In this thesis the aim is to examine how objects matter with regards to orientation in the work To Pieces written by the Finnish author Henry Parland. The question posed by Sara Ahmed in Queer Phenomenology becomes the starting point of this work. The aim of returning to this question is to accentuate the role of objects in the process of orientation. More specifically how the things themselves make up the life-world, which can be described as a “coherency of things”. When the lifeworld and the subject is aligned the world is familiar and open. It becomes a world that lets the subject in question extend itself and act as it intends. When the orientation fails, the subject becomes disorientated, the world falls apart. The things are used as tools to extend the subject in its world. But things are not mere tools for the subject to extend itself with. The things can be seen as having agency, something that is examined through the theory of agential realism by Karen Barad. Here the agency of matter is examined in such a way that the binary opposition of subject-object is questioned. Instead Barad suggest that we return to the matter itself and examine how it intra-acts in such a way that the boundaries and entities are formed within the so-called phenomena. Together these two theories are put to work in the novel To Pieces which becomes a place for them to join together by showing how orientation is formed reciprocally in the subject-object discourse. The novel is full of human intra-action with things, be it mirrors, photografies, cigarettes, hats, or other humans who are reduced to objects. From here the things themselves set in motion a kind of revolution, which questions the anthropocentric order.

Les recherches entreprises sur Olivier Messiaen présentent encore de nombreuses lacunes bien que cet artiste figure parmi les compositeurs les plus connus et les plus influents du XXe siècle. Puisant à des sources primaires négligées dans les Archives nationales, la Médiathèque du CNSMDP, la fondation Sacher et des collections privées, cette thèse se penche sur trois aspects mal connus de cette figure phare de la modernité : la formation musicale de Messiaen au Conservatoire national de Paris pendant les années 1920 et les liens de sa musique avec les traditions pédagogiques de cet établissement, le développement de sa technique d’emprunt, de transformation et de juxtaposition des musiques préexistantes dans son œuvre pendant les années 1930 et 1940 et, enfin, ses expériences dans les domaines de la musique microtonale et de la musique concrète. Ce travail met en évidence plusieurs œuvres oubliées du compositeur et reconsidère notre compréhension de sa manière de composer. / Despite his place of privilege among the best-known and most influential composers of the twentieth century, the state of current research on Olivier Messiaen leaves much room for development. This study focuses on three understudied aspects of this major modern figure drawing from neglected primary sources in the French National Archives, the Mediathèque of the Paris Conservatory, the Sacher Stiftung, and private collections, notably 1º Messiaen’s eductation at the Paris Conservatory during the 1920s and the relationship of his music to the institutions pedagogical traditions, 2º the development of Messiaen’s technique of borrowing, transforming and juxtaposing pre-existing music in his compositions during the 1930s and 1940s, and finally, 3º Messiaen’s experimentation in the domains of microtonal music and musique concrète. The current study brings to light many of the composer’s forgotten or lesser-known works and reconsiders our understanding of how he composed.

The Portrait of a Lady (1881), obra de Henry James, conta a história da formação de Isabel Archer, uma jovem americana que se destaca por desejar ser livre e independente em um contexto em que se esperava da mulher que desempenhasse um papel apenas decorativo; por isso, é possível que sua caracterização seja associada a uma protagonista com características feministas. Porém, o desenvolvimento do enredo a leva a um casamento infeliz motivado por determinantes alheios, principalmente pelo interesse financeiro de outras personagens. Este trabalho tem o objetivo de analisar de que maneira a construção da subjetividade feminina da protagonista reflete, ou não, as questões sócio-históricas que marcaram seu contexto de criação, dentre os quais se destacam o início de uma consciência voltada à valorização feminina e busca pelos direitos das mulheres demonstrada pelo movimento pelo sufrágio universal. Em nossa análise consideramos os fatores sociais e políticos da época em que a obra foi escrita e revista, assim como os pressupostos da crítica literária feminista e crítica materialista, de forma a detectar na narrativa jamesiana as características que corroborem com um ponto de vista feminista sobre Isabel Archer, estendendo nossa leitura às personagens e fatos mais relevantes da obra. Assim, chegamos à conclusão de que a protagonista de The Portrait of a Lady apresenta características feministas, como o desejo pela independência, mas não pode ser considerada uma personagem feminista por ter sido subjugada e oprimida pelo poder patriarcal representado pelas figuras masculinas mais importantes à sua volta, principalmente por Gilbert Osmond, seu marido, que personifica nesta obra a dominação masculina total sobre a mente feminina. Contudo, sentimos que o enredo contém outras personagens e fatos que demonstram a força do insconsciente político daquele contexto, que se faz presente mesmo à revelia de seu autor, dentre eles outras personagens que caracterizam atitudes feministas. A importância deste estudo é posicionar uma forte protagonista feminina de Henry James dentre os estudos feministas sobre o Realismo do século XIX. / The Portrait of a Lady (1881), Henry James novel, tells the story of the formation of Isabel Archer, an young American lady who stands out for her desire to be free and independent in a context where nothing more was expected from a woman than having a decorative role; for that, it is possible that her charcterization is associated to a protagonist with feminist traits. However, the development of the plot leads her to an unhappy marriage motivated by outward determinants, especially by other characters financial interest. The objective of this work is to analyze how the construction of the protagonists feminine subjectivity either reflects or not the social and historical matters that marked its context of creation, among which the beginning of a consciousness aimed at a feminine appreciation and the search for the womens rights shown by the international suffrage movement. In our analysis we consider the social and political factors of the time when the novel was written and revised, as the assumptions of the feminist literary criticism and materialist criticism, in order to detect, in the Jamesian narrative, the characteristics that corroborate with a feminist point of view about Isabel Archer, and we extend our reading to the most relevant characters and events of the novel. So, we got to the conclusion that the protagonist in The Portrait of a Lady shows feminist characteristics, as the desire for independence, but she cannot be considered a feminist character for having been subjugated and oppressed by the patriarchal power represented by the most important masculine figures around her, mostly by Gilbert Osmond, her husband, who impersonates the total male domination over the female mind in this novel. Nevertheless, we feel that the plot contains other characters and events that demonstrate the strength of the political unconscious from a context that makes itself present even if unwanted by its author, and among them there are other characters that show feminist attitudes. The importance of this research is to establish a Henry James strong feminine protagonist in the feminist studies about the 19th century Realist literature.

O objetivo desta pesquisa é apresentar um estudo, sob o ponto de vista histórico, sobre as ideias do botânico e taxonomista americano Henry Allan Gleason (1882-1975) referentes ao conceito individualístico de associação de plantas. Nas décadas iniciais do século XX, as ideias do ecólogo americano Frederic Edward Clements (1874-1945) sobre a dinâmica da vegetação e sobre sucessão ecológica eram prevalecentes. Porém, a discordância dessas ideias parece ter levado Gleason a propor inicialmente o conceito individualístico da ecologia e, posteriormente, o conceito individualístico de associação de plantas. O desenvolvimento do conceito individualístico proposto por Gleason pode ser analisado, principalmente, por meio de suas obras dos anos de 1917, 1926 e 1939. Além dessas, nas quais Gleason refere-se especificamente ao conceito individualístico, outras obras estão sendo consideradas, como seu artigo publicado no ano de 1909, no qual discutiu sobre algumas questões fitogeográficas e ecológicas que influenciariam a distribuição de pradarias e florestas; seu artigo publicado em 1910, no qual apresentou o primeiro indício da sua visão individualística, e seu artigo publicado em 1927, no qual ele discorreu sobre os processos de sucessão em diferentes locais. A partir da análise de obras originais de Gleason e Clements, bem como mediante os relatos das fontes secundárias considerando o contexto da época, procurar-se-á evidências que mostrem o entendimento de Gleason sobre os estudos ecológicos e suas contribuições ao arcabouço teórico da Ecologia. / The objective of this research was to study, from a historical perspective on the ideas of botanist and taxonomist American Henry Allan Gleason (1882-1975) for the individualistic concept of plant association. In the early decades of the twentieth century, the American ecologist ideas Frederic Clements (1874-1945) on the dynamics of vegetation and on ecological succession were prevalent. However, the disagreement of those ideas seems to have taken Gleason initially proposing the individualistic concept of ecology and subsequently the individualistic concept of plant association. The development of the individualistic concept proposed by Gleason can be analyzed primarily through his works of the years 1917, 1926 and 1939. In addition to these, in which Gleason refers specifically to the individualistic concept, other projects are being considered, as its Article published in 1909, which discussed some phytogeographic and ecological issues that influence the distribution of grasslands and forests; Article published in 1910, which presented the first evidence of its individualistic vision, and his article published in 1927 in which he talked about the succession processes in different locations. From the analysis of original works of Gleason and Clements, as well as by reports of secondary sources considering the context of the time, it will be sought evidence to show understanding of Gleason on the ecological studies and their contributions to the theoretical framework of Ecology.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Henry James was one of the most renowned writers at the turn of the nineteenth into the twentieth century and is still known for his vast number of literary works and studies about the art of fiction. In his prefaces and critical essays, James discussed his own method of writing fiction, with a special focus on point of view and on issues related to the reception of his fictional work. In this sense, James also considered the importance of the role of the reader to the point of claiming in one of his prefaces: ―attentive reading, I avow, is what, at every point just like here, I completely invoke and hope for‖ (JAMES, 2009, p. 15). This dissertation discusses the construction of the fictional reader in two of James novels: The Portrait of a Lady (1886) and The Wings of the Dove (1902). Written twenty years apart from each other, these novels have meaningful similarities in their themes. The aim is to analyze how differences in the manipulation of point of view have implications to the rhetorical configuration of different readers in the two novels. In The Portrait of a Lady, James basically uses one single center of consciousness to narrate the story and constructs a reader that is gradually more participative and critical. In The Wings of the Dove, on the other hand, James opts for a more impersonal mode of presentation of the story, so the narrative is developed through several centers of consciousness. As a consequence, the configured reader is critical and inferential throughout the whole narrative because the gaps intentionally built by the writer have to be constantly filled. In short, our discussion shows that, along his career, Henry James projected readers that should be more and more critical. / Henry James é um dos escritores mais renomados da virada do século XIX para o século XX, conhecido por sua vasta produção literária e seus estudos sobre a arte da ficção. Em seus prefácios e ensaios de crítica literária, James discutiu o seu próprio método de escrita de ficção, com especial enfoque no foco narrativo, assim como questões relacionadas à recepção de sua obra ficcional. Assim, James também considerou a importância do papel do leitor: ―leitura atenta, confesso a propósito, é o que eu em cada ponto, como aqui, absolutamente invoco e espero‖ (JAMES, 1998, p. 19), exigia James em um de seus prefácios. Nesse sentido, neste trabalho discutimos a construção do leitor ficcional em dois de seus romances: The Portrait of a Lady (1886) e The Wings of the Dove (1902). Esses romances apresentam semelhanças temáticas significativas, apesar de terem sido escritos em um intervalo de quase vinte anos. Nosso objetivo é analisar como diferenças na elaboração do foco narrativo têm implicações para a configuração retórica de diferentes leitores. Em The Portrait of a Lady, James faz uso de basicamente um único centro de consciência para narrar a história e constrói um leitor gradualmente mais participativo e crítico. Já em The Wings of the Dove, James opta por um modo mais impessoal de apresentação da história, no qual a narrativa é desenvolvida por meio de diversos centros de consciência. Consequentemente, o leitor configurado é crítico e inferencial ao longo de toda a narrativa, pois é necessário que vazios intencionalmente deixados pelo escritor sejam preenchidos constantemente. Assim, nosso trabalho mostra que Henry James projetava leitores cada vez mais críticos na medida em que sua carreira avançava.

This thesis offers an edition of the English and Latin poems found in MS. Folger bd with STC 22957, attributed to Henry Vaux (c. 1559—1587), a recusant, priest-smuggler, and child prodigy. THE TEXT of the edition is preceded by an introduction comprising three parts: a GENERAL INTRODUCTION describing Vaux‘s socio-historical and biographical context; a CRITICAL INTRODUCTION describing the Medieval and Early Modern literary contexts of Vaux‘s poems and the forms, traditions, topoi, and conventions adhered to in them; and a TEXTUAL INTRODUCTION describing the seventeenth-century manuscript copy of the poems used as the source text and explaining and justifying the editorial decisions made. Textual variants and instances of doubtful authorship are also discussed. THE TEXT itself is presented in the original spelling of the MS. and is a diplomatic edition: the scribe‘s use of characters that are now defunct (such as long ‗s‘ and ‗=‘ for ‗-‘) has not been modernised. A critical apparatus is provided with THE TEXT. THE TEXT is followed by an extensive COMMENTARY, which glosses un-usual or archaic words and phrases, points out allusions and their likely sources, discusses literary forms and conventions which inform the reading of the po-ems, and observes peculiarities in poetic metre. Translations and commentary are offered for Vaux‘s Latin poems. The five appendices following the COMMEN-TARY comprise a MODERNISED TEXT of the poems, a FACSIMILE OF THE FOLGER MS., a SUBSEQUENT HISTORY OF THE VAUX FAMILY after Henry Vaux‘s death, a text JOHN OF PECHAM‘S PHILOMENA PRAEVIA (a text which informs the reading of Vaux‘s ―A complaint to the Nightingale‖) along with a parallel translation by me, and transcriptions of TEXTUAL VARIANTS. A BIBLIOGRAPHY of works cited, re-ferred to or consulted follows the appendices. A comprehensive GENERAL INDEX of subjects, people, places, and literary works and forms follows this, and an IN-DEX OF FIRST LINES AND TITLES of Vaux‘s poems completes the edition.

Neither an unquestioning support for British imperialism nor a personal pre-Jungian philosophy were the driving forces behind Rider Haggard’s beliefs or his literature. These two concerns were secondary to the author’s fascination with the supernatural, a theme prominent in his era, but less so in our own. A declining faith in European religion provided the dominant focal point in Haggard’s work. Although there are important overtones of imperial concern and indeed points of Jungian significance in the texts, these are generally subservient to an intensive wide-ranging spiritual discourse. The place of Haggard’s work in history and its literary merit are thus misunderstood when his spiritualism is not taken into account. No analysis of the author’s work can be complete without first coming to terms with his spiritual ideas and then with their impact on other topics of significance to both the author and audiences of his day. The spiritual or religious aspect of his writing has been largely ignored because of its subtle nature and its relative unfashionability throughout most of the twentieth century in the critical and intellectual climate of the Western world. However, in the Victorian era, under the materialist impact of Darwin, Marx and industrialization, Europe's Christian God was pushed from centre stage, creating widespread spiritual hunger and anguish. In the resulting religious vacuum Haggard's overtures were of particular significance to his audience. In fact, when considered in terms of his immense contemporary popularity, the pervasive presence of spirituality throughout Haggard's works and in his personal writing gives some indication of the subject's enormous importance not only to the author, but to late Victorian society as a whole. In light of this Victorian significance, the spiritual element rises, by its constant presence and persistent foregrounding, to subvert not only the imperial and the Jungian, but even Haggard's overt adventure text by dealing directly with the underlying metaphysical crisis in Western society.

This study is concerned with the artistic use of classical rhetorical figures in Shakespeare's I Henry IV.After the Introduction, Chapter II examines the history of rhetoric, focusing on the use of the rhetorical figures in Ancient Greece, Ancient Rome, and Medieval Europe. Chapter III investigates rhetorical principles and uses of the rhetorical figures during the English Renaissance and examines the probable influence of rhetoric and the figures on William Shakespeare. Chapter IV discusses themes, characterization, structure, and language in I Henry IV and presents the contribution of the rhetorical figures to the drama's action and characterization. Chapter V considers the contribution of the figures to the major themes of I Henry IV and concludes that the figures, when used with other artistic elements, enhance meaning.

Cette thèse étudie la proposition 100% monnaie, telle qu’elle fut formulée aux États-Unis dans les années 1930 par Henry Simons (l’auteur principal du « Plan de Chicago »), Lauchlin Currie et Irving Fisher notamment. L’essence de cette proposition est de divorcer la création de monnaie des prêts de monnaie : les dépôts servant de moyens de paiement seraient soumis à 100% de réserve en monnaie légale, conférant à l’État un monopole de la création monétaire. Cette idée de réforme étant régulièrement sujette à confusion, nous entreprenons de clarifier son concept et d’étudier ses principaux arguments. Au chapitre 1, nous montrons que le 100% monnaie ne saurait être considéré comme un simple avatar des idées de la « Currency School » : contrairement à l’Acte de Peel de 1844, il ne contient en soi aucune règle d’émission, laissant ouvert le débat « règle ou discrétion ». Au chapitre 2, distinguant entre deux grandes approches du 100% monnaie, nous montrons que celui-ci n’implique nullement d’abolir l’intermédiation bancaire basée sur les dépôts d’épargne. Au chapitre 3, nous analysons, à travers les travaux de Fisher, l’objectif principal du 100% monnaie : celui de mettre fin au comportement procyclique du volume de monnaie, causé par le lien de dépendance entre création monétaire et prêts bancaires. Au chapitre 4, nous étudions un autre argument du 100% monnaie : celui de permettre une réduction de la dette publique, en rendant à l’État l’intégralité du seigneuriage – argument souvent critiqué, dont nous montrons qu’il n’est pourtant pas infondé. Alors que le 100% monnaie suscite un regain d’intérêt depuis la crise de 2008, il nous a paru fondamental de clarifier ces questions. / This thesis studies the 100% money proposal, such as it was formulated in the United States in the 1930s by Henry Simons (the main author of the “Chicago Plan”), Lauchlin Currie and Irving Fisher in particular. The essence of this proposal is to divorce the creation of money from the lending of money: deposits serving as means of payment would be subjected to 100% reserves in lawful money, awarding the state a monopoly over money creation. Because this reform idea is regularly subject to confusion, we endeavour to clarify its concept and study its main arguments. In chapter 1, we show that the 100% money proposal ought not to be viewed as a mere avatar of the “Currency School” ideas: contrary to Peel’s Act of 1844, it contains no issuing rule by itself, leaving open the debate “rule or discretion”. In chapter 2, distinguishing between two broad approaches to the 100% money proposal, we show that it does not imply abolishing bank intermediation based on savings deposits at all. In chapter 3, we analyse, through Fisher’s works, the main objective of the 100% money proposal: that of putting an end to the pro-cyclical behaviour of the volume of money, caused by the dependency relationship between money creation and bank loans. In chapter 4, we study another argument of the 100% money proposal: that of allowing a reduction of public debt, by returning the totality of seigniorage back to the state—an oft-criticised argument, which, as we show, is not unfounded however. While the 100% money proposal has been arousing renewed interest since the 2008 crisis, we thought it was fundamental to clarify these issues.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis investigates why twentieth-century philanthropists, such as Henry Ford, John and Abby Rockefeller, Henry du Pont, and Henry and Helen Flynt, developed American museums between 1925 and 1970. These individuals shared similar beliefs and ideological perspectives of American history, which shaped their museum-building efforts. Additionally, philanthropists had financial resources, social networks, and access to agents. The combination of these elements assisted in the establishment of their institutions. Over two generations, these museum builders established an American museum ideal through the implementation of their philanthropy. Philanthropists’ extensive financial resources, combined with philanthropic and museum-oriented ideas of the time, provided the impetus for the creation of new museums and collections. Furthermore, this work investigates Henry Ford as a case study of the philanthropic system used to establish these institutions. Ford’s agents mediated an exchange of artifacts and resources between Ford and average people, who were willing to give buildings, furnishings, and industrial machinery to the museum. This multi-directional system of philanthropy exemplifies the relationship between Ford as the philanthropist, his agents, and potential donors, to create his museums. Other philanthropists and institutions are referenced to further illustrate the museum building process and the role of philanthropy established at this time.