This thesis is a study of the prevalence, context, and experience of illegitimacy in Wales during the long eighteenth century, between approximately 1680 and 1800. It explores levels of illegitimacy across the Welsh counties of Montgomeryshire and Radnorshire, and investigates many of the underlying causes of childbirth outside of wedlock throughout eighteenth-century Wales. It is argued that Welsh illegitimacy was influenced by a combination of courtship-led marriage customs, a decline in traditional forms of social control, and worsening economic circumstances. In addition to exploring broader demographic trends, this study also examines the diverse individual identities, relationships and socioeconomic backgrounds of the mothers and fathers of illegitimate children in Wales, and the lived experience of conception, pregnancy and childbirth for unmarried mothers. The sexual encounters which resulted in the birth of an illegitimate child ranged from consensual sex which took place within the context of courtship, to sexual exploitation and rape. It is argued that these broad range of experiences are central to our understanding of illegitimacy. This thesis also examines infant and maternal survival chances, both in terms of overall risk of mortality in the days, weeks, and months after birth, and in terms of the ways in which fatal violence against illegitimate children and their mothers was contextualised in court records. These narratives reveal how the bodies of illegitimate infants and unmarried mothers often represented deviance, and served as the locus of anxieties surrounding unregulated reproduction. Finally, this study also analyses the provision of care for married and unmarried pauper women immediately before, during and after parturition. The skills, reputation, and availability of midwifery services in Wales are also explored. This thesis unites many disparate historical fields, including social and cultural history, historical demography, and the histories of crime, gender, sex, reproduction, and medicine, and analyses evidence from previously unstudied regions of Wales. It demonstrates that illegitimacy in eighteenth-century Wales was a deeply complex phenomenon governed by diverse regionally-specific social, cultural and economic influences.

Made available in DSpace on 2016-07-27T13:48:37Z (GMT). No. of bitstreams: 1 REGIA CRISTINA CAMPOS.pdf: 926920 bytes, checksum: 93530942defd6cd5bbb28da3076a0910 (MD5) Previous issue date: 2014-02-26 / O presente estudo investiga a concepção do corpo na Igreja Assembleia de Deus a partir de observações de aulas de Educação Física. È levantado questões sobre o Corpo na história, a trajetória da Assembleia de Deus no Brasil e a Concepção de Corpo desta instituição, partindo das investigações de documentos, com levantamentos de dados retirados das lições bíblicas do ano de 1965 a 2003. A presente pesquisa aborda o corpo na Educação Física, por ter sido a fonte inspiradora para esta pesquisa relacionado a Concepção de corpo para Educação Física e a Concepção de Corpo para a Assembleia de Deus.

Thesis (doctoral)--University of Arizona, 2002. / Includes bibliographical references (p. 464-478).

Entre les décennies 1960 et 1980 émergent les courants de l’« art de la performance », du « happening », du « body art », de l’« art corporel » ou encore de l’« art de l’action », qui désignent les démarches des nombreux plasticiens qui font directement intervenir le corps, souvent leur propre corps, dans leurs travaux. À travers les productions des acteurs qui soutiennent ces courants le corps est fabriqué comme un sujet légitime d’attention et de valeur. La thèse décrit l’émergence de ces courants artistiques pendant la décennie 1970 en soutenant qu’ils peuvent et doivent être interrogés comme des phénomènes sociaux. En effet, jamais auparavant autant d’acteurs des mondes de l’art visuel n’avaient décidé simultanément de se tourner vers le corps lui-même, et de le mettre à l’œuvre, à l’ouvrage, à l’épreuve. Interroger leurs productions du point de vue du corps peut permettre de dérouler de comprendre en profondeur la présence incisive et percutante du phénomène. Ces courants viennent poser des questions cruciales à l’anatomie du travail créateur : rapports sociaux de sexe, interactions avec les spectateurs, engagements politiques, marchandisation. L’étude, sociohistorique, focalise autour de trois scènes (France, côtes est et ouest des États-Unis) à partir d’un corpus d’archives documentaires (entretiens, critiques, essais, manifestes, notations, photographies). La thèse comprend un volet d’enquête qui mesure la reconnaissance de ces pratiques, un second volet d’histoire institutionnelle et intellectuelle qui décrit les savoir-faire et les modalités d’énonciation liés aux actions et aux événements et enfin, une topographie qui résume les modèles du corps produits par les gestes les raisonnements des artistes et de leurs commentateurs. / « Performance art », « body art » and « happenings » appeared on the art scene between the 1960s and the 1980s. The human body was at the heart of these artistic movements, to the extent that many artists embodied their own works. Within such creative processes and productions, the body undeniably became a legitimate subject of attention and value. This dissertation describes the initial stages of the art movements aforementioned, and argues that they must be analyzed as sociological phenomenons. Never before had such a larger of artists within the same time period decided to focus on the entity of the body itself, to use and misuse it so intensely. Observing their approaches through the lens of the body allows us to voice critical questions about the anatomy of a creative work - gender relations, interactions with the viewers, political commitments, and marketing. This sociohistorical research studies three landmark art scenes of the time (France, the east coast, and the west coast of the USA), by delving into a documentary material of archives (interviews, reviews, essays, manifestos, notations and photographs). The thesis begins with a sociological inquiry which measures the visibility of these artistic movements ; it is followed by a history of the institutional and critical apparatus which described the atistic skills and statements at work within body actions and happenings ; lastly, the dissertation presents a topography of the workings of the body, drawn from the artists’ performances and theoretical stances, as well as art critics’ viewpoints and analyses.

This thesis explores the embodied experiences of the rural population in nineteenth-century France. The prevailing historiography has treated rural bodily culture as a cultural survival swept away by ‘modernisation’ in the nineteenth century. By turning to the lives and words of rural labourers and artisans from the Landes de Gascogne, the thesis questions this account, instead showing ways that popular cultures of the body were flexible traditions, adapted by individuals to meet new needs. It does so through a close focus on the stories, songs, and other oral traditions collected by Félix Arnaudin (1844-1921) in the Grande-Lande between around 1870 and 1914. The thesis focuses on the lives of a few of Arnaudin’s 759 folklore informants, showing both how their bodily experiences were changing during this period, and how songs and stories were creative interventions, designed to shape bodily possibilities from below. The thesis draws attention to the surprising shape of rural experiences of the body, which focused on body parts such as the legs and skin for reasons specific to everyday life, while largely ignoring issues that historians might have assumed would be important, such as religion. It argues that the ordinary men and women who performed stories and sang songs were active agents in constructing their own bodies in response to material conditions of physical illness and disability, as well as a changing environment, changing class relations, or changing sexual norms in the Grande-Lande. The thesis presents an emotional and experiential view of rural bodies with a sensitivity to the different experiences of men and women, young and old, poorer and richer, but emphasizes that the body must be seen in the round, as a unifying concern that links together issues of social class, environmental change, sexual relations, work, disability, and religion.

Made available in DSpace on 2016-04-27T19:30:02Z (GMT). No. of bitstreams: 1 Eliana de Toledo.pdf: 35918031 bytes, checksum: 493da34349a5112a73c77bfaa58ee01d (MD5) Previous issue date: 2010-08-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research was planned after an analysis of the fact that even now physical exercise in fitness centers seems to be of utmost importance to get an active and socially succeeded body. The main objective of the study was to understand why physical exercises reach so high legitimacy in our days, especially in Brazil, not only in body building according to media patterns, but also as if it were a natural must have , a passport to reach health and also some beauty patterns. The eighties were selected as an historical approach as they were marked by the boom of physical exercise in fitness centers in the country. Two methodologies were used in order to reach the objective of the study: the oral history, using oral testimonies with physical educators; and the other was the documental analysis of Veja magazine copies, choosen by it´s wide range of subjects reaching many sectors of public life. Many factors contributed to the legitimacy of physical exercises in fitness centers in that time, as: a transition of government models (dictatorship/democracy); the American influence; the acceleration of midia segmentation followed by the increase of the body visibility; the advance of the technology that, among other aspects, propelled medical researches; the influence of the Cooper Method and of all the activity generated and/or fortified by it for the benefit of a health body (being the aerobics gymnastics a part of it); the second feminist revolution, etc. It was possible also to conclude that many of these factors both influentiated and legitimated each other. Being so, this research collaborates to broaden the studies in this area, in the direction of new views, as well as to identify the feasibility of ruptures and permanences since the eighties till now / A partir de uma análise da realidade, em que a ginástica de academia parece ainda ocupar um lugar importante para a obtenção de um corpo ativo e socialmente bem sucedido, foi formulada a problemática desta pesquisa. Ela objetivou, portanto, compreender como foi possível para a ginástica de academia alcançar tamanha legitimidade na atualidade, especificamente no Brasil, não só para a obtenção de corpos construídos, segundo referências midiáticas, mas também como se ela fosse um dever natural, um passaporte para o alcance da saúde e de certos padrões de beleza. A década de 80 foi selecionada como recorte histórico da pesquisa, pois foi marcada pelo boom das academias de ginástica no país. Dois caminhos metodológicos foram selecionados para o alcance deste objetivo. Um deles foi a história oral, a partir da técnica do depoimento oral, com educadores físicos, e o outro foi a análise documental de exemplares da revista Veja, escolhida devido à sua amplitude de assuntos em diversas esferas da vida pública. Vários fatores foram levantados como propiciadores da legitimação da ginástica de academia neste período, dentre eles: um contexto de transição de modelos de governo (ditadura/democracia); a influência norte-americana; a aceleração da segmentação midiática com o aumento da visibilidade do corpo; o avanço da tecnologia que, dentre outros aspectos, impulsionou as pesquisas médicas; a influência do Método Cooper e de todo um movimento que a partir dele foi criado e/ou fortalecido em prol do corpo saudável (do qual fez parte a ginástica aeróbica); a considerada segunda revolução feminina etc. Foi também possível concluir que muitos destes fatores se auto-influenciavam, legitimando-se mutuamente. Assim, a pesquisa justifica-se de maneira geral por colaborar com a necessária ampliação de estudos nesta área, assim como por possibilitar a identificação de rupturas e permanências desde esta década até a atualidade, na direção de novas perspectivas

The thesis tries to process a topic of bodybuilding phenomenon in the wider context of the ideal body formation in modern age. Bodybuilding is understood as a specific socio-cultural phenomenon closely tied to a modern society and its historical development. Beyond the bodybuilding the work also deals with an analysis of the contemporary social body theory with focus on the domestic discourse and subsequently also with an analysis of discursive formation modern physicality from the Enlightenment till the 20th century. The main focus is put on the understanding of changes characteristic for the modern society in context of the modernisation project continuity. The objective is to describe a history of bodybuilding within the outlined process of modernization, as well as to compare various alternative conception of the ideal of physicality in the "Fordism Modernity", where a special attention is focused on the analysis of bio political discourse in Communist dictatorship. The remaining part processes a historical development of the bodybuilding movement in Czechoslovakia, where the main emphasis is put on placing the Czechoslovakia bodybuilding into the postulated concept, including individual historical events. Key words: Social history; Bodybuilding; Social Theory; History of the Body; Subculture;...

À mi-chemin entre un café, un jardin d’agrément, un bal et une scène théâtrale, les cafés-concerts et les music-halls représentent les divertissements les plus importants du XIXe siècle. Espaces spectaculaires qui accueillent des sociabilités hétérogènes et qui combinent une double fonction artistique et festive, l’identité socioculturelle de ces nouveaux loisirs s’est d’abord élaborée par opposition au statut du lieu d’art. Le postulat de la rareté des répertoires et des artistes issus des cafés-concerts et des music-halls dans l’historiographie des arts scéniques, et dans la transmission des savoirs en danse, nous a conduits à enquêter sur les raisons et les enjeux de cette mise à l’écart. « Lieux dangereux et vulgaires », « spectacles immoraux », « artistes insipides », sont les expressions symptomatiques d’une perception négative fondée sur un ensemble idéologique qui concourt à dessiner les contours d’une illégitimité culturelle. Une première étape de la recherche vise à analyser les principes de distinction sociale et de hiérarchisation artistique en œuvre dans le processus de délégitimation des cafés-concerts et des music-halls, en puisant dans les sources produites par les institutions en charge du contrôle des spectacles au XIXe siècle. Catégorisés en tant qu’objets populaires, les arguments déployés par les instances administratives et la police des théâtres révèlent en premier lieu le fondement d’une idéologie de classe, focalisée sur les origines prétendues populaires de ces divertissements. Entre le Second Empire et la Troisième République, l’histoire des cafés-concerts et des music-halls est traversée par un phénomène de féminisation qui bouleverse les pratiques et les représentations associées à ces espaces et participe à resémantiser leurs premières attributions sociales et symboliques. La seconde phase de ce travail s’intéresse aux effets d’un processus qui interagit sur les plans socioculturel, professionnel et symbolique par une présence féminine érotisée et qui tend à bâtir la catégorie du divertissement comme appartenant au genre féminin. Afin d’interroger les échanges entre altérités féminines et corporéités populaires sur les scènes des cafés-concerts et des music-halls durant la seconde moitié du XIXe siècle, la thèse mobilise deux catégories d’artistes féminines — les effeuilleuses et les danseuses de chahut-cancan — réunies autour d’un geste scénique et érotique commun : le déshabillage. L’étude de ce geste ouvre un troisième champ de questionnements sur les rapports entre l’érotique et l’illégitime dans les pratiques professionnelles de femmes qui exercent un métier artistique au sein d’un lieu spectaculaire à la fois déconsidéré et hautement érotisé. À travers les différentes étapes qui jalonnent cette recherche, la réflexion cherche à rendre compte de l’impact du déshabillage érotique sur la sensibilité d’une époque, sur le statut social des femmes, mais également sur les mouvements internes de professionnalisation des artistes de café-concert et de music-hall au XIXe siècle, et plus globalement, sur l’héritage historiographique de ces divertissements. / Halfway between a café, a pleasure garden, a ball and a theatrical stage, café-concert and music hall are the main entertainment places in the 19th century. Spectacular spaces that welcome heterogeneous sociability and combine a dual artistic and festive function, the socio-cultural identity of these new leisure activities was first developed as opposed to the status of the art place. The postulate of the rarity of repertoires and artists from café-concert and music hall in the historiography of performing arts, and in the transmission of knowledge in dance, has led us to investigate the reasons of this exclusion and the issues at stake. "Dangerous and vulgar places", "immoral performances", "insipid artists", are symptomatic expressions of a negative perception based on an ideological set that contributes to drawing the contours of cultural illegitimacy. The first stage of the research consists in analysing the principles of social distinction and artistic hierarchy in the process of delegitimization of café-concert and music hall, based on the sources from the institutions responsible for controlling 19th century performances. Categorized as popular objects, the arguments put forward by the administrative authorities and the theatre police reveal first and foremost the basis of a class ideology, focused on the supposedly popular origins of these entertainments. Between the Second Empire and the Third Republic, the history of café-concert and music hall was marked by a phenomenon of feminization that disrupted the practices and representations associated with these places and helped to redefine their first social and symbolic attributions. The second stage of this work focuses on the effects of a process that interacts socioculturally, professionally and symbolically through an eroticized female presence, and that tends to build the entertainment category as belonging to the female gender. In order to question the exchanges between female otherness and popular corporealities on the stages of café-concert and music hall during the second half of the 19th century, the thesis focuses on two categories of female artists — the effeuilleuse (strippers) and the chahut-cancan dancers — gathered around a common scenic and erotic gesture: undressing.

Cette thèse porte sur les gestes et attitudes qui ont caractérisé la figure aristocratique dans l’art européen entre 1661 et 1789. Cet intervalle correspond à la durée de vie d’un paradigme corporel noble appelé « le bon air et la bonne grâce », de son élaboration à la cour de Louis XIV et de sa diffusion hégémonique en Europe, jusqu’à son rejet définitif à la Révolution française. La société d’Ancien Régime a déployé tout un arsenal de moyens (exercices, instruments orthopédiques,…) pour intérioriser une grâce qui devait paraître innée et prouver la noblesse. Le maître à danser détenait le monopole de l’inculcation de cette grâce et de son élaboration suivant des critères hautement esthétiques. Les gestes et positions inventoriés ici, sont décrits et associés à leurs connotations d’origine, montrant qu’une connaissance approfondie et minutieuse de la gestuelle peut affiner notre compréhension d’un large pan de l’art des XVIIe et XVIIIe siècles. L’auteur démontre que cette hexis corporelle contemporaine transcende tous les domaines concernés par le corps noble (éducation, théâtre, danse, opéra, arts martiaux, etc.) et en vient à infiltrer la majorité des genres picturaux, bousculant les traditions artistiques déjà en place et s’affichant comme une alternative moderne à la grâce des Anciens. Le portrait, la gravure de mode, les figurines de porcelaine, les vues de villes et de jardins sont les plus touchés par ce phénomène. La bonne grâce s’affirme ainsi dans une culture visuelle qui, par ricochet, en vient à renforcer les pratiques sociales dont elle était le reflet. Cet aller-retour des attitudes aristocratiques entre l’art et la vie occasionne la standardisation de la figure et du corps aristocratiques. Dans la pastorale, la peinture d’histoire et la scène de genre, l’idéal aristocratique se manifeste, tantôt en négatif dans la figure du paysan, du Pierrot et de l’Arlequin, tantôt de manière idéalisée dans celles du berger et du héros galants. La substitution de gestes emphatiques et d’expressions faciales explicites par une gestuelle fondée sur la retenue et la dissimulation des passions, fondera une nouvelle historia moins lisible que la traditionnelle, mais plus subtile et insinuée, répondant ainsi mieux au goût et à la sensibilité aristocratique. / This thesis concerns the characteristic gestures and attitudes of the aristocratic figure in European art between 1661 and 1789. This period corresponds to the lifetime of a noble bodily ideal named “le bon air” and “la bonne grâce”, from its formulation at Louis XIV’s court and hegemonic propagation until its decline with the French Revolution. A panoply of means (exercises, orthopaedic instruments…) have been invented by the Ancien Régime society to embody a grace that should appear inborn and testify to noble birth. The dancing-master enjoyed the monopoly of inculcating this grace and elaborating it in accordance with highly aesthetic criteria. Most of the bon air and bonne grâce gestures and postures are here catalogued, described and associated with their original connotative values, showing that a deep and meticulous knowledge of body techniques can sharpen our understanding of a great proportion of Early Modern artworks. The author agues that this bodily habitus transcended every field concerned with the noble body (education, theatre, dance, opera, martial arts…) and came to infiltrate most pictorial genres, challenging age-old artistic traditions and imposing itself as a modern alternative to the grace of the Ancients. Portraiture, fashion plates, porcelain figurines, city and garden landscapes were the most affected by this phenomenon. Bonne grâce thus affirmed itself in a visual culture, which in return reinforced the very social practices that mirrored. The circular migration of aristocratic gestures between life and art caused a standardisation of both aristocratic body and figure. Within pastoral, history painting and genre scenes, the aristocratic ideal reveals itself antithetically in the figure of the peasant, the Pierrot and the Harlequin, and idealistically in those of the gallant shepherd and gallant hero. The substitution of emphatic gestures and strong facial expressions for ones based on restraint and dissimulation gave birth to a new historia that was less legible, but more subtle and suggestive, in accordance with aristocratic taste and sensibility.

Cette thèse porte sur les gestes et attitudes qui ont caractérisé la figure aristocratique dans l’art européen entre 1661 et 1789. Cet intervalle correspond à la durée de vie d’un paradigme corporel noble appelé « le bon air et la bonne grâce », de son élaboration à la cour de Louis XIV et de sa diffusion hégémonique en Europe, jusqu’à son rejet définitif à la Révolution française. La société d’Ancien Régime a déployé tout un arsenal de moyens (exercices, instruments orthopédiques,…) pour intérioriser une grâce qui devait paraître innée et prouver la noblesse. Le maître à danser détenait le monopole de l’inculcation de cette grâce et de son élaboration suivant des critères hautement esthétiques. Les gestes et positions inventoriés ici, sont décrits et associés à leurs connotations d’origine, montrant qu’une connaissance approfondie et minutieuse de la gestuelle peut affiner notre compréhension d’un large pan de l’art des XVIIe et XVIIIe siècles. L’auteur démontre que cette hexis corporelle contemporaine transcende tous les domaines concernés par le corps noble (éducation, théâtre, danse, opéra, arts martiaux, etc.) et en vient à infiltrer la majorité des genres picturaux, bousculant les traditions artistiques déjà en place et s’affichant comme une alternative moderne à la grâce des Anciens. Le portrait, la gravure de mode, les figurines de porcelaine, les vues de villes et de jardins sont les plus touchés par ce phénomène. La bonne grâce s’affirme ainsi dans une culture visuelle qui, par ricochet, en vient à renforcer les pratiques sociales dont elle était le reflet. Cet aller-retour des attitudes aristocratiques entre l’art et la vie occasionne la standardisation de la figure et du corps aristocratiques. Dans la pastorale, la peinture d’histoire et la scène de genre, l’idéal aristocratique se manifeste, tantôt en négatif dans la figure du paysan, du Pierrot et de l’Arlequin, tantôt de manière idéalisée dans celles du berger et du héros galants. La substitution de gestes emphatiques et d’expressions faciales explicites par une gestuelle fondée sur la retenue et la dissimulation des passions, fondera une nouvelle historia moins lisible que la traditionnelle, mais plus subtile et insinuée, répondant ainsi mieux au goût et à la sensibilité aristocratique. / This thesis concerns the characteristic gestures and attitudes of the aristocratic figure in European art between 1661 and 1789. This period corresponds to the lifetime of a noble bodily ideal named “le bon air” and “la bonne grâce”, from its formulation at Louis XIV’s court and hegemonic propagation until its decline with the French Revolution. A panoply of means (exercises, orthopaedic instruments…) have been invented by the Ancien Régime society to embody a grace that should appear inborn and testify to noble birth. The dancing-master enjoyed the monopoly of inculcating this grace and elaborating it in accordance with highly aesthetic criteria. Most of the bon air and bonne grâce gestures and postures are here catalogued, described and associated with their original connotative values, showing that a deep and meticulous knowledge of body techniques can sharpen our understanding of a great proportion of Early Modern artworks. The author agues that this bodily habitus transcended every field concerned with the noble body (education, theatre, dance, opera, martial arts…) and came to infiltrate most pictorial genres, challenging age-old artistic traditions and imposing itself as a modern alternative to the grace of the Ancients. Portraiture, fashion plates, porcelain figurines, city and garden landscapes were the most affected by this phenomenon. Bonne grâce thus affirmed itself in a visual culture, which in return reinforced the very social practices that mirrored. The circular migration of aristocratic gestures between life and art caused a standardisation of both aristocratic body and figure. Within pastoral, history painting and genre scenes, the aristocratic ideal reveals itself antithetically in the figure of the peasant, the Pierrot and the Harlequin, and idealistically in those of the gallant shepherd and gallant hero. The substitution of emphatic gestures and strong facial expressions for ones based on restraint and dissimulation gave birth to a new historia that was less legible, but more subtle and suggestive, in accordance with aristocratic taste and sensibility.