Thesis (M.A.)--University of Wisconsin--Madison, 1960. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 72-76).

No description available.

Thesis (B.A.(Hons.))-- University of Adelaide, Dept. of History, 1979.

Based on the author's thesis. / Includes bibliographical references and index.

Thesis (Ph. D.)--University of California, San Diego, 2001. / Vita. Includes bibliographical references (leaves 516-576).

No description available.

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Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2017-07-03T12:55:05Z No. of bitstreams: 1 Caroline Poletto_.pdf: 20052877 bytes, checksum: 81e9c306b569d9aee6c6cd148c2d84cb (MD5) / Made available in DSpace on 2017-07-03T12:55:05Z (GMT). No. of bitstreams: 1 Caroline Poletto_.pdf: 20052877 bytes, checksum: 81e9c306b569d9aee6c6cd148c2d84cb (MD5) Previous issue date: 2017-05-05 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / PROSUP - Programa de Suporte à Pós-Gradução de Instituições de Ensino Particulares / A presente tese se propõe a desvendar parte do imaginário subversivo divulgado pelas páginas de determinadas publicações da imprensa anarquista e anticlerical espanhola, argentina e brasileira, entre os anos de 1897 a 1936, totalizando catorze publicações distintas. Assim, este estudo também comunga com os pressupostos da chamada história transnacional e demonstra, no seu desenrolar, que as publicações dessa imprensa alternativa, apesar das distâncias geográficas significativas e das dificuldades de manutenção que apresentavam, estavam em constante contato umas com as outras, estabelecendo laços de solidariedade, possibilitando a ampla circulação de artefatos culturais e, consequentemente, a constituição de um imaginário combativo e próprio. Imaginário esse que é forjado e aqui revelado através da observação de elementos centrais da arte de protesto: poesias, imagens e contos. Ao desvendar tal imaginário também se está tentando recuperar o percurso realizado por determinadas imagens, suas rotas de circulação e sua apropriação, permanência e alterações na referida imprensa. Com esses objetivos em vista, a tese se centrará na análise de duas temáticas principais para a criação e manutenção desse repertório imagético: o anticlericalismo e o evento datado do 1º de Maio, o qual se constitui na principal data do calendário dos trabalhadores e permite o estabelecimento de um universo simbólico próprio. É possível observar em cada temática a prevalência de certas ideias-imagens e sua constante repetição, permanência e relativa modificação, marcas essenciais de qualquer imaginário, seja esse subversivo ou hegemônico na sociedade, bem como o caráter de complementariedade existente entre o conteúdo textual e o conteúdo visual desse imaginário, uma vez que ambas dimensões discursivas se reforçam e reafirmam mutuamente. / The present dissertation aims to unveil a part of the subversive imaginary disclosed by certain publications of the anarchist and anticlerical press in Spain, Argentina, and Brazil, between the years of 1897 and 1936, encompassing fourteen different publications. Hence, this study also partakes in the presuppositions of the so-called transnational history and demonstrates, in its exposition, that the publications of this alternative press, despite significant geographical distances and the difficulties arising from their maintenance, were in constant contact with one another, establishing solidarity bonds, enabling a broad circulation of cultural artifacts and, consequently, the constitution of a particular and combative imaginary. An imaginary that is forged and revealed here through the observation of the central elements of protest art: poems, images, and short stories. By uncovering such imaginary one is also trying to reestablish the path taken by certain images, their circulation routes and their appropriation, permanence, and alterations in the aforementioned press. With these goals in mind, the dissertation will focus on the analysis of two main themes to create and support this imagetic repertoire: the anti-clericalism and the events that took place on May 1st, a date that became the most important calendar day for workers and allowed for the establishment of their own symbolic universe. One can observe in each of the themes the prevalence of certain image-ideas and their constant repetition, permanence, and relative modification, essential hallmarks of any imaginary, whether it be subversive or hegemonic in society, as well as a complementarity element that exists between the textual and the visual content of said imaginary, since both discursive dimensions mutually reinforce and reaffirm each other.

This dissertation concerns the epic poem Caramuru (1781) by José de Santa Rita Durão. I propose both a post-nationalist or postcolonial reading of Caramuru, as well as a pre-nationalist or historical analysis. The first part of this dissertation focuses on the form itself, particularly the genre of epic poetry to which Caramuru belongs. The title of this dissertation references Virgil’s Aeneid, while the comparisons between this and other epics focus on the conventions of epic poetry, placing Caramuru within the context of other epic poems. Traditionally, and even recently, Caramuru has consistently been compared to Luis de Camões’ Os Lusíadas. I have tried to establish a closer connection with Virgil’s Aeneid, rather than Os Lusíadas, as the model epic for Caramuru. Chapter One focuses on the topic of imitation, specifically the many similarities with the plot of Virgil’s Aeneid. Chapter Two offers a historiographical approach to how the readings of colonial texts changed over time, including a historical background of Caramuru, which was written soon after the fall of the so-called enlightened despotism of Portugal under the Marques de Pombal. The second part of this dissertation is a close reading of the text itself, and focuses on the colonial discourse present in the poem. Chapter Three is an analysis of the religious discourse in Caramuru, which reflects the preoccupations of an Augustinian monk living in the Age of Enlightenment. Chapter Four concerns the representations of Amerindian resistance in the poem, particularly of two characters who belong to the insubordinate Caeté tribe. The last chapter focuses on the issue of gender and how women are represented in Caramuru. The main woman protagonist is a Tupinambá woman who becomes a prototype for Iracema, a well-known fictional character from nineteenth-century Brazil. Santa Rita Durão was born in Brazil but lived most of his adult life in Portugal, plus 15 years in Italy. He wrote that the motivation to write this poem was his ‘love of homeland’ or nationalist sentiment, even though the nation of Brazil was yet to exist at the time he wrote Caramuru. / text

In the nineteenth century, amidst the rise of anti-Catholicism in the Western world, narratives served as a persuasive medium to influence the reading public. Anti-clerical sentiment was conveyed in various forms of text, often depicting the Catholic convent as a place of sinister confinement. This thesis offers an alternative representation of the French nineteenth-century convent. Considering the prevailing social, economic, and political environment in France, along with the conception of social space, I argue that the convent represents a place of sanctuary and opportunity for some women and girls. Further, in view of Victor Hugo's Les Misérables, I examine the representation of the convent as a place for rebirth. Likewise, in analyzing George Sand's autobiography Histoire de ma vie, I explore the representation of the convent as a haven for reviving creativity. Thus, by close reading and critical examination of these literary representations, I contend that the nineteenth-century convent can provide a place of refuge. / Master of Arts / Following the French Revolution of 1789, two opposing ideologies gathered momentum in France: monasticism and anti-clericalism. Beginning in 1815, enlistment of nuns in religious congregations doubled every fifteen years until the end of the century. During this period, anti-clericalism remained a potent political and social force. As with any institution of power, narratives served as a persuasive medium to influence the reading public. Anti-clerical sentiment was conveyed in various forms of text, often depicting the Catholic convent as a place of sinister confinement. These diverse depictions of the convent as a nefarious enclosure seem to contradict the growth and appeal of female religious orders during the epoch. This thesis offers an alternative representation of the French nineteenth-century convent. Partially owing to prevailing social, economic, and political structures that limited women's opportunities, convents attracted women from middle- or upper-class families who desired to serve in the public domains of healthcare and education. Considering this environment in France, along with the conception of social space, I argue that the convent represents a place of sanctuary and opportunity for some women and girls. Further, in view of Victor Hugo's Les Misérables, I examine the representation of the convent as a place for rebirth. Likewise, in analyzing George Sand's autobiography Histoire de ma vie, I explore the representation of the convent as a haven for reviving creativity. Thus, by close reading and critical examination of these literary representations, I contend that the nineteenth-century convent can provide a place of refuge.