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This study offers an analysis of the interaction between urban spaces and bohemian literature in Madrid around 1900. I argue that bohemianism and bohemian literature are actually part of a very well structured cultural discourse--a discourse of social resistance--and must be studied as such. At the same time, the obvious urban nature of this phenomenon is a deciding aspect of it. In order to know how the bohemian discourse evolved in Madrid from 1850s to 1920s--from Realism to Modernismo--we have to study the core and reciprocal relationship between bohemianism and the city. This issue has not yet been explored within Hispanism, in spite of the fact that it provides a very useful perspective for considering the period as a synthesis of intellectual and artistic matters.In my dissertation I engage the essential aspects of bohemianism in the turn of the twentieth century Spanish literature. I focus on the characterization and use of space in the bohemian discourse of Peninsular Modernismo. My starting point is the description and characterization of such a discourse as it has been constructed, analyzing how it takes form in a variety of different kind of texts. I study the construction and evolution of its "cartographic imaginary" (David Harvey), an image of the city that bohemian literature uses to resist the bourgeois order imposed on Madrid's urban spaces and the capitalistic process that supports it. I argue that bohemianism was taken by the peninsular version of Hispanic Modernismo as its central aesthetic discourse. Consequently, and because of the subaltern and marginal nature of it, Modernismo could never position itself at the central stage of the 1900s Spanish culture.

The composer Ethel Smyth (1858-1944) claimed that sex discrimination had prevented her from succeeding as a composer, and she cast much of the blame on the press. This study examines the critical reception of Smyth’s Mass and first four operas in England and Germany, with a focus on their premieres. It evaluates Smyth’s claims, and places the works more broadly in context, tracing the processes by which they gained performance, and the circumstances of the productions. Rich and multiple interpretations are made possible by reading from different perspectives, allowing the complexity of critical commentary and the subtle intersection of concerns with gender, nationalism and style to be revealed. Despite the pervasiveness of gender bias in the reviews, there is much more to the critical reception of Smyth’s music than the way in which it represents her in relation to patriarchal stereotypes of femininity. / Performances researched include the Mass’s premiere in 1893 and its revival in 1924, and the early productions of Fantasio, Der Wald, The Wreckers and The Boatswain’s Mate. These operas were composed with hopes of performance both in England and Germany, and therefore provide the best case studies for an examination of press reception in these two countries, notwithstanding the fact that the first was performed only in Germany and the fourth only in England. The reviews are interpreted in light of the different contexts that affected critics’ perceptions: local circumstances, contemporary politics and knowledge about the composer. Chapter 1 explores the significance of Smyth’s biography and autobiography and Chapter 2 traces each work from composition to performance, examining the challenges Smyth faced and her responses to them. Smyth’s connections with royalty and aristocracy, both in England and Germany, were of great assistance to her, and this has hitherto been insufficiently acknowledged. Smyth’s music elicited a diverse range of praise and criticism from critics, and the last three chapters focus on issues of gender, discussion of the libretti and music of the operas, and national preoccupations. / The complex question of gender in the Smyth criticism includes the problem of the woman composer, definitions of femininity and masculinity and the effect of Smyth’s feminism and persona on reception of her music. Critical writings rarely included detailed technical discussion of the music, but libretto and comedy, text-setting and orchestration all received attention. The division of Smyth’s career between England and Germany led to her being seen as foreign in both countries, and the performance of her music contributed to nationalist debates about the selection of repertoire. The division between English and German critics is most marked in their attribution of influence on Smyth’s operas. German critics distinguished various styles and genres in Smyth’s music and were perceptive in recognising the underlying eclecticism of her mature voice. Smyth’s countrymen knew she had studied in Germany and persisted in hearing this influence in her scores, although some allowed that she was contributing to the formation of an English voice.

In this thesis we have attempted to demonstrate that Noucentisme, as defined and propugnated by Eugeni d'Ors in the Glosari 1906-1910 is a continuation of the first Catalan Modernism. This theory has in great part been influenced by research on this subject compiled by the late Eduard Valentf, in his book, KL primer modernising Catalan y_ sus fundamen- tos ideol6gicos. We have, therefore, greatly relied on his generational and theological definition of Catalan Modernism, which we elaborate upon and sum up in the first two chapters. Owing to the extensive nature of Houcentisme, as of any literary movement, we have restricted our research to the work of its originator and theoretician, Eugeni d'Ors. In our thesis we have tried to point out that d'Ors reacted against the "fin de siecle" literary movements, which were a degenerate form of the original Catalan Modernist grouping, represented by L'Avenc.that was dispersed aflter 1893. In order to demonstrate that d'Ors absorbed, reorganized, and modified Catalan literary modernism, we have proceeded by closely examining the greater part of his work and ideology between 1900 and 1910, as well as most posterior writings concerning this period of. his development. In Chapter IV ye have studied his so-called modernist writings produced between 1900 and 1905, and collected in La muerte de Isidre Nonell seguida de otras arbitrariedades,'. From these we have determined the basic "modernist" ideas forwarded by d'Ors during those years. Between Chapter V and Chapter VII we have delineated the aesthetic and political ideology which d'Ors considers to be the basis of Noucentisme, and which was primitively contained in La muerte de Isidre Nonell seguida de otras arbitrariedades. In Chapter Till we have examined the direct relations between d'Ors theories and the modernist writers. The explicit formal relation between Modernism and Noucentisme is briefly discussed in the conclusion. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Few figures in the history of the Americas are surrounded with more colorful lore and acclamation than the Cuban politician, teacher, patriot, and poet Jose Marti. Among Marti's literary contributions, his Ismaelillo, a collection of fifteen poems published in 1882, claims prominence as both Marti's first book of poems and as a seminal Latin American text. Celebrated for its sincere communication of paternal love and lauded as the genesis of Hispanic literary modernism, Ismaelillo captures the longing of an exiled father separated from his son and homeland. Its language is at once evocative of classical Spanish literature and innovative, incorporating allusions to Golden Age drama while introducing neologisms and oneiric imagery that were daring for Marti's time. Despite the significance of Ismaelillo in Latin American literature, no complete English translation of the work has yet been published. The foremost aim of this thesis project, then, is to fill this lack. The English translation seeks to reflect Marti's meaning, rhythm, and additional phonological effects such as alliteration, rhyme, and anaphora. It balances primary concerns of fidelity to the original text with concerns of accessibility and satisfaction for a contemporary English audience. To reveal further the meaning of Marti's Ismaelillo, annotations and a critical introduction explore the text's historical and literary contexts.

The object of this dissertation is to describe the opinions about the limits of natural science in their social and cultural context There exist two antagonistic positions to this matter restrictionism and expansionism. Restrictionism assumes that the natural sciences have no influence on metaphysics. Expansionism, on die other hand, argues that the natural sciences can legitimise the positions of beliefs and values. During the 1870b a restrictionist attitude on scientific knowledge established itself among influential German and British scientists. Emil Du Bois-Reymond, Rudolf Virchow, Hermann von Helmholtz and Thomas Henry Huxley were some of the famous scientists who rejected attempts to adduce science in religious and metaphysical matter. This restrictionism was rejected by other scientists and philosophers who believed that the modern natural sciences constituted a complete Weltanschauung, hostile to obsolete Christianity and philosophy. The thesis primarily deals with the debate on the limits of scientific knowledge in Sweden. We follow the development of the discussion from the 1870's to the years after the First World War. At the end of the 19th century Swedish scientists freed themselves from dominant natural philosophy and natural theology. Restrictionism was later on supported, in different ways, by recognized scientists, theologians, conservative critics, and philosophers. At the turn of the centuiy the restrictionist view of science was turned against metaphysical materialism, monism, naturalism, and an emergent, radical counter-culture. The controversies continued as long as the mechanical world picture dominated the natural sciences. With social and cultural changes, and the new physics of Rutherford, Einstein, Bohr, and Heisenberg, the debate slowly faded. / digitalisering@umu

This master thesis presents an analysis of two personalities Tomáš Garrigue Masaryk and Karel Kramář before the First World War. The main theme of this paper is to description their complicated relationship. Next part of this paper describes their political and social activities, their opinions and life attitudes at this time. This thesis is based on examination of their mutual correspondence. The purpose of this paper is to present comparison, analysis and interpretation of the relationship of T. G. Masaryk and K. Kramář in the Austro-Hungarian Empire.

En 1896, les missionnaires salésiens fondent une école des arts et métiers à Alexandrie destinée à un prolétariat immigré d’origine européenne. Dans les années suivantes, la mission multiplie les ouvertures d’écoles dans les villes du Delta et du Canal, mais sa réputation est avant tout liée aux filières professionnelles. Menacées de disparition sous Nasser, à l’instar des autres établissements d’enseignement étrangers, les écoles salésiennes se maintiennent dans le cadre d’accords de coopération bilatérale entre l’Égypte et l’Italie. Ce travail interroge la longévité de la présence missionnaire et la durabilité d’un ensemble d’établissements scolaires au-delà de dates retenues comme points de rupture entre une Égypte coloniale et postcoloniale. Il est question de l’investissement éducatif sur un modèle étranger d’enseignement professionnel et du rôle que les écoles missionnaires ont joué dans la formation de communautés de métiers. Au miroir des établissements salésiens, c’est la mise en place d’un enseignement technique en Égypte, les enjeux éducatifs, économiques et politiques qu’il incarne qu’on entrevoit. Par ailleurs, l’histoire des missionnaires salésiens et de leur réseau scolaire s’inscrit dans un cadre plus large : l’histoire des migrations méditerranéennes vers l’Égypte, l’histoire de l’Église, de la mission et de son aggiornamento et celle des relations italo-égyptiennes. C’est une histoire tout à la fois locale et globale qu’il s’agit d’éclairer. En rupture avec les approches nationaliste et nostalgique, ce travail se veut une contribution originale à l’histoire des missions et de l’enseignement étranger en Égypte. / In 1896 the Salesian missionaries established a school of Arts and Crafts in Alexandria, which was intended for working class European immigrants. In the following years, the mission founded other schools in the Delta and Suez Canal regions, but its reputation was particularly tied to its vocational training institutes. Threatened with disappearance under Nasser, like others foreign schools, the Salesian institutes managed to survive within the framework of Italo-Egyptian cooperation agreements. This dissertation questions the longevity of the missionary presence and the durability of the Salesian school network, hence expanding the boundaries between what is commonly delineated as colonial and post-colonial Egypt. The educational investment that Egyptian families made in Salesian vocational schools is analysed as well as the role the mission played in training trades and professional communities. Through the lens of the Salesian schools we catch a glimpse of the emergence of vocational education in Egypt, its educational, economic and political stakes. Moreover, the history of the Salesian missionaries and their schools is analysed within a broader framework: the history of Mediterranean migrations to Egypt, Church and mission histories as well as their aggiornamento, and eventually the history of Italo-Egyptian relations. The aim is to shed light on a history which is concurrently local and global. Distancing itself both from nationalistic and nostalgic approaches, this work aims to provide an original contribution to the history of missions and foreign education in Egypt.

Attirés par l'émulation artistique et par les possibilités qu'offrait le marché de l'art français, les artistes catalans de la fin du XIXe siècle et du début du XXe se rendirent en masse à Paris, dans un mouvement largement international. L'histoire que propose de traverser cette étude est celle des mobilités d'artistes, des transferts artistiques et culturels, des circulations, de la diffusion et de la réception d'œuvres. Quelle incidence eut l'origine de ces artistes dans leur parcours parisien? Quel fut leur degré d'acculturation? Quels réseaux parvinrent-ils à tisser? Quel fut l'accueil de leur œuvre : quelle lecture et quel usage? Comment construisirent-ils une identité à travers leur art? Ce travail entend combler une lacune de l'historiographie de l'art catalan contemporain et des rapports artistiques entre la Catalogne et la France, rejoignant les préoccupations actuelles sur les relations artistiques transnationales au travers de l'étude d'une communauté homogène d'artistes à une période déterminée. Accordant une place fondamentale à la réception, nous étudions la manière dont la capitale internationale de l'art - qu'était Paris - a réagi à l'intégration de ces étrangers et a accueilli leur œuvre. / Attracted by the artistic emulation and the possibilities offered by the French art market, nearly all Catalan artists of the late nineteenth and early twentieth went to Paris, in a broadly international movement. This essay mainly focuses on the mobility of artists, on artistic and cultural transfers, and on the reception of artworks. How did these artists integrate into the Parisian artistic milieu at the turn of the century? How did living in Paris affect their artistic production? And, alternatively , how did their presence affect the Parisian artistic landscape? Thus, joining the current concerns about transnational artistic relations, this work aims to fill a gap in the historiography of contemporary Catalan art and of the artistic relations between Catalonia and France. By providing a fundamental role to the critical reception, this work throws light on how the international capital of art - that was Paris - reacted to the integration of these foreign artists and to their work.

Orientador: Jorge Sidney Coli Junior / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-12T20:36:23Z (GMT). No. of bitstreams: 1 Paulitsch_ViviandaSilva_D.pdf: 19154700 bytes, checksum: 1fc2727325ff96d4ed507b69e374ed84 (MD5) Previous issue date: 2009 / Resumo: Esta tese constitui uma pesquisa em história da arte, relativamente ao tríptico intitulado La Faiseuse D'Anges (A fazedora de anjos), de autoria do artista brasileiro e filho de imigrantes alemães, Pedro Weingärtner (1853-1929). É objetivo geral desta tese relacionar, analisar e propor uma leitura crítica acerca dos aspectos picturais, sociais, culturais e historiográficos das representações constantes no tríptico, integrante do acervo da Pinacoteca de São Paulo. O artista percebe a mulher como o centro da sociedade - um pilar - e o lugar capital do casamento em sua vida, como fator de reconhecimento. A injunção desse status quo está nos detalhes dos objetos e da cena de carnaval e dos interiores que Weingärtner propositalmente colocou em sua composição, ao reproduzir essa realidade cotidiana, característica da pintura de gênero do século XIX, em toda a Europa.Entende-se que a simbologia e a sugestão foram sua primeira opção de linguagem. Depois, apoiou-se na obra literária Fausto, de Goethe, que permeia as três partes do tríptico. O título enigmático, relativo às abortadeiras, colocava em pé de igualdade todo tipo de prática que, de alguma forma, tentasse prejudicar a vida de um novo ser em geração. Pedro Weingärtner criou um tríptico sob um clima prejudicial em relação ao nascimento, resolveu sugerir o abandono e o colocou em posição igualitária ao crime de infanticídio. / Abstract: This thesis constitutes a research about Art History, focused on the triptych entitled La Faiseuse D'Anges (Angels maker) by the Brazilian artist and German immigrants' son, Pedro Weingärtner (1853-1929). The general goal of this work is to analyze and propose a critical reading of pictorial, social, cultural and historiographical aspects of the representations contained at the triptych, part of Picture Gallery of São Paulo State collection. The artist perceives the woman as the society center - a pillar - and the main place of marriage in her life as a fact of recognition. The injunction of this status quo is in the objects' details, in the carnival scenes and in the interiors than Weingärtner places on purpose in his composition, reproducing this daily reality, characteristical in 19th century paintings, all over Europe. Symbology and suggestion are understood as his first language option. Afterward, the artist based his work on Faust by Goethe, a literary text that pervades the whole triptych. The enigmatic title, referred to women who practiced abortion, put in the same level all practices that, somehow, attempted to damage the life of a new human being. Pedro Weingärtner created a triptych under a birth damaging approach and suggested the abandonment as well as put it in the same position of infanticide crime. / Doutorado / Historia da Arte / Doutor em História