The aim of this diploma thesis is the comparison of the interpretations of the two novels of English Romanticism: William Godwin?s Caleb Williams (1794) and Mary Shelley?s Frankenstein (1818). It will concentrate on the influence of the tradition of Gothic novels, especially on the motifs of secret, pursuit, crime and self-devision. It will also concentrate on the atmosphere of fear and suspense.

The diploma thesis {\clqq}The art in the life of František Matouš`` is devoted to the life and production of a southbehemian historian of arts - František Matouš. It is the first essay, wchich is interested in this personality, who was standing not only by the transformation of the Southbohemian museum in České Budějovice into a scientific institution but mainly by the genesis of nowadays collection of southbohemian Gothic in Alšova jihočeská galerie in Hluboká nad Vltavou. Next goal of the thesis is also an introduction of Matouš as southbohemian native, to whom South Bohemia became a wholelife theme, inspiracy and destiny. The work is divided int two main parts {--} it follows the profesional and private life of Matouš and his scientific production. In seven chapters Matouš is portrayed as a student, a directon, a scientific worker and a museum worker. His production is presented by fairy works and essays, next subchapters create three crucial essays of Matouš about gothic art and South Bohemia - Jihočeská gotika, Třeboň and Corpus vitrarum medii aevi. The last chapter introduces the personality of Frnatišek Matouš in the context of czech history of art.

abstract: The mid-eighteenth century publication of national British folk collections like James MacPherson's Works of Ossian and Thomas Percy's Reliques of Ancient English Poetry, placed a newfound interest in the ancient literature associated with Northern/Gothic heritage. This shift from the classical past created a non-classical interest in the barbarism of Old Norse society, which appeared to closely resemble the Anglo-Saxons. In addition to this growing interest, Edmund Burke's seminal treatise, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, provided a newfound aesthetic interest in objects of terror. The barbaric obscurity and exoticism associated with the Norse culture provided the perfect figures to explore a Gothic heritage while invoking the terror of the sublime. This interest accounted for a variety of works published with Gothic themes and elements that included Old Norse pagan figures. Though a few scholars have attempted to shed light on this sub-field of Romanticism, it continues to lack critical attention, which inhibits a more holistic understanding of Romanticism. I argue that "Norse Romanticism" is a legitimate sub-field of Romanticism, made apparent by the number of primary works available from the age, and I synthesize the major works done thus far in creating a foundation for this field. I also argue that one of the tenets of Norse Romanticism is the newfound appreciation of the "Norse Woman" as a democratized figure, thus opening up a subversive space for dialogue in women's writing using the Gothic aesthetic. To illustrate this, I provide analysis of three Gothic poems written by women writers: Anna Seward's "Herva at the Tomb of Argantyr," Anne Bannerman's "The Nun," and Ann Radcliffe's "Salisbury Plains. Stonehenge." In addition, I supplement Robert Miles' theoretical reading of the Gothic with three philosophical essays on the empowerment of the imagination through terror writing in Anna Letitia Aikin (Barbauld) and John Aikin's "On the Pleasure Derived from Objects of Terror" and "On Romances" as well as Ann Radcliffe's "On the Supernatural in Poetry." / Dissertation/Thesis / M.A. English 2013

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-07-12T11:22:17Z No. of bitstreams: 2 Dissertação - Berlany França - 2018.pdf: 1281570 bytes, checksum: 68202720ee07b2cecad69b2113fd5ffd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-12T11:29:52Z (GMT) No. of bitstreams: 2 Dissertação - Berlany França - 2018.pdf: 1281570 bytes, checksum: 68202720ee07b2cecad69b2113fd5ffd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-12T11:29:52Z (GMT). No. of bitstreams: 2 Dissertação - Berlany França - 2018.pdf: 1281570 bytes, checksum: 68202720ee07b2cecad69b2113fd5ffd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-20 / This research dialogues with the line "Literature, Identity and Memory" aiming at presenting a study that shows Literature as a means of cultural and social marginalization in service to some sectors of English society at the end of the nineteenth century. Specifically, this research had as it´s objective to unroll that the novels Dracula (1897), by Bram Stoker, and The War of the Worlds (1898), by Herbert George Wells, reflects the fear of English elite in relation to the masses, as such, they are seen as an unwanted side of the British Empire, in the same way that the native populations from the colonies under British control. So, both novels may be read as a variation of the perspective of Colonial Gothic. In order to do so, this study will use the theoretical works by, among other ones, Fred Botting (1996), Roberto de Sousa Causo (2003), H. L. Malchow (1996), Alison Milbank (1998), Mary Ellen Snodgrass (2005), Alexandra Warwick (1998), Adam Roberts (2006), Kelly Hurley (2002), Patricia Kerslake (2007). Initially, we present the historical contextualization of Victorian age when it comes to the role of the masses in society. In the sequence, we analyze how gothic literature and science fiction approach social debates in end of the century English Literature. Finally, in the main chapter, we demonstrate that, beyond being works that criticize English imperialist ideology, Bram Stoker and H. G. Wells’ works present a subtext based on scientific discourse of eugenic thought and criminal Anthropology, in which, the masses are equated to the populations of English colonies and, as such, considered an obstacle to the full development of the country and a threat to Victorian England status quo. / Este trabalho dialoga com a linha de pesquisa “Literatura, Memória e Identidade” no intuito de apresentar um estudo que mostra a Literatura como meio de marginalização cultural e social a serviço de alguns setores da sociedade inglesa em fins do século dezenove. Especificamente, a pesquisa teve como objetivo demostrar que os romances Drácula (1897), de Bram Stoker, e A Guerra dos mundos (1898), de Herbert George Wells, refletem o medo da elite inglesa em relação às massas, sendo estas enxergadas como um lado indesejado do Império Britânico, da mesma forma que as populações nativas das colônias sob o controle da Inglaterra. Assim, ambos os romances podem ser lidos dentro de uma variação da perspectiva do Gótico Colonial. Para tal proposta, este estudo fez uso dos trabalhos teóricos de, dentre outros, Fred Botting (1996), Roberto de Sousa Causo (2003), H. L. Malchow (1996), Alison Milbank (1998), Mary Ellen Snodgrass (2005), Alexandra Warwick (1998), Adam Roberts (2006), Kelly Hurley (2002), Patricia Kerslake (2007). Inicialmente, apresentamos a contextualização histórica da época vitoriana no que se refere ao papel do povo na sociedade. Na sequência, analisamos como a literatura gótica e a ficção científica abordaram a questão social da literatura inglesa de fim de século. Finalmente, no capítulo principal, demonstramos que, além de serem obras que criticam a ideologia imperialista inglesa, os romances de Bram Stoker e H. G. Wells também apresentam um subtexto pautado pelo discurso científico do pensamento eugênico e da Antropologia criminal, no qual as massas também são equiparadas às populações das colônias inglesas e, como tais, consideradas um obstáculo ao pleno desenvolvimento do país e uma ameaça ao status quo da Inglaterra vitoriana.

Atualmente na odontologia ainda há muita dificuldade na compreensão do movimento de Bennett ou laterotrusão. Devido a questões de inviolabilidade inerentes à característica da articulação temporomandibular não é possível observar diretamente o seu interior, de maneira que a análise da sua dinâmica durante a função torna-se questionável. Assim, o autor trabalhou com imagens e inferências aplicadas numa metodologia utilizada para tal fim. A proposta dessa pesquisa foi a de analisar o comportamento condilar durante os movimentos de lateralidade Centrífuga e de Bennett em pacientes portadores de prótese total. Vinte e dois indivíduos receberam novas próteses totais. O registro maxilomandibular foi realizado com a técnica de Gysi com a plataforma e pua extraoral. Utilizando-se uma pua modificada de forma que esta realizasse dois registros (pua dupla) com o mesmo movimento e, ao invés da cera aplicada sobre a plataforma, o registro foi feito sobre um fino papel carbono aderido a esta com uma fita adesiva dupla face. Através de imagens digitalizadas do articulador e dos registros no carbono foi possível, com a utilização de um programa de tratamento de imagens, arbitrar e testar a posição do eixo vertical de rotação condilar durante a lateralidade centrífuga e de Bennett. Os resultados mostraram uma predominância nos eventos onde o eixo vertical do côndilo posicionou-se na região ântero-lateral e póstero-medial durante a lateralidade de Bennett, porém mostrou uma predominância de eventos localizados na região póstero-medial durante a lateralidade Centrífuga. Houve casos onde o eixo vertical localizou-se exatamente sobre o centro da esfera, o que indica que o paciente durante a lateralidade não promoveu excursão do côndilo de trabalho, realizando um movimento de rotação puro se analisado no plano horizontal. De acordo com a metodologia aplicada nessa pesquisa concluiu-se que o eixo da lateralidade Centrífuga é mais medial que o da lateralidade de Bennett e que a maior parte dos eixos não coincide com aquele sobre o centro da esfera condilar. / It has been controversial the understanding of both the Bennett’s side shift and Centrifuge lateral movements. Had the inherent questions of TMJ´s inviolability it is not possible to observe its interior directly, thus the analysis of its dynamics during the function becomes questionable. The author worked with images and inferences applied to a methodology used for such end. The proposal of this research was to analyze the behavior of jaw condyle Bennett’s side shift and Centrifuge lateral movements in complete denture wearers. Twenty two subjects had new dentures constructed. The mandible tracings were made using the technique of Gysi with an extra oral device with two registration markers. Instead of wax it was applied a fine articulating paper adhered to the platform by a double face adhesive ribbon. Digitalized images from articulator and from articulating papers were set together. It was used a software of treatment of images both to decide and to test the position of the vertical axle of rotation of the jaw during the Bennett’s side shift and during Centrifuge lateral movement. The results were a predominance of the events where the vertical axis were located in the backward medial region for the centrifuge lateral movement and were located both in the backward medial and in the forward lateral region for the Bennett’s side shift. It had cases where the vertical axle was situated accurately on the center of the condyle sphere, what is supposed to mean that the patient, during the lateral jaw movement did not promote excursion of the working side condyle. In accordance with the methodology applied in this research, the author concluded that the axis of the centrifuge lateral movement is more medial than the one of the Bennett’s side shift, and that in the great majority of the events the axis did not met the condyle sphere of the articulator.

The topic of this thesis is architecture and settings of gothic horrors, particularly in films. The work explores the relationship between the genre of gothic horror and gothic architecture, mainly within examples of haunted castles. The aim of the work is to study in what way the haunted castles are depicted in films and how the gothic architecture is applied in their appearance. The thesis is divided in two parts. The first one is an analysis of some of the gothic horror tendencies which have an influence on the image of haunted castles. These can be observed in films as well as in literature and theatre since the beginnings of gothic horror in the second half of the 18th century until today. The second part uses these tendencies to analyse images of haunted castles in films Dracula (John Badham, 1979), Bram Stoker's Dracula (Francis Ford Coppola, 1992) and Van Helsing (Stephen Sommers, 2004).

The past few years have seen a renewed critical interest in the vampires and vampirism of English literature, owing both to their growing influence in popular culture and a more inclusive reordering of the literary canon. Much of this recent work has typically approached vampirism through a psychoanalytic lens inherited from Gothic criticism, characterized by a dependence on Freud, Lacan, and Foucault, and often by a model of crisis in which these supernatural figures of terror are supposed to symbolize cultural anxieties with varying degrees of historicity. This dissertation builds upon the narrative of secularization set out in Charles Taylor’s recent work, A Secular Age, to answer the need for a new and alternative narrative of what function the vampire serves within English literature, and how it came to prominence there. The literary history of vampirism is reconsidered in light of the new sociological observations made by Taylor, hinging upon two key methodological principles: first, that Taylor’s new secularization narrative has the potential to reshape the way we think of literature in general and our literary relationship to the supernatural in particular; and second, that the fiction generated during this period of upheaval has much more to tell us about secularization, broadening our understanding of the ideological shifts and changing relationships to the supernatural that brought forth this uniquely modern monster in literature. / Graduate / 0593 / 0318 / 0358 / glukemaynard@gmail.com

At the eastern end of the Edinburgh World Heritage Site, a protrusion of volcanic rock known as Calton Hill is situated on the northern side of the Waverley Valley. This area sits approximately 100m above sea level at its highest point - around 20m higher than Princes Street in the First ‘New Town’ and at approximately the same height as the Castle Esplanade in the ‘Old Town’ of Edinburgh. During the early nineteenth century, the hill and its land to the north were developed, to extend the city of Edinburgh towards the Port of Leith, in order to open up new routes of access and communications between the port, the city, and the surrounding lands to the south and east. The resulting development provoked debates on the best approach to the development of the urban landscape, the suitability and resonance of specific architectural styles within the urban realm, and the use of public funds for large-scale urban development projects. In addition, the visual prominence of the hill in the city presented a stage for massive changes to the visual context of the boundaries of the city, the relationship between the Old and New Towns, and Edinburgh’s relationship with its surrounding countryside. This blurring of the rural and the urban alongside new interpretations of the classical and the gothic, further emphasised the discordance between societal classes, initially marked out by the mid 18th century expansion of the first New Town and which became further emphasised during the city’s industrial expansion in the latter half of the 19th century. The great care over the choice for the hill’s architectural character as an allegorical commentary on Scotland’s role within the constitutional development of the United Kingdom became muddied throughout the 19thcentury, as shifts in both societal perceptions and government constructs resulted in an evolution of the hill and its structures within the mindset of the Scottish populus. Although the structural evolution of the site during the later 19th and 20th centuries had lesser visual impact on the urban realm, as Scottish national identity swayed from a political to a culturally led discourse in architectural terms, perceptions of the structures on Calton Hill were considered to be representative of Scottish support for the construct of the British State during the 19th century. This was further confirmed by the development of the Scottish Office in the 1930s on the southern side of the hill, and the failed establishment of a Scottish Parliament in 1979, which was to be sited in the vacant Royal High School building. This culminated in the site becoming the focus for grassroots led campaigns for Scottish Independence and Home Rule by the later 20th century. This thesis therefore focuses on the changing relationship between the perception of the hill and its structures over time, by exploring the architectural evolution of the site within broader aesthetic, social and political dialogues. It considers the extent to which the site, its structures, and the discourse surrounding the development of the hill represent the nuances that define Scotland as a nation, and help us to further understand how Scots viewed their identity, within both a British and Scottish context from the late 18th to the early 20th centuries. This approach not only places the architecture on the hill within a broader discourse surrounding architecture’s relationship with national, state and imperial identities, it also demonstrates how a more nuanced exploration of urban landscapes can contribute to a better understanding of the contemporaneous societies who developed the urban realm, and the events and debates that surrounded their development. Due to the wide variety of themes that this thesis explores, and the extended timeframe that this work covers, the geographical limitations of the study area are mercurial in their extent, changing focus with the issues being discussed throughout the text. However, for clarity and for ease of reading, the physical study area has been defined as that of the external limits of Playfair’s 1819 plan for the Third New Town (Plate ii), which in the present day is defined through the following locations: The southern limit is the North Back of Canongate; the northern limit is the bottom of Leith Walk, at the intersection with Great Junction Street; the western limit is where Waterloo Place meets Princes Street, and follows Leith Street to the top of Broughton Street; and the eastern boundary is at the junction of Easter Road, Regent Road and Abbeymount, running down Easter Road to meet Leith Walk at its northernmost point.

Thomas Hardy is the only major English novelist to have been a professional architect. In his essay, “Memories of Church Restoration,” written for the Society for the Protection of Ancient Buildings (1906), it was clear that, for Hardy, architectural structures preserved the spirit of all those who had created and originally worked and lived within them. By their very presence, then, ancient and medieval buildings were historical artifacts housing the memories of past lives. This intertwining of humans and the built environment became the stuff of Hardy’s novels, short stories, poetry, and essays. Drawing on autobiographical material, including correspondence and notebooks, as well as novels and poetry, this thesis examines the various ways in which Hardy engages with ideas and debates about architecture taking place in the nineteenth and early twentieth centuries. While previous studies have examined the treatment of architecture in Hardy’s fiction, this thesis focuses on key figures in the architectural world and the complex role their ideas play in his work. Hardy explores a combination of ideas from leading architectural thinkers, at times offering an important synthesis to coexisting architectural ideas. I argue that Hardy saw architecture as recording centuries of memory, rooted in an instinctual life that connects humans with the natural world in an intimate way, evoking evolutionary time. In so doing he expanded the meaning of the “architectural” well beyond the confines of medievalist or classical ideas, or debates sparked by architects and critics such as A.W.N. Pugin and John Ruskin and architecture, in its broadest definition, acts as a metaphor for the way the past lives on in the present, undergoing continual processes of change; for destruction and decay; and for the way buildings undergo natural processes. The nexus of architectural ideas also allows Hardy to respond to questions of the role of art in relation to society and social communities.

Magister Artium / The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe's late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period. / South Africa