This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.

This thesis analyses the relationship of Vanessa Bell and Duncan Grant, artists that were central to the visual culture of the Bloomsbury group. The title of this project positions ‘partnership' as a connecting force between the two artists, a term I interpret as a series of layers, boundaries, and thresholds that are in a constant state of flux, over-lapping, layering and leaking. By mapping the artists' presence I am able to construct a new model of partnership. Chapter one considers the artists' signing and marking of their work, examining the variations of the signature, tracing its evolution, its presence and its absence, its location on the work and the calligraphy of the mark. By examining the various ways that Bell and Grant had of signing and of not signing their work and the use and function of the mechanically reproduced signature, I demonstrate the uneasy relationship that can occur between objects, names and signatures. Chapter two focuses on the pond at Charleston, the home that the artists shared for almost half a century, which is central to many of the narratives and mythologies of the household and is the subject of many paintings and decorations. I chart how the artists map this space by repeatedly recording it and how the pond acts as a layered topography for the exploration and presentation of gender, queerness and familial relationships. Chapter three continues the process of examining boundaries and layers by exploring the artists' often problematic relationship to clothes and to the delicate threshold between fabric and skin that often loosens and gapes. I cast the artists as agents of disguise and masquerade in which uncertain and unstable boundaries are created. I map the transference of fabric and demonstrate how this textile threshold ruptures, how the body leaks, leaving marks and traces.

This thesis explores the influence of John Milton on the edges of Victorian culture, addressing temporal, geographical, bodily, and sexual thresholds in Victorian poetry, painting, and prose. Where previous studies of Milton's Victorian influence have focused on the poetic legacy of Paradise Lost, this project identifies traces of Miltonic concepts across aesthetic borders, analysing an interdisciplinary cultural sample in order to state anew Milton's significance in the period between British Romanticism and early twentieth-century critical debates about the value of Paradise Lost. The project is divided into four chapters. The first explores apocalyptic images and texts from the 1820s-Mary Shelley's The Last Man (1826) and the paintings of John Martin-in relation to Miltonic aetiology and eschatology. These texts offer a complex re-thinking of the relation between personal loss and universal catastrophe, which draws on and positions itself against prophecy and apocalypse in Paradise Lost. In the second chapter I address conceptual connections that cross boundaries of medium and nationality, identifying the presence of a Miltonic notion of powerful passivity in the writing and marginalia of Herman Melville and the paintings and anecdotal appendages of J. M. W. Turner. In the third chapter I consider Milton's importance for A. C. Swinburne's poetic presentation of peripheral sexualities, identifying in Milton's poetry a pervasive metaphysics of bodily 'melting' or 'cleaving' which is essential to Swinburne's poetic project. The final chapter analyses the presence of the Miltonic in the fiction of Thomas Hardy, whose repeated readings of Milton contributed to both establishing his poetic vocabulary, and prompting a career-long engagement with Miltonic ideas. The thesis refocuses attention on peripheral elements of the work of these writers and artists to re-articulate Milton's importance for the Victorians, whilst bringing together models of influence which show the Victorian Milton to be at once liminal and galvanising.

This thesis investigates rationales behind Live Art documentation, by examining the work of British artists working under the banner of ‘Live Art' since the 1990s. My aim has been to write an account of Live Art's history and major themes that incorporates primary research, analysis and criticism of recent research on documentation. Works by Live Artists are not discussed chronologically, but so that they might function as points of departure for discussions about Live Art's relationship to documentation and its relevance as a contemporary cultural form. The thesis starts with an introduction setting out definitions of Live Art and documentation and contextualising Live Art's relationship to Performance Art. The rationales for documenting Live Art are grouped into three categories: documentation as pragmatic, documentation as memorial and documentation as holistic. The main text is divided into three parts, each part discusses issues relating to one of the above categories. Part 1 addresses practical reasons why artists working under the banner of Live Art document their work. The section includes an exploration of the infrastructure for the development of Live Art in the UK as well as an analysis of the market for Live Art and its documentation. Part 2 interrogates perspectives from the discipline of performance studies on the relationship between live action and documentation, exploring how these issues have been interpreted in Live Art's history. In particular, this section will assess how writers and artists have approached discussion of Live Art in oral and written form. Part 3 proposes models of rethinking documentation based on works by British Live Artists that develop documentation in tandem to live action and enjoy a privileged relationship to technology.

This dissertation investigates thematic unities within Robert Morris's seemingly disparate body of work. It demonstrates the thematic similarities, structural continuities and formal associations used throughout his art despite the great diversity of the media employed. It departs at times from a strictly chronological approach because its primary purpose is to explore how one work begets another or one style morphs into the next. The research involved extensive archival work studying unpublished correspondence and texts, contracts, drawings and emails, along with traditional sources like books, interviews, lectures and Morris's own published criticism and texts. The author also examined many original artworks or reproductions of unavailable ones. Chapter One discusses the definition and problem of style, establishment of artistic influences, and Morris's reluctance to accept traditional boundaries. Chapter Two addresses the choreography and its task-oriented vocabulary, and Morris's minimalist sculptures, examining his ideas on process and the phenomenology of perception. Chapter Three is devoted to Morris's concept of space and exploration of the horizontal as a spatial vector. It studies his interest in structural continuity throughout his lead, mirror and felt works, and touches on both the physical space of the sculptures, and the virtual space of the mirrors, as well as the fleeting evanescent space of the steam. His elaborations on “how to make a mark” are considered, too, from the Blind Time drawings, riding on horseback and body-part imprints, to language and the natural world. Chapter Four turns to Morris's philosophical investigations, his studies of language and imagery—some apocalyptic—and his increasing concern with destructive contemporary attitudes. Chapter Five takes up the works of the last two decades, his interest in memory and his growing cultural pessimism. Finally, analyzing one of the most recent works, the Conclusion makes clear that through its recurrent timeliness, Morris's art achieves a certain sublimity which aims towards a suspension of time—a timelessness.

Cette thèse analyse le rôle du théâtre historique dans le processus de construction de la nation au Pérou entre la moitié du XIXe siècle et le début du XXe siècle. Elle propose l’étude des dynamiques du théâtre historique, de son développement dans la société péruvienne comme expression du développement de ce processus de construction nationale. La période étudiée est d'une complexité particulière pour le Pérou et décisive pour comprendre les difficultés de la construction de la nation et de l'identité nationale. La thèse privilégie Lima, la capitale, et souhaite démontrer que les drames historiques de cette période- représentés ou non- révélaient une image du passé – imaginaire ou non - qui exprimait les aspirations nationales ou les idéaux des classes moyennes ou des élites du pays. Il s’agissait pour la plupart de libéraux, secteur auquel appartenait la majorité des dramaturges et du public. La thèse souhaite démontrer aussi que le théâtre historique n’a pu pleinement se développer que dans les jointures d'enthousiasme nationaliste et dans un contexte d’optimisme à l’égard du présent et de l’avenir du pays que pouvaient avoir les élites péruviennes. / This doctoral dissertation explores the role that historical theatre played in the process of nation-building in Peru between the mid-nineteenth and the early twentieth centuries. Local theatre’s dynamics mirrored the development of nation-building in this country. The period under study is of particular complexity in Peruvian history, and it allows us to understand the difficulties arising between the construction of the nation and the development of a Peruvian national identity. This research focuses on Lima, Peru’s capital city. It demonstrates that the historical dramas written in this period, even when not all of them were set on stage, sometimes conveyed a realistic image of the past whereas other times that representation was fictitious. These plays expressed the middle and/or upper classes’ national aspirations and ideals. Most play writers and the audiences that attended the plays belonged to the middle and/or upper classes and considered themselves as liberals. This dissertation also argues that Peruvian historical theatre only evolved in circumstances in which the local elites were filled by nationalist enthusiasm and optimism about Peru’s contemporary present and future.

During the 19th century German language teaching as a foreaing language was significantly changing related to the development of education and the promotion of Czech language as the main teaching language at Czech schools. German language became optional foreign language even though there was a large number of pupils interested in learning German. German was offical language until the estabilishment of an independent Czechoslovak Republic also in Czech lands. In the introduction I focus on the organizational structure of the Czech education system in the Austria-Hungary monarchy between 1869 and 1918. Secondary vocational education was mostly changing and developing at this time, real gymnasiums and various specialization vocational schools were formed. I pay attention to teachers and their education too, since without good teachers there is no chance to have high quality education. The main focus of my work is an overview of the development of teaching methods of modern foreign languages. Development of methods is described chronologically from 17th century and in more detail in 19th century, when the most methods were invented. Instead of Grammar translation method, which was the standard in the teaching of foreaign languages for a very long time, new so called reform methods started to became...

This thesis examines pieces of visual art that are untraced, stolen or otherwise understood as lost. It conceptualises how this alters artworks. Are they still ‘objects' in ‘visual' culture? Might they become literature? Lost works continue to be circulated and interpreted through practices of remembrance, narrative and often through visual reproductions. These become extraordinarily overdetermined once a work vanishes. I investigate this process in four critical case studies and a novella. The first study looks at Vanessa Bell's painting The Nursery (1930-32), a major work which has been critically neglected because unavailable. I ask what this can tell us about memory and nostalgia, and explore the ghostliness of visual representations. The second study examines Leonardo Da Vinci's Mona Lisa in the period after it was stolen (1911-13). I closely read some startling journalistic responses to this and to earlier, Victorian thefts. Through these writings there emerges a new kind of ekphrasis and a new conception of the museum. My third study builds on these readings of visual and literary restitutions to consider how lost art could inspire a corresponding critical methodology. With reference to writings on aesthetics by Burke and Derrida, I look at William Blake's Virgil woodcuts, reading them through their missing parts, including chopped-off edges. The fourth study explores how lost works can be restituted creatively as well as critically. I analyse missing episodes of Doctor Who, which have inspired reconstructions from fans – an active audience of lost art. Finally, my novella tells the story of a curator of an illicit museum; it uses the epistolary form, which has a history of creating drama through lost letters. My conclusion suggests how, using evidence to feel for what cannot be seen, a focus on lost art can spark unique ways of thinking about vision, writing and criticism.

Submitted by Eder Carlos Zuccolotto (ederzucco@yahoo.com.br) on 2018-05-29T16:47:37Z No. of bitstreams: 1 Homens_de_Negócio_e_Poder_Local_no_Oeste_Paulista_-_Versão_final.pdf: 3825460 bytes, checksum: b055c933ba678fe51e96dea939950853 (MD5) / Rejected by Aline Aparecida Matias null (alinematias@fclar.unesp.br), reason: Solicitamos que realize correções na submissão seguindo as orientações abaixo: 1) Ficha catalográfica: deve ser solicitada na página da Biblioteca (http://fclar.unesp.br/#!/biblioteca/servicos/elaboracao-de-fichas-catalograficas/) . A ficha catalográfica deve ser colocada depois da página de rosto e antes de Folha de Aprovação. Agradecemos a compreensão. on 2018-06-04T12:07:39Z (GMT) / Submitted by Eder Carlos Zuccolotto (ederzucco@yahoo.com.br) on 2018-06-04T19:09:43Z No. of bitstreams: 1 Homens_de_Negócio_e_Poder_Local_no_Oeste_Paulista_-_Versão_final.pdf: 3839028 bytes, checksum: 5d50c008af19f7722a6aa3a5520a90f9 (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-06-05T13:01:58Z (GMT) No. of bitstreams: 1 zuccolotto_ec_dr_arafcl.pdf.pdf: 3839028 bytes, checksum: 5d50c008af19f7722a6aa3a5520a90f9 (MD5) / Made available in DSpace on 2018-06-05T13:01:58Z (GMT). No. of bitstreams: 1 zuccolotto_ec_dr_arafcl.pdf.pdf: 3839028 bytes, checksum: 5d50c008af19f7722a6aa3a5520a90f9 (MD5) Previous issue date: 2018-04-10 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A presente tese tem como objetivo analisar o papel dos homens de negócio na constituição do poder local com base em uma perspectiva territorial e temporal comum: o Oeste Paulista, no período compreendido entre o final do século XIX e as primeiras décadas do século XX. A proposta foi trabalhar essa questão não de maneira dissociada, mas promover uma análise crítica entre as partes que constituem seu campo de formação, como por exemplo, a figura do proprietário rural, presente tanto na discussão sobre a caracterização dos homens de negócio, como do poder local. As cidades do Oeste Paulista selecionadas para este trabalho são: Araraquara, São Carlos, Rio Claro e Ribeirão Preto. Procuramos ainda estabelecer as particularidades do poder local no Oeste Paulista em relação a outros Estados ou regiões. a investigação está embasada na sociologia histórica. / The thesis aims to analyze the role of local power in the constitution of businessmen based on a common territorial and temporal perspective: West of the state of São Paulo, in the period between the end of the nineteenth century and the first decades of the twentieth century. The proposal is to work this issue not in a dissociated way, but to promote a critical analysis between the parties that constitute its field of formation, such as the figure of the rural landowner, present both in the discussion about the characterization of businessmen, local power. The cities of the West of the state of São Paulo selected for this work are: Araraquara, São Carlos, Rio Claro and Ribeirão Preto. We will also try to establish the particularities of local power in this region in relation to other states or places. the research will be based on historical sociology

The bachelor thesis is devoted to the description and evaluation of population changes in the South Bohemian village of Čimelice between 1890 and 1921. These changes have been described on the basis of a set of four population censuses which were taken during the above-mentioned period. The first aim of the thesis is to describe the village population from the point of view of historical demography and to compare it with general development in the Czech lands. The second aim of the thesis is to survey the population, divided according to their occupation or, more precisely, according to their socioeconomic status, through the microhistorical approach. Subsequently, the thesis examines the influence of the First World War on the population of Čimelice in terms of the fallen and of the men serving in the Czechoslovak Legion. In the last chapter of the thesis, the main aspects of the changes in the rural population in the perspective of the examined village have been summarised, and the possibilities for further scientific research have been mentioned.