*text removed pages 111 and 125. / Monitorial schools became popular in nineteenth-century Britain. Under the panoptic control of a single master who was assisted by a cadre of specially selected pupils --monitors --these institutions responded, ostensibly, to the need to "educate" the underclass. I argue that rather than being concerned with the improvement of literacy, the promoters of these schools --The Reverend Andrew Bell, Joseph Lancaster and Matthew Davenport Hill, among others --were driven more by a desire to contain and manage a segment of the population that constituted a perceived threat to social order. The efficient management of the schools' populations demanded of their pupils an unrelenting self-discipline, a seemingly innocuous concept that carries within it chilling implications for the definition of an ideal subject. I refer throughout to the ''literature" of the nineteenth-century English monitorial school --its theoretical and pedagogical treatises, pictorial representations and accounts of educational experiments --and by using Michel Foucauh's theories of power, I determine the actual force relations that obtain there, defining precisely the nature of a discipline that operates, as Bell writes, ''through the agency of the scholars themselves". Having established the educational context out of which monitorial schools emerged, I proceed, in part one of the dissertation, to examine mainly the works of Joseph Lancaster and Matthew Davenport Hill By reference to their tracts, I show how the monitorialists used the emerging technologies ofdetention to create a subject population whose bodies became the point ofapplication not only of "education," but also a complex form ofsocio-political experimentation. In the second part I investigate the attraction for Samuel Taylor Coleridge ofThe Reverend Andrew Bell's monitorial theory, revealing that what some critics have seen as Coleridge's paradoxical attraction to monitorialism is, in fact, a confirmation ofhis own idealistic vision for England's social hierarchy. / Thesis / Doctor of Philosophy (PhD)

The focus of this dissertation is a comprehensive study of the life and work of Giovanni Puzzi, nineteenth-century Britain's most celebrated virtuoso of the horn. In his hands, the horn -- hitherto largely known to England's aristocracy as an obstreperous member of the orchestra or popular form of pleasure garden entertainment became a sought-after attraction at London's most fashionable and exclusive concerts. An examination of Puzzi's activities as an orchestral player and as a soloist in a wide variety of public and private concerts chronicles his rise to celebrity and establishes his position in London's concert life. Equally impressive was Puzzi's sustained prosperity in a notoriously difficult business. Key to this triumph was his multifaceted exploitation of the Italian opera. Through his activities as an agent, impresario and arranger he allied himself as a fixer and performer with his era's most lucrative musical commodity: the singers of the Italian opera. In the large body of music that he arranged and composed to capitalise on audience fascination with virtuosity and opera, Puzzi has provided the only substantial record of horn playing in Britain during the nineteenth century. The majority of fhe manuscripts considered in this dissertation are drawn from a private collection and have not been previously studied or published. This material, in conjunction with Puzzi's surviving instruments and critical accounts of his playing, has been utilised to reconstruct and assess the main attributes of his virtuosity. This dissertation shows that Puzzi was responsible for establishing the preference for French style instruments and performance technique in England and that he was the first exponent of the British school of horn playing that reached its culmination in Dennis Brain. While virtuoso string players, pianists and singers have attracted much attention from scholars and biographers, this dissertation is the first full length historical study of a nineteenth-century horn virtuoso to be written.

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This thesis has evolved from William Blake's phrase, "Imitation is Criticism" written in the margin of Sir Joshua Reynolds's Discourses on Art. As a concept central to the production and criticism of art, imitation has largely been explored in the philosophical context of aesthetics rather than in terms of its practical application in image-text studies of the Romantic period. It has also traditionally served as a marker for the period designation 'Romantic', which in image-text studies continues to be played out in terms of the transition from imitative to expressive modes of making and response. Yet this notion of periodization has proven problematic in studying the response to 'false criticism' within what Wallace Stevens calls that 'corpus of remarks about painting'. These remarks reveal an important tension within imitation as a way of making something like something else, but also as a means of characterizing the relationships that underpin that resemblance. This tension not only occupies a central place in the concurrent development of art criticism and literary criticism in the period, but also offers a new foundation for the interdisciplinary study of image-text relationships in the period. The thesis is divided into two parts, each guided by the important role that imitation plays in the fight against 'false criticism' with respect to the visual arts. The first part examines the tension within imitation from the standpoint of artists and connoisseurs who expressed concern about the excesses of description in asserting the need for a credible art criticism while at the same time realizing its inevitability. The second part examines the tension within imitation from the standpoint of the American artist Washington Allston and his friend Samuel Taylor Coleridge, both of whom used this tension to advantage in setting forth a lexicon and methodology that could account not only for the 'specific image' described, but also the geometrical and structural relationships that underpin that image.

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Dissertation submitted in fulfilment of the requirements for the Degree of Master of Arts at the University of the Witwatersrand. March 1994. / This research examines the way in which the ideology of difference is reflected in visual images of black people in Britain in the nineteenth century, Concepts of tlie 'other' ar~iocated within specific contemporary socie-celnnal and political contexts. Historically, this was an important period in which theories of human difference proliferated, and which in turn informed diverse and often contradictory social practices. The white English behavioUl' towards, and perspective of, black people in England had a direct bearing not only on life in Britain, but in the colonies as well. The images produced in England were critical to the colonial enterprise. They infomlt:al Briti~h attitudes to Africa and the Empire more generally. Implicit in the analysis of the images is an evaluation of the emergflllce of hegemonic ideas, and the manipulation of power by the ruling class. The beliefs and trends of a society are reflected in its visual arts. The methodology employed aims to bring together analyses of the production of visual representations within a broad chronological and thematic framework, so as to assess the social production of meaning in the images. To do this it is necessary to verify the presence of black people as residents in England. Chapter one addresses this issue as well as determines to what extent the notion of blackness was integral to an early formation of a black !~~creotype. Some of the implications of British participation in the slave trade are also censldered, Images of slaves which are the main focus of chapter two, demonstrate seclo-eultural attitudes of early nlneteanth-centurv English people. Chapter three examines the rise of science and systematic knowlaJge which fed to both technical and popular theorising about racial difference. The congruence between scientific and popular understandings led to the emergence of notions of 'types' and hierarchies of people, which were to dominate ideas and attitudes for decades. Concurrent with the rise of science was the growth of a popular image of a stereotyped blar.k 'other', Chapter four evaluates the. processes through which these images were disseminated in a fast growing popular culture. The inequalities ()f power relations within English society, as manifest in the images, are analyzed. Chapter five considers the ways in which the white male producers of images perceived black women. The contradictions and ambiguities of the visual systems in this chapter point to the complexities of cultural practice, and of artists and producers' particular views on blackness and femaleness. The conclusion summarises the lIIIay in which the coneept of an 'other' has been used in this dissertation. / MT2017

The term "feminist," when applied to Wilkie Collins, implies he was concerned with rectifying the oppression of women in domestic life as well as with promoting equal rights between the sexes. This study explores Collins the "feminist" by analyzing his portrayals of women, particularly his most powerful feminine creations: his villainesses. Although this focus is somewhat limited, it allows for a detailed analysis of the development of Collins's attitudes towards powerful women from the beginning to the end of his career. It examines the relationship between Collins's developing moral attitudes and social beliefs, on the one hand, and the ideas of Victorian feminists such as Josephine Butler and feminist sympathizers such as John Stuart Mill, on the other. This interaction, while never overt, reveals the ambivalence and complexity of Collins's "feminist" attitudes. Of the five novels in this study, Antonina (1850), Basil (1852), Armadale (1866), Jezebel's Daughter (1880), and The Legacy of Cain (1889), only one was published at the zenith of Collins's career in the 1860s. Each of the villainesses in these novels, their ideas and experiences, are crucial to understanding Collins's "feminist" impulses. Looking at them as powerful women who detest domestic oppression, one becomes aware that Collins feared such powerful women. But at the same time, he found something fiercely attractive about them. One also realizes that he was never fully capable of breaking the prevailing literary conventions which dictated that wickedness be punished and virtue rewarded (The Legacy of Cain is perhaps an exception, depending on how one views Helena's feminist revolution). The reading of Collins's novels offered in this study presents a broad, eclectic approach, utilizing the tenets of a number of different theoretical approaches such as new historicism, psychoanalytic criticism, and deconstruction, as well as feminist criticism. It contextualizes Collins's novels and his "feminist" concerns within the framework of other contemporary feminist ideas and the critical responses his works received.

Made available in DSpace on 2016-04-28T14:16:20Z (GMT). No. of bitstreams: 1 Raphael B S Uchoa.pdf: 1179004 bytes, checksum: a0dc8c24e36f6f3eeaf6db0e0c71fa2e (MD5) Previous issue date: 2014-06-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The problem relative to man s place in nature operated as a common thread among several notions and theories formulated and debated in Victorian England. That was precisely the subject of Man s Place in Nature, a book by Thomas Henry Huxley (1825-1895) that became highly influential from the 1860s onwards. In addition, Huxley gave countless lectures, participated in hot public debates, and wrote essays and letters on that subject. The aim of the present study was to analyze contextual and epistemological features relative to Huxley s book. Following a mapping of the ideas on man s place in nature held in England in the first half of the 19th century up to the 1860s, Man s Place in Nature was subjected to epistemological analysis. Our results point to an overlapping of the ideas then formulated relative to zoological classification and appropriate criteria for comparison required for accurate grading of living beings, as e.g., the marks of animality . In this regard, Huxley prioritized the criteria provided by comparative anatomy and the current ideas on human races, as well as the traditional notions on the gradation of species and scale of nature , aiming at formulating a general law that would ensure the essential unity of humankind with the remainder of nature. Such general law was particularly necessary to demonstrate Huxley s hypothesis stating that there is no essential antithesis between human beings and the other animals, and that the physical, moral and mental differences between them do not suffice to posit an insurmountable gap between humankind and nature / O problema acerca do lugar do homem na natureza constituiu uma espécie de fio condutor ao redor do qual diversos conceitos foram formulados e várias teorias foram debatidas no contexto da Inglaterra vitoriana. Esse tópico foi encapsulado no título de uma obra muito influente a partir da década 1860, Man s Place in Nature (O lugar do homem na natureza), cujo o autor, Thomas Henry Huxley (1825-1895) ministrou palestras, debateu publicamente, escreveu ensaios e trocou cartas sobre o tema em questão. O objetivo do presente estudo foi explorar os aspectos contextuais e epistemológicos relacionados à referida obra de Huxley. Assim, foi feito um mapeamento das ideias sobre o lugar do ser humano na natureza na Inglaterra na primeira metade do século XIX até os anos 1860, seguido de uma análise primariamente epistemológica da obra de Huxley. Tal estudo nos permitiu identificar uma sobreposição de ideias acerca do processo de classificação zoológica, ou de critérios de comparação, como as marcas de animalidade , necessários para a correta hierarquização dos seres. Verificou-se que o uso desses critérios levou Huxley a invocar os fatos produzidos pela anatomia comparada, bem como as ideias contemporâneas sobre as raças humanas, além das ideias mais tradicionais sobre a gradação das espécies e a escala natural , no intuito de formular uma lei geral que assegurasse a unidade da humanidade com o resto do mundo natural. Essa lei geral era necessária para comprovar a hipótese de que não havia uma antítese essencial entre os seres humanos e os demais animais e que as diferenças existentes entre eles não eram suficientes para justificar a suposta incomensurabilidade física, moral e mental entre ambos