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Este trabalho compara três romances históricos brasileiros do século XIX: Guerra dos Mascates (1873-4), de José de Alencar, O matuto (1878) e Lourenço (1881), ambos de Franklin Távora. Os três romances se ambientam na Guerra dos Mascates, conflito civil ocorrido em Pernambuco no início do século XVIII. Para o estudo comparativo de tais obras, levou-se em conta o interesse de cada um dos autores ao escrever os romances, bem como suas visões distintas a respeito de tal gênero, que ficaram bastante claras na polêmica das Cartas a Cincinato. Para melhor compreender as obras, este trabalho analisa não só as Cartas críticas de Távora a Alencar, mas a resposta altiva do segundo em seu prefácio Bênção paterna; esse debate será permeado neste trabalho por uma análise breve do contexto romântico do período e seus ideais e mudanças, especialmente no que tange ao romance histórico. Além disso, este trabalho tece uma breve apresentação da Guerra dos Mascates, bem como de sua historiografia, especialmente aquela a que Alencar e Távora podem ter tido acesso. / This paper compares three Brazilian historical novels from the 19th century: Guerra dos Mascates (1873-4), by José de Alencar, O matuto (1878) and Lourenço (1881), both by Franklin Távora. The three novels talk about Mascates War, a civil war that took place in the state of Pernambuco, Brazil, in the early 18th century. To the comparative study of these novels, the interests of both of the writers were taken into consideration. Besides, their different points of view about the historical novel were also considered. These points of view became very clear after Cartas a Cincinato controversy. In order to better understand the books, this paper analyses not only the critical Letters from Távora to Alencar, but also Alencars haughty response called Benção Paterna; this debate will be followed by a short analysis of the Romantic period and its ideals and changes, especially about the historical novel. Furthermore, this paper will briefly present the Mascates War and the historiographical debate about it, especially those documents Alencar and Távora could have read.

Made available in DSpace on 2016-03-15T19:44:12Z (GMT). No. of bitstreams: 1 Denise Araujo Meira.pdf: 4418242 bytes, checksum: eef5fd4bf2aa53d1a001e05a38be7155 (MD5) Previous issue date: 2013-08-26 / Universidade Presbiteriana Mackenzie / Taking into account that researchers who study Franklin Cascaes work and life dissociate the artist from the professor, I have chosen his life trajectory, as an artist and as a professor, the object of analysis. The importance of such choice lies on the fact that his work as an artist/professor is almost unexplored in the academic literature, especially, from the point of view of his lack of traditional formal education. So, the aim was to show that there was a Franklin before and after his own autobiographical narratives, where he portrays himself as an outsider. Thus, the research was carried out through the examination of his academic works, autobiographical fragments, notes on his academic daily life, letters sent to journalists and politicians, interviews, photos, magazines, as well as his drawings, sculptures, and stories. All of these documents have provided hints of who Franklin Joaquim Cascaes was. This thesis departs from the common principle of the Elisian studies about the relationship between the individual and the society (especially in the case of Mozart, which prompted Nobert Elias to observe the possible forms of relationship, while studying the man), in order to understand Franklin Cascaes within the limits and possibilities of his own time. The opposition between the concepts of outsider and established were crucial in the analysis of Franklin s trajectory. These concepts are seen within an approach that embraces him as a deviant artist and professor. Thus, this work is divided into three sections, which one aiming at answering the following working question: how social tensions work on individual trajectories? In the first section, that covers Franklin s trajectory up to 1948, I analyses different factors in the experience of the man that have contributed to the construction of his mission: to keep up the culture of the inhabitants of the Isle of Santa Catarina. In the second section I try to understand the limits and the possibilities for him to carry out his project, taking 10 into consideration the determinants from the environment over his trajectory. Furthermore, I try to understand the strategies used by Franklin to face the rules and the attitudes that were imposed on him in the Escola Industrial as a professor and as an artist in the city of Florianópolis. In the last part I question how it was possible for the Museum Oswaldo Rodrigues Cabral of Archeology and Ethnology to keep up with Franklin s work of art. I also analyses the creation of other places devotes to his memory. In both cases, I have identified the strategies used for the recognition of the importance of Franklin as a catarinense artist. If the condition of established/outsider illuminates the power relations of a social dimension, defined by values, such as recognition, belonging, and exclusion, in the 1970s Franklin Cascaes begins to participate of spaces in the past open only to those who had an academic degree or a privileged social condition, the established. It is in the local political and social context of those years that the açoriana identity turned into a strategy for the invention of a city , which desired to become a tourist site. In 1977, the researcher and paranaense arts critic, Adalice Maria de Araujo, in her thesis Franklin Cascaes, The Myth of an Island: myth and magic , turned the artist in the big wizard of the island of Santa Catarina. Franklin, appearing frequently at the pages newspapers, especially, the O Jornal, the main local paper, and with the help from the students of the Industrial at the town hall and at the Federal University of Santa Catarina (UFSC), was able to secure the keep up of his works by the Museum Oswaldo Rodrigues Cabral. It is in this atmosphere that Franklin goes from the condition of an outsider to the established one, although, in the following years, in different autobiographic narratives, he had never seen himself as such. / Partindo do pressuposto que ao tratar de Franklin Cascaes os pesquisadores que estudam a sua obra e vida, dissociam o artista do professor, foi eleita a trajetória do professor/artista como objeto de análise, sobretudo porque ela possibilitaria uma trajetória praticamente inexplorada nos trabalhos acadêmicos, sobretudo do ponto de vista de um professor/artista que não teve uma formação escolar tradicional. Objetivou-se, assim, mostrar que existe um Franklin anterior e um posterior as narrativas autobiográficas em que o mesmo busca representar-se como um sujeito outsider. Para isso, estudos acadêmicos, fragmentos autobiográficos, escritas do cotidiano escolar, correspondências enviadas a jornalistas e políticos, entrevistas, fotografias, revistas, bem como os desenhos, esculturas e contos por ele produzidos, foram tomados como documentos-monumento fornecendo indícios de quem foi Franklin Joaquim Cascaes. Parte-se do princípio comum aos estudos Elisianos sobre a relação indivíduo/sociedade, em especial o caso de Mozart, em que Norbert Elias estudando um indivíduo, espreita as formas de relações possíveis, buscando compreendê-lo dentro dos limites e das possiblidades do seu tempo. Os conceitos de outsiders e estabelecidos foram fundamentais na análise da trajetória de Franklin, na abordagem que o acolhe como um professor/artista desviante. O trabalho esta dividido em três partes, objetivando responder a seguinte questão: como as tensões sociais se operam em trajetórias individuais. Na primeira parte que compreende a trajetória de Franklin até 1948, analiso as diferentes experiências do personagem procurando identificar alguns fatores que contribuíram para a construção da sua missão: guardar a cultura dos moradores da Ilha de Santa Catarina. No segundo momento, busco compreender os limites e as possibilidades para a realização do seu projeto, levando em consideração as determinações do meio sobre a sua trajetória. Além disso, busco entender as estratégias utilizadas para Franklin fazer frente às normas e condutas que lhe foram impostas no espaço da Escola Industrial como docente e, na cidade de Florianópolis, como artista. Na última parte, problematizo de que forma foi possível a guarda da obra do professor/artista pelo Museu de Arqueologia e Etnologia Oswaldo Rodrigues Cabral. Problematizo, também, a criação de outros lugares de memória. Nos dois casos busco identificar as estratégias utilizadas para reconhecer a sua importância como artista catarinense. Se a condição de estabelecido/outsider ilumina relações de poder de uma dimensão social definida por valores como reconhecimento, pertencimento e exclusão, então, o professor e artista Franklin Cascaes, nos anos 70, passa a partilhar espaços antes só destinados aos portadores de uma formação acadêmica ou de uma condição social privilegiada, os estabelecidos. É no quadro social e político local, daqueles anos, que a identidade açoriana torna-se uma estratégia para a "invenção de uma cidade" que desejava se fazer turística. Em 1977, a pesquisadora e crítica de arte paranaense Adalice Maria de Araujo, na tese "Franklin Cascaes, o Mito Vivo da Ilha: mito e magia na arte catarinense", transforma o artista no grande bruxo da Ilha de Santa Catarina. Franklin, ocupando com frequência as páginas dos jornais, especialmente o Jornal O Estado, principal periódico local e; contando com o apoio dos alunos da "Industrial" na Prefeitura e na UFSC, consegue a guarda da sua obra pelo Museu de Arqueologia e Etnologia Oswaldo Rodrigues Cabral. É neste contexto, que Franklin passa da condição de outsider à de outsider/estabelecido, embora nos anos seguintes, nas diferentes narrativas autobiográficas ele não se perceba como tal.

This study offers a mythical examination of the addresses of Franklin D. Roosevelt during his first two terms of presidency. The direction of the study is to determine the use of the hero persona in Roosevelt's goal of gaining an unprecedented third-term presidential reelection.The study overviews the historic American public attitude toward the concept of a president being elected for a third consecutive term. Close attention is given to the fears of Americans during the late thirties generated from both the Great Depression and the current war in Europe and Asia. Drawing upon comments from various authorities and particularly those of Roosevelt's 1940 election opponent Wendal Willkie, the study establishes that many Americans were afraid that a third-term election would give Roosevelt too much power, and that many compared this power to/ dictatorships like those in Italy and Nazi Germany.-.Examination of numerous addresses by Roosevelt before the 1940 election reveals that FDR established a dramatistic rhetorical framework in which he cast a variety of players including the American people, Congress, the financial leaders of the Nation, foreign countries and dictatorships. These were cast as villains, victims and heroes.Two of the victims were democracy and the American Dream, both being threatened from without and from within America. The study looks at ways Roosevelt cast himself in this drama as the hero and defender of these two myths. / Department of Speech Communication

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-27Bitstream added on 2014-06-13T20:55:36Z : No. of bitstreams: 1 silva_v_me_assis.pdf: 806254 bytes, checksum: 0c872d32131d4bdad38796f1db930c23 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Ce travail se propose à analyser trois romans de Franklin Távora, tout en considérant la question du sous-genre roman historique, ainsi que d’autres aspects d’ordre esthétique qui sont directe ou indirectement liés à ce sujet. O Cabeleira (1876), O Matuto (1878) e Lourenço (1881) sont les oeuvres les plus bien reçues dans l’ensemble de la réception critique de l’auteur, concernant le caractère polémique, l’importance culturelle et thématique et l’innovation générique qui les caractérisent. Un des points les plus polémiques et discordants est la question historique présente dans ces oeuvres-là: plusieurs critiques jugent de façon négative le recours au passé dans la construction du processus énonciatif des oeuvres étudiées, notamment par rapport au projet esthétique de l’auteur. C’est pourquoi quelques chercheurs considèrent ses oeuvres comme documentales; d’autres, par contre, les envisagent en tant que romans historiques, ce qui se donne, la plupart de fois, de façon quelque peu péjorative. On sait néanmoins que l’Histoire et la Littérature sont aujourd’hui vues comme des structures discursives complémentaires. Notre étude est donc une proposition d’approfondissement de la recherche déjà réalisée sur l’état de l’art de la production tavorienne tout en abordant directement l’oeuvre de l’écrivain et ayant le but de contribuer avec les recherches sur l’auteur. / O presente trabalho consiste em analisar três romances de Franklin Távora, com enfoque na questão do subgênero romance histórico, bem como em outros aspectos de ordem estética que estão direta e indiretamente relacionados ao assunto. O Cabeleira (1876), O Matuto (1878) e Lourenço (1881) são as obras mais bem conceituadas pela fortuna crítica do autor, dados o caráter polêmico, a importância cultural e temática e a inovação genérica que as caracterizam. Um dos pontos mais polêmicos e discordantes é a questão histórica presente nessas obras: muitos críticos vêem de forma negativa o recurso ao passado na construção do processo enunciativo de tais obras, principalmente em relação ao projeto estético do autor. Por esta razão, alguns as consideram como documentais, e outros, como romances históricos. Tais apreciações críticas se dão, na maioria das vezes, de forma um tanto pejorativa. Por outro lado, História e Literatura são hoje vistas como estruturas discursivas complementares. O presente estudo é, portanto, uma proposta de aprofundamento da pesquisa já realizada sobre o estado da arte da produção tavoreana, agora enfocando diretamente a obra do escritor a fim de contribuir com os estudos sobre o autor.

Este trabalho compara três romances históricos brasileiros do século XIX: Guerra dos Mascates (1873-4), de José de Alencar, O matuto (1878) e Lourenço (1881), ambos de Franklin Távora. Os três romances se ambientam na Guerra dos Mascates, conflito civil ocorrido em Pernambuco no início do século XVIII. Para o estudo comparativo de tais obras, levou-se em conta o interesse de cada um dos autores ao escrever os romances, bem como suas visões distintas a respeito de tal gênero, que ficaram bastante claras na polêmica das Cartas a Cincinato. Para melhor compreender as obras, este trabalho analisa não só as Cartas críticas de Távora a Alencar, mas a resposta altiva do segundo em seu prefácio Bênção paterna; esse debate será permeado neste trabalho por uma análise breve do contexto romântico do período e seus ideais e mudanças, especialmente no que tange ao romance histórico. Além disso, este trabalho tece uma breve apresentação da Guerra dos Mascates, bem como de sua historiografia, especialmente aquela a que Alencar e Távora podem ter tido acesso. / This paper compares three Brazilian historical novels from the 19th century: Guerra dos Mascates (1873-4), by José de Alencar, O matuto (1878) and Lourenço (1881), both by Franklin Távora. The three novels talk about Mascates War, a civil war that took place in the state of Pernambuco, Brazil, in the early 18th century. To the comparative study of these novels, the interests of both of the writers were taken into consideration. Besides, their different points of view about the historical novel were also considered. These points of view became very clear after Cartas a Cincinato controversy. In order to better understand the books, this paper analyses not only the critical Letters from Távora to Alencar, but also Alencars haughty response called Benção Paterna; this debate will be followed by a short analysis of the Romantic period and its ideals and changes, especially about the historical novel. Furthermore, this paper will briefly present the Mascates War and the historiographical debate about it, especially those documents Alencar and Távora could have read.

This dissertation attempts to demonstrate how Nathaniel Hawthorne's lifelong friendship with Franklin Pierce influenced the author's literary imagination, often prompting him to transform Pierce from his historical personage into a romanticized figure of notably Jacksonian qualities. It is also an assessment of how Hawthorne's friendship with Pierce profoundly influenced a wide range of his work, from his first novel, Fanshawe (1828), to the Life of Franklin Pierce (1852) and such later works as the unfinished Septimius romances and the dedicatory materials in Our Old Home (1863). This dissertation shows how Pierce became for Hawthorne a literary device—an icon of Jacksonian virtue, a token of the Democratic party, and an emblem of steadfastness, military heroism, and integrity, all three of which were often at odds with Pierce's historical character. Chapter 1 provides an overview of the Hawthorne-Pierce friendship. The chapter also assesses biographical reconstructions of Pierce's character and life. Chapter 2 addresses Hawthorne's years at Bowdoin College, his introduction to Pierce, and his early socialization. Chapter 3 demonstrates how Hawthorne transformed his Bowdoin experience into formulaic Gothic narrative in his first novel, Fanshawe. Chapter 4 discusses the influence of the Hawthorne-Pierce friendship on the Life of Franklin Pierce, Hawthorne's campaign biography of his friend. The friendship, the chapter concludes, was not only a context, or backdrop to the work, but it was also a factor that affected the text significantly. Chapter 5 treats the influence of Hawthorne's camaraderie with Pierce on the author's later works, the Septimius romances and the dedicatory materials in Our Old Home. Chapter 6 illustrates how Hawthorne's continuing friendship with the controversial Pierce distanced him from many of the prominent and influential thinkers and writers of the day, including Ralph Waldo Emerson and Elizabeth Palmer Peabody. Chapter 7 offers a final summation of the influence of Pierce on Hawthorne's art and Hawthorne's often tenuous role as political artist. Finally, the chapter shows how an understanding of Hawthorne's relationship with Pierce enhances our perceptions of Hawthorne as writer.

“National security” is one of the most powerful terms in the American vocabulary. It commands wide deference and almost unlimited resources, and what counts as a national security matter determines many of the government’s priorities and responsibilities. It is surprising, therefore, that we know so little about how national security came to be defined in the way Americans have understood it for the last 75 years. The problem is one of perspective. Almost everything written about the history of national security approaches the topic with a present-day understanding of the term’s meaning in mind and uses the term instrumentally to explain something else—most often some aspect of American foreign policy. Most of these works assume that national security refers principally to physical security, that national security policymaking is a foreign policy matter, and that it has always been thus. This dissertation historicizes the term national security. Rather than tracing the present-day conception of national security backwards in time, as has been the norm, it looks forward from the past. This shift in perspective reveals a history of national security that challenges the prevailing assumption that national security has always been a matter of physical security and foreign policy. When Franklin Roosevelt first put national security at the center of American political discourse in the 1930s, he equated it with individual economic security and considered domestic policy the primary domain for national security policymaking. Roosevelt also articulated a broad vision for the government’s national security responsibilities in the final years of his presidency that included economic, social, and physical security to be delivered through a mix of domestic and foreign policy. These findings raise a big question about American political development: why did the United States end up with separate “national security” and “welfare” states rather than the comprehensive national security state Roosevelt envisioned? To answer that question, this dissertation focuses on the interactions between political language, public opinion, and the institutional development of the American state. Combining traditional historical research methods with text mining, network analysis, and data visualization, this dissertation charts the movement of policy areas into and out of the national security frame. Franklin Roosevelt succeeded in placing domestic policy into the national security frame in the mid-1930s, thereby justifying the expansion of the government’s domestic responsibilities. But this success catalyzed the nascent conservative movement, which launched a public persuasion campaign to limit the further expansion of the government’s domestic responsibilities by removing domestic policy from the national security frame. Roosevelt’s subsequent success putting foreign policy into the national security frame at the end of the 1930s created a powerful foreign policy establishment that claimed the mantle of national security exclusively for its work. The exclusion of domestic policy from the purview of national security policymaking was therefore largely an ironic result of Roosevelt’s two successes using the language of security to expand the government’s responsibilities.