Durant l’hiver 1400, le chef turco-mongol Timur Lang/Tamerlan, occupe Damas. Quand ses troupes quittent la ville en mars 1401, elle est détruite et exsangue. Si les sources historiques et les études menées présentent cet événement comme un cataclysme, l’impact des troupes mongoles sur la ville doit être nuancé. En évaluant, grâce au croisement des éléments précis présentés par les textes,l’état de Damas avant et après son passage et il est possible de proposer une vision renouvelée des événements. Cette démarche permet d’aborder sous un angle nouveau l’étude de la renaissance de la ville, d’en appréhender le rythme, les mécanismes et les acteurs, à travers l’étude des textes historiques disponibles mais aussi grâce à la découverte de documents inédits apportant un éclairage neuf sur les enjeux de la reconstruction au début du XVe siècle. Dans l’optique d’une relativisation de l’impact de l’occupation de la ville, un nouvel examen des conséquences de la déportation des artisans de Damas vers Samarcande s’impose. Ce traumatisme est souvent présenté non seulement comme l'origine d'un déclin économique de la ville mais aussi comme la cause de la disparition de sa tradition architecturale. L’analyse des monuments permet de mettre en lumière les caractéristiques des constructions qui matérialisent la reprise tout au long du XVe siècle. Cherchant à évacuer le toposet le pathos inhérents aux récits des événements, ce travail combine donc l’examen des faits affectant le paysage urbain, l’analyse des aspects économiques de la reconstruction et l’étude des données architecturales afin de tenter de mesurer les conséquences réelles du passage de Tamerlan à Damas. / During winter 1400, the turco-mongolian conqueror Timur Lang/Tamerlane occupies Damascus. InMarch 1401, after the departure of his troops, the city is destroyed and forsaken. Historic sourcesand studies present this event as a cataclysm, however, the impact of the mongolian horde on thecity has to be examined. It is necessary to estimate the condition of Damascus, before and after thisepisode. The crossing of data presented by the historic sources leads us to offer a renewed vision ofthe events. Then, the study of the revival of the city, thanks to a new approach and a newperspective, permits to discern its rhythm, its mechanisms and its central characters. Thisinvestigation is possible through the examination of the available historic texts and the unpublisheddocuments, bringing the light on the stakes of the reconstruction at the beginning of the XVthcentury. In order to complete the evaluation of the real impact of the occupation of the city, a newexamination of the consequences the deportation of Damascus craftsmen towards Samarkand iscrucial. This trauma is actually seen as the origin of an economic decline of the city and also as thecause of the disappearance of its architectural tradition. The analysis of very monument conducts tobring to light the building’s characteristics throughout the reconstruction. Trying to differ from toposand pathos inherent to the narratives of the events, this work thus combines the examination of thedamage affecting the townscape, the analysis of the economic aspects of the reconstruction, and thestudy of the architectural data, in order to measure the real consequences of Tamerlane presence inDamascus.

La thèse souvre par le constat dune absence détudes véritablement consacrées à lhistoire du goût. La remarque peut surprendre, car les intitulés de la riche bibliographie des Food Studies laissent croire que les études gustatives foisonnent dans les bibliothèques, notamment depuis les travaux de Jean-Louis Flandrin qui, parmi les premiers, a contribué à faire de lalimentation un sujet digne dhistoire. Une analyse plus attentive du contenu révèle cependant une tendance massive des chercheurs à réduire le goût au seul registre culinaire, laissant dans lombre les autres dimensions quil pourrait prendre. Depuis peu cependant, un nouveau champ de recherches paraît émerger des Food Studies, majoritairement représenté par des ouvrages anglo-saxons, centré non sur ce qui se mange, mais sur ce qui se dit et se pense du goût, dans la mesure où ce qui se dit et se pense traduit une expérience collective et son intériorisation culturelle. Refusant de cantonner létude du goût au seul registre culinaire, létude proposée sinscrit dans cette perspective nouvelle, se situant au croisement de lhistoire culturelle des sensibilités, des Food Studies et de lanthropologie historique, utilisant notamment les réflexions fécondes de Philippe Descola. Plus que lhistoire de la cuisine, elle propose de mettre en lumière lhistoire dun sens, révélant dans son sillage lévolution dun rapport au monde des hommes dAncien Régime. Elle interroge notamment les raisons historiques qui ont permis lémergence de la gastronomie au XIXe siècle, témoignage dune valorisation inédite du goût sur la scène sociale. Consacrée à létude des représentations du goût dans l'aire culturelle française des XVIIe et XVIIIe siècles, la thèse se base sur lexploitation dun corpus documentaire large composé de sources de natures variées. Les discours philosophiques, religieux, culinaires et médicaux constituent les quatre registres principaux de cette étude. Explorant la genèse et la construction dune culture gustative moderne, elle révèle dabord la dévalorisation séculaire du goût. Situé traditionnellement au bas de la hiérarchie des sens, le goût est longtemps perçu comme un sens inférieur, matériel, corporel et animal. Il se réduit à la seule dimension de lextériorité, révélant la porosité des frontières entre lhomme et lanimal, que lhomme classique voudrait oublier. Considéré comme inutile au développement de la connaissance par rapport à un sens éminent comme la vue et dangereux pour la vertu avec la gourmandise , le goût est pendant longtemps laissé à la marge du savoir. Mais entre lépoque classique et celle des Lumières, des indices de représentations nouvelles apparaissent, témoins dun déplacement des significations culturelles du goût. Les premiers à le suggérer sont les cuisiniers qui, au milieu du XVIIe siècle, décident de consacrer les préfaces de leurs livres de recettes à des propos plus généraux sur le goût ou la cuisine, premières tribunes dune célébration des plaisirs gourmands. Les intellectuels trouvent par ailleurs désormais utile de consacrer de larges débats au goût, dès lors quil est doté dun sens figuré, propice à lémergence dun faisceau de métaphores les plus variées « goût de Dieu » des mystiques, « bon goût » de lhonnête homme et « Goût » esthétique. Toutes cependant, malgré leurs différences intrinsèques, se rejoignent pour révéler lémergence dune nouvelle modalité sensorielle, qui se caractérise par limmédiateté de son action et lémotion quelle occasionne. Mais surtout, le goût se caractérise par lindicible dun sens profondément individuel. Longtemps laissé à la périphérie des discours, le goût, désormais devenu une entité duelle, à la croisée du corps et de lesprit, se déploie dans lespace dune intériorité proprement humaine, ce qui lui permet dêtre pensé et discuté par les savants, les philosophes et le monde cultivé dans son ensemble.

The most prolific woman writer of belle époque Brazil, Júlia Lopes de Almeida is remembered chiefly for her proto-feminist novels like A Falência (1901). This essay extends critical analysis to the heretofore overlooked Livro das Noivas (1896), a domestic manual once reprimanded by Jeffrey Needell as counterproductive to the feminist cause. With theoretical references to Genette, Agamben, Butler, Woolf, Ludmer, and others, it contextualizes Noivas within late 19th-century discourse on women’s education and the tradition of conduct literature, ultimately determining that Almeida subverts the conventions of the latter in defense of the former. Like João Luso, who declared Noivas a “curso” for soon-to-be-married women, this essay reads the book as a remedial addendum to the superficial education that left women unprepared to confront what Almeida and her liberal contemporaries deemed their responsibility to ensure the nation’s future by supplying it educated and healthy sons. In a deep analysis of the author’s extended dedication to her husband, Filinto, this essay moreover redresses Needell’s division of Noivas from Almeida’s novels. Rather than an aberration, the manual is a companion piece to the author’s fictional corpus. As a performative dissimulation of moral femininity, it compensates for Almeida’s unorthodox and, for the time, questionably “feminine” career. / text

In the years after the Liberal Reforms of the 1870s, the capitalization of coffee production and buttressing of coercive labour regimes in rural Guatemala brought huge amounts of surplus capital to Guatemala City. Individual families—either invested in land or export houses—and the state used this newfound wealth to transform and beautify the capital, effectively inaugurating the modern era in the last decades of the nineteenth century. This dissertation considers the urban experience of modernity in Guatemala City since the 1870s. It argues that until the 1920s and 1930s, modernity in the city was primarily influenced by aesthetic modernism in the form of shopping arcades and department stores with their commodities, sites of bourgeois pleasure and pomp such as the hippodrome and Temple to Minerva, society dances, expositions, and fairs. After this point, the social fallout of economic modernization increasingly defined the experience of urban modernity in Guatemala City. Capitalist development altered the social relations of production in the countryside, precipitating massive urbanization that characterized urban life in the second half of the twentieth century. My analysis helps to account for shifting perceptions of Guatemala City; regarded during the fin-de-siècle as the “Paris of Central America”—owing to its wide boulevards, dawning consumer culture, and cosmopolitan nature—the capital today is considered one of the most dangerous cities in the Americas. I argue that, since the Liberal Reforms, urban Guatemalans learned to see, act, and think as modern subjects. The idea of the “optics of modernity” is introduced to understand epistemological shifts in perception associated with technological, scientific, religious, social, economic, and cultural changes. The optics of modernity denote both the markers of modernity (such as trains, department stores, and new social types like dandies) and new subject positions that altered the experience of the modern world. With these optics of modernity, I argue that urban Guatemalans learned to acclimatize themselves to living in a modern city. The culture of modernity during the Guatemalan Belle Époque (roughly from 1892 until 1917) is of particular interest. This dissertation proposes that the economic expansion of the period was frequently punctuated by recessions and depressions as the prices of export agricultural commodities dropped and rebounded on global markets. These economic crises constrained the bourgeoisie’s visions of liberal utopia. A unique cultural phenomenon known as the cultura de esperar (the culture of expecting, hoping, and waiting) is introduced in this work to describe the epistemological predicaments that arose when the hopes and expectations of modernity were stifled by economic gluts. The analysis explores a wide variety of topics from nineteenth-century séance culture, bull fighting in cinema, the modernist avant-garde, and the dawning of consumer culture to the contrast between verticality in urban architecture and the expansion of urban slums.

Pas de résumé français

Les rues et les places de Barcelone à l'époque moderne -période assez peu étudiée dans l'histoire de la grande ville méditerranéenne- ont reflété les conséquences d'une série d'événements souvent tragiques tels que la Guerre des Segadors ou les révoltes de 1714. Cette étude a choisi de donner la préférence à l'iconographie comme support original pour évoquer la vie quotidienne. Les documents présentés ici, provenant des archives de la ville s'ajoutent aux études relatives à l'évolution démographique, à l'immigration, aux fêtes civiles et religieuses, à la vie des congrégations et des corporations, au rôle des femmes ou aux grands évènements historiques qui ont marqués l'histoire de la ville. Il est montré comment, tout au long d'une période plus chaotique que "stagnante", la ville a affirmé son identité différente. / The streets and squares of Barcelona in the early modern era - period rather little explored in the history of the Mediterranean big city – have reflected the consequences of a series of often tragic events such as the War of Segadors or the revolts of 1714. This study has chosen to give the preference to the iconography as original support to evoke the everyday life. The documents presented here, proceeding from the city archives add up to studies relative to demographic evolution, immigration, civil and religious celebrations, life of the congregations and the corporations, the role of women or the historical great events which marked the history of the city. It is shown how, throughout one period more chaotic than “stagnant”, the city asserted its different identity.

[pt] A presente dissertação propõe analisar a atuação de Gonzaga Duque como crítico de arte. Este trabalho reconstrói o percurso das influências estéticas que compuseram o universo teórico de referência para a atuação de Gonzaga Duque como crítico de arte. Esse estudo aborda com maior ênfase o engajamento simbolista do autor, mas igualmente compõe um quadro de diferentes fontes e experiências críticas citando artistas e críticos contemporâneos de seu período, como por exemplo, Baudelaire, Zola e Ruskin. Este estudo indica que Gonzaga Duque conseguia realizar uma crítica ao mesmo tempo experimental e teórica e que nutria essa certa generosidade de se manter sempre aberto aos desafios do presente, conseguindo forjar uma concepção singular de modernidade. A dissertação também se propõe analisar os artigos de crítica de arte referentes a alguns artistas relevantes no período, realizando uma análise formal concomitante com o texto do autor. Dessa forma, esse estudo permite pensar as amplitudes, mas também os limites da crítica de arte, principalmente no que tange a compreensão de certa modernidade plástica, não incorporada pelo autor, explicitando a sua condição de sujeito circunscrito no seu meio cultural. O estudo permite pensar as especificidades deste período histórico compondo um cenário social e cultural, com seus principais referenciais, indicando os aspectos singulares que permitiu ao Gonzaga Duque realizar uma crítica prol de um alargamento das fronteiras da visualidade na arte brasileira. / [en] The present dissertation aims to analyze the performance of Gonzaga Duque as an art critic. This work reconstructs the trajectory of the aesthetic influences that had composed the theoretical universe of reference for the performance of Gonzaga Duque as an art critic. This study emphasizes the relationship of the author with the Symbolism, but equally approaches different sources and critical experiences involving contemporaries` artists and critics with relevance for its period, such as Baudelaire, Zola and Ruskin. This study indicates that Gonzaga Duque has a successful acting as critic, performing at the same time experimental and a theoretical analysis opened to the challenges of the present, building a singular conception of modernity. The dissertation also aims to analyze the art reviews themselves with peculiar emphasis to some relevant artists in the period. This study it allows the meditation about the amplitude, but also the limits of the critic, mainly referring to the comprehension of a certain plastic modernity, not incorporated by the author. Finally, the study allows thinking the specificities of this historical period composing a social and cultural scene, with its main elements, indicating the singular aspects that allowed to the Gonzaga Duque to cross the borders of the Brazilian art.

Made available in DSpace on 2016-04-27T19:30:04Z (GMT). No. of bitstreams: 1 Luiz Cezar Silva dos Santos.pdf: 19307334 bytes, checksum: 55803adc3efa0c7ab4fe447b347a16fd (MD5) Previous issue date: 2010-11-05 / This thesis examines the relationships between advertising and urban living in the city of Belem, in the period known historically as belle epoque, between the years 1870 and 1912. From the analysis of advertising campaigns, the study focus on the construction of historical representations of the city of Belem of Para, and the evolution of advertising activity in this period. Reflecting on the representations constructed by the look of propaganda and publicity about the city of Belem, conveyed in advertisements for newspapers, almanacs and commemorative albums of the time, sought help to systematize the history of advertising activity between the late nineteenth century and early twentieth century in the Paris of the Tropics . Call belle epoque Amazon depicts the euphoria and the triumph of bourgeois society of the time over a period of effervescence economic, material and technological, from the extraction and marketing of rubber, a fact that has generated a cultural climate, intellectual and artistic which translated into new ways of think and live the life of the city of Belem. This study discusses between the years 1870 and 1912 the role and importance of advertising in this context / Esta tese analisa as relações entre a publicidade e o viver urbano na cidade de Belém, no período conhecido historicamente como belle époque, entre os anos de 1870 e 1912. A partir da análise de peças publicitárias, o estudo tem como foco a construção histórica de representações sobre a cidade de Belém do Pará, e a evolução da atividade publicitária nesse período. Ao refletir sobre as representações construídas pelo olhar da propaganda e da publicidade sobre a cidade de Belém, veiculadas nas mensagens publicitárias de jornais, almanaques e álbuns comemorativos da época, busca contribuir para a sistematização da história da atividade publicitária entre o final do século XIX e início do século XX na Paris dos Trópicos . A chamada belle époque amazônica retrata a euforia e o triunfo da sociedade burguesa da época num período de efervescência econômica, material e tecnológica, proveniente da extração e comercialização da borracha; fato que gerou um clima cultural, intelectual e artístico, que se traduziu em novos modos de pensar e viver o cotidiano da cidade de Belém. Este estudo discute, entre os anos de 1870 e 1912, o papel e a importância da publicidade nesse contexto

[pt] O presente trabalho procura analisar a coluna Cinematographo,assinada por Joe, um dos pseudônimos de Paulo Barreto, que foi publicada na Gazeta de Notícias entre agosto de 1907 e dezembro de 1910. A análise dos originais permite estabelecer a diferença entre a coluna e o livro homônimo, publicado em 1909. O estudo pretende ainda demonstrar a singularidade da narrativa do autor nesta série e a importância da crônica e da imprensa na definição do cenário cultural da Belle Époque carioca sob dois aspectos: como forma de profissionalização dos literatos e como parte do esforço de compreensão da experiência de modernização vivida pela capital federal no início do século XX. A análise também permite perceber o interesse do autor pela vida moderna assim como afirmar que o progresso técnico que marcou o período está presente tanto na forma quanto no conteúdo dessa série de crônicas. / [en] This work aims to analyze the column Cinematographo, written by Joe, one of Paulo Barreto s pseudonyms, which was published in Gazeta de Notícias from August 1907 to December 1910. The manuscripts analysis allows to set up the difference between the column and the homonym book, issued in 1909. The study also tries to show the author s unique narrative in this sequence of texts and the importance of the chronicle and of the press in the definition of the cultural scene of Belle Époque in Rio de Janeiro city under two aspects: as a way of literati professionalization and as part of the effort of comprehension of the modernization experience lived by the federal capital in the beginning of the 20th century. The analysis reveals the writer s interest in the modern life, as allows to assert that the technical progress, characteristic of the period, is present both in form and sense of these chronicles.

Les recherches précédentes sur la coroplathie de Métaponte ont abordé ce matériel comme un objet de culte circonscrit dans le sanctuaire. Face à l'abondance des données dont on dispose, ce travail cherche à actualiser nos connaissances en le considérant d'abord comme une production artisanale. L'étude se centre sur les VII0-VI° siècles avant J.-C., époque durant laquelle la polis structure progressivement son territoire et met en place ses lieux de culte. Le choix d'un corpus provenant de plusieurs sanctuaires a conduit à la définition de types techniques et à l'analyse de leur diffusion dans la cité. L'étude combine trois approches complémentaires visant à éclaircir les spécificités du matériel métapontin : en premier lieu, les chaînes opératoires et les espaces artisanaux qui introduisent la question des ateliers locaux et des moyens d'identifier leurs productions; ensuite, la diffusion du matériel dans le Métapontin et au-delà, mettant en évidence les réseaux de contacts ; enfin, les spécificités fom1elles de ce corpus et les dynamiques créatives qui s'inscrivent dans des courants à plus grande échelle. Les résultats obtenus sont placés en dernier lieux dans une perspective plus large à travers trois axes: la place de l'artisan, l'analyse iconographique et l'emploi de l'artisanat dans la définition de l'identité des ltaliotes. Cet exercice méthodologique ouvre de nouvelles perspectives en considérant la production d'une cité dans son ensemble. Il met en évidence l'intérêt d'analyser la globalité du contexte de déposition et de replacer le matériel à l'intérieur des dynamiques productives et communautaires qui lui sont propres. / Previous research on metapontian coroplastic material has focused on their ex voto dimension, circumscribed to the sanctuary. Given the abundant data that we have, this work aims to update our knowledge considering this material first of ail as a craft production. The study focuses on the VII1h-VI1h centuries B.C., period during which the polis progressively structured its territory and established its places of worship. The constitution of a corpus with material from different sanctuaries enables us to define technical types and analyse their diffusion within the city. The study combines three complementary approaches aimed at determining the specificities of metapontian materials: on the first place, the operational chains and craft spaces which introduce the question of local workshops and how to identify their productions; then, the diffusion of the material within Metaponto and beyond, highlighting the contact networks; lastly, the formal specificities of the metapontian corpus and the creative dynamics the city integrates on a larger scale. Finally, these observations are placed on a wider perspective from three different angles: the place of the craftsman, the iconographic analysis and the use of crafts in the definition of the ltaliote identity. This methodological exercise seeks to bring new perspectives by considering the city's production as a whole. JI brings out the appeal of analysing the entire depositional context and approaching the material through its own productive and communitarian dynamics.