During the reign of Queen Victoria was seen the gradual emergence of the emancipated woman. The idea that women were innocent beings who must be kept from real knowledge of the world died hard, however, and to the end of the era there were many who repudiated the very concept of emancipation whether in literature or life. Coupled with the chivalrous, idealistic concept of womanhood was Victorian respectability, and it is not surprising that in the earlier Victorian novels we see clearly the idealistic concept of women and the effects of the cult of respectability. To illustrate my theme, of the gradual change in the concept of the novel which naturally kept pace, more or less, with the progress the emancipation of women was making, I have chosen one novel from each of seven great Victorian novelists whose works span the whale era. The only exception I have made is with Charlotte Bronte. In her case the heroines of two of her novels are discussed mainly because she is the first Victorian novelist to sound a note of protest against the then conventional concept of the heroine.

Submitted by RENATO AURELIO MAINENTE null (renatomainente@hotmail.com) on 2017-04-07T18:42:13Z No. of bitstreams: 1 1 - MAINENTE, Renato Aurélio Tese.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-04-17T14:22:38Z (GMT) No. of bitstreams: 1 mainente_ra_dr_fran.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5) / Made available in DSpace on 2017-04-17T14:22:38Z (GMT). No. of bitstreams: 1 mainente_ra_dr_fran.pdf: 1629680 bytes, checksum: daafc41f7a4e5e1c1afa695c9554e343 (MD5) Previous issue date: 2016-08-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nas últimas décadas do século XIX, o Rio de Janeiro assistiu a um incremento no número de casas teatrais e uma diversificação de espetáculos oferecidos ao público. Os melodramas, dramas realistas e as óperas italianas, até então dominante nos palcos, passaram a sofrer concorrência cada vez maior de operetas e demais gêneros teatrais musicados, culminando com o sucesso do teatro de revista na última década do oitocentos. Essa diversificação, porém, foi alvo de intenso debate: nas páginas de jornais e revistas do período, literatos como Machado de Assis, Jose de Alencar, Aluísio Azevedo e Raul Pompéia, teciam juízos acerca das obras, dos autores e também sobre a própria estrutura das casas teatrais. No entanto, para além de julgamentos propriamente estéticos, estavam em questão, sobretudo, diferentes concepções da atividade teatral e da função dos teatros na sociedade oitocentista. Tratava-se, assim, da defesa de uma atividade teatral pautada por dois princípios distintos, reformar os costumes da sociedade e servir ao público obras voltadas para seu entretenimento. O objetivo deste estudo é, portanto, mapear os diferentes discursos acerca do teatro nacional, a partir da análise de dois conjuntos de fontes: textos publicados em periódicos no Rio de Janeiro oitocentista, e que abordavam o cenário teatral do período; e os pareceres emitidos pelo Conservatório Dramático Brasileiro, instituição encarregada da censura às obras dramáticas e líricas a serem encenadas nas casas teatrais da corte. Partindo dessa análise, será possível identificar as diferentes expectativas nutridas pelos homens de cultura do período quando o assunto era a arte teatral, e principalmente o desenvolvimento do teatro nacional. / In the last decades of the nineteenth century, Rio de Janeiro witnessed an increase in the number of theatrical houses, and diversification of shows offered to the public. The melodramas, realistic dramas and Italian operas, hitherto dominant on stage, have come under increasing competition from operettas to other theatrical musical genres, culminating in the success of the revue in the last decade of the nineteenth century.However, this diversification has been the subject of intense discussion: in the pages of newspapers and magazines of the period literati, writers like Machado de Assis, Jose Alencar, Aluísio Azevedo and Raul Pompeia, wrote reviews about the works of authors and also on the structure of theatrical houses. However, in addition to properly aesthetic judgments were concerned, above mainly different conceptions of theatrical activity and function of the theaters in the nineteenth century society. It was thus the defense of a theatrical activity guided by two distinct principles, reform the customs of the society and serve the public works aimed for your entertainment. The aim of this study is therefore to map the different discourses about national theater, from the analysis of two sets of sources: texts published in journals in Rio de Janeiro in the nineteenth century, and approached the theatrical setting for the period; and the reports emitted by Brazilian Dramatic Conservatory, institution in charge of censorship of dramatic works and lyrical to be staged in the theater houses of the court. Based on this analysis, it will be possible to identify the different expectations nourished by the period of the men's cultures when it came to the theatrical art, and especially the development of the national theater.

A presente Tese de Doutorado tem como objetivo principal a investigação das ressonâncias do Niilismo Europeu na produção literária de Antero de Quental, Eça de Queirós e Cesário Verde. Segundo a teorização nietzschiana, o Niilismo Europeu é a história da inserção, da desvalorização e do declínio dos valores cosmológicos do ocidente. Nesta tese, objetivamos demonstrar como as obras desses três autores refletem essa história. Com esse fim, empreendemos uma análise dessas obras a partir destes três eixos temáticos que remetem à desenvolução da história do Niilismo Europeu na segunda metade do século XIX: a consciência da morte de Deus; a tentativa positivista de substituir o Deus morto pela verdade científica; e o crescente sentimento de desvalorização da vida após o fracasso dessa e de outras tentativas de dar-lhe um sentido. Como as obras de Antero, Eça e Cesário representam essa história? Que influência os fatos dessa história exercem sobre tais obras? Se a vida deixa de ter um sentido, e isso se torna a causa de sua desvalorização, poderia a atividade literária manter ainda o seu próprio valor? São essas as perguntas que procuramos responder ao longo desta tese / The main objective of this thesis is to investigate the ressonances of the European nihilism in the literary productions of Antero de Quental, Eça de Queirós and Cesário Verde. According to the theoretial thinking of Nietzsche, European nihilism means the history of the insertion, then of the devaluation, and finalyy of the decline of Western cosmological values. In this thesis, we aim at demonstrating how, in the works of the three mentioned Portuguese authors, this Nietzschean concept of history is reflected. Therefore, we established an analysis of these three authors according to three main themes connected to the historical development of the European nihilism along the second half of the 19th Century: firtly, the cousciousness of the death of God; secondly, the Positivist attempt to substitute the recently deceased God by the scientific truth; and thirdly, the aspects concerning the growing feeling of the devaluation of life, as the attempsts to find a meaning for it failed. Thus, based on these themes we propose to answer and discuss the following questions: how can the works of Quental, Queirós and Verde represent this history pressuposed by Nietzsche? What kinds of influence did this history have in the works of these three authors? And, if there is any truth in the fact that life is no more meaninful, and that is the cause for its devaluation, is it possible for the literary activity to advocate values for itself? These are the main questions we aim at answering in the pages of the thesis that follows

The aim of the literary work is to put near a production of two important french writers, George Sand and Guy de Maupassant, in the kontext of epoch. The literary work apprises of the life and piece of the both authors, main literary tendences of 19th century (realism and naturalism) and a romance, as a genre in general. The literary work addresses the analysis of George Sand{\crq}s piece {--} Horace and Guy de Maupassant{\crq}s piece {--} Bel-Ami. In the both romances appears the theme of "arrivism", or the endeavour of the main hero to get from the bedrock of the society up to its top. The aim of the literary work is to characterize, how the double konception of arrivism (arrivismus du héros, arrivisme d'une société) shows into the life of the both protagonists of romances.

This thesis explores the development of the grammar school in Písek in years 1778-1850. It is based on a thorough study of specialized literature and archival resources in the Písek State District Archives. The first part of the thesis briefly introduces the history of the town and the circumstances of the local secondary schools establishment in the 18th and 19th centuries. The essential part focuses on the grammar school development in connexion with the culture of the town and education history. The most important data include the total number of students, their results, length of studies, territorial and social origin on the base of their fathers' employment. The final part of the thesis is devoted to the teaching staff.

The thesis shows everyday life in south Bohemian rectory Lišov in the years 1789-1914. The authoress used mostly sources preserved in the State District Archives in České Budějovice in the funds of Parish Office Lišov and District Office České Budějovice I, in the State Regional Archives in Třeboň in the fond Bishop{\crq}s Office and from sources of the Land Register Office in České Budějovice. The work is divided into seven chapters, introduction and conclusion. The first chapter is based upon specialized literature and describes the development of a church administration in Bohemian countries in observed period. In other chapters the authoress describes the rectory Lišov, its administration development and its economy; she also mentions social conditions of rectory{\crq}s inhabitants. The work then considers a chapter about church in Lišov, its renovation and people, who ensured the daily operation of the parish and the church. The thesis also describes a life of one of the rectory{\crq}s inhabitants in the beginning of the 20th century. The work outlines life at country rectory in the time of fast changing and modernizing 19th and the beginning of 20th century. Textual and picture supplements included.

D.Litt. et Phil. / The demolition of the Berlin Wall in 1989 and the unification of the two Germanies less than a year later led to a search for a new national identity - a process in which German history was reconsidered. This initiated a number of debates about how the German past, especially the atrocities that had been committed during the fascist era, should be remembered. There was a strong tendency to downplay guilt and to consider this chapter of German history closed. Eventually, however, the opposite tendency gained prominence in public discourse. Particularly around 1995, the fiftieth anniversary of the end of World War II, and in subsequent years German society appears to be more interested in history than before. This thesis examines the role that novels and short stories, which were published in Germany during the nineties, played in the process of re-evaluating the German past. Taking into account that the telling of stories is a crucial element of remembrance, authors of fictional works that deal with the past, in whatever way, contribute to the collective memory of a nation. The seven chapters of this thesis examine different aspects of redefining the past. Attacks on authors like Christa Wolf and Giinter Grass and other intellectuals, especially by the conservative media, demonstrated that traditional perspectives were reconsidered. The ensuing debate, and how authors responded in their works, is examined in the first two chapters. The third chapter traces the effects that unification had particularly for those who had lived in the GDR and who were now struggling to reposition themselves in the historic process. The novels analysed reveal that unification affected West Germans to a much lesser extent. The following three chapters deal with the huge impact that a guilt-ridden past had and still has on the lives of Germans. A number of novels show that family life was severely affected by the historical burden which older generations were carrying, and that the silence which surrounded this burden was an irritating factor for younger generations. Authors of all ages try to come to terms with this issue in various ways, especially in autobiographical works. One dominant insight arises from most of the texts: the German language is often regarded as contaminated, and German daily life - in both the GDR and the FRG - was strongly influenced by the lack of communication between the generations. In this context those works that deal with the relationship between Jews and others are of particular interest. The final chapter discusses works published in 1997 and 1998

Der Anfang der ungarischen Operngeschichte wird in der Literatur generell mit dem Jahr 1837 angesetzt. In diesem Jahr erfolgte in Pest die Eröffnung des ständigen Ungarischen Theaters, welches seit 1840 den stolzen Namen "Ungarisches Nationaltheater" führt. Für fast ein halbes Jahrhundert sollte dieses Haus neben dem Drama und dem Lustspiel auch der Oper als Heimstätte dienen.

I examine the mobility and circulation of peace medals featured in nineteenth-century portraiture of Native Americans through the lens of object-oriented ontology. This research strives to establish a different perspective for considering nineteenth-century portraiture of Native Americans by situating the works through the framework of materiality and circulation. By applying this approach to a series of portraits of Native Americans with peace medals, my research seeks to define issues of movement and power within the transient, fluctuating space of the nineteenth-century American frontier. To accomplish this, I trace the production and distribution of peace medals within paintings widely viewed at the time, as well as the movement of groups and individuals involved with transporting and receiving the medals. Tracking these objects and their mechanisms of movement within the visual culture of the nineteenth century, indicating not only the thing itself but also its processes of production and movement, reveals a dimension of specificity to pictorial narratives, even as the exhibited artworks promoted generalized ideals regarding Indian policy through their circulation. I follow the peace medals’ logistics of production and transit to underscore issues of value and currency on the American frontier, highlighting the ways in which peace medals and the artwork depicting them participated in narratives of Native displacement.

Through an examination of the letters, reports and published writings of the missionaries of two distinctive Protestant missions active in the Kurdish region during the nineteenth century, this thesis explores the Orientalist and imperialist qualities of missionary knowledge production. It demonstrates the diversity of Protestant missionary thought on the subject of the Orient and the individual nature of missionary knowledge production during this period. Equally importantly the study allows for a critical examination of the Orientalist critique in the context of missionary activity and a contextualised assessment of missionary complicity with imperialism. The findings of the study show that the Orientalism of the Anglican ‘Assyrian Mission’ and that of the American Presbyterian ‘West Persia Mission’ share common characteristics but, importantly, diverge diametrically in the meanings ascribed to the differences perceived to separate ‘Oriental’ from ‘Occidental’. This diversity in the representative style of the two missions can be linked to their opposed objectives in relation to proselytisation and thus suggests that their knowledge production was not solely determined by Orientalist discourse but also influenced by other discursive factors. Given Edward Said’s recognition of the diversity of the phenomenon of Orientalism it is therefore of great value to attempt to map some of this vast and divergent terrain of ideas. My thesis thus suggests that a meaningful division can be made within the Orientalist discourse between expressions of an Orientalism of essential difference and that of an Orientalism of circumstantial difference. Concerning imperialism, the study argues that, although these missionaries can be considered imperialists in an unwitting and indirect sense, care needs to be taken in the application of this label. My argument is that association with and contribution to textual attitudes which promote ideas of ontological or cultural superiority are a very different activity to conscious engagement in projects of imperial expansion; and that this needs to be recognised. Furthermore the standard model of a political metropolitan center determining the fate of its activities in the periphery is reversed in the case of these missionaries, where religious concerns drove engagement against political interests.