This thesis has three parts which can be briefly described as the nature of the threat, the instrument of response and the method of response. Before discussing the military system of the Roman empire, it is necessary to examine its enemies, to see how and why they fought. The first part of the thesis looks at the limitations of the evidence concerning barbarians. It then discusses the social and economic basis of barbarian life, showing their potential for war and the type of threat presented to the Roman empire. The next section deals with the types of conflict between Rome and the barbarians and the reasons for it. There then follows a detailed discussion of barbarian armies and their equipment, strategy and tactics when fighting the Romans. The second section discusses the Roman army. Initially, the organisation of the army is examined, then its troop types and their equipment. This is done with regard to both land and naval forces. Then the sources of soldiers and the problem of barbarization are discussed in some depth. Lastly, the types of fixed defences are briefly examined. Having examined the instrument of response, the third section discusses how it was used. It starts by examining the conditions affecting decision-making at this period, then discusses foreign policy, i.e. whether to use force or alternative methods, with regard to both barbarians and internal enemies. Strategy, i.e. the type of operation employed to defeat the enemy, is then discussed with regard to defence against barbarians, attack against barbarians and against internal enemies. The following part, on operations, discusses how the army performed in the field and analyses tactics for fighting field battles, naval battles and sieges.

This thesis analyses the pecularities of German imperialism in the Near East. The economic aspect of German imperialist policy is reflected in the Baghdad Railway Project, and the political aspect in the German support for pan-Islamism. in this thesis, it is argued that both of these policies were dominated by an anti-colonialist discourse, which formed the distinct nature of German imperialism in the Near East. in order to prove this argument, the works of advocates of German expansion in the Near East has been analysed as the main sourced of influence on the German public opinion.

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

Musicological studies into the works of English composer, Cyril Scott (1879-1970), will almost ubiquitously include a brief and circumspect reference to his avowed “occult” interests. Considered for a time to be one of the most promising talents of the English Musical Renaissance, Scott is certainly a figure of great interest in the context of British music history; however, the fanatical nature of his personal activities and belief system have typically dissuaded researchers from venturing beyond a bare consideration of his music. The source of the academic reluctance is clear—those interested in pursuing Scott’s biographical details any further than the scant outline often provided are confronted with references to secret occult circles, Masters and swâmis, gnomes and angels, the “sheaths of the soul,” clairaudient investigations and disembodied Tibetan organists. The impenetrable character of Scott’s belief system has led to the arbitrary application of such cover-all terms as “mystical” or “Theosophical” in its description, thereby effectively sealing shut a potential hermeneutic gateway into his musical output, and eluding a further understanding of the man himself. Much of the biographical information currently available on Scott relies almost solely on the detail provided in the composer’s own two autobiographies. These are clearly problematic sources on which to base our understanding, for a number of reasons. The difficulties associated with approaching Scott’s belief system are similar to those regarding his biographical detail, including issues of authenticity, representation and “veiling.” As a result, much of Scott’s thinking has remained hidden in his sizable literary oeuvre, untouched by musicologists. Within his literary output is revealed a distinct line of developing aesthetic thought, culminating in a theory which he considered to have been his greatest literary contribution. By examining Scott’s literary output and extrapolating new biographical detail from other sources, there begins to appear a clearer picture of how Scott’s aesthetic thinking gradually became intimately entwined in, and driven by, his developing philosophical outlook and spiritual beliefs. It is the contention of this thesis that Scott’s aesthetic thought, rather than falling within an “Orientalist” or merely “Theosophical” construct, was actually firmly rooted in the aestheticism of modernist anti-rationalist philosophies traditionally associated with certain literary movements, particularly Symbolism. From this characterisation, the present study will explore Scott’s aesthetic theorizing within the framework of his spiritual development. Its purpose is to initiate a new and more comprehensive platform from which to approach Scott’s music and also to raise new questions regarding the impact of the aesthetics of particular literary trends on the position of music within early twentieth-century aesthetic theories.

No description available.

Nessa pesquisa OS CHIFRES ENTRE A CRUZ E A ESPADA: um estudo das festas de touros (XV-XVI) na Espanha, buscamos identificar como se deu essa emergência de um discurso de controle régio e clerical sob as chamadas festas de touros nos séculos XV e XVI – sendo aquilo que chamamos de “os chifres entre a cruz e a espada” justamente essa leitura das festas taurinas que legitimaram e deram vasão a essa construção das festas mais austeras e em conformidade com as doutrinas e dogmas cristãos, naquilo que denominamos de discurso de ordenança festiva. Para isso, analisamos uma gama de documentos, entre uma Crônica (Crónica del Condestable de Castilla Don Lucas de Iranzo), um Tratado (Tratado do Jogo), Bula (Salute Gregis Dominici) e o prólogo de um Cancioneiro (Cancionero de Juan Alfonso de Baena) na tentativa de construir e identificar nessa tipologia diversa de documentos, as várias maneiras utilizadas para compor o discurso de ordenança festiva. Observáveis em três frentes de análise – o discurso clerical, o discurso clerical percebido e praticado ou não pela nobreza e o discurso espacial/heterotopológico (sendo esse último, de suma importância, e tendo sido analisado partindo do conceito foucaultiano de heterotopia e as várias possibilidades que ele pode representar na análise dos mais diversos espaços). Também, perseguimos ao longo da pesquisa um tema que apesar de já há muito debatido mostrou que ainda encontra terreno fértil para novos debates historiográficos, as festas em si – analisadas partindo da proposta da festa como questão e como discurso. / In this research HORNS BETWEEN THE CROSS AND THE SWORD : a study of the bulls parties (XV- XVI) in Spain, we seek to identify how was this emergence of a regal control speech and clerical specifically under the so-called bulls parties in the XV and XVI - being what we call " the horns between a rock and a hard place " just this reading of bullfighting festivals that legitimized and gave arterial runoff to that construction of the austere celebrations and they were in accordance with the Christian doctrines and dogmas , what We call the ordinance festive speech and gave way to this construction of more austere celebrations that were in accordance with the Christian doctrines and dogmas, in what we call the festive ordinance speech. In order to do so, we analyzed a range of documents, from a chronicle (Crónica del Condestable de Castilla Don Lucas Iranzo), a treaty (Tratado del Juego), a bula (Salute Gregis Dominici) and the prologue of a songbook (Cancionero de Juan Alfonso de Baena) in an attempt to identify and construct in this different typology the various ways used to compose the festive ordinance speech. Observable in three fronts of analysis - the clerical speech, the clerical speech perceived and practiced (or not) by the nobility and the space/heterotopological speech (the latter, of paramount importance, has been analyzed with Foucault's concept of heterotopia and the various possibilities that it can represent in the analysis of the most diverse spaces as a starting point). We also seek throughout the research a theme that, although it has been discussed many times before, still shows that there is fertile ground for new historiographical debates: the parties themselves – analyzed from the premises of parties as problem and as speech.

Cette thèse analyse le rôle du théâtre historique dans le processus de construction de la nation au Pérou entre la moitié du XIXe siècle et le début du XXe siècle. Elle propose l’étude des dynamiques du théâtre historique, de son développement dans la société péruvienne comme expression du développement de ce processus de construction nationale. La période étudiée est d'une complexité particulière pour le Pérou et décisive pour comprendre les difficultés de la construction de la nation et de l'identité nationale. La thèse privilégie Lima, la capitale, et souhaite démontrer que les drames historiques de cette période- représentés ou non- révélaient une image du passé – imaginaire ou non - qui exprimait les aspirations nationales ou les idéaux des classes moyennes ou des élites du pays. Il s’agissait pour la plupart de libéraux, secteur auquel appartenait la majorité des dramaturges et du public. La thèse souhaite démontrer aussi que le théâtre historique n’a pu pleinement se développer que dans les jointures d'enthousiasme nationaliste et dans un contexte d’optimisme à l’égard du présent et de l’avenir du pays que pouvaient avoir les élites péruviennes. / This doctoral dissertation explores the role that historical theatre played in the process of nation-building in Peru between the mid-nineteenth and the early twentieth centuries. Local theatre’s dynamics mirrored the development of nation-building in this country. The period under study is of particular complexity in Peruvian history, and it allows us to understand the difficulties arising between the construction of the nation and the development of a Peruvian national identity. This research focuses on Lima, Peru’s capital city. It demonstrates that the historical dramas written in this period, even when not all of them were set on stage, sometimes conveyed a realistic image of the past whereas other times that representation was fictitious. These plays expressed the middle and/or upper classes’ national aspirations and ideals. Most play writers and the audiences that attended the plays belonged to the middle and/or upper classes and considered themselves as liberals. This dissertation also argues that Peruvian historical theatre only evolved in circumstances in which the local elites were filled by nationalist enthusiasm and optimism about Peru’s contemporary present and future.

152f. / Submitted by Hozana Azevedo (hazevedo@ufba.br) on 2013-06-05T14:57:52Z No. of bitstreams: 1 dissertação final.pdf: 1565183 bytes, checksum: a9f111f965ae3a67876f9b33c7b12fb7 (MD5) / Approved for entry into archive by Oliveira Santos Dilzaná(dilznana@yahoo.com.br) on 2013-06-05T15:33:36Z (GMT) No. of bitstreams: 1 dissertação final.pdf: 1565183 bytes, checksum: a9f111f965ae3a67876f9b33c7b12fb7 (MD5) / Made available in DSpace on 2013-06-05T15:33:36Z (GMT). No. of bitstreams: 1 dissertação final.pdf: 1565183 bytes, checksum: a9f111f965ae3a67876f9b33c7b12fb7 (MD5) Previous issue date: 2011 / CNPq / As festas e procissões reais, sobretudo de origem religiosa, serviram à Coroa portuguesa como forte instrumento de legitimação e intensificação de seu poder, além de representar parte importante da cultura e cotidiano dos vassalos – espaço de sociabilidade, devoção e palco político privilegiado para disputas de interesses locais. Estes festejos eram organizados anualmente pelo poder político e contavam com a participação das autoridades civis e eclesiásticas e da sociedade em geral. Em vista disso, esta dissertação buscou analisar as festas e procissões reais na Cidade da Bahia (Salvador) ao longo dos séculos XVII e XVIII, objetivando compreender os usos políticos feitos pela Cora portuguesa, pelos vereadores, demais oficiais das instituições régias, irmandades e confrarias. Examinamos os meandros da organização destas cerimônias públicas, seu financiamento e os conflitos decorrentes da disposição hierárquica do cortejo, além da inserção de cada uma das festas no quadro festivo oficial da Câmara Municipal. The feasts and royal ceremonies, mainly those from religious origin, served to the Portuguese Crow as an strong instrument of legitimation and intensification of its power, as well to represent an important part of the culture of the vassalos – space of sociability, devotion and an excellent politic stage to dispute/controversy of local interests. These feasts were organized by politic power and civil and religious authorities participated on it, as well the society in general. This dissertation sought to analyze the feasts and royal processions in the City of Bahia (Salvador) during the seventeenth and eighteenth centuries, and to understand the politic usages done by the Portuguese Crow, city councilors, and other officials of royal institutions and brotherhoods. This dissertation examines also the organization of these public ceremonies, its financing and the conflicts of precedence, and the insertion of each festival in the official calendar of the Camara of Salvador. / Salvador

This diploma thesis deals with the role of biblical themes in the collection of poems The Legend of the Centuries by Victor Hugo. First chapter pursues selected aspects of the collection (humanistic values, conception of history, character and time aspects). The aim of the second chapter is to put the collection into the literary context of the concerned period (romantism, symbolism) and into the context of the author's philosophical and religious ideas. This part considers the relation among the collection, the myth and the psychoanalysis. Focus of the thesis lies in the third part that analyzes selected poems of the collection. These are classified according to the role of biblical aspects. The first type of Hugo's application of the biblical elements is represented by an opening poem of the collection "La Vision d'ou est sorti ce livre", which refers to the biblical stories, characters and themes via different poetic techniques. The second group of poems represents a direct updating of the biblical stories. The last type unifies the author's convictions with the biblical elements and recreates the so-called biblical poems. The aim of the thesis is to research this new type of myths that Victor Hugo creates throughout the biblical themes.

Nessa pesquisa OS CHIFRES ENTRE A CRUZ E A ESPADA: um estudo das festas de touros (XV-XVI) na Espanha, buscamos identificar como se deu essa emergência de um discurso de controle régio e clerical sob as chamadas festas de touros nos séculos XV e XVI – sendo aquilo que chamamos de “os chifres entre a cruz e a espada” justamente essa leitura das festas taurinas que legitimaram e deram vasão a essa construção das festas mais austeras e em conformidade com as doutrinas e dogmas cristãos, naquilo que denominamos de discurso de ordenança festiva. Para isso, analisamos uma gama de documentos, entre uma Crônica (Crónica del Condestable de Castilla Don Lucas de Iranzo), um Tratado (Tratado do Jogo), Bula (Salute Gregis Dominici) e o prólogo de um Cancioneiro (Cancionero de Juan Alfonso de Baena) na tentativa de construir e identificar nessa tipologia diversa de documentos, as várias maneiras utilizadas para compor o discurso de ordenança festiva. Observáveis em três frentes de análise – o discurso clerical, o discurso clerical percebido e praticado ou não pela nobreza e o discurso espacial/heterotopológico (sendo esse último, de suma importância, e tendo sido analisado partindo do conceito foucaultiano de heterotopia e as várias possibilidades que ele pode representar na análise dos mais diversos espaços). Também, perseguimos ao longo da pesquisa um tema que apesar de já há muito debatido mostrou que ainda encontra terreno fértil para novos debates historiográficos, as festas em si – analisadas partindo da proposta da festa como questão e como discurso. / In this research HORNS BETWEEN THE CROSS AND THE SWORD : a study of the bulls parties (XV- XVI) in Spain, we seek to identify how was this emergence of a regal control speech and clerical specifically under the so-called bulls parties in the XV and XVI - being what we call " the horns between a rock and a hard place " just this reading of bullfighting festivals that legitimized and gave arterial runoff to that construction of the austere celebrations and they were in accordance with the Christian doctrines and dogmas , what We call the ordinance festive speech and gave way to this construction of more austere celebrations that were in accordance with the Christian doctrines and dogmas, in what we call the festive ordinance speech. In order to do so, we analyzed a range of documents, from a chronicle (Crónica del Condestable de Castilla Don Lucas Iranzo), a treaty (Tratado del Juego), a bula (Salute Gregis Dominici) and the prologue of a songbook (Cancionero de Juan Alfonso de Baena) in an attempt to identify and construct in this different typology the various ways used to compose the festive ordinance speech. Observable in three fronts of analysis - the clerical speech, the clerical speech perceived and practiced (or not) by the nobility and the space/heterotopological speech (the latter, of paramount importance, has been analyzed with Foucault's concept of heterotopia and the various possibilities that it can represent in the analysis of the most diverse spaces as a starting point). We also seek throughout the research a theme that, although it has been discussed many times before, still shows that there is fertile ground for new historiographical debates: the parties themselves – analyzed from the premises of parties as problem and as speech.