This dissertation critically examines why mid-Victorian fiction often dismisses or complicates monetary transactions and monetary charity, even as it negatively portrays differences in social status and wealth. I argue that the novel uses representations of failed charity to reconstruct, however briefly, a non- monetary and non-economic source of value. Further, I examine how the novel uses techniques of both genre and style to predict, form, and critique alternate, non-economic, social models. While tension surrounding the practice of charity arises in the late eighteenth century, the increasing dominance of political economy in public discourse forced Victorian literature to take a strong stance, for reasons of both ethics and genre. This stance is complicated by the eighteenth-century legacy that sees charity as a kind of luxury. If giving to the poor makes us feel good, this logic suggests, surely it isn’t moral. Thus, while much eighteenth- and nineteenth-century literature remains dedicated to the ethics of charity, the practice becomes immensely complex. By discussing the works of Tobias Smollett, Charles Dickens, Elizabeth Barrett Browning, and George Eliot, this project exposes a wide variety of responses to this deep cultural anxiety. These authors are, ultimately, strongly invested in redefining the meaning of benevolence as a valid form of social action by moving that benevolence away from monetary gifts and toward abstractly correct moral feelings, though their individual solutions vary widely. / text

No description available.

Thesis (doctoral)--Universität zu Köln. / Includes bibliographical references (p. 335-352).

Submitted by Simone Maisonave (simonemaisonave@hotmail.com) on 2016-08-29T16:17:59Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Carmen Beatriz Pereira Leal_Dissertacao.pdf: 42856692 bytes, checksum: fa1d5edce2c6785c8a56da2795511d96 (MD5) / Approved for entry into archive by Simone Maisonave (simonemaisonave@hotmail.com) on 2016-08-29T16:18:09Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Carmen Beatriz Pereira Leal_Dissertacao.pdf: 42856692 bytes, checksum: fa1d5edce2c6785c8a56da2795511d96 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-08-30T10:50:55Z (GMT) No. of bitstreams: 2 Carmen Beatriz Pereira Leal_Dissertacao.pdf: 42856692 bytes, checksum: fa1d5edce2c6785c8a56da2795511d96 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-30T10:51:37Z (GMT). No. of bitstreams: 2 Carmen Beatriz Pereira Leal_Dissertacao.pdf: 42856692 bytes, checksum: fa1d5edce2c6785c8a56da2795511d96 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-09-28 / Sem bolsa / O estudo analisa o Colégio Elementar Félix da Cunha, durante os anos de 1913-1934. Será examinada a trajetória da escola, os prédios onde a mesma funcionou, bem como as questões referentes as escolas primárias, e o Modelo Escolar nos anos de 1930. O objetivo principal consiste em acompanhar desde a criação da escola em 1913, realizando um histórico da escola, bem como o Contexto Educacional do Rio Grande do Sul e o Contexto da cidade de Pelotas durante o período em análise. Foi feita uma busca, sobre os prédios escolares adquiridos pelo Governo do Estado, bem como a importância dos Colégios Elementares que foram criados em 1909, sendo somente instalados em 1910. A pesquisa documental analisa o Livro de Matrículas do Acervo particular da Escola, caracterizando o perfil dos alunos, através das categorias de idade, sexo, nacionalidade, etnia. Também será usado como fonte o Jornal Diário Popular. Foi constatado que o Colégio Elementar Félix da Cunha além de receber um grande número de alunos, mostrou alguns aspectos do ideal republicano, pois a construção das escolas foi uma das propagandas do regime que foi criado após o advento da República. O trabalho pretende contribuir para a história da educação, bem como mostrar dados importantes do colégio para os alunos que nela fazem parte e são carentes destas informações. / The study analyzes the College Elementary Félix da Cunha, during the years 1910-1934. Will de examined the school's history, the buildings where the same work, as well as issues concerning primary schools, and the Model School in the 1930s. The main objective is to monitor from the school establishment in 1913, carrying out a school history as well as the Rio Grande do Sul Educational Background and Context of Pelotas at the time. Was do a lookup on the buildings school acquired by the State Government as well as the importance of Elementary Schools that were created in 1909, being installed only in 1910. A documentary research analyzes the Book of Registrations of private Collection of the School, featuring the profile of students, through the categories of age, gender, nationality, ethnicity. Also it will be used as source the newspaper People's Daily. It was found that the elementary Félix da Cunha College in addition to receiving a large number of students showed some aspects of the republican ideal, as the construction of schools was one of the regime's propaganda that was created after the advent of the Republic. The work aims to contribute to the history of education as well as show important data to the college students who are part of it and are in need of this information.

Orientador: Luiz Marques / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T07:34:27Z (GMT). No. of bitstreams: 1 Dias_ElaineCristina_D.pdf: 22636818 bytes, checksum: 544f05d81637869806178de8dbf1020a (MD5) Previous issue date: 2005 / Resumo: Esta tese de Doutorado estuda a carreira do pintor francês Félix-Émile Taunay no Rio de Janeiro, entre os anos de 1824 a 1851. Analisamos sua atuação como pintor de paisagens, assim como sua atividade de diretor da Academia Imperial de Belas Artes entre 1834 a 1851, período em que realizou uma série de inovações no campo do ensino artístico. Entre estas medidas, está o desenvolvimento do curso de desenho, a criação das Exposições Gerais de Belas Artes em 1840, a organização da Pinacoteca da Academia, o Prêmio de Viagem à Itália em 1845 e uma constante preocupação com a atuação do artista na sociedade. Nesse sentido, foi de suma importância o trabalho conjunto de Taunay e Grandjean de Montigny na busca pelo reconhecimento e estabelecimento profissional dos arquitetos acadêmicos na sociedade carioca de então. A abordagem à pintura de paisagem de Taunay realizou-se através de duas vias distintas. A primeira delas refere-se à análise do primeiro panorama brasileiro exposto em Paris - o Panorama da cidade do Rio janeiro - com base nos desenhos elaborados por Taunay e pintados por Guillaume Ronmy em 1824. A segunda concentra-se na pintura de paisagem realizada entre as décadas de 1820 e 1840, as quais demonstram, pouco a pouco, uma nova abordagem temática do gênero. Com este trabalho, caminhamos na tentativa de cobrir uma lacuna dentro da história da arte brasileira do século XIX, seja na história do ensino artístico, seja na temática da pintura de paisagem / Abstract: This doctoral thesis studies the French painter Félix-Émile Taunay career in Rio de Janeiro, in between the years of 1824 and 1851. We analyze his activity as landscape painter, as well as his activity as director of the Imperial Academy of Fine Arts between 1834 and 1851, when he implemented several innovations in the area of artistic teaching. Among such accomplishments, we can list the development of a drawing course, the creation of the Exposições Gerais de Belas Artes (General Expositions of Fine Arts) in 1840, the organization of the Picture Gallery of the Academy, the Prix de Rome in 1845, and the existence of a continuous concern about the action of the artist in society. In this sense, it was of chief importance the work of Taunay in cooperation with Grandjean de Montignv for the professional establishment of academic architects in the carioca society at the time. The account of Taunay's landscape painting in this thesis is twofold. First, there is the analysis of the first Brazilian panorama exhibited in Paris - the Panorama da Cidade do Rio de janeiro - based upon Taunay's projected drawings, painted by Guillaume Ronmy in 1824. Second, we focus on the landscape painting from the 1820's to the 1840's, which gradually show a new thematic account of the genus. With this work we attempt to cover a hiatus in the Brazilian history of art of the nineteenth century, a gap existing in the history of artistic teaching as well as in the subject-matter of landscape painting / Doutorado / Historia da Arte e da Cultura / Doutor em História

Cette thèse tâche d’embrasser la production scénique de Felix Mendelssohn Bartholdy, en particulier ses musiques de scène pour la cour du roi de Prusse, qui connurent un grand succès au XIXe siècle. Le roi de Prusse Frédéric-Guillaume IV voulait alors renouveler le théâtre par la représentation d’œuvres antiques et de pièces de Shakespeare. Je souhaite comprendre comment ces œuvres, dictées par un arbitraire royal, à une époque où ces deux modèles esthétiques semblent passés de mode ont pu être l’un des points de départ, en Europe, d’une nouvelle réflexion sur l’Antiquité comme source d’inspiration, ainsi que de la création d’œuvres inspirées de l’Antiquité, sous la forme d’opéras sérieux ou parodiques et de musiques de scène.D’autre part, ces recherches et l’analyse des œuvres scéniques de Felix Mendelssohn Bartholdy permet d’envisager quelles ont pu être les idées dramatiques d’un compositeur extrêmement cultivé qui parlait grec et latin mais n’écrivit jamais ses propres livrets – à la différence d’un Berlioz ou d’un Wagner – et sembla toujours éprouver des difficultés à trouver un livret d’opéra qui lui permît d’exprimer ses idées musicales et dramatiques. Or, dans ses musiques de scène, le compositeur a toujours été au-delà de ce qui était attendu dans ce genre, recherchant peut-être, à une époque dite de « crise » des genres dramatiques en Allemagne, une nouvelle façon d’unir texte et musique, une nouvelle voie dramatique entre opéra, théâtre, oratorio et mélodrame. / This Dissertation aims at embracing Felix Mendelssohn Bartholdy’s stage music, more particularly his works composed for the court of the King of Prussia, which were much admired in the nineteenth century. The King of Prussia Frederick William IV wished to renew the theater by imposing the representation of classical and Shakespearean plays, at a time when these two aesthetic models seemed out-dated. I would understand how these works, dictated by an royal arbitrariness, were one of the starting points in Europe of the creation of works inspired by antiquity, music pieces ranging from parodic or serious operas to incidental music. Moreover, this research into and analysis of Felix Mendelssohn Bartholdy’s stage works allows us to consider what could be the dramatic ideas of a highly educated composer who could speak Greek and Latin, but never wrote his own librettos – unlike Berlioz or Wagner – and always seemed to have difficulty finding a libretto that would enable him to express his musical ideas and visions for the stage. However, in his incidental music, the composer always went further what was expected in this genre, searching perhaps, in a so-called period of « crisis » of drama genres in Germany, a new way of combining text and music, a new dramatic path between opera, drama, oratorio and melodrama

This study investigates effects on the ephemeral artwork and its ephemeral quality when documented and archived. To define the ephemeral artform a definition presented by Mary O’Neill in her thesis Ephemeral Art: Mourning and Loss (2007) is used, and two ephemeral artworks are studied: Zoe Leonard’s Strange Fruit (for David) (1992-1997) and Felix Gonzalez-Torres' ”Untitled” (Portrait of Ross in L.A.) (1991). Results from these case studies are compared to each other and to Peggy Phelan’s critical stance on the possibilities of documenting time-based and performative artforms in Unmarked: The Politics of Performance (1993). Results show that the ephemeral artwork becomes ephemeral through slow degradation and the experience this degradation generates in the observer; processes in time that cannot be documented. However, documentation can affect the observer’s experience of ”here and now,” which may alter the artwork’s communicative abilities and its effectiveness in creating a sense of presence within the passing of time. / I denna studie studeras påverkan på det efemära konstverket och dess efemära egenskap när det dokumenteras och arkiveras. För att definiera den efemära konstformen används en definition som presenteras av Mary O’Neill i avhandlingen Ephemeral Art: Mourning and Loss (2007), och två efemära konstverk studeras: Zoe Leonards Strange Fruit (for David) (1992–1997) och Felix Gonzalez-Torres ”Untitled” (Portrait of Ross in L.A.) (1991). Resultat från verkanalyser av dessa verk jämförs mot varandra samt mot Peggy Phelans uppfattning att performance-baserad konst inte kan dokumenteras i Unmarked: The Politics of Performance (1993). Resultat visar att det efemära konstverket blir efemärt genom sin långsamma nedbrytning och genom betraktarens upplevelse av denna nedbrytning – temporala processer som inte kan dokumenteras med exakthet. Dokumentering kan dock innebära att betraktarens upplevelse av ”här och nu” påverkas och således verkets förmåga att kommunicera effektivt om passerande tid och frambringa närvaro i nuet.

Das Liedschaffen Felix Mendelssohn Bartholdys war zu Beginn des 21. Jahrhunderts nur zu knapp zwei Dritteln der tatsächlichen Produktion bekannt. Erst im Jahre 2007 erschienene, bis dahin ungedruckte oder an entlegener Stelle veröffentlichte Lieder werden in vorliegender Studie zusammen mit den übrigen, nicht mit einer Opuszahl versehenen Liedern und Duetten zu thematischen Untergruppen geordnet und knapp in textlich-musikalischer Hinsicht charakterisiert. Diese Lieder und Duette, die nach dem Wunsch des Komponisten in den allermeisten Fällen nicht in die Öffentlichkeit gelangen sollten, stellen das gewohnte Bild Mendelssohns, das des Heiter-Sorgfältigen, in ein neues Licht.

No description available.

Nicht zuletzt durch die Wiederaufführung von Bachs Matthäuspassion gilt Felix Mendelssohn Bartholdy als bedeutende Figur für die Rezeption und Pflege der Musik Johann Sebastian Bachs. Sein geistliches Vokalwerk belegt vielfach, dass sich Mendelssohn kompositorisch intensiv mit Bach auseinandergesetzt hat. Ziel der vorliegenden Arbeit ist es, eine mögliche satztechnische Einflussnahme Bachs auch in Mendelssohns weltlichen Liedern für gemischten Chor auszumachen. Dazu wird sowohl das Verhältnis Mendelssohns zu Bach und seiner Vokalmusik erörtert als auch seine Beschäftigung mit dem Chorlied thematisiert. Die Arbeit beleuchtet Mendelssohns persönliches Spannungsverhältnis zwischen der florierenden bürgerlichen Musikkultur in der ersten Hälfte des 19. Jahrhunderts und der familiär bedingten Hochschätzung der protestantischen Vokalmusik Bachs. Im aspektgeleiteten analytischen Teil der Arbeit wird Mendelssohns Satztechnik in seinen Liedern mit der barocken Choralsatztechnik Bachs in dessen Chorälen verglichen. Dabei werden konkrete satztechnische Bezüge herausgestellt und mit Verweisen auf den Notentext belegt. Zahlreiche Notenbeispiele visualisieren die Beweisführung.