British imperialism of the Ottoman Empire is analyzed in terms of power and influence. Changes in gender roles, nationalism, and culture are all examined through the lens of imperialism. The discourse flows thematically and discusses brief histories of both Britain and the Ottoman Empire. The construction of the Imperial Museum created a unified image of the nation through the collection of material items. As a result of European imperialism, the Ottoman Empire developed a sense of national culture.

“The Transgressive Stage: The Culture of Public Entertainment in Late Victorian Toronto,” argues that public entertainment was one of the most important sites for the negotiation of identities in late Victorian Toronto. From the vantage point of the twenty-first century, where theatre is strictly highbrow, it is difficult to appreciate the centrality of public entertainment to everyday life in the nineteenth century. Simply put, the Victorian imagination was populated by melodrama and minstrelsy, Shakespeare and circuses. Studying the responses to these entertainments, greatly expands our understanding of Victorian culture. The central argument of this dissertation is that public entertainment spilled over the threshold of the playhouse and circus tent to influence the wider world. In so doing, it radically altered the urban streetscape, interacted with political ideology, promoted trends in consumption, as well as exposed audiences to new intellectual currents about art and beauty. Specifically, this study examines the moral panic surrounding indecent theatrical advertisements; the use by political playwrights of tropes from public entertainment as a vehicle for political satire; the role of the stage in providing an outlet for Toronto’s racial curiosity; the centrality of commercial amusements in defining the boundaries of gender; and, finally, the importance of the theatre—particularly through the Aesthetic Movement—in attempts to control the city’s working class. When Torontonians took in a play, they were also exposing themselves to one of the most significant transnational forces of the nineteenth century. British and American shows, which made up the bulk of what was on offer in the city, brought with them British and American perspectives. The latest plays from London and New York made their way to the city within months, and sometimes weeks, of their first production. These entertainments introduced audiences to the latest thoughts, fashion, slang and trends. They also confronted playgoers with issues that might, on the surface seem foreign and irrelevant. Nevertheless, they quickly adapted to the environment north of the border. Public entertainment in Toronto came to embody a hybridized culture with a promiscuous co-mingling of high and low and of British and American influences.

This thesis is concerned with placing public art within the broader modernist spatialisation of social relations. The research takes place around two related enquiries. The first emerges from questions raised by the art critic Rosalyn Deutsche with regard to the proposition that public art functions as both a profession and technology that attempts to pattern space so that docile and useful bodies are created by and deployed within it. Following such questions, this thesis seeks to scrutinise the ways in which discourses on public art might operate in enabling, maintaining or disrupting everyday practices and socio-spatial relations. Secondly, as a foray into methodologies of public art research, the thesis considers Foucauldian governmentality approaches in terms of what these might have to offer an investigation of public art. The thesis undertakes the analysis of a wide range of texts connected with three South Australian urban developments for which public art was separately proposed, designed, selected and installed. Attention is given principally to the Rundle Street Mall, a pedestrianised shopping street in the city-centre of Adelaide, examined at several moments throughout the period of its development (1972-1977) and later refurbishment (1996-2001). Also discussed are the Adelaide Festival Centre Plaza (1973-1977) and the Gateway to Adelaide (1996-2000), the latter project involving the reconstruction of a major traffic intersection on the outskirts of metropolitan Adelaide. Through these examples the thesis documents key debates in the history of Australian discourses concerning public art. In addition, this study brings attention to the relations between artwork and a proliferation of individuals, agencies, and other interests, highlighting the competitions over space, authority and expertise, and the often unexamined role that public art plays in maintaining or unsettling socio-spatial relations. Knowledge about public art, it is argued, is produced, transformed and deployed across a range of discursive sites (contemporary art, urban design, planning, transport and others) and becomes tied to specific problems of governing. / Thesis (PhD)--University of South Australia, 2008

This thesis is concerned with placing public art within the broader modernist spatialisation of social relations. The research takes place around two related enquiries. The first emerges from questions raised by the art critic Rosalyn Deutsche with regard to the proposition that public art functions as both a profession and technology that attempts to pattern space so that docile and useful bodies are created by and deployed within it. Following such questions, this thesis seeks to scrutinise the ways in which discourses on public art might operate in enabling, maintaining or disrupting everyday practices and socio-spatial relations. Secondly, as a foray into methodologies of public art research, the thesis considers Foucauldian governmentality approaches in terms of what these might have to offer an investigation of public art. The thesis undertakes the analysis of a wide range of texts connected with three South Australian urban developments for which public art was separately proposed, designed, selected and installed. Attention is given principally to the Rundle Street Mall, a pedestrianised shopping street in the city-centre of Adelaide, examined at several moments throughout the period of its development (1972-1977) and later refurbishment (1996-2001). Also discussed are the Adelaide Festival Centre Plaza (1973-1977) and the Gateway to Adelaide (1996-2000), the latter project involving the reconstruction of a major traffic intersection on the outskirts of metropolitan Adelaide. Through these examples the thesis documents key debates in the history of Australian discourses concerning public art. In addition, this study brings attention to the relations between artwork and a proliferation of individuals, agencies, and other interests, highlighting the competitions over space, authority and expertise, and the often unexamined role that public art plays in maintaining or unsettling socio-spatial relations. Knowledge about public art, it is argued, is produced, transformed and deployed across a range of discursive sites (contemporary art, urban design, planning, transport and others) and becomes tied to specific problems of governing. / Thesis (PhD)--University of South Australia, 2008

This thesis explores the influence of French royal image-making on English monarchies at the turn of the eighteenth century. It investigates the relevance of Louis XIV (r. 1643-1715) to English royal iconography during the reigns of William III (r. 1689-1702) and Queen Anne (r. 1702-1714) across a wide range of source material - from panegyric and portraiture, to medals, sculpture, and architecture. In doing so, it foregrounds the intricate interplay between political communication and different forms of artistic imagination in the early modern period. The thesis conceptualises the relation between post-revolutionary English monarchical image-making and its French counterpart as one of contest with and emancipation from French influence. The specific political circumstances add a particular poignancy to the investigation of this narrative, as the almost continual crises which the English monarchy suffered at the time stand in sharp contrast with the (dynastic) stability of the French monarchy and its highly influential court culture. Despite these elements of rupture and contrast, however, the story of seventeenth-century English monarchical image-making is one of continuity in respect of its gradual disengagement from the French model. In contrast to his immediate predecessors, I contend, William's image-making presents him as Louis's competitor, rather than his imitator. In the course of William's reign, Louis's monarchical model thus turns from model to foil. This development evolves further in Queen Anne's reign, culminating in Louis's mort avant la lettre, as Anne's image-making dispenses with the Ludovican model both as model and as foil. English post-revolutionary image-making, I argue, not only mirrored, but actively contributed to the decline of the Ludovican model, whilst maintaining the figure of the monarch as central to public political discourse. Through the lens of monarchical image-making, therefore, this thesis offers a critical outlook onto late seventeenth-century Anglo-French political and artistic relations.

En s’inscrivant dans le récent sillage historiographique consacré à la dimension métropolitaine de la conflictualité armée, cette recherche a analysé les milieux et les formes urbaines de l'extrémisme à Rome dans l’après-68. Par une approche interdisciplinaire - qui a intégré l’apport de la philosophie, de l'urbanisme, de la sociologie, de la géographie urbaine, des sciences politiques - cette étude a reconstruit la relation entre le territoire urbain et la mise en œuvre d’une violence subversive, souvent à caractère meurtrier et terroriste, dans le cadre de la modernisation nationale activée par le "boom économique" (1958-1963) et des dynamiques propres à la « guerre froide ».On a porté une attention particulière à l’appréhension des processus de transformation idéologique et culturelle, mûris au sein de la « crise urbaine » affectant le mauvais et difficile développement de Rome dans l'après-guerre, qui ont permis à la première métropole italienne de devenir l'écosystème unique et catalyseur de cette conflictualité extrême, au-delà des simples facteurs géopolitiques (crise européenne de l'idée d'atlantisme) et socio-économique (explosion des luttes sociales pour la revendication de biens et services propres à la modernité consumériste).Cette étude est remontée aux facteurs de division caractérisant la structure, le tissu et l’ambiance de Rome. Il s’agit des clivages fondamentaux, en place dès le début de l’époque républicaine (1946), sur lesquels s’implantent ensuite, au lendemain du boom économique, les processus de radicalisation qui accompagnent les multiples luttes revendicatives - dans les domaines du quartier, du travail, des écoles et de l’Université - engendrées par une modernisation de la capitale brutale et déséquilibrée. Notre recherche a, de ce fait, démontré que les différentes « expériences d’antagonisme » muries au sein de cette vaste contestation sociale, ont servi finalement d’incubateurs où une partie de la militance extraparlementaire romaine, issue de la mobilisation soixante-huitarde, s’est initiée à différentes pratiques subversives (notamment les répertoires de l’illégalité de masse et de la guérilla clandestine).La prise en compte de tous ces niveaux et ces dimensions a fait ressortir les particularités de la violence politique déployée à Rome dans l’après-68, tout en attribuant la juste proportion au « poids » de la capitale d’Italie dans le déploiement à l’échelle nationale de la « stratégie de la tension » (1969-1974) et des « années de plomb » (1975-1982).Cette recherche s’est donc engagée dans la reconstruction d’un cadre historique global, mettant en connexion diachronique les faits et les dynamiques internes à la ville (d’ordre social, économique, culturel, idéologique, politique et urbanistique) avec le système étatique centré à Rome – marqué par les pressions du « rideau de fer », les lourdes séquelles de la dictature fasciste et de la guerre civile, la fragilité gouvernementale et le manque de cohésion nationale – le long des années de la modernisation et de l’entrée dans la société d’abondance en Italie. / Following the new historiographical path focused on the urban dimension of the armed struggle, this research analyses the milieus and the forms of the political extremism in Rome after ‘68. By an interdisciplinary approach – which integrates the contribution of philosophy, of urban studies, of sociology, of urban geography, of political sciences – this study rebuilt the relation between urban territory and the implementation of a subversive violence, often lethal and terrorist, in the context of the national modernization activated by the “economic boom” (1958-1963) and of the “cold war” dynamics. A special attention is payed to the apprehension of the ideological and cultural evolutions - grown inside the “urban crisis” which affects the critical development of Rome in the post-war period – that transformed the biggest Italian metropolis in a perfect ecosystem for this extreme conflict, far beyond the only effects of the geopolitical  (European crisis of the Atlanticism) and socio-economic factors  (explosion of the social struggles claiming the fruition of goods and services created by for consumerist modernity). This study went back to the basic divisions of the structure, the society and the environment of Rome: the fundamental cleavages, appeared at the beginning of the republican time (1946), over which, after the “economic boom”, a process of radicalization (due to the growing of the social struggles in the fields of the local community, work, school and the University, generated by a brutal and unbalanced modernization of the town) is established. Our research, so showed that the various “experiments of antagonism” matured within this vast social protest, were used finally as incubators where part of the roman extremist militancy, resulting from the end of ’68 mobilization, was initiated with various subversive practices (in particular, the repertoires of the mass illegality and of the clandestine guerrilla). Considering of all these levels and these dimensions highlighted the characteristics of the political violence deployed in Rome after ’68, while allotting the right proportion to the “weight” of the capital of Italy in the national deployment of the “strategy of the tension” (1969-1974) and the “years of lead” (1975-1982). This research thus strives to reconstruct a comprehensive historical framework, putting of diachronic connection the facts and the dynamic of the metropolis (social economic, cultural, ideological, political and urban factors) with the State system based in Rome – characterized by the pressures of the “iron curtain”, the heavy after-effects of the fascist dictatorship and the civil war (1943-1945), the governmental frailty and the lack of national cohesion – along the years of modernization and of the entry in the age of abundance for Italy.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-10-09T13:57:32Z No. of bitstreams: 1 ANA CRISTINA DE SALES - DISSERTAÇÃO PPGH 2014..pdf: 2674058 bytes, checksum: 8cbfe21a9773d176f38c6f6534cce23b (MD5) / Made available in DSpace on 2018-10-09T13:57:32Z (GMT). No. of bitstreams: 1 ANA CRISTINA DE SALES - DISSERTAÇÃO PPGH 2014..pdf: 2674058 bytes, checksum: 8cbfe21a9773d176f38c6f6534cce23b (MD5) Previous issue date: 2014 / Capes / O texto discute a construção das memórias sobre o culto religioso à Cruz da Baixa Rasa que se dá na zona rural do Crato-CE, esta memória se constitui a partir da origem da morte de um homem que teria se perdido na Floresta Nacional do Araripe (FLONA), com seu cavalo e um cachorro à procura de uma boiada. Acontecimento que teria ocorrido no final do século XIX e foi responsável por despertar, na população do cariri cearense, múltiplas sensibilidades que deram origem a crença de que o morto passara a realizar milagres, havendo narrativas que retroagem ao ano de 1914, como marco do alcance de graças por parte dos fiéis. Constituiu-se então uma tradição na forma de um culto e, desde então, os devotos passaram a celebrar o monumento erigido no local e a realizar homenagens póstumas todo dia 25 de janeiro, alimentando um ciclo de romarias na localidade. São muitos os milagres atribuídos à Cruz da Baixa Rasa e, por isso, alguns religiosos foram enterrados nas proximidades desse monumento. No ano de 2002 as autoridades responsáveis pelo local proibiram os sepultamentos, mas muitos dos devotos demonstram o desejo de serem enterrados neste espaço como uma forma de estarem próximos de seu intercessor. Neste sentido, o estudo proposto toma como fonte principal o material coletado a partir da aplicação da história oral, não se restringindo a esta, e se ancora na perspectiva teórica da história cultural. / The text discuss memory construction about the religious worship to the Cruz da Baixa Rasa that happen in countryside of the municipality of Crato, state of Ceara, Northeast Brazil. This memory is constituted from origin in the death of a man who would has been lost in the Araripe National Forest (Floresta Nacional do Araripe – FLONA) with his horse and his dog to looking for a herd. Event that would have occurred in the end 19th century and was responsible for to awaken in the Ceara Cariri population multiples sensitivities that gave origin the believe of that dead had spent to perform miracles, having narratives that are retroactive to 1914 as landmark of the reach of thanks by the faithful. Then constituted a tradition in the form of cult, and since then, the devotees came to celebrate the monument erected at the site and to perform all posthumous tributes everyday on January 25th, feeding a cycle of pilgrimage in the locality. There are many miracles attributed to the Cruz da Baixa Rasa and, so it, some religious were buried near of this momument. In 2002 the responsible authorities by the place banned the burials, but many of the devotees demonstrate their desire to be buried in this space as a way of were near of their intercessor. In this sense, the proposed study take as main source material collected through the application of oral history, not limited to this, and is based on the theoretical perspective of cultural history.

262 EARLY MEDIEVAL CULTURAL CONTACTS BETWEEN BAVARIA AND BOHEMIA The Ph.D. thesis focusing on the topic of Czech-Bavarian cultural contacts in the Early Middle Ages was assigned in 2010 to develop the author's MA thesis, which was conceived as a probe into sources and a program study699 as well in order to form the first comprehensive monograph of this date of these professionally and regionally fragmented issues. In those times, the assignment of the thesis assumed "to decide whether there is an objective historical significance of this concept, or whether (and how) the meaning of this term has shifted in time, and how should this legacy be treated in the prepared thesis." Furthermore, five material-oriented topics were defined in order to test the overall theoretical concept on parts of otherwise too broadly conceived sources: (i) a study focusing on interpretative possibilities of langsaxes in the context of Early Medieval row- grave cemeteries; (ii) an attempt to narrow the regionalization of the s-shaped temple rings occurrence in connection with the settlement context; (iii) revision of archaeological evidence from the Cheb (Eger) castle; (iv) a chapter focusing on the issue of Early Medieval elites in north-eastern Bavaria; and finally (v) a discussions on the current concepts of toponomastic...

Text in Afrikaans / Summaries in Afrikaans and English / Na meer as veertig jaar het Suid-Afrika 'n nuwe politieke bedeling wat veranderde wetgewing in die vooruitsig stel. 'n Oorweging van 'n dekriminaliseringsbeleid vir die gebruik van dagga, beskou teen die agtergrond van 'n toename in emstige misdaad soos moord, gewapende roof, taxigeweld en verkragting, weerspieel die realiteite van vandag se oorweldigende misdaadprobleem in Suid-Afrika. Een van die belangrikste take van die kriminoloog is om misdaad te omskryf sodat 'n beleid voorgeskryf kan word wat die strafregsplegingstelsel van hulp kan wees om uiteindelik misdaad te verminder of, meer realisties, meer doeltreffend te beheer. Die omskrywing daarvan is egter nie so eenvoudig nie vanwee die kompleksiteit van die mensdom. Inhierdie studie is 'n meningsopname gebruik van sowel jeugdiges, die toekomstige beleidmakers en algemene daggagebruikers, as kenners op die gebied van dwelmrehabilitasie en -beheer, ten einde die wenslikheid van 'n dekriminaliseringsbeleid te beoordeel. Empiriese data van beide groepe (die wetsgehoorsame en die wetsverbrekende) is vir die voorwaardelike steun vir die wetlike beheer van daggagebruik versamel, met die verskil dat eerste- en eksperimentele daggagebruikers wat geen antler misdaadrekord het of by enige misdaadbedrywighede betrokke is, nie 'n misdaadrekord moet kry nie. Die respondente het dus die behoud van strafmaatreels ondersteun, maar met 'n de facto-dekriminalisasie deur middel van nie-toepassing van die wet. Die respondente is van mening dat 'n verslapping van die huidige dwelmwetgewing tot 'n toename in misdaad aanleiding sal gee. Die respondente betwyfel egter die doeltreffendheid van die kriminele regstelsel. Hulle is selfs van mening dat die SAPD nie in staat is om die probleem te bekamp solank die middel in aanvraag is nie. Die studie beklemtoon verder die kompleksiteit en dikwels teenstrydige opvattings ten opsigte van dekriminalisasie ten einde te illustreer hoe moeilik dit is om 'n staatsbeleid daarop te skoei. / After more than forty years, South Africa has a new political dispensation with prospective new legislation. The consideration of a policy of decriminalization for the use of dagga, seen against the background of an increase in serious crimes such as murder, armed robbery, taxi violence and rape, reflects the realities of the current overwhelming crime problem in South Africa. One of the most important tasks of the criminologist is to describe crime in order to facilitate the system of administration of criminal justice in the diminishing of, or more realistically, better control of crime. The description thereof is, however, not simple due to the complexity of humanity. In this study an opinion survey of both youths as the future policy makers and most common users of dagga, and specialists in the field of drug rehabilitation and control was used, in order to determine the expedience of a policy of decriminalization. Empirical data was obtained from both groups (the law abiders and the law-breakers) for the conditional support of legislative control of dagga use, with the exception that first and experimental users with no criminal record or history of criminality should not be subjected to a criminal record. The respondents therefore supported the retention of punitive measures, but with a defacto-decriminalization by way of non­ enforcement of the law. The respondents were of the opinion that the relaxation of the present drug legislation would lead to an increase in crime. The respondents doubt the effectiveness of the criminal justice system, however, they are of the opinion that the SAPS would never be able to combat the problem as long as a demand for the drug continues to exist. The study further emphasizes the complexity and often diverse conceptions of decriminalization in order to illustrate how difficult it is to base a state policy on these conceptions. / Criminology and Security Science / M.A. (Kriminologie)

The Cape Town Orchestra has exerted a major influence on the development of orchestral music and musical culture not only in Cape Town but throughout South Africa. It was the first professional orchestra in South Africa and came into existence on 28 February 1914. The Orchestra's history has been divided into two main periods. During the first period, from 1914 to 1968, the Orchestra was known as the Cape Town Municipal Orchestra. During the second period, from 1969 until its final performance in 1997, the Orchestra was known as the Cape Town Symphony Orchestra. The Orchestra received financial support from the Cape Town Municipality throughout its existence. After receiving its final municipal grant in 1996 the Orchestra could not survive without financial assistance, and merged with the Capab Orchestra to become the Cape Town Philharmonic Orchestra. The Cape Town Philharmonic Orchestra gave. its inaugural performance on 1 April 1997. / Musicology / M.Mus.