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<p>The decade of the nineteen-twenties has generally been recognized as a dynamic period in English-Canadian literature, but so far as fiction is concerned its achievement is widely assumed to be the introduction of social realism into the Canadian novel. Those novels which employ other than realistic conventions have been assumed by many critics to be inferior because of their non-realistic aspects. </p> <p>This dissertation examines four such novels, supposedly flawed by melodramatic excess~ Raymond Knister's White Narcissus (1929), Martha Ostenso's Wild Geese (1925), Morley Callaghan's A Broken Journey (1932), and Frederick Philip Grove's The Yoke of Life (1930) - in order to discover the function and significance of melodramatic conventions and the sort of vision they project.</p> <p>The first part of the dissertation defines such terms as "realism" and ''melodrama." and explains the critical approach to be used. In the central four chapters, this critical approach is applied to each novel in turn.</p> <p>When the novels are compared, following the detailed analysis of each, significant similarities emerge. In thematic terms, a quest is undertaken, in each case, which is meaningful on several levels: on the literal level there is an arduous physical journey across or into a specific (and generally threatening) landscape; on a symbolic level there is a journey of mythological and/or religious import; in psychological terms the journey is into the less rational aspects of human experience in an attempt to re-integrate a personality divided against itself. In terms of structure, as well, certain patterns emerge: each novel employs a balanced, rather symmetrical structure, formal devices which tend to distance the reader from the material, and vortex-like patterns of movement on the part of the protagonist.</p> <p>The formal and thematic patterns which emerge from a comparison of the four novels, then, suggest that there is a "melodramatic mode" common to them, and possibly to novels of periods other than the one explored in this thesis. Indeed, it is further argued, melodramatic conventions (which are related to the gothic mode and romanticism in general) may serve as an appropriate vehicle for the expression in fiction of a profound modern theme, the portrayal of alienated man in a secularized and relativistic universe.</p> / Thesis / Doctor of Philosophy (PhD)

O objetivo desta pesquisa é o estudo da arquitetura residencial que se desenvolveu na cidade de São Paulo nos anos 1920, e das influências que ajudaram a moldá-la. Entre estas, a do movimento Arts and Crafts, que revolucionou a arquitetura doméstica britânica no final do século XIX e teve repercussão internacional. Tais ressonâncias ocorreram de forma direta e também através de uma triangulação com os Estados Unidos. Ali, haverá certa popularização do movimento inglês na figura do bangalô, juntamente com o aprimoramento da cultura burguesa da habitação do Arts and Crafts. Esta nova cultura da habitação chegará ao Brasil principalmente através das revistas de decoração, trazendo uma nova maneira de morar para a classe média, que se estabelecerá principalmente nos novos subúrbios que se constituem em São Paulo nas primeiras décadas do século XX, particularmente o Jardim América, executado pela Companhia City. / The subject of this work is the domestic architecture that arises in the city of São Paulo, Brazil, in the 1920\'s decade and the influences it has suffered. Among them, there is the resonance from the Arts and Crafts movement, which changed the course of the british domestic architecture in the 1890\'s and acquired international reputation. The influences on brazilian architecture probably came by two ways; straight from britain and also through the United States. In this country, there will be a mass production of a new kind of dwelling, the bungalow, which embodies the spirit of the british movement, in a more democratic way. This bourgeois housing culture, inherited from England, will arrive in Brazil mainly through domestic interior magazines. These domestic life-styles will settle in the suburbs that arise in São Paulo in the first decades of twentieth century, mainly in Jardim America from the Companhia City.

Este trabalho pretende estudar a obra, o percurso e o legado de Paulo da Silva Prado (1869-1943), observando atentamente suas redes de sociabilidade e inserção. Reconhecido como personagem central pelo grupo de intelectuais e artistas ligados à Semana de Arte Moderna de 1922, Paulo Prado é muitas vezes deixado de lado pelos estudiosos e, em geral, se faz presente nas análises de bastidores e/ou em referências de terceiros. Além de ser um dos maiores exportadores e produtores de café da época, Paulo Prado é autor de dois livros sobre a história de São Paulo e a formação do povo brasileiro - Paulística (1925) e Retrato do Brasil (1928). Também publicou editoriais, artigos e resenhas em importantes periódicos, (re)editou documentos inéditos sobre o período colonial, participou da fundação e do controle de revistas modernistas, e se fez presente como um dos principais organizadores e financiadores da Semana de 1922, entre outras coisas. Paulo Prado mostra-se assim como um importante mediador entre diferentes universos, sendo justamente este o foco da presente pesquisa. Se por um lado ele promove a Semana de Arte Moderna, ele já tinha 53 anos na época. Além disso, é um elo fundamental entre os modernistas e um grupo de intelectuais que compõem uma geração anterior a sua, a de seu tio, o jornalista e monarquista Eduardo Prado (1860-1901). Possui ainda um forte vínculo com o historiador cearense Capistrano de Abreu (1853-1927), um marco da moderna historiografia brasileira, que ele conhece por intermédio de Eduardo Prado. Por fim, pode ser visto também como uma figura-ponte entre o ensaísmo da década de 1920 e aquele que terá expressão maior em 1930, em obras como as de Sérgio Buarque de Holanda (1902- 1987), Gilberto Freyre (1900-1987) e Caio Prado Júnior (1907-1990). Todos eles, vale lembrar, possuidores de vínculos pessoais e de amizade com Paulo Prado. Ao enfrentar analiticamente a produção de Paulo Prado e o contexto no qual ela foi gestada, já que ambos são inseparáveis, acredito ser possível definir a posição central do autor no universo intelectual da época, levando a sério suas idéias e formulações, que ficam a meio caminho entre a arte e a ciência, a literatura e a história. / The present study examines Paulo da Silva Prado\'s (18691943) work, achievements and legacy, focusing on his social network and insertion. A well-recognized key character among intellectuals and artists involved in the 1922 Week of Modern Art, Paulo Prado is quite often disregarded by scholars and acknowledged as a backstage personality with a supporting role. Besides being a leading coffee producer and exporter at that time, Paulo Prado wrote two books about the history of São Paulo and the development of Brazilian people: Paulística (1925) and Retrato do Brasil (1928). He also wrote editorials, articles, and reviews for major publications, (re) published original documents on the colonial period, founded and managed modern journals, and was a major promoter and supporter of the 1922 Week of Modern Art, among others. Paulo Prado served as an important liaison in different settings, and there lies the interest of the present study. On one hand, he promoted at the age of 53 the 1922 Week of Modern Art and, on the other hand, he was a decisive connection between modernists and a group of intellectuals of a previous generation, his uncles, the journalist and monarchist Eduardo Prado (18601901). In addition, he developed a strong relationship with Cearás historian Capistrano de Abreu (18531927), a central figure of modern Brazilian historiography who was introduced to him by Eduardo Prado. Finally, in a sense, Paulo Prado established a link between 1920`s essayism and the essayism that flourished in 1930 with the works of Sérgio Buarque de Holanda (19021987), Gilberto Freyre (19001987), and Caio Prado Júnior (19071990) (notably, all of them had personal and friendship relations with Paulo Prado). I believe that the analysis of Paulo Prado production against the background where it was conceived, as they are very closely associated, will allow to establish his central role in the intellectual world of that time and to critically review his ideas and concepts which fall in between art and science, literature and history.

Este trabalho pretende estudar a obra, o percurso e o legado de Paulo da Silva Prado (1869-1943), observando atentamente suas redes de sociabilidade e inserção. Reconhecido como personagem central pelo grupo de intelectuais e artistas ligados à Semana de Arte Moderna de 1922, Paulo Prado é muitas vezes deixado de lado pelos estudiosos e, em geral, se faz presente nas análises de bastidores e/ou em referências de terceiros. Além de ser um dos maiores exportadores e produtores de café da época, Paulo Prado é autor de dois livros sobre a história de São Paulo e a formação do povo brasileiro - Paulística (1925) e Retrato do Brasil (1928). Também publicou editoriais, artigos e resenhas em importantes periódicos, (re)editou documentos inéditos sobre o período colonial, participou da fundação e do controle de revistas modernistas, e se fez presente como um dos principais organizadores e financiadores da Semana de 1922, entre outras coisas. Paulo Prado mostra-se assim como um importante mediador entre diferentes universos, sendo justamente este o foco da presente pesquisa. Se por um lado ele promove a Semana de Arte Moderna, ele já tinha 53 anos na época. Além disso, é um elo fundamental entre os modernistas e um grupo de intelectuais que compõem uma geração anterior a sua, a de seu tio, o jornalista e monarquista Eduardo Prado (1860-1901). Possui ainda um forte vínculo com o historiador cearense Capistrano de Abreu (1853-1927), um marco da moderna historiografia brasileira, que ele conhece por intermédio de Eduardo Prado. Por fim, pode ser visto também como uma figura-ponte entre o ensaísmo da década de 1920 e aquele que terá expressão maior em 1930, em obras como as de Sérgio Buarque de Holanda (1902- 1987), Gilberto Freyre (1900-1987) e Caio Prado Júnior (1907-1990). Todos eles, vale lembrar, possuidores de vínculos pessoais e de amizade com Paulo Prado. Ao enfrentar analiticamente a produção de Paulo Prado e o contexto no qual ela foi gestada, já que ambos são inseparáveis, acredito ser possível definir a posição central do autor no universo intelectual da época, levando a sério suas idéias e formulações, que ficam a meio caminho entre a arte e a ciência, a literatura e a história. / The present study examines Paulo da Silva Prado\'s (18691943) work, achievements and legacy, focusing on his social network and insertion. A well-recognized key character among intellectuals and artists involved in the 1922 Week of Modern Art, Paulo Prado is quite often disregarded by scholars and acknowledged as a backstage personality with a supporting role. Besides being a leading coffee producer and exporter at that time, Paulo Prado wrote two books about the history of São Paulo and the development of Brazilian people: Paulística (1925) and Retrato do Brasil (1928). He also wrote editorials, articles, and reviews for major publications, (re) published original documents on the colonial period, founded and managed modern journals, and was a major promoter and supporter of the 1922 Week of Modern Art, among others. Paulo Prado served as an important liaison in different settings, and there lies the interest of the present study. On one hand, he promoted at the age of 53 the 1922 Week of Modern Art and, on the other hand, he was a decisive connection between modernists and a group of intellectuals of a previous generation, his uncles, the journalist and monarchist Eduardo Prado (18601901). In addition, he developed a strong relationship with Cearás historian Capistrano de Abreu (18531927), a central figure of modern Brazilian historiography who was introduced to him by Eduardo Prado. Finally, in a sense, Paulo Prado established a link between 1920`s essayism and the essayism that flourished in 1930 with the works of Sérgio Buarque de Holanda (19021987), Gilberto Freyre (19001987), and Caio Prado Júnior (19071990) (notably, all of them had personal and friendship relations with Paulo Prado). I believe that the analysis of Paulo Prado production against the background where it was conceived, as they are very closely associated, will allow to establish his central role in the intellectual world of that time and to critically review his ideas and concepts which fall in between art and science, literature and history.

O objetivo desta pesquisa é o estudo da arquitetura residencial que se desenvolveu na cidade de São Paulo nos anos 1920, e das influências que ajudaram a moldá-la. Entre estas, a do movimento Arts and Crafts, que revolucionou a arquitetura doméstica britânica no final do século XIX e teve repercussão internacional. Tais ressonâncias ocorreram de forma direta e também através de uma triangulação com os Estados Unidos. Ali, haverá certa popularização do movimento inglês na figura do bangalô, juntamente com o aprimoramento da cultura burguesa da habitação do Arts and Crafts. Esta nova cultura da habitação chegará ao Brasil principalmente através das revistas de decoração, trazendo uma nova maneira de morar para a classe média, que se estabelecerá principalmente nos novos subúrbios que se constituem em São Paulo nas primeiras décadas do século XX, particularmente o Jardim América, executado pela Companhia City. / The subject of this work is the domestic architecture that arises in the city of São Paulo, Brazil, in the 1920\'s decade and the influences it has suffered. Among them, there is the resonance from the Arts and Crafts movement, which changed the course of the british domestic architecture in the 1890\'s and acquired international reputation. The influences on brazilian architecture probably came by two ways; straight from britain and also through the United States. In this country, there will be a mass production of a new kind of dwelling, the bungalow, which embodies the spirit of the british movement, in a more democratic way. This bourgeois housing culture, inherited from England, will arrive in Brazil mainly through domestic interior magazines. These domestic life-styles will settle in the suburbs that arise in São Paulo in the first decades of twentieth century, mainly in Jardim America from the Companhia City.

This thesis focuses on the issue of Czech drama in the twenties of the 20th century. Specifically, it focuses on the repertoire of the National Theatre. In the first chapters, the state of drama in this period is briefly analysed. In next chapters, dramas are selected that were written by the Czech writers others than the Čapek brothers and introduced in the twenties of the 20th century. Three thematic pairs of dramas were chosen from this limited selection for the purpose of further analysis and comparison. The core and most important elements are the analysis and comparison of pairs of dramas whereas every pair composes of one successful and one unsuccessful drama. All dramas were introduced at the National Theatre in the twenties and all of them were considered as an average when compared to the work of the Čapek brothers. Furthermore, the analysis and comparison of every pair is accompanied by the contemporary critics and reviews published in the newspapers. Based on the comparison of both successful and unsuccessful dramas that are thematically close, the thesis outlines the information on most probable reason why every individual drama was successful or unsuccessful with the audience, on what was popular among the audience, on the contemporary trends and on the common taste of average...

<p>This thesis investigates how gynaecology was established as a medical speciality in Sweden in the 1860s and onwards. Gender, power, professionalisation and the production of scientific knowledge are central themes. While previous research has shown that gynaecology as a discipline depends upon notions of Woman as radically different from Man, I show how this was manifested within Swedish gynaecology, an initially all male environment. Of special interest is institutionalisation, early career-paths and the development of therapy methods and theory. I argue that gynaecology reproduced and contributed to notions of sex-difference and a gender complementary way of thinking. </p><p>While gynaecology was formed as a surgically interventionist speciality with strong manly connotations, an education reform aiming at opening higher education to women was simultaneously discussed and eventually carried out during the 1860s and 70s. The advocates of this reform portrayed women as especially fit for becoming teachers and physicians, particularly treating women and children. Thus, two opposing gendered professional ideals operated. By focusing an elite group of early women physicians, I outline how the gynaecological construction of womanliness related to women physicians and how women physicians engaged with this notion: what strategies they used to enter a profession as manly as gynaecology had become; and how women gynaecologists engaged with their men colleagues’ therapeutic methods and views on patients and women.</p>

This thesis investigates how gynaecology was established as a medical speciality in Sweden in the 1860s and onwards. Gender, power, professionalisation and the production of scientific knowledge are central themes. While previous research has shown that gynaecology as a discipline depends upon notions of Woman as radically different from Man, I show how this was manifested within Swedish gynaecology, an initially all male environment. Of special interest is institutionalisation, early career-paths and the development of therapy methods and theory. I argue that gynaecology reproduced and contributed to notions of sex-difference and a gender complementary way of thinking. While gynaecology was formed as a surgically interventionist speciality with strong manly connotations, an education reform aiming at opening higher education to women was simultaneously discussed and eventually carried out during the 1860s and 70s. The advocates of this reform portrayed women as especially fit for becoming teachers and physicians, particularly treating women and children. Thus, two opposing gendered professional ideals operated. By focusing an elite group of early women physicians, I outline how the gynaecological construction of womanliness related to women physicians and how women physicians engaged with this notion: what strategies they used to enter a profession as manly as gynaecology had become; and how women gynaecologists engaged with their men colleagues’ therapeutic methods and views on patients and women.

La tesi ha lo scopo di inquadrare Giordani nel contesto del mondo culturale cattolico tra le due guerre e di approfondire la sua proposta di «cristianesimo integrale» come soluzione alla crisi che negli anni Venti e Trenta viziò il mondo economico, il sistema politico e lo scenario culturale, a livello di principi fondamentali, di valori. Per questo si è dato assoluto rilievo ai rapporti di Giordani con molti intellettuali suoi contemporanei e con varie istituzioni culturali cattoliche. Il testo segue dapprima un indirizzo biografico, che permette di ripercorrere la vita di Giordani dalla giovinezza, segnata dalla guerra e dall’esperienza al fronte, alla sua serena fine, nel 1980. Si tratta di una testimonianza di come la sua conseguenzialità tra fede e opere abbia inciso negli ambienti che lo hanno visto protagonista, tanto che è stato avviato per lui il processo di beatificazione. La ricerca è stata condotta tenendo conto degli scritti di Giordani e della storiografia precedente, ma soprattutto utilizzando numerosi materiali d’archivio. In particolare i carteggi privati aiutano a ricostruire l’operato di Giordani a favore dell’impegno degli intellettuali cattolici negli anni oscuri del fascismo e la sua indefessa attività per la realizzazione di un nuovo umanesimo. Altro spazio è stato riservato ai rapporti maturati da Giordani con due esponenti del mondo cattolico italiano di quel periodo, ovvero Giovanni Papini e Piero Bargellini. / This dissertation aims at setting Igino Giordani within the broader framework of the catholic cultural environment between the two world wars. It focuses on his proposal of an «integral Christianity» as a solution to the recession which threatened the fundamental values and principles of the economy, politics and culture during the 1920's and 1930's. This is the reason why the relationships between Giordani and many of his colleagues and cultural catholic institutions have been studied in depth. The work starts with a biography, underlining how Giordani's youth has been affected by the war and the experience as a soldier, up to his peaceful death, in 1980. His life shows how the consistency of his actions with his faith made him an influent personality in his working environments, to the point that the beatification process has begun. The research is based on Giordani's writings and on the previous historiography, but the most important source is constituted by a large number of archive documents. Particularly, Giordani's private correspondence has been very useful in understanding how he acted in order to support the engagement of the catholic intellectuals during the dark fascist age and his endless activity in order to build a new humanism. The work also focuses on the relationships between Giordani and two members of the Italian catholic world of the time: Giovanni Papini and Piero Bargellini.