This thesis examines science's role in the construction of Britain's new Houses of Parliament between 1834 and 1860. Architecturally the Gothic Palace embodies Victorian notions of the medieval and romanticized perceptions of English history. Yet in the mid-nineteenth century, the building not only reflected, but was involved in, the very latest scientific knowledge. This included chemistry, optics, geology, horology, and architecture as a science itself. Science was chosen, performed, trusted, displayed, contested, and debated through the physical space of government. Parliament was a place where science was done. Not only was knowledge imported to guide architectural construction, but it was actively produced within the walls of Britain's new legislature. I argue that this attention to science was not coincidental. Rather, it was a crucial demonstration of the changing relationship between science and politics. Science was increasingly asserted to be a powerful form of knowledge, and to an institution struggling to secure authority in the uncertainty of reformed British politics, it appeared a valuable resource for credibility. Contextualizing the use of science at Parliament in the political instability of the 1830s and 1840s emphasizes how the use of new knowledge was a potent practice of constructing political authority.

No description available.

My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.

The focus of this study is upon Gerard Manley Hopkins~s literary opinions about the state of affairs of Victorian England regarding its defence, religions, science, politics, the economy, and other concerns. His claim to a legitimate voice lies in the tremendous amount of erudite knowledge he accumulated over the years, on many different subjects, and his classical education. Major focus is on his pristine awareness of the Anglo-Saxons and their language of Old English. Hopkins's unique style of writing poetry and his contribution to Victorian philology is highlighted. The work also deals, in some degree, with his mental state at various periods in his life, and attempts to disclose an overcoming of the anguish and depression evident in the poems. His enduring spirit under the grave swamping of Christianity by destructive discourses is another major theme. / ENGLISH STUDIES / M.A. (ENGLISH)

This dissertation is an account of the response to the needs of the 19th century Afrikaner - for patriotic music and for national anthems, particularly a Transvaal Volkslied. The response came not only from the Transvaal (Zuid-Afrikaansche Republiek) and the rest of South Africa, but from the whole of the Western world including America and Russia. A corpus of 695 editions of pro-Afrikaner patriotic music has been compiled in Appendices AI and A2, representing around 350 compositions. This large figure shows that with each War of Independence waged by the burgers against Britain (1880-1881 and 1899-1902) there was a surge of music inspired by the Afrikaner cause. In fact, these wars of independence were chronicled in music - perhaps more so than any other war in world history. Attempts by Transvalers, Hollanders and South Africans in general to compose works aspiring to the accolade of Transvaal Volkslied are highlighted in the early chapters of this survey. It is shown how the national anthem of thc Orange Free State ('Heft, Burgers') was the incentive for the Transvaal to find an officially acceptable anthem of its own. Twenty seven early South African and Dutch works, each aimed at becoming a national anthem for the Transvaal, or for the whole of South Africa including the Transvaal, are dealt with. In particular, four compositions by J.S. de Villiers (two settings for "'n Ider nasie', and one each for 'De Vierkleur van ons dierbaar land' and 'Op, Op met de Vierkleur'), one by W.J. van Gorkom ('Een ieder nasie') and one by Catharina van Rees ('Kent gij dat Volk?') are highlighted. Chapter VI deals with 24 colourful patriotic compositions from all over the world. Some, like Les Boers by Jules Mulder, are treated in some detail. These works form a cross-section through 19th century music inspired by the Afrikaner cause. They range from the sad to the satirical, from the furious to the funny, and very few live on to this day - almost all have proved to be musical ephemera. But one song -- 'Kent gij dat volk vol heldemoed?' by the noble Dutch woman Catharina Felicia van Rees - rose above all opposition, and was finally accepted as the official Transvaal Volkslied. It stands supreme as an inspired work. Five chapters of the dissertation are devoted to the birth, lifespan and impact of this song (Chapters VII to XI). These chapters tell of 'Kent gij dat volk?', the song that soared through the world, inspired by the Afrikaner cause and by Pres. Thomas Burgers, created by Van Rees with a great love for the Boer people - inspiring others to such an extent that she and her song became the centre of a veritable cult. A Dutch song and a Dutch woman had become the epitome of the Afrikaner cause. Of the corpus of 695 items in Appendix AI, over 180 are editions and versions of 'Kent gij dat volk? '. These versions and all the music that could be traced during my research are incorporated in Chapter VIII - whether as sheet music or in albums, incorporations or variations, also indicate where she was acknowledged as composer and where not. For the piracy of her song, not only in the Western world but in South Africa as well, caused Catharina van Rees profound sadness. A great deal of confusion surrounded Cato and her song (Chapter X) and she also gave many people a great deal of pleasure (Chapter Xl). With over 180 known editions of the music and at least 35 poems written to this music (Chapter IX) one cannot but realize that here is music indeed. And by means of Appendix A1 one has a composite picture of the musical and emotional milieu into which 'Kent gij dat volk?'was born, gave battle and was victorious. This attempt to lift pro-Afrikaner music and especially the Transvaal Volkslied out of the general musical background, for scrutiny and comparison, has, in my opinion, revealed a wealth of interesting and useful information. And, could well lead to much needed further research into and documentation of Africana music. / Art history, Visual arts and Musicology / M.A. (Musicology)

This doctoral thesis explores the contexts of utopian writing and thinking in the Nahda, the Arab 'Awakening' of the long nineteenth century. Utopian forms of social imagination were responses to fundamental changes in the societies of the Arab-Ottoman world brought about by integration into a capitalist world economy and a European-dominated political system. Much Nahda writing was permeated by a sense of a 'New Age' opening and of wide horizons for future change - and this was not simply illusory, but a direct response to actual and massive changes being wrought in the writers' social world. My study focusses on Egypt and Bilad al-Sham in the middle decades of the nineteenth century, from the early 1830s to the mid-1870s. An initial chapter offers a definition of the social classes and groups which contributed to the Nahda in these years - such as the Beiruti bourgeoisie and the Egyptian-Ottoman official class - drawing on the work of Arab Marxists such as Mahdi 'Amil and social historians such as Bruce Masters. The following chapters deal in detail with writings produced by three distinct cultural formations within the Nahda movement, and with different aspects of their social imagination. Chapter 2 examines the discourse of civilisation (tamaddun) through the work of the Beiruti writers Khalil al-Khuri and Butrus al-Bustani in the 1850s and 1860s. Chapter 3 deals with Nahda writers' sense of their place within the European-dominated world, mainly through translations of geography books made by Rifa'a al-Tahtawi in Mehmed Ali's Egypt in the 1830s and 1840s. Chapter 4 examines the utopian aspirations of the Nahda, through a close study of the major utopian literary work of the period, Fransis Marrash's Ghabat al-Haqq (The Forest of Justice, 1865). Finally, a conclusion places my study in relation to other recent work in the field of 'Nahda studies'.

This thesis aims to show, how periodization and race converged vigorously during the nineteenth century. The research focuses mainly on the question of how nineteenth century historians viewed the transformation from Antiquity to the Middle Ages. For many scholars, the year 476 A.D. became associated with the fall of Rome. During the nineteenth century, historians elaborated two main arguments: 1) 'The Roman' emphasized the decline that had occurred after the fall of Rome. 2) 'The Teutonic' signified the rejuvenation which the German tribes had brought about in the decaying Empire. Although I relate to the 'Roman' argument, the heart of the discussion is devoted to the 'Teutonic' school that was supported not only by German but also by British or more accurately English historians. The first part of the dissertation is devoted to the theme of 'Community and Race'. In this part, I engage with the thematic question of how the historians of the second half of the nineteenth century constructed past and present communities through the concept of race. A close community or Gemeinschaft of English and German historians emerged during the middle of the nineteenth century. Based on the concept of Teutonic kinship, this community emphasized the notions of race and historical time, which actually invented a new sense of belonging. The English and the Germans were one, an almost indivisible community founded on a purported notion of race. Despite several national or particularistic inclinations, these nations had a common Teutonic past, which always bonded them together. Therefore, the historians 'imagined' a new ultimate transnational (racial) community of belonging. In the second part I study the theme of 'Time'. The linkage between the two parts is embedded in the idea of the Community as a 'Time Maker'. Namely, in what manner does the construction of a community by the historians defines the division of time. The chapter that links the two themes of 'Community' and 'Time' examines the writings of scholars in the eighteenth and nineteenth centuries who underlined the Germanic invasions of the 4th and 5th centuries A.D. as the events that symbolized the fall of Rome and the end of Antiquity. This governing observation is connected directly with the racial Teutonic feelings that were prevalent among English and German historians. The discussion of it set the framework for the following chapters, which delve into the distinct periodization's of Edward Augustus Freeman (1823-92) and John Bagnell Bury (1861-1927). These historians, who were in constant and close contact until the death of Freeman in 1892, reveal similarities as well as major differences in their historical writings. The main reason why they were chosen derives from the new periodization which they had adopted. Both of them devised a method that signified a departure from the accepted and almost 'sacred' division between Antiquity and the Middle Ages.

Orientadores: Leonardo Affonso de Miranda Pereira, Sidney Chalhoub / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-08T06:14:47Z (GMT). No. of bitstreams: 1 Souza_KarenFernandaRodriguesde_M.pdf: 7150480 bytes, checksum: 6bdf4772713e9feec7ac3957cbf879a1 (MD5) Previous issue date: 2007 / Resumo: Este trabalho busca entender o modo pelo qual os escritores e desenhistas da Semana Illustrada, revista humorística que circulou no Rio de Janeiro entre os anos de 1860 e 1876, fizeram da publicação um meio de interagir com os debates sociais mais amplos do tempo. Através da análise dos artifícios literários que estruturavam sua narrativa, tenta mostrar como a caricatura e a crônica foram usadas como meio de educar as elites nacionais, de modo a aproximar o país de um ideal de civilização que tinha na Europa seu modelo. Para isso, discute como a folha representou, em diferentes momentos, as relações entre senhores e escravos, de modo a compreender as alternativas de futuro que eram nela apresentadas para a nação brasileira / Abstract: This dissertation attempt to comprehend how the writers and the designers of the Semana Illustrada, a humorist magazine that circulated in Rio de Janeiro between 1860- 1876, used the publications as way of interaction with the social discussions of the epoch. The work analises the literary stratagems that strutured their narrative, aiming demonstrate how the caricature and the cronic were used as a way of educate the national elites, approaching the country of a ideal of civilization that had the model in Europe. The work focuses in how the journal represented, in diferents moments, the relations between the owners and the slaves, to comprehend the alternatives of future presented by the magazine to brasilian nation / Mestrado / Mestre em História

This study focuses on the central role which fugue d'ecole, as defined and taught by the post-revolutionary Conservatoire de Paris, played in re-establishing standards of excellence in organ composition and aiding the development of the French Symphonic Organ School. An examination of counterpoint and fugue treatises by Cherubini, Dubois, and Gedalge reveals the emergence of a specific school fugue form, intended for academic purposes only, as a means to instilling discipline and honing the technical skills required in all forms of musical composition.

No description available.