The turn from the nineteenth century into the twentieth saw an increase in the number of composing European women attaining prominence in the music world. This period of history is also now recognised as one of the key phases of the first wave of feminism. Feminists and musical women moved in a similar stratum of society. Although women of this era have increasingly been the subject of scholarly research, music historians have rarely investigated the links between the turn of the century??s wave of composing women and feminists. This dissertation uses the feminist and musical press as a means to investigate composing women??s engagement with feminism. I examine feminists?? regard for women musicians and conversely composing women??s views on feminism. The thesis also reframes the privatelives of composing women through an analysis of primary sources. The composers who form the focus of this biographical investigation include Lili Boulanger (1893-1918), Ethel Smyth (1858-1944), Luise Adolpha Le Beau (1850-1927), Louise H??ritte-Viardot (1841-1918) and Armande de Polignac (1876-1962). Using a large body of newly analysed, unpublished correspondence and private papers, this research offers fresh insights into the biographies of composing women as well as their own self-portrayal, revealing the complex nature of Ethel Smyth??s sexuality and reassessing the fatalistic portrait of Lili Boulanger which has been drawn in some previous studies. These biographical insights background the contentions of the thesis that composing women and feminists shared common ground. Through investigating the presence of musicians in the feminist press and of feminism in the musical press, the thesis reveals an ambivalent relationship between feminists and musicians. The disappointed expectations of feminists are contrasted with the reasons composing women had for retaining a distance from feminism. The exploration of composing women??s political and personal context enables an understanding not only of their contribution to music history, but also of their place within the greater history of women??s development.

The turn from the nineteenth century into the twentieth saw an increase in the number of composing European women attaining prominence in the music world. This period of history is also now recognised as one of the key phases of the first wave of feminism. Feminists and musical women moved in a similar stratum of society. Although women of this era have increasingly been the subject of scholarly research, music historians have rarely investigated the links between the turn of the century??s wave of composing women and feminists. This dissertation uses the feminist and musical press as a means to investigate composing women??s engagement with feminism. I examine feminists?? regard for women musicians and conversely composing women??s views on feminism. The thesis also reframes the privatelives of composing women through an analysis of primary sources. The composers who form the focus of this biographical investigation include Lili Boulanger (1893-1918), Ethel Smyth (1858-1944), Luise Adolpha Le Beau (1850-1927), Louise H??ritte-Viardot (1841-1918) and Armande de Polignac (1876-1962). Using a large body of newly analysed, unpublished correspondence and private papers, this research offers fresh insights into the biographies of composing women as well as their own self-portrayal, revealing the complex nature of Ethel Smyth??s sexuality and reassessing the fatalistic portrait of Lili Boulanger which has been drawn in some previous studies. These biographical insights background the contentions of the thesis that composing women and feminists shared common ground. Through investigating the presence of musicians in the feminist press and of feminism in the musical press, the thesis reveals an ambivalent relationship between feminists and musicians. The disappointed expectations of feminists are contrasted with the reasons composing women had for retaining a distance from feminism. The exploration of composing women??s political and personal context enables an understanding not only of their contribution to music history, but also of their place within the greater history of women??s development.

The turn from the nineteenth century into the twentieth saw an increase in the number of composing European women attaining prominence in the music world. This period of history is also now recognised as one of the key phases of the first wave of feminism. Feminists and musical women moved in a similar stratum of society. Although women of this era have increasingly been the subject of scholarly research, music historians have rarely investigated the links between the turn of the century??s wave of composing women and feminists. This dissertation uses the feminist and musical press as a means to investigate composing women??s engagement with feminism. I examine feminists?? regard for women musicians and conversely composing women??s views on feminism. The thesis also reframes the privatelives of composing women through an analysis of primary sources. The composers who form the focus of this biographical investigation include Lili Boulanger (1893-1918), Ethel Smyth (1858-1944), Luise Adolpha Le Beau (1850-1927), Louise H??ritte-Viardot (1841-1918) and Armande de Polignac (1876-1962). Using a large body of newly analysed, unpublished correspondence and private papers, this research offers fresh insights into the biographies of composing women as well as their own self-portrayal, revealing the complex nature of Ethel Smyth??s sexuality and reassessing the fatalistic portrait of Lili Boulanger which has been drawn in some previous studies. These biographical insights background the contentions of the thesis that composing women and feminists shared common ground. Through investigating the presence of musicians in the feminist press and of feminism in the musical press, the thesis reveals an ambivalent relationship between feminists and musicians. The disappointed expectations of feminists are contrasted with the reasons composing women had for retaining a distance from feminism. The exploration of composing women??s political and personal context enables an understanding not only of their contribution to music history, but also of their place within the greater history of women??s development.

An analysis of the correspondence between Charles Lyell and Gideon Mantell from 1821 to 1852, in conjunction with other manuscript material, highlights the contrasting backgrounds and geological careers of the two men. It is also characterised by two underlying themes: the nature and timing of their geological work; and the influence of various social factors on their career plans and desire to achieve high social and scientific status. In turn, these points raise several wider issues and inter-related questions concerning the following aspects of English geology in the first half of the nineteenth century. When, why and how did an elite group of geologists emerge in England during this period? Who were its members and what were their characteristics in common? What was the nature and scope of the geological work carried out by the identified elite? In what way did it differ from Mantell's? What social and other barriers did Mantell encounter in his search for scientific and social status? What were the critical factors? In this thesis these issues are examined on a decade-by-decade basis, in three main chapters, as a prelude to examining the central question of why Mantell, unlike Lyell, did not achieve the status of an elite geologist. First, an elite group of English geologists is identified through a series of prosopographic and 'screening' analyses of all members of council of the Geological Society of London (GSL). Geologists who did not meet the prescribed criteria are taken into account. Thirteen geologists are identified in the penultimate and final stages of screening over the four decades. Mantell was the only provincial identified, but he did not attain a position in the final list, which consisted exclusively of a distinctive group of 'gentleman-specialists'. Second, the concept of a geological 'domain' is introduced to analyse the nature and scope of the geological work carried out by the identified group. A critical finding is that all members identified in the final 'screening' list established a 'domain' in one of four categories of the concept and were recognised as the leading authority or exponent of the domain they had fashioned. Finally, the impact and relative importance of specific social and other factors on the careers of Lyell and Mantell are examined. When the findings from each decade of the three chapters are brought together it is shown that by the end of the 1820s it was necessary for a future elite geologist to be so 'positioned' in terms of basic geological experience, location, income and available time that he was able to identify and subsequently fashion an appropriate geological 'domain'. 'Gentleman-specialists', such as Lyell, who were able to follow this strategy, constituted a clearly defined elite that dominated the GSL in the 1830s and 1840s. Mantell's failure to achieve elite geological status stemmed from the fact that he placed too much emphasis on fashioning his image and social status, rather than his scientific career. In doing so, he let the opportunity slip of establishing a major domain - British fossil reptiles - in the early 1830s.

This thesis seeks to examine the nineteenth-century art collections and architectural style of the original buildings at the University of Sydney in order to demonstrate ways in which visual material may be employed to shape public perception of an institution. I shall argue that the architectural style of the original university buildings was specifically chosen with particular aims which extended beyond the mere establishment of a tertiary institution for the colony. I will also argue that the style shaped the character of the institution, contributed to the maintenance of law and order in the colony, linked the colony more firmly than hitherto to the mother country and provided social benefits for the founders of the institution. The instant history and character thus imposed upon the institution was reinforced by the assembly of a portrait collection in emulation of other collections of portraits at leading institutions of the colony and the mother country, including the Oxbridge universities. Once the building proclaimed that the institution was comparable with the great universities of the world, the subjects of the portraits at the university could be placed in the class of founders of a great historical institution, thus at the same time enhancing the reputation of the institution and the individuals. The construction of an indentity through visual images was extended by the benefactions of Sir Charles Nicholson, the principal donor of works of art to the university in the nineteenth century. I argue that his intentions in relation to his collections were didactic but were also concerned with the entrenchment of the imperial hegemony over the colony, and again with the enhancement of his personal repuatation. This analysis shows how, by a complex of personal ambition and aspiration for the colony, the style of the buildings and the art collections formed were used to establish the colony as civilized and the new university as a bastion of English tradition.

Thesis (M.A.)--Miami University, Dept. of History, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 36-37).

Thesis (M.A.)--Miami University, Dept. of English, 2005. / Title from first page of PDF document. Document formatted into pages; contains [2], 52 p. Includes bibliographical references (p. 51-52) and filmography (p. 50).

Thesis (M.A.)--Miami University, Dept. of English, 2004. / Title from first page of PDF document. Includes bibliographical references.

Thesis (M.A.)--Miami University, Dept. of English, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 64-68).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In order to discuss the power relations and health in Santa Maria, inside the Rio Grande do Sul, during the second half of the nineteenth century, we propose a discussion about the professional practices of responsible both for the municipal administration, as the health of the population and space, through the figure of priests, councilors and doctors. With the objective to understand how was the process of public health training in Santa Maria, is based on research produced by Gilberto Hochman (1998) and Dorothy Porter (2001). The methodology used is inspired by the reduction ratios, by understanding that this work is not about a local story, but a look at small scale for issues that were occurring within the Rio Grande do Sul, but that may raise questions for more general analysis. So that we can understand, in a more accurate way, how was the health publicity process in Brazil, by increasing the state's power to intervene in urban areas, to improve their hygienic conditions. As sources, were used mainly: death records of the Municipal Cemetery and the Church; Minutes of the City Council; correspondence and reports of the presidents of Rio Grande do Sul Province. This research, which was funded by CAPES, is linked to the area of concentration of the Graduate Program in History "History, power and culture" and inserted into the line of research "Migration and Labour", in which is analyzed both forms of material organization of urban space, as the concerns with regard to health and hygiene during the second half of the nineteenth century. / A fim de debater sobre as relações de poder e saúde em Santa Maria, no interior do Rio Grande do Sul, durante a segunda metade do século XIX, propõe-se uma discussão a respeito das práticas profissionais dos responsáveis tanto pela administração municipal, quanto pela saúde da população e dos espaços, através da figura dos padres, vereadores e médicos. Com o objetivo de compreender como se deu o processo de formação da saúde pública em Santa Maria, baseia-se nos estudos elaborados por Gilberto Hochman (1998) e Dorothy Porter (2001). A metodologia de análise utilizada inspira-se na redução de escalas, através da compreensão de que este trabalho não se trata de uma história local, mas de um olhar em escala reduzida para questões que estavam ocorrendo no interior do Rio Grande do Sul, mas que podem suscitar questões para análises mais gerais. Procura-se compreender, de maneira mais apurada, como se deu o processo de publicização da saúde no Brasil, através do aumento do poder de intervenção do Estado nos espaços urbanos, visando melhorar suas condições higiênicas. Como fontes, foram utilizados, sobretudo: registros de óbitos do Cemitério Municipal e da Igreja; atas da Câmara Municipal; correspondências e relatórios dos Presidentes da Província do Rio Grande do Sul. Esta pesquisa, a qual foi financiada pela CAPES, está vinculada à área de concentração do Programa de Pós-Graduação em História História, poder e cultura e inserida na linha de pesquisa Migrações e Trabalho , na qual analisa-se tanto as formas de organização material do espaço urbano, quanto às preocupações no que se refere à saúde e higiene durante a segunda metade do século XIX.