This thesis analyzes the English National Trust’s interpretation of the making and reception of Stowe Landscape Garden. Specifically, this is a critique of the Trust’s narrative of nationalism, which is overlaid by the use of romantic interpretive themes. Arguably, Stowe’s first contribution was the combination of expressions of nature through landscape with architectural and sculptural monuments of Englishness. The National Trust, however, has combined interpretations of multiple landscape gardens across a century, thus blurring its actual significance. Stowe has been lumped into a jumbled framework of anachronistic landscape commentary much based in the literature of reception. The use of receptive history as fact to define concepts like ‘Englishness’, ‘Landscape Garden’, and the ‘Picturesque’ only further aid the unsustainable development of the historical landscape. Stowe is recognized as the most extensive extant landscape garden to exemplify contributions by the first four designers in the medium: Vanbrugh, Bridgeman, Kent, and Brown. Lancelot ‘Capability’ Brown’s place-making role in the history of English landscape, much derided by the proponents of the Picturesque, found its first expression at Stowe from 1740 to 1751. Thus, Stowe’s Brownian dominant landscape, of which the bones are still largely intact, should be used as the designated period of interpretation. In this way, the National Trust could fulfill a modern desire for connection to nature, and with greater specificity, diversity and transparency in historical accounts, expand the accessibility of ‘Englishness’ in the form the consummate national landscape garden.

No description available.

Thesis (doctoral)--Universität Mannheim, 2002. / Includes bibliographical references (p. 295-304).

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. W.T. Lhamon, Jr., Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

This dissertation charts the dramatic cultural transformation of Uncle Tom, the heroic Christian martyr of Harriet Beecher Stowe's antislavery novel Uncle Tom's Cabin (1852), into a commonly known slur for a submissive race traitor. As many scholars have noted, the hero of Stowe's novel is not what we would today call an "Uncle Tom." Some have put the blame for the figure's drastic transformation on the many popular stage adaptations of Stowe's novel that blanketed the nation during the nineteenth and early twentieth centuries. However, relying on extensive archival work in both traditional archives and digitized historical periodicals, which have been unexamined on this topic until now, this dissertation reveals that Uncle Tom's transformation did not occur in the theater. Not only did the Uncle Tom character often retain his dignity in these postbellum shows, but the Uncle Tom's Cabin dramas remained politically relevant to many African Americans--and for that reason deeply threatening to many white Southerners--into the twentieth century. Significant objections to Uncle Tom as a racial representation in popular culture did not emerge until the late 1930s, but Uncle Tom became a detested political model two decades before that. The Christ-like qualities that made him a hero in Stowe's novel and to many nineteenth-century Americans, black and white, became increasingly undesirable to a new generation that embraced a more assertive understanding of masculinity and were less interested in heaven's salvation than in earthly progress. This turn-of-the-century transformation in cultural values set the stage for a more pointed critique of Uncle Tom as a political model in the 1910s, a decade of turmoil not only because of growing racial injustice, but also because of major political, educational, and geographical shifts within the race. While Uncle Tom's Cabin retained progressive meanings to many African Americans, Uncle Tom became a slur in the black political rhetoric of the 1910s, when a younger generation of leaders responded to the deteriorating racial climate by attacking the values and strategies of the older generation for seriously jeopardizing racial progress.

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, June 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (M. Phil.)--University of Hong Kong, 1996. / Includes bibliographical references (leaves 150-154).

Thesis (M.A.)--University of California, Santa Cruz, 2002. / Typescript. Includes bibliographical references (leaves 75-77).

This paper looks at three significant instances of the representation of abolitionist martyrdom in nineteenth-century America to first sketch the abolitionist discourse and its varied conceptualizations of martyrdom and second question the rationale and success of this strategy for manumitting slaves. Accordingly, I start with Brown, who (with help from sympathetic northerners and the megaphone of the Associated Press) appealed to the martyrological tradition in order to transform his paramilitary failure at Harper’s Ferry into a powerful symbol of his own abolitionist righteousness over and against the state’s iniquity. Though the superficial differences between Brown and arch-sentimentalist Harriet Beecher Stowe have discouraged their comparison, a look at the logic of martyrdom reveals a similar strategy at work in both Brown’s martyrization and Uncle Tom’s Cabin, which makes death an argument for the manumission of slaves. I argue that this hugely successful novel reveals the potency of martyrological thinking in 19th-century America as it also reveals martyrdom and its logic to be the foundation of sentimentalism like Stowe’s. Finally, I look at the speeches and nonfiction of Frederick Douglass to argue that his own martyrization of John Brown is different than what we see in Brown and Stowe because it provokes change rather than validating abolitionism that already exists. To various degrees, these writers seem aware that there may be a problem in the rhetorical use of martyrdom against the putatively secular state; they consequently employ different strategies for negotiating the meaninglessness of suffering and death with the soteriological and eschatological assumptions of their day. These negotiations reveal the extent to which martyrdom could be taken seriously as a hammer of abolitionism by different authors and thus also indicate the degree to which martyrdom can be taken seriously as a political solution whatsoever. Ultimately, I want to argue that martyrdom and its logic are at best dubious when applied to secular politics precisely because it relies upon the analogy to Jesus Christ as savior, which cannot hold outside Christianity. Simply put, the death of a mortal cannot register eschatologically and, more importantly, death does not make a cogent argument for anything. Instead, martyrdom is preaching to the choir par excellance; whether the choir is Christian, abolitionist, or something else, martyrological appeals do not grow its membership, as martyrologists since early modernity have assumed.

Submitted by Thais Polegato de Sousa null (titi-sert@hotmail.com) on 2017-04-27T18:04:30Z No. of bitstreams: 1 Dissertação Thaís Polegato de Sousa.pdf: 2648329 bytes, checksum: ebc1a6900acdea09ef63e73c0625d427 (MD5) / Rejected by Luiz Galeffi (luizgaleffi@gmail.com), reason: Solicitamos que realize uma nova submissão seguindo a orientação abaixo: O arquivo submetido está sem a ficha catalográfica. A versão submetida por você é considerada a versão final da dissertação/tese, portanto não poderá ocorrer qualquer alteração em seu conteúdo após a aprovação. Corrija esta informação e realize uma nova submissão com o arquivo correto. Agradecemos a compreensão. on 2017-05-03T14:44:04Z (GMT) / Submitted by Thais Polegato de Sousa null (titi-sert@hotmail.com) on 2017-05-15T00:47:28Z No. of bitstreams: 1 Tradução, adaptação e representação da identidade negra em reescritas de Uncle Tom's Cabin, de Harriet Beecher Stowe .pdf: 3525104 bytes, checksum: caf019ed69cfa65f4161ee0be85d7f7a (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-05-16T12:51:11Z (GMT) No. of bitstreams: 1 sousa_tp_me_sjrp.pdf: 3525104 bytes, checksum: caf019ed69cfa65f4161ee0be85d7f7a (MD5) / Made available in DSpace on 2017-05-16T12:51:11Z (GMT). No. of bitstreams: 1 sousa_tp_me_sjrp.pdf: 3525104 bytes, checksum: caf019ed69cfa65f4161ee0be85d7f7a (MD5) Previous issue date: 2017-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Tradução e adaptação podem ser ferramentas de resistência para culturas e identidades não hegemônicas ou para a manutenção de formas de identificação e manifestações culturais dominantes no cenário mundial. Nesta dissertação, procuramos observar como uma adaptação e duas traduções brasileiras de A Cabana do Pai Tomás abordam questões de identificação e de narrativas raciais ao longo de um período de tempo (cerca de 60 anos) em que o paradigma tradicional do Brasil em relação à raça começa a ser questionado, em grande parte devido ao contato com as noções de raça dominantes na cultura estadunidense. Também observamos como a negociação, caracterizada por ser assimétrica e apropriadora, é aplicada nas reescritas selecionadas, e quais os ganhos e perdas advindos dos diferentes níveis de abertura ao diálogo com o Outro hegemônico na tradução e na adaptação. Para isso, foram selecionadas três reescritas da obra Uncle Tom's Cabin, de Harriet Beecher Stowe, para o português brasileiro. Levando em consideração a própria temática da obra – a escravidão nos EUA –, as questões raciais inevitavelmente entram em pauta no romance e, consequentemente, as reescritas são obrigadas a lidar com os discursos raciais e a representação de identidades raciais específicas, especialmente a identidade negra. Como os discursos raciais tradicionalmente apoiados nos Estados Unidos contrastam fortemente com a narrativa racial tradicional no Brasil, as reescritas acabam por refletir ideologias raciais condizentes com o discurso de sua época, mas que podem contrastar com os discursos umas das outras. Após reflexões sobre a natureza da tradução e da adaptação como reescritas literárias e das formas de identificação na pós-modernidade, em particular as identidades raciais, foram feitas análises comparativas entre trechos do original em inglês e das três reescritas selecionadas, de modo a observar nesses excertos questões pertinentes ao discurso racial veiculado a cada reescrita e à forma como a negociação entre as culturas norte-americana e brasileira se manifestou nas opções tradutórias apresentadas. / Translation and adaptation can either represent tools of resistance for non-hegemonic cultures and identities, or tools for hegemonic identities and cultures to maintain power in a global level. This dissertation aims to observe how a Brazilian adaptation and two Brazilian translations of Uncle Tom’s Cabin deal with matters of racial identity and racial narratives spanning a period (roughly 60 years) in which the traditional Brazilian paradigm about race started to shift, in great part due to contact with concepts of race prevalent in American culture. We observed how negotiation, an approach characterized by its asymmetry and appropriative nature, acts in the selected rewritings, and which gains and losses happen when said rewritings allow varying degrees of contact with a hegemonic Other in translation and literary adaptation. With this goal, three rewritings of Uncle Tom's Cabin, by Harriet Beecher Stowe, to Brazilian Portuguese were chosen. Considering the main theme of the novel – slavery in the United Stated– racial matters inevitably come to the forefront of discussion, and therefore the rewritings have to deal with racial discourses and the representation of specific racial identities, especially black identity. Since the racial discourses traditionally associated with the United States differ significantly from the racial narrative traditional in Brazil, the rewritings can’t help but reflect racial ideologies matching the discourses prevalent at their time; however, those discourses may contrast with the discourse of the remaining rewritings. After reflecting upon the nature of translation and literary adaptation as literary rewritings and upon the formation of identities in post-modern times, racial identities in particular, we compared and analyzed excerpts of the original novel and the three selected rewritings, in order to observe in those passages matters related to the racial discourse associated with each rewriting, and the way negotiation between American and Brazilian cultures made itself known in the translation options presented.