Based on thesis, University of London. / Bibliography: p. 171-212.

During the late eighteenth century, as part of a broader reform initiative commonly referred to as the “Bourbon reforms,” royal officials attempted to transform theatrical productions at Mexico City’s Real Coliseo (Royal Theater). Influenced by new intellectual trends in Spain, especially the neoclassical movement, reformers hoped that theater could serve as a school of virtue, rationality and good citizenship. This essay analyzes the theatrical reform effort, traces its foundations from sixteenth-century Spain to eighteenth-century Mexico, and seeks to explain why the initiative failed to transform either the Coliseo’s shows or its audience’s artistic predilections. It argues that the initiative was unsuccessful for three primary reasons. First, reformers did not have the power to compel impresarios and actors to obey their new regulations, and economic constraints sometimes forced officials to bend their strict aesthetic standards to appease the audience's largely baroque predilections. Second, Mexico City’s diverse and thriving public sphere made imposing a new popular culture profoundly difficult, especially given that reformers’ one-dimensional vision of neoclassicism failed to account for the variety and debate within this movement. Consequently, the theater added fuel to public debate over the definition of buen gusto (good taste), rather than merely instructing passive citizens as reformers had hoped. Finally, widespread public derision of the performing profession meant that many spectators did not take actors seriously as teachers of morality, taste and rationality. Actors’ reputation as immoral lowlifes, which derived in part from late-sixteenth century debates in Spain over morality and illusion in drama, complicated reformers' already difficult project of transforming the theater into a school of sociability and citizenship. / text

Thesis (doctoral)--Jyväskylän yliopisto, 1998. / Extra t.p. with thesis statement inserted. Includes bibliographical references (p. 145-159).

Thesis (doctoral)--Jyväskylän yliopisto, 1998. / Extra t.p. with thesis statement inserted. Includes bibliographical references (p. 145-159).

Based on thesis, University of London. / Bibliography: p. 171-212.

No description available.

Com a finalidade de elaborar um estudo em estética musical, analisamos os conceitos de nacionalismo, neoclassicismo e neofolclorismo em Villa-Lobos. Propomos uma abordagem crítico-ideológica que se distancia dos padrões costumeiros na musicologia brasileira, uma vez que reconhecemos certa ingenuidade consolidada na vã tentativa de se desatrelar nacionalismo de um contexto político-partidário. Como apoio às hipóteses de trabalho levantadas, levamos em conta aspectos filosóficos, poético-estilísticos e histórico-sociológicos. / Aiming at elaborating a study in musical aesthetics, we have analyzed the concepts of Nationalism, Neo-Classicism, Neo-Folklorism in Villa-Lobos. We propose a critic-ideological approach that goes away from the ordinary patterns in Brazilian musicology, once we recognize certain ingenuity consolidated in the vain attempt to detach nationalism from a party-political context. As a support to the raised hypothesis of this work, we took into account the philosophical, poetic-stylistic and historical-sociological aspects.

This dissertation examines links between architectural and colonial discourse in order to provide a new account of England’s fascination with the “all’antica” manner in the late-sixteenth and early-seventeenth centuries. I argue that the allure of classicism during this period was directly related to imperial ambitions awakened by the consolidation of the Scottish and English crowns. Seeking models for their nascent empire, architects and colonial “planters” looked to their own history as a Roman colony. Shared references to antiquity facilitated an unprecedented commerce between artistic and political discourse. Architects in England and colonizers abroad both fashioned themselves as the “new Romans,” reconceiving English identity as a product of Britain’s former subjugation. While classicism provided newly required symbols of empire, it also challenged traditional notions of “Englishness,” embroiling architects in cultural, political, and religious debates that transformed architecture and the status of architects.

No description available.

This thesis chronicles the god of love, Eros, and the shifts of function and imagery associated with him. Between the French Revolution and the fall of Napoleon, Eros’s portrayals shift from the Rococo’s mischievous infant revealer of love to a beautiful adolescent in love, more specifically, in love with Psyche. In the 1790s, with Neoclassicism in full force, the literature of antiquity was widely read by the upper class. Ancient Greek texts reveal an important facet of the god of desire; the fact that he is an agent, if not the patron, for homosexual, homoerotic love. This aspect of Eros directly collided with the heteronormative principles that existed in Revolutionary and Post-Revolutionary France, leaving French Neoclassicists with the challenge to reconcile the ancient role of Eros with the moralizing, rational ideals of society. Thus, the popularization of Eros and Psyche in French Neoclassical art exemplifies this attempt to create a heteronormative ideal couple to epitomize patriarchal France. Throughout my thesis I pose the question: How do depictions of Eros and Psyche produced in the years surrounding the French Revolution reflect the antique tastes of Neoclassical artists and the heteronormative society within which these pieces were produced?