The presented degree work sets the aim of introducing one of typical displays of aristocratic life - horse riding and horse racing ? in the actual example of primogeniture and secondo geniture of the noble family Schwarzenberg in the 19th and early 20th centuries. As the basic information sources there were used aristocratic large estates collections, some sources of personal character and, last but not least, iconographic sources. The first part of work deals with the horse-breeding at aristocratic estates. It acquaints with the organization of horse raising on Schwarzenberg horse-breeding farms, raised horse breeds, and clarifies the purposes of raising such animals. Above all, this part asks the question to what extent the nobleman himself participated in the organization of horse breeding and what personal relationship to these creatures he experienced. The second part introduces in detail some activities which brought gentlefolk diversion and enjoyment, especially horse races, equestrianism, carousels, and of course, hunts and hunting pastime. All these activities were the privilege of upper classes, but in the 19th century they greatly influenced the other social classes and became the base for modern equestrianism we know today. The last part dwells on horses with relation to the arts. This noble animal has always been the Muse of artists and the symbol of nobility, elegance, speed and power. Till now in the castle collections we have been tracing a large number of horse portraits (either with their noble owners or without them) and horse- riding scenes. Even the horse equipment - harness, sledge or horse-drawn couches - were reflected in arts. And such equipment could have been displayed as a work of art in noble family galleries, or at least created the period atmosphere of magnificent winter man?ges.

This thesis offers a detailed account of early polio epidemics (between 1918 and 1945) in Johannesburg, where the disease was particularly severe. At this time, little was known about the poliovirus, and such limited understanding affected the public health and medical initiatives taken during this period. These actions are highlighted in the thesis, along with the responses of the media and lay public to the disease. The effect of war on the management of the disease is also examined, as it siphoned off vital medical personnel and jeopardised disease control. It also lent an emotional overlay to the way the disease was perceived, as `battle' rhetoric became the parlance used against polio, which was personified as the `enemy' of innocent children who were disabled at the whim of the virus. The epidemic of 1944-1945 was the first to be systematically investigated, by Dr James Gear as part of his groundbreaking polio research; he later became part of an international team of researchers who contributed to the development of a prophylactic vaccine within a decade of this epidemic. / History / M.A. (History)

Dès 1830, le théâtre s’empare du thème de la conquête de l’Algérie puis il accompagne l’expansion coloniale en Afrique du Nord, événements majeurs qui ont marqué la vie politique française du XIXe et du début du XXe siècle. Véritable phénomène social et culturel de masse, il a fortement contribué à imposer l’esprit colonial et l’idée d’empire dans les mentalités. Mais dans quelle mesure exacte a-t-il été un acteur culturel de cette politique d’expansion et de domination ? Avec quelle fréquence, quelles inflexions ? Quelles représentations de l’« Arabe » a-t-il véhiculé, et comment les a-t-il transformées en discours idéologiques, reçus en direct par un public donné ? A-t-il été aussi le lieu d’une prise de distance, voire d’une contestation de la colonisation ? Au théâtre, l’altérité est mise en mots, mais aussi et surtout portée sur scène, par le corps et la voix du comédien, presque toujours français et blanc. L’autre, « indigène », celui qui interpelle, inquiète ou fascine, acquiert une visibilité accrue, le temps de la représentation. L’altérité est réduite par certains auteurs à des stéréotypes que d’autres mettent au contraire en question. L’image de l’Arabe, mais aussi du Kabyle, du Touareg et du métissé, a suivi les courants idéologiques qui ont sous-tendu les grandes étapes de l’expansion coloniale, jusqu’aux prémices des mouvements de décolonisation. Sur le plan esthétique, la représentation de l’« Arabe » est-elle l’occasion d’un renouvellement en matière de jeu, de langage, de décor et de costume ? La recherche de l’« exotisme » dans les formes spectaculaires laisse-t-elle parfois place au souci de rencontre et (re)connaissance de l’autre ? La portée à la fois littéraire, culturelle, sociale et historique du sujet nécessite de mobiliser et croiser des approches esthétique, dramaturgique, sociocritique et postcoloniale. / Since 1830, drama has taken over the Algerian conquest theme then backed the colonial expansion in North Africa, two major events which marked French political life from the 19th century to the early 20th century. As a real social and cultural overall phenomenon, it has strongly contributed to impose the colonial spirit and the empire idea into people's minds. But to what extent exactly has it played a cultural role in this expansion and domination policy? At what frequency and with which inflexions? Which representations of the "Arab" has drama conveyed, and how has it transformed them into an ideological discourse, through a live performance received by a given audience? Has it also been a place of distancing, even contesting colonization? Otherness is put into words with drama, but it is also and mostly brought onto the scene through the body and the voice of the actor, almost always French and white. The other "native", the one who puts question, worries or fascinates, gains an enhanced visibility, for the time of the performance. Otherness is reduced to stereotypes by some authors while others call them into question. The image of the Arab – but also of the Kabylian, the Tuareg, and the mixed-race – has followed the ideological currents that have underlain the great steps of the colonial expansion, until the beginnings of the decolonization movement. On the aesthetic level, is the representation of the "Arab" the opportunity of a renewal in terms of performance, language, setting, and costumes? Does seeking "exoticism" in spectacular forms give sometimes way to concern about meeting and knowing, or acknowledging, the other? The literary, cultural, social and historical significance of the subject requires to mobilize and cross aesthetic, dramaturgic, sociocritical and post colonial approaches.

ENG Esotericism and Occultism in the Italian Literature of the Early Twentieth Century The purpose of this research is to bring contribution to the branch of academic studies dedicated to Western Esotericism with aim to clarify the relationship between this literary field and culture in general. Numerous studies were made in this area of research, specifically tackling the influence of Esotericism on modern and contemporary literature. The goal was to show, in particular, the contribution Italian authors had to establishing of esoteric directions in literature, throughout a limited time-span (last decades of the 19th until the early 20th century). The research, based mainly upon concrete examples and documented resources, portrays the attempt of many writers and entire cultural trends in Italy, during the period considered, to adopt an original approach to expressing themselves, one which will in turn help them to overcome the literary boundaries of that time. This direction found fruitful ground and rooted itself in the esoteric culture, the occult sciences, in the lyrical dimension of dreams and of the unconscious. This study shows the relationship between esotericism and Italian science and culture scene between "fin de siècle and avant-garde", with emphasis on the undeniable influence the...

This essay is a comparative study of two sculptures with the same motive and title, The Dance, by Ellen Roosval: a freestanding sculpture created in 1925 and a relief sculpture from 1933. The essay has two objectives: to analyse these works of art and to highlight the artist Ellen Roosval as an example of a female artist in the early 20th century. Roosval’s reworking of the free-standing sculpture into a relief generates multiple transformations. The research questions in the current study are: how the reception of the works relates to the viewer; how typology, site and material affect the design and expression; and how the two sculptures relate to the interwar period aesthetics, dance and the motive. In the analysis of both works aspects of their meaning in relation to the beholder’s experience have been crucial. The applied method of analysis originates from Wolfgang Kemp as developed by Jessica Sjöholm Skrubbe, with particular emphasis on the beholder’s movements, the meaning of the term site-specific and the impact of the base. The study begins with a general background on the situation for female sculptors in the early 20th century, the artist Ellen Roosval, and dance. The dance section also introduces the dance company The Swedish Ballet (1920-25) that the two versions of The Dance were a tribute to. Then follows a contextualized analysis of the works focusing on the formal elements, the different sites, bases and the beholder’s movements. Next follows an analysis of typologies, materials and stylistic expressions as well as the shaping of the human body, nudity and movements. Roosval’s The Dance 1933 is compared both to the relief The Dance by Antoine Bourdelle from 1912 and to the Swedish Ballet performances. The analysis concludes with a discussion of how the site relates to the choice of materials and how aesthetics and dance relate to the period 1920s. The results demonstrate aspects of various transformations in relation to the beholders experience. The final discussion concludes on Roosval’s norm-breaking achievements, which inspired the title of this essay: The Resistance of Time.

Выпускная квалификационная посвящена анализу социально-демографических процессов в позднеимперском российском городе. В качестве примера выбран Екатеринбург – крупный, быстро развивающийся город на Урале и один из его старейших православных приходов. Исследование выполнено на основе разнообразных источников, ключевым из которых являются метрические книги за 1900-1919 гг., сведения их которых были транскрибированы в базу данных и проанализированы с использованием компьютерных технологий. Диссертация состоит из трех глав, в которых последовательно рассмотрены сюжеты, связанные с историей прихода, брачностью и рождаемостью. Проведенная работа позволяет представить социальный облик прихода, отметить демографические тенденции в городском сообществе начала XX в., определить перспективные направления в дальнейшем исследовании. Концентрация внимания на отдельном православном приходе позволила реконструировать детали функционирования городского сообщества; проследить реакцию населения на социально-политические изменения в стране; оценить степень развития демографического перехода и модернизации семейно-брачных отношений екатеринбуржцев. / The presented MA dissertation focuses on the social and demographic processes development in the late imperial Russian city. As an example, Yekaterinburg was chosen - a large, rapidly developing city in the Urals and one of its oldest Orthodox parishes. The study based on various sources, the main ones – the St. Ekaterina church parish registers (metricheskie knigi) dated from 1901 to 1919, which were transcribed into the database and analyzed using computer methods. The dissertation consists of three chapters, which sequentially deal with the history of the parish, marriage and fertility. The work carried out allows the deeper understanding of the social development and main demographic trends in the urban community at the beginning of the 20th century and to determine areas for further research. Focusing on a single Orthodox parish made it possible to reconstruct the details of the urban community’s life; to trace the population reaction towards the socio-political changes in the country and estimate the demographic transition development and modernization in the sphere of family and marriage in Yekaterinburg.

The thesis aims to analyse the reception of the ancient Greek drama by the Italian scholar Ettore Romagnoli (1871-1938), considering his critical essays, translations, and theatre performances. The mutual interaction of these three aspects represents the methodological approach to understand how Romagnoli conceived the interpretation of Greek theatre and its dramatic production in the modern age. The thesis consists of three parts. The first one analyses Romagnoli’s ideas on classical studies and the modern translations of ancient Greek poetry within the Italian culture in the early 20th Century and in opposition to the positivist approach in the classical philology and the Neo Idealistic Aesthetics. Furthermore, an exam of the entire work of Romagnoli as stage director is offered, along with the reconstruction of a mainly unknow controversy after his dismissal from the National Institute of Ancient Drama. The second part analyses Romagnoli’s academic studies on the hypothetical performance of ancient tragedy and comedy and the evolution of Greek poetry from music. It also identifies the possible influence of these theories within his own translations and performances. The last part deals with two examples of translations for the stage: the "Agamemnon" (1914) and the "Bacchae" (1922). On the basis of theatre translation studies and thanks to Romagnoli’s editions of the two works, both placed at his archive and library in Rovereto and rich of notes by the translator himself, the analysis attempts to examine the hypothetical performability and speakability of the two texts and whether cuts or modifications were introduced during the stage productions. / La ricerca si propone di condurre un esame il più possibile esaustivo dell’opera del grecista Ettore Romagnoli (1871-1938) come esegeta, traduttore e metteur en scène del dramma antico. Grazie all’analisi della reciproca interazione di questi tre aspetti si è tentato di comprendere come il grecista abbia concepito l’interpretazione del teatro greco e ne abbia progettato la ‘reinvenzione’ drammatica. Il lavoro si suddivide in tre parti. Nella prima viene condotta una ricostruzione della carriera di Romagnoli nel contesto storico-culturale di inizio Novecento, analizzando le sue idee sul rinnovamento degli studi classici e sull’aggiornamento delle traduzioni della poesia greca. In questo quadro assumono notevole rilievo le polemiche condotte da Romagnoli in opposizione alle maggiori correnti accademico-culturali dell’epoca: l’estetica crociana e la filologia scientifica. Inoltre, l’analisi prende in esame l’idea di messinscena e le produzioni dirette da Romagnoli a partire dagli spettacoli universitari (1911-1913) fino alle rappresentazioni teatrali svolte a Siracusa e in altri teatri e siti archeologici d’Italia (1914-1937), insieme alla ricostruzione di una terza polemica, definita ‘siracusana’, che coinvolse il grecista in seguito alla sua estromissione dall’Istituto Nazionale del Dramma Antico. La seconda parte prende in considerazione gli studi scientifici e divulgativi di Romagnoli circa la ricostruzione dell’ipotetica performace della tragedia e della commedia di quinto secolo a.C. e l’evoluzione della poesia greca dalla musica, individuando, inoltre, le possibili rielaborazioni di queste teorie all’interno delle traduzioni e degli spettacoli teatrali. Nella terza parte si analizzano le traduzioni di "Agamennone" e "Baccanti" che Romagnoli portò in scena a Siracusa. Si è tentato di valutare, anche sulla base degli studi teorici relativi alla traduzione per il teatro, quanto l’attenzione alla ‘performabilità’ e alla ‘dicibilità’ del testo ne avesse influenzato la composizione oppure se fossero stati introdotti tagli e modifiche in fase di produzione degli spettacoli. Le due edizioni di "Agamennone" (1914) e "Baccanti" (1922) che facevano parte della biblioteca privata di Romagnoli presentano infatti annotazioni dell’autore riconducibili proprio ai suoi allestimenti per gli spettacoli al Teatro greco di Siracusa. Il lavoro ha potuto avvalersi di scritti inediti, articoli di giornale e documenti privati custoditi negli Archivi della Fondazione INDA e presso il Fondo Romagnoli, dal 2016 proprietà dell’Accademia Roveretana degli Agiati e attualmente in catalogazione presso la Biblioteca civica “G. Tartarotti” di Rovereto.

The purpose of this essay is to investigate how representations of bicycling women in literary works by H.G. Wells, Arthur Conan Doyle, Dorothy Richardson, Grant Allen, George F. Hall, and Alice Meynell express mental and physical freedoms that had previously been denied women due to archaic societal norms. The selected pieces of literature are from the late 19th century and early 20th century, a period during which both the bicycle boom and female emancipation contributed in significant ways to societal change. Through close readings, examples are given of how the New Woman character used the bicycle as a catalyst in the struggle for emancipation and a feminist approach is applied to explore how literary bicycling women characters oppose the stipulated gender norms, challenge the prevailing gender dichotomy and hierarchy, and attain new aspects of freedom. This essay shows that the bicycle grants women characters in the selected texts not only physical aspects of freedom but psychological ones as well. / Uppsatsens mål är att undersöka hur representationer av kvinnliga cyklister i litterära verk författade av H.G. Wells, Arthur Conan Doyle, Dorothy Richardson, Grant Allen, George F. Hall och Alice Meynell uppvisar olika aspekter av psykisk och fysisk frihet vilka tidigare förvägrats kvinnor på grund av konservativa samhällsnormer. De valda litterära verken är skrivna runt sekelskiftet 1900, under en tid då både cykelns popularisering och kvinnans frigörelse bidrog till samhällets omdaning. Genom närläsning ges exempel på hur den moderna kvinnan (the New Woman) som skönlitterär karaktär använde cykeln som en katalysator i kampen för frigörelse, och genom ett feministiskt perspektiv undersöks hur cyklande kvinnor motsatte sig de stipulerade könsnormerna, utmanade könsmaktsordningen, och uppnådde nya typer av frihet. Uppsatsen visar att cykeln ger kvinnliga karaktärer i de valda texterna såväl fysisk som psykisk frihet.

The aim of the paper was to identify tendencies in the type of descriptions, categories, and identities that the doctors at the mental hospital Stockholm’s hospital gave to the mentally ill patients. The time period was chosen for a few specific reasons, one being Bror Gadelius, then chief physician at the mental hospital and his ambitions for a humanistic care of the mentally ill. The other reason is that this period has been forgotten in Swedish history of mental health care as it fell between the 18th and 19th century ‘surveillance and control’, and on the other hand a period of electrical treatments, lobotomies,and sterilisations to ‘treat’ mental illness and fix society during 1930-1950. In the paper, two theories are used to be able to discern tendencies and different attitudes from the doctors in the patient records. The first is the intersectional perspective with some main categories such as Gender, Class, Body, and Sexuality, but also smaller categories that I discovered during the research. These are somewhat abstract yet self-explanatory: Curable/Incurable, meaning whether the attitude in the records suggests that there was any chance for the patient to get well. Talking/Not talking, where the patient's ability or unwillingness to talk to the doctor changes how the patient is described, and finally Docile/Resistant, which means that the patient is described according to how they behave in accordance with the norms of the mental hospital. The second theory is about objective medicine, which developed with the natural sciences, and the need to be scientifically accurate and to be able to define what disease is, what it looks like and its dimensions. However, when objective medicine developed, it was based on a subjective basis, and therefore being ill meant being 'ugly' and not conforming to societal norms. The two theories work well together because they both highlight historically changing meanings within patients' categories and given identities. Although these are two major theories, the paper is still a micro-historical study, I wanted to get up close to the source material and thoroughly examine the different ways in which patients could be described in the mental hospital. And I believe that it is possible, even with a small study of ten patient records, to provide some nuances of how the doctors viewed the mentally ill patients in the early 20th century.

This dissertation deals with sepulchral artworks of Franta Úprka (1868-1929), the Czech sculptor. At first his life is described. Franta Úprka was born in Kněždub, south-eastern Moravia. Beginning of his artistic activity belonged to the end of 19th century, when he worked as an assistant of two famous Czech sculptors - A. P. Wagner and Bohuslav Schnirch. His own career took place in the first two decades of the 20th century. Name Úprka is best known for Joža Uprka, Moravian painter and Franta's elder brother. Although Franta Úprka lived and worked in Prague from 1890th, the midpoint of his artistic interests and main theme of his sculptures was depicting people, traditions and subjects from his home country, Moravian Slovakia. Moravian Slovakia was specific part of Moravian countryside full of long lasting and still surviving folklore, folk traditions, peculiar vivacious characters and intact nature. As Auguste Rodin said during his visit of Moravian Slovakia in 1902 it was kind a Greek Helada overflowing with bright colours, sunshine and cheerful relaxed atmosphere. On the other side, common people lived there their uneasy rural lives with all ordinary worries and pleasures. Both sights of the issue were solved by Úprka's artworks. Very specific and the most significant part of his chef-d'oeuvre...