Cette thèse s'intéresse aux liens politiques et culturels entre Napoléon et Milan de 1796 à 1814. L'auteur porte une attention particulière aux évolutions de la mise en scène, de la réception et de la délégation du pouvoir du général Bonaparte à Napoléon Ier roi d'Italie. / This thesis focuses on the political and cultural links between Napoleon and Milan from 1796 to 1814. The author pays particular attention to changes in production, reception and delegation of power from general Bonaparte to Napoleon Ist, King of Italy.

Made available in DSpace on 2014-06-11T19:26:34Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-02-25Bitstream added on 2014-06-13T20:34:21Z : No. of bitstreams: 1 lopes_ic_me_assis.pdf: 979649 bytes, checksum: a3f60d31f1426b00acfa777f38a1268a (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O principal objetivo desta pesquisa é tentar compreender algumas das motivações que, na metade do século passado, ainda orientavam as atividades de muitos grupos de intelectuais no interior do país. Assim, através da análise de um rico acervo epistolar acumulado entre 1948 e 1959 pelo Centro Cultural Euclides da Cunha, de Ponta Grossa (PR), o presente estudo procura desvendar a empolgação característica que cercava as atividades do grupo intelectual ali reunido. Ao se examinar hoje os indícios e vestígios encontrados nessa documentação, é possível perceber, por exemplo, a existência de um apego muito grande às lides científicoliterárias e ao trabalho intelectual diletante. Na mais remota das hipóteses e sem a menor dúvida, tais motivos devem ter ocupado tempo e espaço consideráveis nas vidas destas pessoas, devem ter mobilizado suas existências e, desse modo, forjado em grande parte suas identidades. Em última análise, estas questões devem ter tido um significado que agora irremediavelmente nos escapa. Tendo isso em vista, a proposta deste trabalho é tentar reconstruir este significado nos pormenores de suas dimensões social, conceitual e subjetiva, lançando mão para tanto de alguns conceitos e apontamentos enfeixados pela história cultural / The aim of this research is to understand some reasons which have guided the activities of many intellectuals groups in Brazil’s half of twentieth century. Then, through analysis of the epistolary rich collection amassed between 1948-1959 by the Centro Cultural Euclides da Cunha, of Ponta Grossa, Paraná, Brazil, this study tries to uncover the great excitement that surrounded the activities of the intellectual group gathered there. By examining these documents it is possible to realize the existence of a very large devotion to scientific, literary and intellectual works. Undoubtedly, those reasons must have occupied considerable time and space in the lives of these people, should have mobilized their existence and thus largely forged their identities. Keeping this in view, the purpose of this work is to try to reconstruct this meaning in its social, conceptual and subjective details, using for that some cultural history methodological guidelines

Through an examination of the letters, reports and published writings of the missionaries of two distinctive Protestant missions active in the Kurdish region during the nineteenth century, this thesis explores the Orientalist and imperialist qualities of missionary knowledge production. It demonstrates the diversity of Protestant missionary thought on the subject of the Orient and the individual nature of missionary knowledge production during this period. Equally importantly the study allows for a critical examination of the Orientalist critique in the context of missionary activity and a contextualised assessment of missionary complicity with imperialism. The findings of the study show that the Orientalism of the Anglican ‘Assyrian Mission’ and that of the American Presbyterian ‘West Persia Mission’ share common characteristics but, importantly, diverge diametrically in the meanings ascribed to the differences perceived to separate ‘Oriental’ from ‘Occidental’. This diversity in the representative style of the two missions can be linked to their opposed objectives in relation to proselytisation and thus suggests that their knowledge production was not solely determined by Orientalist discourse but also influenced by other discursive factors. Given Edward Said’s recognition of the diversity of the phenomenon of Orientalism it is therefore of great value to attempt to map some of this vast and divergent terrain of ideas. My thesis thus suggests that a meaningful division can be made within the Orientalist discourse between expressions of an Orientalism of essential difference and that of an Orientalism of circumstantial difference. Concerning imperialism, the study argues that, although these missionaries can be considered imperialists in an unwitting and indirect sense, care needs to be taken in the application of this label. My argument is that association with and contribution to textual attitudes which promote ideas of ontological or cultural superiority are a very different activity to conscious engagement in projects of imperial expansion; and that this needs to be recognised. Furthermore the standard model of a political metropolitan center determining the fate of its activities in the periphery is reversed in the case of these missionaries, where religious concerns drove engagement against political interests.

The modern gay New Orleans community was born on the neglected streets of the historic French Quarter neighborhood during the 1920s. Despite a century of harassment at the hands of local officials and the police department, this vulnerable community developed strong communal bonds in and around the French Quarter, ultimately transforming it into one of the preeminent gay neighborhoods in the United States. This study examines how a vibrant gay community thrived in the socially conservative South, shifting traditional narratives of twentieth century gay life primarily existing on the East and West Coasts. To survive, gay men and lesbians were forced to create alternative social spaces, often coopting and exploiting the traditions of heteronormative New Orleans culture. Drawing upon archival sources and personal interviews, this dissertation challenges assumptions about the apolitical nature of the gay New Orleans community. Ultimately, this is a story of how a gay community became politically active while navigating the challenges of the socially conservative Deep South.

Italianità on Tour is a cultural history of Italian consciousness in Italy and Southeast Florida from 1896 to 1939. This dissertation examines literary works, folktales, folksongs, artworks, buildings and urban planning as imprints and cultural constructions of Italianità on both sides of the Atlantic, with a special emphasis on the transformations experienced on that journey. The real and/or imagined geo-cultural similarities between the Mediterranean and the Caribbean encouraged pioneers in Southeast Florida to conjure in their new setting an idea of Italianità, regardless of the presence of Italians in the area. Therefore, assessing Italianità, constitutes an important feature in understanding cultural constructions of identities in Miami and neighboring areas. This study, seeks to add Southeast Florida’s Caribbean-Italian identity to the existing scholarship on several Italian diaspora representations, whether from a cultural ethnic perspective or from a sense of national belonging. More generally, it will show that there was no quintessential Italian national culture, but only representations of it that élites in Italy and South Florida manufactured, and on the other hand, immigrants imagined and performed upon arrival to America.

Troublée par l’avènement inopiné de la mode au musée, nous avons souhaité cerner puis examiner les fondamentaux du « musée de la mode », que nous considérons comme un concept historique. Depuis les années 1990, il s’impose en effet dans la sphère culturelle comme un nouveau modèle de musée. Nous nous questionnons donc sur le phénomène qui sous-tend cette effervescence. S’il fait son apparition dans les années 1980, il est issu d’une forme muséale plus ancienne que l’on désignait alors par « musée du costume ». Nous entendons ainsi mener une enquête sur le « musée de la mode » par la saisie de l’essence du phénomène muséal observable. Pour ce faire, il nous faut nous inscrire dans un temps long du patrimoine, afin de montrer les conditions d’émergence et la trajectoire des collections vestimentaires dans le paysage muséal et le développement des différentes formes muséales, du premier musée du costume au musée de la mode d’aujourd’hui. Alors que, jusqu’à présent, les chercheurs ont déterminé un basculement entre la dress museology et la fashion museology autour de 1970, nous avons distingué quatre régimes d’investissement patrimonial des collections vestimentaires, aboutissant à l’ère du « musée des modes vestimentaires ». Notre thèse a pour objectif de mettre en exergue la trajectoire du vêtement au musée, et de détailler les caractéristiques de la muséologie en devenir : décloisonnement des collections, expositions transculturelles, discours transversal et interdisciplinaire, et pour finir, muséographie anthropologique. / Curious about the unexplained advent of the fashion museum, this study originated with the task of identifying and examining the basic characteristics of the “fashion museum,” which it considers to be a historically specific construct. Since the 1990’s, the fashion museum has asserted itself in the cultural world as a new model of museum. This study inquires into the phenomena that undergirded this flourishing. If this institution first appeared in the 1980’s, it originated from an older model known as the “costume museum”. Thus I intend to undertake a study on the “fashion museum” using the observable phenomenon of the museum itself. To do so, this project inscribes the “fashion museum” in a long patrimonial tradition, demonstrating the conditions of its emergence and the trajectory that dress collections followed within the broader museum landscape, including the development of other forms of museums, from the first “costume museum” to the fashion museum of today. While, until now, researchers have determined a turning point between the dress and the fashion museology in the 1970’s, I distinguish four regimes of heritage investment in clothing collection, result in edge of a museology of the vestimentary patrimony. This study aims to reveal the trajectory that dress collections followed within the broader museum landscape, and to explain the characteristic of a museology in the making: decompartmentalization of collections, transcultural exhibitions, tranversal and interdisciplinary discourse, and anthropological museography.

This dissertation explores Jerome’s use of space in the Vita Hilarionis, through the use of the theory of critical spatiality. Three different spaces, all interrelated, are explored: desert space, monastic space and city space. The vita falls within the genre of Hagiography, a short biography that attempts to capture the life of a saint or holy man or woman. The Vita Hilarionis centres around the saint Hilarion, and follows his journey into the desert of Palestine in his goal to become an ascetic. One of Jerome’s goals with the writing of the vita is to show that Hilarion was the originator of monasticism in Palestine. Upon closer inspection of the spaces that Jerome describes to us, his greater ideological goal can also be exposed. Jerome, a Christian with a classical Roman education, makes use of older classical models in order to write his social geography of the late ancient Mediterranean world, such as traditional notions of centre and periphery. However, as theologian, he also reconstructs or re-imagines Roman spaces, such as the circus, to propagate Christianity, the new religion for the old world. Critical space has not yet fully been applied to text in late antiquity (100 – 600 CE) or early Christianity. This approach is steered by insights from social scientific criticism that not only views a text such as the vita as a literary piece of fiction, but also as a social product of its time. Through this view, largely spiritual themes in the vita can be viewed as also ideologically motivated, the social position and role of the ascetic in late Roman/ early Christian society understood, the spaces he/she moves in analysed and applied to shed light on early Christian identities. / Dissertation (MA)--University of Pretoria 2015. / Ancient Languages / Unrestricted

This dissertation interprets the images and archival records of Project Documerica, the Environmental Protection Agency's photography project that ran from 1971 to 1977. Directed by Gifford Hampshire, a former National Geographic editor, Documerica was modeled on 1930s Farm Security Administration photography, which had helped establish the documentary genre through iconic images of Depression-era America. Whereas the FSA had shown the human costs of the Dust Bowl, Documerica aimed to reveal the natural and social costs of the environmental crisis. Vocal public environmental concern made Documerica appealing to EPA officials, and this new agency's still-forming bureaucracy enabled Hampshire's ambitious plan to remount an FSA-style initiative. Documerica's mission included: creating a “visual baseline” of the U.S. environment from which future progress could be measured; documenting the EPA's successes in ameliorating the crisis; chronicling the environmental movement, including non-activist Americans in relationship to their environment, broadly defined; and compiling a visual encyclopedia of American life in the 1970s, as the FSA had done in the 1930s. The urge to revive a national, FSA-style undertaking expressed widespread nostalgia for a mythic American past in the 1970s, an era fraught with social upheaval over Civil Rights and Vietnam. In its time, Documerica failed to achieve recognition comparable to the FSA's, and folded prematurely. Yet its 22,000 images, housed at the National Archives, nonetheless provide a complex portrait of the U.S. during a moment of significant cultural transition. This dissertation interprets Documerica's photographs, its bureaucratic struggles, and its nostalgia in the context of the massive social, political, and economic shifts of the 1970s. In particular, it examines Documerica's focus on the post-industrial landscape, exploring why the project emphasized the changing aesthetics of the built environment as much as threats to the natural environment. The dissertation centers on visual conceptions of American small towns, cities and suburbs in six specific series by photographers Ken Heyman, Danny Lyon, Yoichi Okamoto, Kenneth Paik, Suzanne Szasz, and Arthur Tress. Encapsulating Documerica's central preoccupation with preservation, these images of architectural and social environments evince the era's deep-seated anxieties about fragmentation, degradation, suburban sprawl, urban decline, and proliferating car culture.

The crowning of a King or Queen of England is and remains an essential part of English tradition. For centuries, British subjects have flocked to the city streets to catch a glimpse of their next monarch. For the Tudors, the spectacle of pageantry was often an ostentatious display of wealth and grandeur. Using horses as an historical lens, this study will examine four different components of equestrianism in Tudor coronation ceremonies: The King’s Champion, the Gilded Spurs, the Master of the Horse, and the Horse of Honor. Despite significant political, religious, and cultural changes that occurred during the Tudor era, these four components remained an essential part of coronation ceremonies and, indeed, was elevated in status, identity, and symbolism to parallel the rise of horse culture in early modern England.

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