This dissertation initially attempts a brief history of the landscape tradition in the West with the emphasis on developments in nineteenth-century French landscape painting. A collection of these paintings in the Tatham Art Gallery is then closely examined in the light of the socio-political circumstances that influenced their origins and acquisition. Finally a full catalogue of the paintings is presented with digital images and documentation. / Thesis (M.A.F.A.)-University of Natal, Pietermaritzburg, 2004.

Thesis advisor: Jeffery Howe / The Orient has been a mythical, looming presence since the foundation of Islam in the 7th century. It has always been the “Other” that Edward Said wrote about in his 1979 book Orientalism. The gulf of misunderstanding between the myth and the reality of the Near East still exists today in the 21st century. Napoleon's invasion of Egypt in 1798 and the subsequent colonization of the Near East is perhaps the defining moment in the Western perception of the Near East. At the beginning of modern colonization, Napoleon and his companions arrived in the Near East convinced of their own superiority and authority; they were Orientalists. The supposed superiority of Europeans justified the colonization of Islamic lands. Said never specifically wrote about art; however, his theories on colonialism and Orientalism still apply. Linda Nochlin first made use of them in her article “The Imaginary Orient” from 1983. Artists such as Jean-Auguste-Dominique Ingres, Eugène Delacroix and Jean-Léon Gérôme demonstrate Said's idea of representing the Islamic “Other” as a culturally inferior and backward people, especially in their portrayal of women. The development of photography in the late 19th century added another dimension to this view of the Orient, with its seemingly objective viewpoint. / Thesis (BA) — Boston College, 2004. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Fine Arts. / Discipline: College Honors Program.

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published_or_final_version / abstract / toc / Fine Arts / Master / Master of Philosophy

189 p. / Church music has been given relatively little scholarly attention in the study of nineteenth-century music. While there is an array of mass settings that were composed by Romantic-era composers, current musicological research marginalizes them. Paris was one location where a tradition of composing new masses continued well into the nineteenth century. While best known for his works for the stage, Charles Gounod (1818-1893) was a leading French composer of sacred music and one of the most prolific sacred composers of his time. His most important liturgical composition is the Messe solennelle de Sainte-Cecile, which once enjoyed considerable international success. This thesis focuses on the history of this mass in biographical and historical context. I discuss the topics of music and religion in France from the Revolution to Gounod's time, the composer's long musical relationship with the church, the music of the Messe de Sainte-Cecile, and its reception.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Thesis advisor: Kevin Newmark / India featured in a large number of performances on the nineteenth-century French stage. The term “contact zones” coined by Mary Louise Pratt in her article “Arts of the Contact Zone” designates spaces where two cultures “meet, clash, and grapple with each other” (34). The nineteenth-century French stage functioned as an ideal contact zone, providing a dynamic forum for the construction of French and Indian identities. My corpus is selected to demonstrate the breadth and diversity of India as a trope in nineteenth-century theatrical performances. In the dissertation, I analyze the plays both as text and performance. In addition, I situate the plays within the context of their time. Theater reviews are an important tool in achieving this contextualization: they allow a play to be studied in situ, giving a glimpse of the social, political, and cultural circumstances surrounding the production. The effects of a turbulent political and social environment are studied by investigating shifts in audience reactions to the same play or to a similar one over a period of time. The study considers an author’s avowed intentions, as recorded in an accompanying preface, along with both the text of the play and the audience response chronicled in press reviews, to see if intention, expression, and reception coincide. The effort is to understand the play as a dynamic event that occurs simultaneously in two directions. On the one hand, the play is shaped by its environment; on the other, it works to inform and influence the audiences who witness it. The nuanced interaction between the Self and the Other is rendered more visible through this approach. With the support of colonial and post-colonial theories such as Orientalism, subalterneity, and hybridity, the issues that are disclosed in this analysis of nineteenth-century French theater are rendered current and relevant. The dissertation is composed of three main chapters. Each chapter is unified in theme, viz. Historical drama, Bayadères, and Sanskrit drama. Different plays with similar themes or different adaptations of the same play are compared to each other. Shifts in time and perspective are recorded, both in the creation as well as the reception of these plays. The treatment of stereotypes is studied in all three chapters. In addition, for each chapter, a specific issue that is particular to that section of the corpus is highlighted: problems of veracity in ostensibly factual historical accounts for Historical drama, the challenges of reconciling reality with imagination (contrasting the actual visit of Indian dancers in France to the theatrical representations of bayadères) for the chapter on bayadères, and challenges of translation for Sanskrit drama. This reveals the complex underpinnings of plays that could appear banal at first glance. The dissertation unfolds the manner in which the French contend with India in the role of the Other during the nineteenth century, when interest in India was at its peak in France. Even when reduced to a finite number of stereotypes, India is perceived as a space of excess; its complex and multifaceted nature is exacerbated by its size and distance from France. India is found to be overwhelming and beyond the reach of French possession, physical or ideological. India cannot be easily co-opted into French narratives of identity-formation: any construction of national, racial or cultural identity, whether of the French Self or the Indian Other, is shown to be unstable. Over the course of the nineteenth century, India reverts to being the place of myth and fantasy it has been since medieval times. Nevertheless, traces of India’s presence on the nineteenth-century stage linger in twenty-first century France in subtle but unmistakable ways. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

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