Esta pesquisa buscou mapear a representação do movimento de ascensão social nos romances brasileiros do Segundo Reinado (1840-1889), focando naqueles cujas tramas se passam no Rio de Janeiro. Após o levantamento e a leitura de todas as obras que se encaixam nesse recorte e uma análise seriada dos dados relevantes para o tema em questão, procurou-se estabelecer relações entre o crescimento e complexificação da ascensão social na ficção com as mudanças históricas ocorridas no período e, ao mesmo tempo, comparar a abordagem encontrada na literatura nacional com a dos romances ingleses e franceses mais influentes para os escritores do Brasil. / This research aimed at mapping the representation of the social upward movement in Brazilian novels of the Second Empire (1840-1889), focusing on those whose plots take place in Rio de Janeiro. After surveying and read all the works that fit this cut and a serial analysis of data relevant to the issue at hand, we tried to establish links between growth and complexity of social mobility in fiction with historical changes in the period and at the same time, compare the approach found in our own national literature with British and French most influential novels on Brazilian writers.

This study examines self-fashioning and the practice of collecting in Second Empire Paris as manifest in James Tissot's Jeunes femmes regardant des objets japonais (1869, Cincinnati Museum of Art). The painting, exhibited in the Salon of 1869, conspicuously portrays Tissot's own collection of exotic Asian collectibles and the artist's private luxe interior. When scholars investigate and interpret Jeunes femmes, it is regularly defined within the prescriptive realm of Tissot's later London paintings, or of his well known series, La Femme à Paris. I argue for a less circumspect engagement with the painting, by focusing on the portrayal of the collectible objects and the decadent interior as evidence of bourgeois self-fashioning and the decorous display and consumption concomitant with Second Empire Paris. This thesis considers the history of collecting in Second Empire Paris; in particular, the early impact of japonisme on Tissot's artwork. Recent scholarship largely regards Tissor's initial engagement with japonisme, as demonstrated by Japonaise au bain (1864, Muse des Beaux-Arts, Dijon) and Jeune femme tenant des objets japonais (1865, Private Collection), as trite. I argue that such categorizing biased sound consideration of Jeunes femmes. I investigate Tissot's interaction with Japanese aristocracy and contend that his appointment as drawing instructor to Prince Akitake marked a turning point in his artistic career and in his reputation as a collector. This thesis also explores the role of fetish as an operative analytical tool. By employing the theories of Freudian and Marxist fetish, I am able to scrutinize the collectible objects' inclusion and meticulous representation, account for the obsessive nature of the collector and investigate specific strategies of posturing and self-promotion. Moreover, I can discuss the painting, and the collection it portrays, as a producing agent for Tissot's own artistic and social legacy. Ultimately, I conclude that Jeunes femmes, a richly detailed painting of Tissot's collectibles and interior space, is implicitly concerned with bourgeois self-fashioning and Tissot's own need for financial and social legitimization.

Esta pesquisa buscou mapear a representação do movimento de ascensão social nos romances brasileiros do Segundo Reinado (1840-1889), focando naqueles cujas tramas se passam no Rio de Janeiro. Após o levantamento e a leitura de todas as obras que se encaixam nesse recorte e uma análise seriada dos dados relevantes para o tema em questão, procurou-se estabelecer relações entre o crescimento e complexificação da ascensão social na ficção com as mudanças históricas ocorridas no período e, ao mesmo tempo, comparar a abordagem encontrada na literatura nacional com a dos romances ingleses e franceses mais influentes para os escritores do Brasil. / This research aimed at mapping the representation of the social upward movement in Brazilian novels of the Second Empire (1840-1889), focusing on those whose plots take place in Rio de Janeiro. After surveying and read all the works that fit this cut and a serial analysis of data relevant to the issue at hand, we tried to establish links between growth and complexity of social mobility in fiction with historical changes in the period and at the same time, compare the approach found in our own national literature with British and French most influential novels on Brazilian writers.

Esta pesquisa buscou mapear a representação do movimento de ascensão social nos romances brasileiros do Segundo Reinado (1840-1889), focando naqueles cujas tramas se passam no Rio de Janeiro. Após o levantamento e a leitura de todas as obras que se encaixam nesse recorte e uma análise seriada dos dados relevantes para o tema em questão, procurou-se estabelecer relações entre o crescimento e complexificação da ascensão social na ficção com as mudanças históricas ocorridas no período e, ao mesmo tempo, comparar a abordagem encontrada na literatura nacional com a dos romances ingleses e franceses mais influentes para os escritores do Brasil. / This research aimed at mapping the representation of the social upward movement in Brazilian novels of the Second Empire (1840-1889), focusing on those whose plots take place in Rio de Janeiro. After surveying and read all the works that fit this cut and a serial analysis of data relevant to the issue at hand, we tried to establish links between growth and complexity of social mobility in fiction with historical changes in the period and at the same time, compare the approach found in our own national literature with British and French most influential novels on Brazilian writers.

O Brasil do Segundo Reinado é objeto de relatos de viajantes britânicos e norte-americanos produzidos no contexto imperialista do século XIX. Na busca por mercados produtores e consumidores, a vocação agrícola brasileira é abordada pelos viajantes articulada à influência britânica mantida no Brasil e à crescente confiança dos Estados Unidos em ampliar as relações com o Império brasileiro, no jogo de interesses geopolíticos e econômicos em que o país atuava como fornecedor de produtos agrícolas e matérias-primas, tendo parte considerável de seu aparato produtivo e infraestrutura voltados a atender à procura desses gêneros nos países de origem dos viajantes. No apêndice há o resumo biográfico dos viajantes estudados. / The Second Empire Brazil is the subject of reports from British and North-American travelers produced in the imperialist context of the nineteenth century. In the quest for producer and consumer markets, Brazil\'s agricultural propensity is approached by travelers hinged to British influence upheld in Brazil and the growing confidence of the United States regarding broadening relations with the Brazilian Empire, in the game of economic and geopolitical interests in which the country played as a supplier of agricultural commodities and raw materials, with a considerable portion of its production apparatus and infrastructure aimed at handling the demand for such genres in travelers home countries. The researched travelers biographical abstract can be found at the Appendix section.

Loin de se limiter à la naissance du groupe impressionniste, la période qui s’articule autour des années 1860-1880, est décisive pour la peinture de paysage. A l’unanimité, les critiques d’art témoignent de son triomphe sous le Second Empire. Ceux qui dominent les cimaises du Salon sont d’abord les Paul Huet (1803-1869), Théodore Rousseau (1812-1867), Camille Corot (1796-1875), Gustave Courbet (1819-1877) et Charles Daubigny (1817-1878). En revanche, un accueil plus sévère se fait jour en même temps que le changement de régime, mettant en évidence tous les préjugés associé à ce genre, dit « mineur ». Ce sont des années charnières qui voient se développer les expositions indépendantes et l’influence du critique d’art, néanmoins, le Salon est encore le lieu où se jouent les carrières. Un certain nombre de peintres, dont on fait peu de cas aujourd’hui, s’y attachent. Aussi, la lecture des comptes-rendus de Salon nous montre clairement que les peintres qui dominent le genre autour des années 1870-1880 se nomment Camille Bernier (1823-1902), Emile Breton (1831-1902), Charles Busson (1822-1908), Emmanuel Damoye (1847-1916), Camille Delpy (1842-1910), Antoine Guillemet (1841-1918), Emmanuel Lansyer (1835-1893) ou Léon-Germain Pelouse (1838-1891). Pas un article qui ne s’exprime sur l’évolution du genre, délaissant progressivement le paysage historique pour une peinture visant au naturalisme ainsi qu’à un travail associant plein air et spontanéité. Plus particulièrement, la question d’une modernité picturale associée au paysage, et ses conséquences, préoccupe vivement le critique d’art. / The 1860’s-1880’s, though often considered solely as the period of impressionism, also prove to be decisive years for landscape painting. Throughout the Second Empire, critics unanimously claim its success. At the annual exhibit of the time, the hailed artists were: Paul Huet (1803-1869), Théodore Rousseau (1812-1867), Camille Corot (1796-1875), Gustave Courbet (1819-1877) and Charles Daubigny (1817-1878). With the advent of the Republic, these views changed, shifting the perception of landscapes as an “inferior” form of painting. But alongside the rise in independent exhibitions and the power of critics, many painters remained attached to the Salon, where the careers were decided. Articles from the time reveal that those dominating the genre were: Camille Bernier (1823-1902), Emile Breton (1831-1902), Charles Busson (1822-1908), Emmanuel Damoye (1847-1916), Camille Delpy (1842-1910), Antoine Guillemet (1841-1918), Emmanuel Lansyer (1835-1893) and Léon-Germain Pelouse (1838-1891). The press discussed the evolution of landscape painting, progressively abandoning historical landscapes for naturalistic ones where outdoor painting becomes associated with spontaneity and truthfulness, the Critics debating the issue of landscapes and their relevance to the modern world.

This study proposes the existence of lieux de mémoire in the photographs of Eugene Atget (1857-1927). My framework is based on historian Pierre Nora's definition: a lieu de mémoire is an object or idea which has become a symbolic stand-in for a community's memorial heritage. I suggest that Atget's photographs of the streets of old Paris, in concert with an empty-street aesthetic function as lieux de mémoire for their primary audience, antiquarians and professional archivists who specialized in old Paris. According to Nora's structure, identification of a lieu de mémoire requires first the establishment of a historical tradition. In the first chapter, I characterize a particular mode of photography, what I term a preservation aesthetic. I examine photographs by Louis J.M. Daguerre, Édouard Baldus, Henri Le Secq, and Charles Marville, all produced between 1839 and 1868. I propose interpretations of and reasons for photographs showing vacant Parisian streets, even after technological advancement allowed for representation by other means. My second chapter is concerned with a disruption of the established tradition, Nora's second requirement for lieu de mémoire. The focus of this chapter is twofold: since I propose that it is the preservation aesthetic partnered with the subject matter of old Paris that forms a lieu de mémoire, considering alterations in both perception of the old city and in photographic practice are necessary. First, I discuss the nostalgic views of old Paris that manifested while Baron Haussmann was remaking Paris between 1853 and 1870. The latter half of the chapter is devoted to the events of 1870-71, the Prussian siege of Paris and the Paris Commune. I argue that barricade photographs from the Commune represent a significant change in photographic practice defined by working-class individuals who made up the Commune. Finally, I examine Atget's practice and work in context of both a medieval historicist revival in the early Third Republic of France and of a popular belief that architecture could be a literal and metaphoric container for nationalist memories. I conclude with a reconsideration of Atget's preservationist and modernist audiences to support my thesis that his photographs are lieux de mémoire.

Entre 1853 et 1870, de multiples quartiers de la ville sont éventrés pour permettre la mise en place de nouveaux boulevards par le baron Haussmann, préfet de Paris sous Napoléon III. Ces travaux majeurs ont frappé l’imaginaire social et constitué un objet de fascination pour la littérature. Le mémoire se situe sur le terrain de la sociocritique. La chercheuse cherche à comprendre comment des textes de Verne, Hugo et Zola lisent la nouvelle configuration urbaine parisienne. Dans Paris au XXe siècle (1863), Jules Verne projette la destruction dans le futur et, en retour, imagine les rémanences d’un passé étrangement constructif. Bien qu’il soit en exil, Victor Hugo est très au courant des changements urbains et sociaux en cours. Dans Paris (1867), son écriture travaille à rendre compatibles les idées de ruine et de progrès. Émile Zola, avec Paris (1898), exprime les contradictions accompagnant le changement urbain par le biais de métaphores médicales et organiques proches de « l’esprit de décadence » qui caractérise la fin du siècle. En conformité avec les visées de l’approche sociocritique, c’est à partir d’une lecture interne des oeuvres, mettant à profit les ressources de l’analyse de texte, de la poétique et de la narratologie, que la recherche se développe. L’étude mobilise également les ressources des travaux consacrés aux relations de la littérature et de la ville, ainsi que celles des ouvrages de synthèse produits dans les champs de l’histoire générale et de l’histoire de l’urbanisme. / Between 1853 and 1870, many areas of the French capital are torn down to allow the establishment of new avenues by Baron Haussmann, Paris’ prefect under Napoleon III. These major urban projects have struck the social imaginary and became an object of fascination for literature. This essay is located on the grounds of sociocriticism and seeks to understand how Verne’s, Hugo’s and Zola’s texts interpret the Paris’ new urban conformation. In Paris au XXe siècle (1863) Jules Verne is planning future destructions and, in turn, imagines the strange constructiveness of residual past. Although in exile, Victor Hugo is very aware of urban and social changes under way. In Paris (1867) his writing works to make compatible the ideas of ruin and progress. Émile Zola with Paris (1898) reflects the contradictions accompanying urban change through medical and organic metaphors close to "the decadence’s spirit" that characterizes the end of the century. In accordance with the aims of the sociocriticism’s approach, the research develops itself from an internal reading of works, drawing on the resources of texts’ analysis, poetics and narratology. The essay also mobilizes diverse works on relations between literature and the city, as well as works of synthesis produced in the fields of general history and of urban planning history.

Émile Augier, Alexandre Dumas fils et Victorien Sardou figurent parmi les dramaturges les plus importants du Second Empire (1852-1870). À travers cette étude, nous nous proposons d’examiner les comédies de mœurs de ces auteurs sous l’angle de la sociopoétique pour ce qui concerne les règles du savoir-vivre et les bonnes manières, examinées dans leur fonction dramatique et théâtrale. Nous nous sommes attachée à l’étude de l’esthétique théâtrale du savoir-vivre qui englobe le lieu (Paris), les personnages (les mondaines et demi-mondaines, les mondains et les domestiques) et les moyens de communication à distance (la lettre et les cartes). Nous nous sommes ensuite penchée sur le caractère spectaculaire du savoir-vivre, à savoir la «distinction» ou la mise en scène de soi, la gestuelle des salutations, les «toilettes tapageuses» et les arts de la table. Les composantes des codes de politesse permettent de parler d’une dramaturgie du savoir-vivre qui caractérise les comédies de mœurs. Cette dramaturgie, que d’aucuns estiment surannée, reflète toutefois les usages représentatifs d’une époque. / Émile Augier, Alexandre Dumas fils and Victorien Sardou appear among the most important dramatists of the Second Empire era (1852-1870). In this thesis, comedies of manners of these authors are considered from a “socio-poetical” point of view. Rules of etiquette and good manners are analyzed in their dramatic and theatrical function. Theatrical aesthetic of manners which includes locality (Paris), characters (mondaines and demi-mondaines, mondains and servants), and media of communication (letters and cards), is examined first. Afterwards, spectacular aspects of good manners are studied : “distinction”, greeting’s gesture, outfits and “arts de la table”. Components of rules of etiquette lead to think of a certain dramaturgy of good manners which are characteristic of comedy of manners. This dramaturgy, which is considered as ‘old fashioned’ by some people, reflects however typical manners of an epoch.

Entre 1853 et 1870, de multiples quartiers de la ville sont éventrés pour permettre la mise en place de nouveaux boulevards par le baron Haussmann, préfet de Paris sous Napoléon III. Ces travaux majeurs ont frappé l’imaginaire social et constitué un objet de fascination pour la littérature. Le mémoire se situe sur le terrain de la sociocritique. La chercheuse cherche à comprendre comment des textes de Verne, Hugo et Zola lisent la nouvelle configuration urbaine parisienne. Dans Paris au XXe siècle (1863), Jules Verne projette la destruction dans le futur et, en retour, imagine les rémanences d’un passé étrangement constructif. Bien qu’il soit en exil, Victor Hugo est très au courant des changements urbains et sociaux en cours. Dans Paris (1867), son écriture travaille à rendre compatibles les idées de ruine et de progrès. Émile Zola, avec Paris (1898), exprime les contradictions accompagnant le changement urbain par le biais de métaphores médicales et organiques proches de « l’esprit de décadence » qui caractérise la fin du siècle. En conformité avec les visées de l’approche sociocritique, c’est à partir d’une lecture interne des oeuvres, mettant à profit les ressources de l’analyse de texte, de la poétique et de la narratologie, que la recherche se développe. L’étude mobilise également les ressources des travaux consacrés aux relations de la littérature et de la ville, ainsi que celles des ouvrages de synthèse produits dans les champs de l’histoire générale et de l’histoire de l’urbanisme. / Between 1853 and 1870, many areas of the French capital are torn down to allow the establishment of new avenues by Baron Haussmann, Paris’ prefect under Napoleon III. These major urban projects have struck the social imaginary and became an object of fascination for literature. This essay is located on the grounds of sociocriticism and seeks to understand how Verne’s, Hugo’s and Zola’s texts interpret the Paris’ new urban conformation. In Paris au XXe siècle (1863) Jules Verne is planning future destructions and, in turn, imagines the strange constructiveness of residual past. Although in exile, Victor Hugo is very aware of urban and social changes under way. In Paris (1867) his writing works to make compatible the ideas of ruin and progress. Émile Zola with Paris (1898) reflects the contradictions accompanying urban change through medical and organic metaphors close to "the decadence’s spirit" that characterizes the end of the century. In accordance with the aims of the sociocriticism’s approach, the research develops itself from an internal reading of works, drawing on the resources of texts’ analysis, poetics and narratology. The essay also mobilizes diverse works on relations between literature and the city, as well as works of synthesis produced in the fields of general history and of urban planning history.