogue among three books from 19th century British literature: the novel Frankenstein (1818), by M. W. Shelley; the novella Strange Case of Dr. Jekyll and Mr. Hyde (1886), by Robert Louis Stevenson; and the novel The Island of Dr. Moreau (1896), by H. G. Wells. This comparison is made based on the specific Gothic and Science fiction conventions present in the books. The main theoretical support for the definition of genres employed here comes from Tzvetan Todorov. The author argues that genres are inevitable as horizons of interpretation, entities in constant change which tend to create new genres from pre-existent ones, in a chain of influences. This thesis considers this supposition to determine how Gothic and Science fiction make themselves present in the works analyzed, in a way that Gothic traits, being adapted through time, give way to similar but yet innovative conventions, which subsequently would be considered a new literary genre. Primarily, considerations concerning the concept of genres through history are made, all of which show how this study was kept constant. Hereafter, certain conventions regarding both genres are defined, as well as the manner they dialogue amongst themselves. The second part of the thesis is dedicated to the analysis of Frankenstein and Strange Case of Dr. Jekyll and Mr. Hyde, and establishes the predominance of Gothic conventions – especially the ones related to the inner conflict of the characters, such as the "double" –, while considering the emergence of scientific themes, such as the creator/creature relationship and scientific ambition. The last section verifies how the first cycle of H. G. Wells' Science fiction in a broad sense, and The Island of Dr. Moreau in a strict sense, reemploy conventions of both genres, serving to consolidate the latter. Therefore, it is concluded that there was an evolution which enabled the emergence of a new genre, considering the historical contexts and the books analyzed. This consideration justifies genres as wide-ranging, non-restrictive entities, which may be present in various works simultaneously and broaden their horizon of interpretation.

Esta Dissertação de Mestrado examina o tema Utopias/Distopias e o discurso totalitário em duas obras de caráter e gênero distintos: A República, de Platão (Filosofia), e Admirável Mundo Novo, de Aldous Huxley (Literatura). Tendo como objetivo principal a comparação de elementos narrativos, temáticos e ideológicos encontrados nessas duas obras, utiliza como metodologia a análise embasada em referenciais da Literatura Comparada e da Teoria da Literatura (Narratologia e a Tematologia), da Análise do Discurso Francesa, dos estudos da obra de Platão e de estudos sociológicos. Esta análise segue a sequência de apresentação dos pressupostos teóricos, análise das obras de Platão e de Huxley (em seus aspectos internos e externos), para, finalmente, apresentar um quadro comparativo com os discursos totalitários retirados dessas obras - discursos esses que são analisados em pormenores. Por fim, esta Dissertação culmina com a compreensão de que o tema utopia/distopia, e os discursos acerca dele, não se restringe somente à literatura ficcional, mas pode ser encontrado em estudos filosóficos e políticos, e no nosso dia a dia. / This thesis examines the theme of Utopia/Dystopia and the totalitarian discourse in two works of different nature and genre: Plato's Republic (a work of Philosophy) and Brave New World (a work of Literature) by Aldous Huxley. The thesis' main objective is to compare narrative, thematic and ideological elements. In order to perform this analysis, the author will make use of methodologies taken from Comparative Literature, Literary Theory (Narratology and Thematology), the French school of Discourse Analysis, studies on Plato's works and sociological studies. After presenting and explaining those theoretical references, the author shall perform an analysis of Plato's and Huxley's works, considering their internal and external aspects; afterwards, a final analysis shall be performed, comparing the totalitarian discourses contained within those works. After examining minutely those discourses, the thesis concludes by stating that the theme of Utopia/Dystopia is not restricted to fictional literature; it can be found, also, within the frame of philosophical and political studies, and in our day-to-day lives.

Ce travail doctoral se penche sur un groupe d’artistes et d’artisans actifs dans la seconde moitié du XIXe siècle dans le domaine de la sculpture, et plus précisément sur la façon dont ceux-ci ont à a fois restauré de nombreuses sculptures médiévales et réalisé des sculptures néo-gothiques. Le sujet a été circonscrit à la sculpture religieuse mobilière en bois, et plus spécifiquement aux statues et aux retables conservés dans des églises gothiques. Une approche multidisciplinaire, entre Moyen Âge et XIXe siècle, a été privilégiée. Les artistes et artisans étudiés (Jules Helbig, Adrien Hubert Bressers, les frères Blanchaert, Jean-Baptiste Bethune) posent les bases du style dit « des Écoles Saint-Luc » ou illustrent des travaux de la seconde génération (Léon Bressers). Ils sont membres de la Gilde de Saint-Thomas et de Saint-Luc et revendiquent, sous l’influence de l’architecte anglais A.W.N. Pugin, un lien exclusif avec l’art médiéval dans leurs réalisations. Au sein de la Gilde, l'étude de l'art médiéval et les discussions sur le mobilier religieux à créer se doublent d'une recherche sur les règles liturgiques (au sujet des autels principalement), de manière à retrouver, autant que possible, les formes et usages anciens tout en restant conforme avec les prescriptions en vigueur. Les membres, et en particulier les personnalités étudiées, participent ainsi au renouveau chrétien de la seconde moitié du XIXe siècle.<p>Les sculpteurs-restaurateurs et les peintres-restaurateurs sélectionnés visent avant tout une présentation jugée digne des sculptures médiévales qui passent entre leurs mains. Ils sont, pour ce faire, imperméables à toute notion d’authenticité. Les aspects religieux primant et dans un contexte de forte pilarisation, ils adoptent sur cette question une position monolithique, alors même que la réflexion au sujet de la restauration de la sculpture polychromée se développe, notamment au sein de la Commission royale des Monuments. Dans les traitements de restauration, les Blanchaert, les Bressers et Jules Helbig font preuve d’un vrai souci archéologique mais rarement de réflexion critique sur l’opportunité ou pas de reconstituer des éléments lacunaires, sur le bien fondé de l’adjonction des attributs, ou sur les pratiques de décapage et de repolychromie. Ce travail doctoral démontre par ailleurs que les nouvelles polychromies néo-gothiques, en particulier celles confectionnées par les Bressers, sont souvent le reflet, voire des copies, des anciennes polychromies quand elles étaient bien conservées.<p>Les discussions menées au sein de la Gilde ont eu un impact non négligeable sur la question du démembrement des autels baroques et néo-classiques ainsi que sur la création du nouveau mobilier néo-gothique en Belgique. <p><p>L’étude d’une série de retables néo-gothiques apporte de nouvelles clefs de lecture sur la conception des programmes iconographiques globaux, la répartition des retables dans l'espace ecclésial, la typologie des œuvres, la conception des compositions et le style adopté pour les groupes sculptés. L'influence de Pugin a pu être montrée, notamment dans le caractère très hiérarchisé donné aux œuvres, et cela à tous les niveaux de la représentation.<p>Dans son ensemble, ce travail doctoral offre une contribution significative sur l’historicisme et l’histoire des mentalités. <p> / Doctorat en Histoire, art et archéologie / info:eu-repo/semantics/nonPublished

Indiana University-Purdue University Indianapolis (IUPUI) / By start of the 1920s, the United States had seen nearly forty years of vast accumulations of wealth by a small group of people, substantial financial speculation and a mass change in the economic base from agricultural to industrial. All of this ended in 1929 in a crushing depression that spread not only across the country, but also around the world. Hard-Boiled detective fiction first reached the reading public early in the decade initially as adventure stories, but quickly became a way for authors to express the stresses these changes were causing on people and society. The detective is the center of the story with the task of reestablishing a certain degree of order or redemption. An important character hallmark of this genre is that he is seldom able to do this, or that the cost is so high a terrible burden remains. His decisions and judgments in this attempt are formed by his relationship with the people or community around him. The goal of this thesis is to look at the issues raised in the context of how the detective relates to a person or community in the story. For analysis, six books were chosen arranged from least level of personal relationship by the detective to the most intimate. The books are Red Harvest, by Dashiell Hammett, The Big Sleep, by Raymond Chandler, The Galton Case, by Ross MacDonald, Cotton Comes to Harlem, by Chester Himes, Devil in a Blue Dress, by Walter Mosley, and I, the Jury, by Mickey Spillane. In the study of these books, a wide range of topics are presented including political ideologies, corruption, racial discrimination and family strife. Each book provided a wealth of views on these and other subjects that are as relevant today as when they were written.

The transcriptions of Franz Liszt (1811-1886) and Anton Rubinstein (1829-1894) on Beethoven's "Marcia alla turca" serve as unique examples within the area of transcription since each of these important virtuosos transcribed the movement with drastically different results. Liszt's Capriccio alla turca (1846) is built on Beethoven's thematic materials although it is presented with a greatly embellished accompaniment providing countermelodies, expanded passages, and vigorous rhythmic features. In contrast, Rubinstein's Turkish March (1848) attempts to capture Beethoven's original (1811) as closely as possible adhering to the form and harmonies. Each composer's approach served to showcase new pianistic innovations capturing orchestral sonorities at the piano previously unimagined. This dissertation offers musical insight for two less well-known works from significant pianist-composers which should receive further attention. Additionally, this research provides greater documentation for the compositions of Rubinstein, supplementing the historical accounts of his abilities as a performer. Examination and comparative analysis of each transcription not only illuminates the creative approaches each composer employed in creating his transcription, but also serves pianists wishing to perform these neglected works.

Ambivalent Ecologies: Representations of the Nonhuman in African American Literature, 1830-1940, argues that nonhuman animals and ecological phenomena are central to the projects undertaken by African American authors from the antebellum slave narrative through the interwar period. In four chapters that focus on the Anglophone literature of nineteenth century abolition, the late nineteenth-century conjure tales of Charles W. Chesnutt, Jean Toomer’s Cane, and Zora Neale Hurston’s Their Eyes Were Watching God, I contend that there are as many differences in how these authors marshal the nonhuman as there are similarities. Following this insight, I tease out the unevenness and tensions in these representations across the tradition. Tracing the influence of literary genre and historical developments on representations of the nonhuman, I contend that these mark a site or perhaps a vector of profound ambivalence. Pushing beyond paradigms that reflexively position the work of black creative intellectuals as always already critical of Western liberal humanism, I offer a more nuanced set of close-readings that stay with the trouble of what I theorize as the ecological ambivalence that animates African American literature’s relationship toward the colonial categories the Human, or Man. Drawing on the work of Sylvia Wynter, Zakiyyah Jackson, Frantz Fanon, and others, I position this ambivalence as a key feature of the ecology of African American life.

Advances in technologies of voice profiling shed new light on questions of listening and its entanglement with antiblackness as a structuring paradigm of modernity. To contest current conceptions of listening with regards to the question of race and antiblackness while also shining light on the potentials offered by blackness, this dissertation engages listening at three distinct sites that are entangled with this modern question of voice profiling AI. In the process, this dissertation elaborates on the ethical stakes involved in listening itself. Chapter 1 excavates the way in which the ears of enslaved Black lives were ritualized. It centers an analysis of the role of the punishment of ear cropping and how this performed both a claim over slaves’ belonging and an inhibition on their freedom. Scholarship from Hebrew law aids in uncovering the meaning of the specific form of punishment. The chapter concludes by comparing the conception of slaves’ ears to Black artistic expressions such as Harriet Jacobs’s various methods of narration in Incidents of a Slave Girl and Blind Tom Wiggins’ unique use of clusters and graphic notation in Battle of Manassas, so as to demonstrate their methods of resistance and refusal to a claimed all-encompassing regime of listening. Chapter 2 engages modern notions of sound and listening. The way in which sound is theorized and engaged in modern digital technologies is entangled with the conception of what listening is and what it entails. Hermann von Helmholtz provides an axis after which sound and listening, as well as the relation between an inner world of perceptions and an outer world of sensations, has to be engaged as a question of listening as entangled in societal questions. The chapter critically elaborates alongside questions of categorical distinction in sound, such as the use of skull shapes as referents for AI listening, instrument classification systems, and the general question of the form of sound, or sound as object. The concluding Chapter 3 discusses, alongside Sylvia Wynter’s work and Roscoe Mitchell’s piece S II Examples (date) the kinds of questions we must pose in the development of modern AI listening technologies to move past antiblackness. Immanuel Kant’s theorizing of race and his influence on Johann Friedrich Blumenbach’s classification of skulls relate tomodern voice profiling AI technology directly through the question of using cranial shapes. Wynter’s work challenges both a turn to varieties that do not allow the addressing of structural antiblackness, and a continuation of claims to proper knowledge on the basis of antiblackness. Ultimately, Wynter aids us in hearing Mitchell’s continual shapeshifting practice on the saxophone as a proposal towards a refiguring of our conception of sound, listening, and us.

From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.