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In a cultural context, the First World War has come to occupy an unusual existential point half-way between history and art. Modris Eksteins has described it as being “more a matter of art than of history;” Samuel Hynes calls it “a gap in history;” Paul Fussell has exclaimed “Oh what a literary war!” and placed it outside of the bounds of conventional history. The primary artistic mode through which the war continues to be encountered and remembered is that of literature—and yet the war is also a fact of history, an event, a happening. Because of this complex and often confounding mixture of history and literature, the joint roles of historiography and literary scholarship in understanding both the war and the literature it occasioned demand to be acknowledged. Novels, poems, and memoirs may be understood as engagements with and accounts of history as much as they may be understood as literary artifacts; the war and its culture have in turn generated an idiosyncratic poetics. It has conventionally been argued that the dawn of the war's modern literary scholarship and historiography can be traced back to the late 1960s and early 1970s—a period which the cultural historian Jay Winter has described as the “Vietnam Generation” of scholarship. This period was marked by an emphatic turn away from the records of cultural elites and towards an oral history preserved and delivered by those who fought the war “on the ground,” so to speak. Adrian Gregory has affirmed this period's status as the originating point for the war's modern historiography, while James Campbell similarly has placed the origins of the war's literary scholarship around the same time. I argue instead that this “turn” to the oral and the subaltern is in fact somewhat overstated, and that the fully recognizable origins of what we would consider a “modern” approach to the war can be found being developed both during the war and in its aftermath. Authors writing on the home front developed an effective language of “war writing” that then inspired the reaction of the “War Books Boom” of 1922-1939, and this boom in turn provided the tropes and concerns that have so animated modern scholarship. Through it all, from 1914 to the current era, there has been a consistent recognition of both the literariness of the war's history and the historiographical quality of its literature; this has helped shape an unbroken line of scholarship—and of literary production—from the war's earliest days to the present day.

[pt] Mudanças paradigmáticas no campo dos Estudos de Literatura e da História alteraram profundamente pressupostos teóricos e epistemológicos de suas respectivas construções de conhecimento. A indagação básica dessa dissertação está centrada sobre o descompasso entre esses pressupostos e as práticas mais tradicionais de historiografia literária, analisando respostas inovadoras ensaiadas nos últimos anos por experimentos de historiografia literária atentos aos diversos questionamentos precedentes nas duas esferas disciplinares. Nesse horizonte, serão tematizadas as mudanças na conceituação do fenômeno literário e a sua expansão para além dos limites do texto e avaliados os reflexos do chamado despertar epistemológico no campo disciplinar da História, que afetaram a escolha dos objetos a serem investigados, dos métodos e das formas de sua escrita. O foco de análise nessa dissertação são as configurações escriturais desses experimentos e os pressupostos usados para justificar as suas propostas alternativas e os seus circuitos comunicativos ampliados, ou seja, analisar a grafia inerente a toda história literária como parte de significativa relevância para a sua constituição. O corpus de análise, voltado para o caráter inovador de seus experimentos, tanto no conteúdo quanto na forma de escrita, propõe, como alternativa ao modelo épico-narrativo, uma constelação de ensaios de autoria diversa. Objetivando promover uma experiência de leitura que possibilite a construção do conhecimento histórico literário em vista de encontros fascinantes dos leitores, esse corpus é formado basicamente por A New Literary History of America (2009); A New History of German Literature (2004) e A New History of French Literature (1989). / [en] Paradigmatic transformations in the field of Literary Studies and History have profoundly altered theoretical and epistemological presuppositions of their knowledge constructions. The basic question of this dissertation focuses on the gap between these assumptions, and more traditional of practices literary historiography, examining innovative responses tested in recent years by experiments in literary historiography attentive to many previous questions in both disciplinary spheres. In this horizon, it will be discussed changes in the conceptualization of the literary phenomenon and its expansion beyond the limits of the text and assessed the consequences of the epistemological awakening in History that affected the choice of objects to be investigated, the methods and forms of their writing. The focus of analysis in this dissertation is the writing configurations of these experiments and the assumptions used to justify their proposed alternatives and their expanded communicative circuits, that is, the analysis of the writing inherent in any literary history and extremely significant in its constitution. The corpus of analysis, focused on the innovative nature of their experiments, both in content and in form of writing, proposes, as an alternative to the epic-narrative model, a constellation of essays by diverse authors. Aiming to promote a reading experience that enables the construction of historical knowledge in literary view of fascinating encounters of readers, this corpus is basically formed by A New Literary History of America (2009), A New History of German Literature (2004) and A New History of French Literature (1989).

200 f. / Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-24T16:53:41Z No. of bitstreams: 1 dissertacao Genaro de Oliveira.pdf: 7246687 bytes, checksum: 80aabfd6819ebd066ab3308a221e8765 (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-04-30T16:33:59Z (GMT) No. of bitstreams: 1 dissertacao Genaro de Oliveira.pdf: 7246687 bytes, checksum: 80aabfd6819ebd066ab3308a221e8765 (MD5) / Made available in DSpace on 2013-04-30T16:33:59Z (GMT). No. of bitstreams: 1 dissertacao Genaro de Oliveira.pdf: 7246687 bytes, checksum: 80aabfd6819ebd066ab3308a221e8765 (MD5) Previous issue date: 2007 / Esta dissertação defende a hipótese de que alguns dos livros didáticos de História do Brasil mais usados atualmente se baseiam em um modelo narrativo esboçado pela imaginação histo-riográfica do século XIX. Ao longo da dissertação, esse modelo é chamado de estrutura nar-rativa oitocentista. Através de um estudo comparativo entre a obra História Geral do Brasil antes da sua separação e independência de Portugal, escrita por Francisco Adolfo Varnhagen, entre 1854-7, e livros didáticos recomendados pelo MEC em 2006, a primeira parte dessa dis-sertação procura mostrar como esse modelo narrativo do século XIX permanece de maneira hegemônica, ubíqua e pouco problematizada nos livros didáticos contemporâneos. Na segun-da parte, através de discussões teóricas, de propostas práticas de ensino e de intervenções com linguagens multimidiáticas, tenta-se mostrar que apesar de praticamente única nos livros didá-ticos, a estrutura narrativa oitocentista é apenas uma das maneiras de representar o passado nacional. / Salvador

319 f. / Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2013-04-30T16:21:47Z No. of bitstreams: 1 Tourinho M A.pdf: 2093421 bytes, checksum: 654afbe42e94f10408722e1ea1feed1d (MD5) / Approved for entry into archive by Maria Auxiliadora Lopes(silopes@ufba.br) on 2013-04-30T16:28:19Z (GMT) No. of bitstreams: 1 Tourinho M A.pdf: 2093421 bytes, checksum: 654afbe42e94f10408722e1ea1feed1d (MD5) / Made available in DSpace on 2013-04-30T16:28:19Z (GMT). No. of bitstreams: 1 Tourinho M A.pdf: 2093421 bytes, checksum: 654afbe42e94f10408722e1ea1feed1d (MD5) Previous issue date: 2004 / Ensino de história: inventos e contratempos é uma narração sobre uma busca de caminhos teórico-metodológicos para a construção de um processo de ensino e aprendizagem que possibilite a cada envolvido com o ensino da história compreender-se como ser histórico e neste mesmo movimento (ou não) compreender a história. Essa pesquisa tem intrínseca relação com a matéria Metodologia do Ensino da História na qual, juntamente com os alunos, busco possibilidades de uma compreensão da história, tanto na sua dimensão existencial como na coletiva. Assim, a partir desta matéria, tanto no âmbito das construções teóricas quanto das experiências no período de estágio curricular em escolas públicas de Salvador, a pesquisa se movimenta em direção a novos referenciais teórico- metodológicos que reinventem o ensino da história, para que reinventado retorne à sala de aula onde continuará a ser transformado. / Salvador

Esta tese apresenta um enquadramento diverso da History of Brazil (1810-1819), escrita por Robert Southey, em relação ao que veio sendo proposto após a publicação do clássico livro de Maria Odila da Silva Dias, O fardo do homem branco: Southey historiador do Brasil (um estudo dos valores ideológicos do império do comércio livre). A hipótese de Dias buscou entender a History of Brazil pelo prisma da historiografia romântica e concluiu que Southey teria “uma concepção essencialmente intuitiva e sensível da história, o que lhe permitiria, aliás, desenvolver um método todo imaginativo de revivência empática do passado”. Não busquei um enquadramento de Southey em qualquer outra “escola” diversa do Romantismo, mas entender quais foram as linguagens mobilizadas na History of Brazil e o contexto discursivo em que se inseriam. Para tanto, foi fundamental o entendimento da importância do antiquariato e das questões etnográficas, presentes em todo o conjunto de publicações de Southey, para o desenvolvimento da History of Brazil. Essas preocupações corroboraram para uma abordagem interessada em desvendar os costumes, maneiras e os aspectos curiosos que pudessem contribuir para a compreensão dos estágios das sociedades. O próprio interesse pelas maneiras e pelos costumes, ou seja, tudo que dizia respeito ao dia-a-dia das sociedades, foi um legado antiquário. Ambos também ajudaram na construção do entendimento, por parte de Southey, da história como um relato minucioso, de referência e que monumentalizava o passado. Explorei de forma mais detida na tese duas linguagens historiográficas. A primeira delas foi a do desenvolvimento do homem na Terra, que permitiu a Southey articular um cenário comum de desenvolvimento social entre todos os povos que existiram e que viviam a existir. Além de contribuir para um interesse profundo pelos costumes, a teoria dos quatro estágios da sociedade proporcionava uma comparação entre civilizações bastante diferentes em tempo e espaço, assegurando a sua validade pela linearidade contida em suas bases. Todas as civilizações tinham passado ou passariam pelos estágios de caçador, pastor, agricultor e comerciante. A segunda linguagem que explorei foi a da diversidade biológicaclimática, ponto essencial para o entendimento da valorização da mistura inter-racial na History of Brazil. Essa linguagem é articulada por Southey para explicar a suscetibilidade de certas raças a algumas doenças e a mutação ocorrida em compleições diferentes, promovida pela mistura racial. O Novo Mundo era um espaço em que as raças negra, europeia e indígena eram mescladas, formando uma nova raça e onde as doenças europeias eram reconfiguradas. Para ser possível a criação de um indivíduo chamado de brasileiro seria, antes de tudo, necessária a sua sobrevivência biológica. Essa mistura das raças, na avaliação de Southey, era bastante positiva, principalmente, a do indígena com o português, que gerava o mameluco. Os paulistas, que eram mamelucos, foram apresentados na History of Brazil como os grandes herdeiros do temperamento empreendedor português e da infatigabilidade indígena. / This thesis presents a new approach to Robert Southey’s History of Brazil (1810-1819), which is distinct from what has been proposed after the publication of Maria Odila da Silva Dias’ classical work, O fardo do homem branco: Southey historiador do Brasil (um estudo dos valores ideológicos do império do comércio livre) [“The White Man’s Burden: Southey, historian of Brazil (a study of the ideological values of the free-trade empire)”]. The hypothesis proposed by Dias sought to understand the book History of Brazil through the prism of Romantic historiography and concluded that Southey had “an essentially intuitive and sensible conception of history, which would allow him, indeed, to develop an entirely imaginative method of empathically reviving the past”. I did not search for an approach to Southey in any other “school” aside from Romanticism; instead, I sought to understand the languages employed in History of Brazil and the discursive context in which they were inserted. To achieve this goal, it was fundamental to grasp the importance of the antiquary and ethnographic issues portrayed in Southey’s entire oeuvre, for the development of History of Brazil. These concerns corroborated to an approach that sought to unveil the customs, manners and peculiar aspects that could contribute to a comprehension of the stages of societies. The interest in manners and customs in itself, in other words, everything regarding the daily life of societies, was an antiquary legacy. Both elements also helped in the construction of Southey’s view of history as a thorough account, as a reference-account, and also as an account that monumentalized the past. In this thesis, I undertook a detailed examination of two historiographical languages. The first was the language of man’s development on Earth, which enabled Southey to work with a common backdrop of social development for all peoples that have come to exist. Besides contributing to a deep interest in customs, the four stages theory; allowed a comparison among quite distinct civilizations in time and space, thus securing its validity on account of the linearity of its basis. All civilizations either had been through or would have to undergo the stages of hunting, herding, agriculture and commerce. The second language I explored was the language of biological-climatic diversity – an essential point for understanding the positive valuation of the inter-racial mixture in History of Brazil. This is resort to explain the susceptibility of specific races to some diseases and the mutations in different complexions as a result of racial mixture. The New World was a space where African, European and Indigenous races merged, giving birth to a new race, and where European diseases were reconfigured. Biological survival, above all, was necessary for the emergence of the individual called ‘Brazilian’. This mixture of races, in Southey’s evaluation, was quite positive, especially among the Indigenous and Portuguese races, which led to the Mameluco type. The inhabitants of São Paulo, who were Mamelucos, appear in the History of Brazil as the great heirs of the Portuguese enterprise character, on the one hand, and, on the other, of the Indigenous indefatigability.

Le but de cette thèse en cotutelle entre l‘Université d‘Augsbourg et l‘Université de Lorraine (Nancy) est de démontrer comment Pierre Bayle, le philosophe de Rotterdam, profite des traits caractéristiques de son Dictionnaire historique et critique. Le dictionnaire, en tant que genre littéraire, permet à l’auteur de réaliser différents buts intellectuels et moraux. Bayle a ainsi l’occasion à la fois de propager son attitude de sceptique moderne et de poursuivre son travail d’historiographe fiable et polémique.Dans un premier temps, on problématise ce qu’est un dictionnaire à l’époque de Bayle, à savoir au 17e siècle. Afin de mieux apprécier la valeur du Dictionnaire historique et critique de Bayle parmi les ouvrages de la même époque, les brèves présentations des dictionnaires précédents et contemporains de l’auteur permettent de faire le panorama de ce genre littéraire. À ce travail préliminaire se joint la description systématique des particularités du Dictionnaire de Bayle. Cette démarche contribue à faire ressortir la boîte à outils dont il se sert au gré de ses besoins afin de donner une forme appropriée à sa pensée.Dans un deuxième temps, il s’agit de démontrer comment ces traits caractéristiques contribuent à mettre en scène la pensée sceptique de Pierre Bayle. Par le biais d’une brève description du pyrrhonisme qui date de l’Antiquité grecque, il est possible de montrer quels éléments du scepticisme pyrrhonien ont perduré au temps moderne, jusqu’à quel point Bayle s’insère dans cette tradition philosophique et à partir de quel moment il la transforme en une version moderne. L’analyse détaillée d’un choix d’articles du Dictionnaire historique et critique fait ensuite ressortir une structure sceptique de l’enchaînement des arguments. Il existe alors une corrélation entre la structure et le contenu, entre le fond et la forme. Le résultat en est que la composition de l’ouvrage en articles et en remarques permet à Bayle de reprendre les fils thématiques à plusieurs endroits sans qu’il doit nécessairement pousser les réflexions à des conclusions définitives. Il laisse ainsi de nombreuses discussions en suspens et force ainsi son lecteur à élaborer ses propres réflexions. De surcroît, Bayle s’engage pour la tolérance en relativisant différents points de vue afin de montrer l’égalité de leurs forces. Son but est de favoriser la diversification des opinions et l’ouverture d’esprit de ses lecteurs, en démontrant que certains sujets ne peuvent se réduire à une opinion définitive.Outre cette structure argumentative qui provoque l’ouverture, il y a une autre forme de structuration qui tend à réaliser l’effet inverse, à savoir la version définitive des choses, ce qui est étudié dans un troisième et dernier temps. Ce concept s’oppose nettement à l’idée de l’ouverture. Il est possible de démontrer que la même forme du Dictionnaire peut être utilisée dans une finalité bien opposée à ce qu’on a vu dans le chapitre précédent. En tant qu’historien, c’est l’exactitude et l’impartialité de la documentation des faits historiques auxquelles Bayle s’attache. Lors de cette démarche, il essaie de réconcilier les sources parfois contradictoires – relatives à un même événement historique – afin de parvenir à une seule version fiable de l’histoire. Sa méthode se donne pour but de travailler à une historiographie valable et impartiale à la base de l'examen critique des sources primaires. Le choix des citations, la façon de les enchaîner ainsi que les ruses rhétoriques produisent d'abord l’impression d’une historiographie neutre. Mais en analysant en détail le texte baylien, on découvre qu'il peint une image particulière de certains événements et personnages historiques. Certes, en réunissant de nombreux aspects concernant un sujet dans ce contexte, Bayle compare diverses sources, détecte des erreurs et des falsifications et en déduit à la fin la version nécessairement logique d’un événement historique / The objective of the research project, that has been lead in a binational PhD-Track between the University of Augsburg (Germany) and the Université de Lorraine in Nancy (France), is to show how Pierre Bayle, the “philosophe de Rotterdam”, profits from the particular characteristics of his Dictionnaire historique et critique. The literacy of the dictionary enables his author to realize his idea of a reliable, valid and at the same time polemic historiography albeit he is keeping his sceptic attitude.First of all, it is necessary to define the dictionary itself in the seventeenth century, the age of French classicism, and to give a panorama of the popular lexicographic works of that time. This preliminary step is of use for the contextualization of the Dictionnaire historique et critique in the intellectual climate which has had an important influence on its author, Pierre Bayle. Afterwards, a systematic description of the characteristics of the masterpiece is given so that we can generate a better understanding for the advantages the author is gaining from those characteristics.The results of this analysis will be applied in two steps in order to show the impact that the exterior form exerts on the inner structure and the content. On the one hand, the division of the text into articles offers Bayle the opportunity to pass his sceptic ideas which are inspired by the pyrrhonian scepticism of the ancient Greece. By collecting numerous aspects concerning one single subject in the large remarks, Bayle benefits from the occasion that he is able to view it from different perspectives. At the same time, he does not have to give a fix conclusion as he would have to do at the end of a philosophical treaty, for example. This open end forces the reader to make his own reflections. Bayle shows by leaving some aspects open-ended without final answer that there are subjects on which one must suspend his judgment because different solutions are possible. This observation leads to his call for tolerance. On the other hand, the very same structure of the Dictionnaire historique et critique allows Bayle to do his work as a critic even polemic historiographer of his own lifetime. With his method, he aims at realizing a reliable and impartial historiography which is based on the critic examination of primary sources. His choice of quotations, his way of combining them and his rhetoric shrewdness might produce at first sight the impression of a neutral historiography. But by analysing in detail Bayle’s text, you discover that he passes a particular, quite often protestant image of certain historical events and personalities. Of course, Bayle collects numerous aspects concerning a subject in this context and compares the different sources, detects errors and distortion and derives at the end a final, necessarily logic, version of a historical event. Nevertheless, there are also signs which indicate that he is not as impartial as one would expect and he is also pushed by his personal motivations so that his historiographical ambitions turn polemic.All these things considered, the result is that the exterior form of the Dictionnaire historique et critique as a literary work has an important influence on the inner structure and make it even possible, in the case of Bayle, to pursue two perfectly opposite objectives. On the one hand, modern scepticism makes clear that it is necessary to abstain from judgment and from apodictic conclusions in several cases; on the other hand, Bayle is looking for the consensus in historical sources and endeavours to work on reliable historiography which has nevertheless numerous sparks of polemic partiality

Jakub Hajíček The abstract of dissertation thesis Jirina Popelova and Modern Czech Comeniological Studies This dissertation thesis describes the history of Czech and English comeniological studies i.e. the interdisciplinary studies of life, works and legacy of Jan Amos Komensky. The thesis starts with the real beginning of the studies in the 18th century and depicts the history until the Second World War. There is a specific focus on the second half of the 20th century in which the gradual transition to modern comeniological studies takes place - in previous researches Komensky was understood as a great teacher and also as an author of language textbooks. On the other hand, modern comeniological studies interpret him primarily as an original philosopher and theologian whose pedagogical thinking arises from philosophy. Czech-Slovak perspective is consistently applied, and different accents, approaches and also the value of Czech and Slovak comeniological studies are shown in an interesting way. The emphasis is also put on important personalities who were working in the field of comeniological studies e.g. Ján Kvačala, the founder of comeniological studies as a scientific discipline, Josef Hendrich, the most important Czech researcher of the first half of the 20th century, or also on selected personalities...

viii, 113 p. / This thesis analyzes various literary, numismatic, and epigraphical narratives of the Roman civil war of 69CE, and the representations of the four emperors who fought in it. In particular the focus is on how the narratives and representations relate to one another. Such an investigation provides us with useful insight into the people and events of 69 and how contemporaries viewed the actors and the events. These various presentations, most notably the works of five ancient historians and biographers, give 69 the distinction of being one of the best documented years in all antiquity. Historical scholarship has typically sought to determine which of these authors was the most accurate on the points which they disagreed. These points of difference, largely subjective opinion and therefore equally valid, illuminate instead the diverse ways in which an event can be interpreted. This thesis will focus on why there is such diversity and its usefulness to the historian. / Committee in charge: Dr. John Nicols, Chair; Dr. Sean Anthony, Member; Dr. Mary Jaeger, Member

Romancier, journaliste, érudit et bibliophile, Paul Lacroix alias le bibliophile Jacob (1806-1884) traverse le XIXe siècle à l’aune d’une trajectoire qui oscille entre écrivain-journaliste et conservateur de la bibliothèque de l’Arsenal à partir de 1855. À la faveur du double mouvement de reconfiguration de l’historiographie et du champ littéraire, dont il est un acteur au croisement des obsessions du temps entretenues par le romantisme, son oeuvre imposante et protéiforme tente une réunion des plumes de l’historien et du romancier soutenue par l’énigmatique et habile pseudonyme, gage de son succès en 1830. Il s’empare sous la monarchie de Juillet d’une écriture du passé vouée à en dresser l’inventaire, soumise aux modalités fluctuantes offertes par le récit comme aux injonctions économiques dépendantes des mutations de la librairie et du journal. Si sa production se défend de tout esprit de système, résumée par la course à la fabrication d’un grand « roman-histoire », elle interroge pourtant les conditions de définition d’un rapport au temps ébranlé après la Révolution. Le « Walter Scott français » sacrifie à la vogue du Moyen Âge pour la décliner sous la forme d’une histoire autant héritièrede l’érudition antiquaire qu’elle participe de la fondation d’un récit des origines tributaire d’une écriture spéculaire de l’histoire. Son histoire s’égrène au rythme de médaillons romancés cristallisant couleurs, intrigues, travers des temps médiévaux et modernes séparés par une frontière poreuse qui interroge les conséquences de la rupture révolutionnaire. Avers et revers de ces médaillons posent dans leur alternance les jalons d’une expérience de mise en ordre du temps. / A novelist, writer, scholar and book-lover, Paul Lacroix, aka bibliophile Jacob (1806-1884), went through the nineteenth century as both a writer-journalist and a librarian at the Bibliothèque de l’Arsenal from 1855 on. Influenced by the deep changes affecting both historiography and literature, in which in actively participated and the obsessions of its times nurtured by the romantic movement, his abundant and multifaceted work tried to melt the historian’s and the novelist’s approaches, materialised by the mysterious, clever pen name, the token of his success in 1830. Under the July Monarchy, he undertook to take an inventory of the French historical past; his writings were submitted to the fluctuating possible modalities provided by the narrative as well as the economic imperatives resulting from the transformations of bookshops and libraries. Though his works did not try to set up a closed and coherent system, which was illustrated by the race for the ultimate roman-histoire, they questioned French people’s relationship with time, which was seriously undermined by the Revolution. The so-called « French Walter Scott » followed the taste for the Middle-Ages and wrote historical novels thatreminded one of the specialists of the Antiquity and contributed to founding a narrative of the origins based on a speculative approach of history. His historical narratives is pervaded with fictionalised cameos crystallising the colours, plots and pitfall of both medieval and modern times, separated by a porous border, thus questioning the consequences of the French Revolution. The two faces of those cameos paved the way for a rearrangement of historical time/events.