La rhétorique du blâme dans l’Histoire Auguste se propose d’étudier comme un objet littéraire le recueil de biographies impériales connu sous le nom d’Historia Augusta, officiellement rédigé par six auteurs à la fin du IIIe siècle ap. J.C. et au début du IVe siècle ap. J.C., mais qui serait en réalité issu du fruit de l’imagination d’un unique rédacteur ayant vécu à la fin du IVe siècle ap. J.C., si l’on s’en tient à la thèse de l’historien allemand Hermann Dessau formulée à la fin du XIXe siècle. Le présent mémoire entend analyser les différentes stratégies destinées à dépeindre des images sombres d’une série d’empereurs légitimes et d’usurpateurs, compris dans la période historique qui débute avec le règne d’Hadrien et s’achève avec la chute de Carin (IIe-IIIe siècles ap. J.C.), dans un texte mêlant étroitement réalité et fiction. Le recours à des procédés de nature lexicale, stylistique, thématique et structurelle que l’on peut observer révèle l’importance de la mise en œuvre des ressources de la rhétorique épidictique, ainsi que la présence de nombreux phénomènes d’intertextualité, fondés notamment sur les Vies des douze Césars de Suétone, principal modèle du recueil. L’enquête conduit à un élargissement de la réflexion qui s’intéresse aux cibles de la critique. Si, derrière les figures des mauvais princes, le rédacteur cherche à fustiger les dérives du principat, il cherche également à mettre en oeuvre sa propre écriture, en tâchant de se distinguer des autres historiographes, dans un style qui accorde une large place à la fantaisie, à l’autodérision et au persiflage. Le mémoire s’efforce donc d’étudier la représentation des figures et des événements de l’histoire et de souligner les articulations entre poétique et rhétorique dans un texte majeur de la littérature latine de l’Antiquité tardive. / Rhetoric of Condemnation in the 'Historia Augusta' intends to study the collection of imperial biographies known as Historia Augusta as a literary object. The biographies were officially written by six authors at the end of the 3rd Century A.D. and at the beginning of the 4th Century A.D., but they were actually produced through the imagination of a single writer who lived at the end of the 4th Century A.D. according to the 19th Century thesis of the German historian Hermann Dessau. Through analysing a text that intricately mixes reality and fiction, this thesis will examine the different strategies intended to depict the sombre images of both legitimate and usurping emperors throughout the historical period that begins with Hadrian's reign and ends with the fall of Carin (2nd to 3rd Centuries A.D.). Observing the lexical, stylistic, thematic and structural methods reveals the importance of utilizing epideictic rhetoric as well as numerous intertextuality phenomena, particularly based on Suetonius's Vitae XII Caesarum, which is the main model of the collection. This inquiry drives to widen the thought interested by the target of the critic. If, behind the figures of bad princes, the writer tries to castigate the principate system that enables princely transgressions, he also tries to enhance his own writing. The writer tries to be different from other historiographers in a style that grants a large place to fantasy, self-mockery and raillery. This thesis endeavours, therefore, to study the representation of historical characters and events while underlining articulations between poetics and rhetoric in a major text of late Antiquity Latin literature.

Because of its importance in the history of the verse novel and the history of women’s writing, Elizabeth Barrett Browning’s Aurora Leigh (1856) has overshadowed the works of other female verse novelists in Victorian studies scholarship. By focusing on non-canonical works by four understudied women poets writing in the late nineteenth century— Augusta Webster’s “Lota” (1867), Violet Fane’s Denzil Place: A Story in Verse (1875), Emily Pfeiffer’s The Rhyme of the Lady of the Rock, and How It Grew (1884), and Emily Hickey’s “Michael Villiers, Idealist” (1891)—this dissertation expands our understanding of both women’s poetry and the verse novel in the Victorian period. It demonstrates that the genre was taken up in multiple ways after Aurora Leigh by women poets who, like EBB, addressed urgent and controversial social and political issues—such as parliamentary enfranchisement, adultery, marital rape, political sovereignty and land use in the Scottish Highlands, as well as socialism and the Irish Question— through inventive and complex generic combinations. This dissertation does not outline a teleological development of genre but, rather, recovers works through case studies that offer microhistories of verse novels at particular historical moments in order to expand the canon and definition of the Victorian verse novel. / Graduate / 2020-04-25

Parisian musical life underwent a tectonic shift in the late nineteenth century. Throughout the 1800s, and particularly during the Second Empire (1852-70), opera and other forms of theatrical entertainment had dominated the French musical scene. In the final decades of the century, however, a generation of French composers devoted considerable efforts to large-scale symphonic forms. A driving force in the advancement of orchestral music was the "Franck circle" or bande à  Franck--a group of more-or-less young composers mentored by an unassuming organ professor at the Paris Conservatoire. In their symphonic works, these musicians challenged the longstanding Austro-German dominance of serious instrumental genres and cultivated a distinctly French musical voice. This dissertation explores the burgeoning symphonic culture of Paris circa 1880-1900 by examining four representative compositions by prominent members of the Franck circle: Augusta Holmès's Les Argonautes (1880), Ernest Chausson's Viviane (1882-83, revised 1887), César Franck's Psyché (1886-87), and Vincent d'Indy's Istar (1896). Each of these pieces, the subject of an individual chapter, offers a study in the relationship between compositional practice and cultural identity. The critical success of Les Argonautes catapulted Holmès to national prominence and established her reputation as one of the most progressive composers in France. Chausson's extensive revisions to Viviane, his first major orchestral work, reveal his evolving attitudes about descriptive music and Wagner--the composer who cast the longest shadow in fin-de-siècle France. Although Franck based Psyché on a legend from Greek antiquity, his approach to musical signification allowed his disciples to interpret the piece variously as a Christian allegory or as absolute music. D'Indy's polemical stances on genre, artistic influence, and morality belie the ideological complexities and paradoxes in his Istar. In addition to illuminating these works through reception history, musical analysis, manuscript studies, and the composers' own writings, the dissertation will address three interrelated topics in each chapter. First, I explore how the bande à  Franck understood the concept of "serious" music, and how this conception shaped Third Republic attitudes about orchestral genres, absolute music, and program music. Second, I examine how French composers responded to the legacy of Wagner in non-theatrical genres. Finally, I discuss how these four musicians fashioned a cultural, national, and personal identity through--and sometimes in tension with--their orchestral works.

Thesis (Ph. D.)--Lehigh University, 2003. / Includes vita. Includes bibliographical references (leaves 183-199).

My dissertation, "Renovating the Closet : Nineteenth-Century Closet Drama Written by Women as a Stage for Social Critique," contributes to a new understanding about nineteenth-century closet drama through three distinct and innovative texts: George Eliot's The Spanish Gypsy (1868), Michael Field's Stephania (1892), and Augusta Webster's A Woman Sold (1867). I contend that these three women writers employed the closet drama, a genre written in dramatic form but intended to be privately read or performed, to critique the social, cultural, and ideological limitations placed upon women of their time. In their symbolic use of the genre and innovative experiments with form, Eliot, Field, and Webster created a new stage on which their female protagonists challenge belief systems, institutions, and conventions that confine their gender roles, sexual identity, and social power. My chapter, "'Angel of the Homeless Tribe' : The Legacy of The Spanish Gypsy," shows how George Eliot melds the conventions of epic narrative with those of Victorian closet drama and reveals a dynamic connection between the character development and genre. Eliot's canonical novels are famous for their indictment of the limited roles Victorian culture offered to women. Equally famous are the tragic destinies of her rebellious heroines: they end up dead, unfulfilled, or virtually imprisoned. But scholars have failed to notice that in her experiment with The Spanish Gypsy, Eliot created a female epic: Fedalma, a woman of fifteenth-century Spain, becomes the leader of her "Gypsy" nation, sung into the future by an admiring bard. Eliot's formal experiment makes The Spanish Gypsy an important text for understanding how genre shaped gender representation in Eliot's canon, and in Victorian literature generally. My chapter, "'Something of His Manhood Falls' : Stephania as Critique of Victorian Male Aesthetics and Masculinity," offers Stephania as Katharine Bradley and Edith Cooper's commentary on the predominantly-male Aesthetic and Decadent movements of the 1890s. Through the pseudonym Michael Field, Bradley and Cooper wrote their way into, and claimed their own space inside, a very exclusive males-only closet. The chapter demonstrates how Stephania, set in Rome 1002 A.D., reclaims agency for a Victorian artistic "sisterhood" adulterated and exiled by a "brotherhood" of male Decadents (who saw woman as a nemesis to social order, personal salvation, and creative production), both through its form, and its cast of three: Stephania, Emperor Otho, and his old tutor Gerbert. Stephania, a former Empress turned courtesan bent on revenge for her husband's murder, challenges homosocial exclusivity and ultimately triumphs as a symbolic queen and emperor. Successful in her plan to bring down Otho through her seduction and manipulation of both men, Stephania is redeemed and saved; she has restored social order. In its resistance of the boundaries and expectations of the closet drama genre, Stephania projects a new ideology for Victorian womanhood and female authorship. My last chapter, "'I Could Be Tempted' : The Ev(e)olution of the Angel in the House in A Woman Sold," presents A Woman Sold as an early example of Augusta Webster's strategic social rhetoric, as her use of the closet drama acts as a structural metaphor for the sociomythological confinement of the nineteenth-century middle class woman. I investigate how A Woman Sold exposes the notion that marriage for nineteenth-century middle class women symbolized a closet of social and cultural paralysis, as grown from a history of socially and culturally institutionalized gender expectations. At the same time, I demonstrate how Webster employs irony through a nexus of genre, narrative, and form to support and advocate for opportunities outside marriage that encourage female agency to develop. Essentially, the fundamental argument in this dissertation hinges on the ways in which Eliot, Field, and Webster revised the conventional closet drama to renovate and, in turn, reveal the metaphorical and literal closets that confined social and cultural possibilities for nineteenth-century women. / text

The study examines the formation and development of Chinese American populations in Augusta, Savannah, and Atlanta, Georgia from the beginnings of Chinese Exclusion period through the passage of the Immigration Act of 1965. Although people of Chinese ancestry were in an ambiguous position upon their arrival in the 1880s within the black-white dyad that defined southern race relations, they were able to negotiate this system, transforming themselves from being perceived as “outsiders” before the 1940s to being treated as “honorary whites” by the late 1960s. To explore this transition, this project analyzes generational differences between immigrants and their children. Before the 1920s, the mostly Chinese immigrant male population concerned themselves with establishing viable businesses for sending remittances back to family in China and creating social institutions that helped the men cope with decades of separation from their families. The men avoided possible conflict with Jim Crow by having their businesses and residences in black or immigrant areas. Some men cultivated better relations with whites by attending Sunday schools that catered to Chinese immigrants. The mutation from “outsider” to “honorary white” status began when prosperous Chinese men started sending for wives to join them in the 1910s, thus ushering in a new pattern of planned long-term settlement in the state. Families successfully challenged the older perception by joining white churches, enrolling their children in white schools, and building social ties with white community leaders. Second generation Chinese Americans reaped the benefits of this strategy in the 1950s and 1960s by gaining access to housing in white neighborhoods, employment opportunities in white-collar occupations, and acceptance as partners in marriages with European Americans.

The study examines the formation and development of Chinese American populations in Augusta, Savannah, and Atlanta, Georgia from the beginnings of Chinese Exclusion period through the passage of the Immigration Act of 1965. Although people of Chinese ancestry were in an ambiguous position upon their arrival in the 1880s within the black-white dyad that defined southern race relations, they were able to negotiate this system, transforming themselves from being perceived as “outsiders” before the 1940s to being treated as “honorary whites” by the late 1960s. To explore this transition, this project analyzes generational differences between immigrants and their children. Before the 1920s, the mostly Chinese immigrant male population concerned themselves with establishing viable businesses for sending remittances back to family in China and creating social institutions that helped the men cope with decades of separation from their families. The men avoided possible conflict with Jim Crow by having their businesses and residences in black or immigrant areas. Some men cultivated better relations with whites by attending Sunday schools that catered to Chinese immigrants. The mutation from “outsider” to “honorary white” status began when prosperous Chinese men started sending for wives to join them in the 1910s, thus ushering in a new pattern of planned long-term settlement in the state. Families successfully challenged the older perception by joining white churches, enrolling their children in white schools, and building social ties with white community leaders. Second generation Chinese Americans reaped the benefits of this strategy in the 1950s and 1960s by gaining access to housing in white neighborhoods, employment opportunities in white-collar occupations, and acceptance as partners in marriages with European Americans.

Thesis (D. Ed. Min.)--New Orleans Baptist Theological Seminary, 2005. / Includes abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 135-146, 67-72).

Thesis (Ph. D.)--Stanford University, 1998. / UMI copy paged continuously. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 320-325).

Thesis (D. Ed. Min.)--New Orleans Baptist Theological Seminary, 2005. / Includes abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 135-146, 67-72).