This dissertation reveals a hitherto unrecognized thread of speculative postapocalyptic fantasies underlying nineteenth-century accounts of the American frontier. Many critics have exposed the latent imperialism behind popular myths of primeval wilderness and virgin land; bringing together fictional tales, travel writings, and scientific texts, I show that U.S. authors who enthusiastically celebrated these myths distorted rather than escaped the bounds of history. Their literature results in an uncanny historicism that unsettles narratives of material progress by conflating ancient territorial rupture with a potentially disastrous future. The Illinois prairie of the 1840s thus appeared to Margaret Fuller as a country that has been carefully cultivated by a civilized people, who had been suddenly removed from the earth, with all the works of their hands, and the land given again into nature's keeping. Fuller's notion of hidden destruction behind a vision of natural tranquility was not uncommon. Striving to reconcile their projection of an empty continent with the myriad traces of both Native Americans and prior European settlers, writers such as William Cullen Bryant, James Fenimore Cooper, Henry David Thoreau, and Jack London crafted historical narratives that imagined the swift annihilation of entire populations. For them, the blank slate of the American continent was simultaneously a ruined wasteland, and the mythical American Adam was really an American Noah - a patriarch of a new world built on the violent dissolution of the old. U.S. frontier literature between the War of 1812 and the First World War contains postapocalyptic themes like the last man on earth, the lapse into barbarism, and ruin-strewn landscapes. As a key example, I read Cooper's The Last of the Mohicans (1826) as a narrative of biological extinction that foreshadows his later national apocalyptic allegory The Crater (1847). Similarly, I contend that the industrial ruins a young Thoreau discovered in the Maine woods spurred him to imagine a suddenly depopulated Massachusetts in his journal. These postapocalyptic fantasies often attempted to deny the ongoing presence and property claims of Native Americans by relegating the original inhabitants of American soil to a separate past, yet they also suggested that the United States itself might be subject to imminent catastrophe.

A finalidade deste trabalho é estudar a gravura brasileira nas três décadas finais do século XIX a partir da produção crítica do escritor, jornalista, editor e historiador Félix Ferreira (Rio de Janeiro, 1841-1898). O foco do trabalho pauta-se na reflexão sobre a gravura tendo como ponto de partida a análise dos trabalhos desse autor que foram estudados durante a minha Iniciação Científica (2008-2010). Por meio da análise desses materiais de autoria de Félix Ferreira, localizados durante o período de pesquisa, notou-se forte preocupação do autor com a consolidação de um ensino artístico profissionalizante no Brasil que buscasse aliar a instrução teórica à prática, em contraposição ao ensino teórico intelectual de caráter humanístico e literário que então predominava nas instituições de ensino. Ele acreditava ser o Liceu de Artes e Ofícios do Rio de Janeiro o ambiente adequado à concretização dessas aspirações, tendo em vista o desenvolvimento do que denominava \"artes aplicadas\", \"artes mecânicas\" ou \"artes industriais\". A questão da gravura é recorrente em seus textos, sempre defendendo o ensino das técnicas, incentivando sua prática e apontando a necessidade de áreas de formação por meio da criação de cadeiras dedicadas à gravura nas instituições de ensino. Destaca-se, nesse contexto, o projeto de Ferreira para a proliferação das publicações ilustradas, sobretudo aquelas destinadas aos temas artísticos e a difusão das obras de arte por meio da imagem gráfica. Tendo em vista todas essas questões, pretendo investigar as ligações do autor com o desenvolvimento da gravura no Rio de Janeiro nas décadas finais do século XIX. / This work intends to study the Brazilian engraving in the three last decades of the Nineteenth-Century, based on the comments of Félix Ferreira production, who was a journalist, editor and historiographer (Rio de Janeiro, 1841-1898). The focus of this work was directed to the reflection about the engraving development, based on the evaluation of the production work of this author which has been studied during my previous studies (2008-2010).Through the analysis of these materials, found during the research period, it was noticed a concern of the author with the consolidation of a professional art education in Brazil which aimed to combine the theoretical instruction to practice, as opposed to theoretical intellectual, humanistic and literary character that prevailed in educational institutions. Félix Ferreira believed that the School of Arts and Crafts of Rio de Janeiro was the appropriate environment for achieving these aspirations based on the development of what he called \"applied arts\", \"mechanical arts\" or \"industrial arts\". The issue of engraving is recurrent in his writings, always defending the teaching of techniques, encouraging their practice and indicating the need for training areas dedicated to engraving in educational institutions. In this context, the Ferreira\'s project for the spread of illustrated publications stands out, especially those intended for artistic themes and the propagation of works of art by the graphical image. Considering all these issues, I intend to investigate the author links with the development of engraving in Rio de Janeiro in the final decades of the nineteenth century

This thesis examines the city of Rome as a primary context of British sociability and portrait identity during the period from 1740 to 1830. Part I considers the work of the portrait painter Pompeo Batoni. It examines the pictorial record of grand tourist sociability at Rome in the 1750s, questioning the complex articulation of nationality among British visitors, and the introduction of overt references to antiquity in the portraiture of Pompeo Batoni. It subsequently interrogates Batoni's use of the partially nude Vatican Ariadne sculpture in five portraits of male grand tourists, dating from Charles John Crowle in 1762, to Thomas William Coke in 1774. Part II of this thesis considers the realities of viewing the sculpted body at Rome, recreating the studios of sculptors Christopher Hewetson and Antonio Canova. It postis the studio space as a locus of sociability for British visitors to Rome, drawing on the feminine gaze in the form of the early nineteenth-century writings of Charlotte Eaton and Lady Murray. The final chapter moves from the focus on British sitters to examine sculpture by Antonio Canova, framing it within a wider discourse of masculinity and propriety. Thte reception of Canova's nude portrait sculpture of Napoleon Bonaparte and Pauline Borghese is considered as indicative of cultural anxieties stemming from new conceptions of gender.

In nineteenth-century literary studies and histories, Théophile Gautier (1811-1872) is still largely remembered as the instigator of the doctrine of Art for Art's Sake, mostly because of his novel Mademoiselle de Maupin (1835) and its controversial preface. This recognition is usually accompanied by a retrospective appreciation of Gautier's work in light of the more famous authors who succeeded him and developed some of the precepts of the doctrine, such as Baudelaire. This thesis is a comparative study of Gautier and Oscar Wilde (1854-1900) as the two main exponents of the doctrine of Art for Art's Sake respectively in France and Britain. While comparisons between Gautier and Baudelaire have tended to highlight the superiority of the latter, a comparison with Wilde allows Gautier to be seen and understood in his own terms, and simultaneously casts a new light on Wilde's contribution to the development of the doctrine. My study is the first to examine the works of the two authors comparatively from the vantage point of their aesthetic theories. I argue that in order better to assess their contribution, it is necessary to start with an analysis of their experimentations with literary form. The overall aim of the thesis is to re-evaluate their fictional works which, as a result of their commitment to the doctrine, are often seen as lacking in depth and content, and as being too descriptive and decorative. The central argument is that the very decorative form of their works should be seen as the starting point of an ambitious reflection on literature, its aims and its relation to other artistic media, the visual arts in particular.

This thesis examines the promotion of California and Florida from 1869 to 1919, a period when both states were transformed from remote, under-populated locales into two of the most publicised states in America. Using an interdisciplinary approach which analyses cultural representations of the states within a broader socioeconomic context, the thesis traces how railroad and land companies, agriculturists, chambers of commerce, state agencies, and journalists fashioned new identities for California and Florida as Semi- Tropical American lands. As their boosters competed in a bid to attract settlers, tourists, and investors, they played upon republican and colonialist discourses within American society and expansion. Evoking ideas about race, climate, and environment, promoters depicted California and Florida as parts of a benign middle zone between an increasingly urban-industrial North and socially “primitive” tropics. At a time of traumatic industrial change, California and Florida promised American rebirth in nature, through renewing health and leisure, prosperous agriculture, and superior cities. The selling visions were created by and for white Americans, however, and focused on the “semi-tropical” benefits for Anglo visitors and residents. Ethnic and racial minorities were marginalised as romantic, unprogressive peoples who were best suited to manual labour roles which reinforced Anglo-American progress. The thesis thus argues that boosters alloyed republican ideals of independent living to processes of racial hierarchy, creating a seductive, expansionist imagery which sold semi-tropical California and Florida.

O século XIX, no Brasil, foi marcado por uma tentativa de construção de uma identidade nacional e cultural num país pós-independência. Neste panorama, José de Alencar destaca-se, entre outros papéis que exerceu, como significativo romancista e contribui para a formação de um sistema literário em nosso país. Porém, é na obra dramática alencariana que também podemos identificar uma proposta discursiva da possível identidade do homem no Brasil a partir de suas relações contraditórias e problemáticas com os "outros" aqui presentes: o português, o índio, o negro, e o francês representações estas capazes de dar ao homem uma ideia de pertencimento cultural, através de uma seleção do que deve ou não servir para representar sua identidade e a de seu povo / The nineteenth century in Brazil was marked by an attempt to build a national and cultural identity in a country after independence. In this scenario, Jose de Alencar stands out,among other roles he held, as a significant novelist and contributes to the formation of a literary system in our country. But it is in dramatic work Alencar also can identify a discursive representation of the possible identity of the man in Brazil from its problematic and contradictory relationship with 'others' here: Portuguese, Indians, blacks, and French. These representations can give man a sense of cultural belonging through a selection of what should or should not serve to represent their identity and its people.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Pesquisar sobre escritoras portuguesas do século XIX não é tarefa das mais simples. A barreira maior é a escassez de fontes, que se deve, principalmente, ao papel que cabia à mulher na sociedade de oitocentos. Sem direitos políticos e restrita ao espaço privado, deveria estar sempre sob a dependência de um homem. Ao penetrar num espaço que não era o seu, é compreensível que as mulheres que ousaram se afirmar como escritoras o tenham feito a princípio sob o signo do anonimato. É o caso de Maria Peregrina de Sousa (1809-1894). Teve participação profunda nos periódicos literários da época, nos quais publicou romances, poemas e contos populares, utilizando pseudônimos como Uma obscura portuense, Mariposa ou suas iniciais, D. M. P. Por meio de um diálogo com a História, estudamos as obras Retalho do mundo (1859), Maria Isabel (1866), Henriqueta: romance original (1876) e Pepa (1846), da qual também fizemos a edição. Nosso objetivo é investigar, nesses textos, como o discurso do senso comum ora se confirma às vezes, ora é desestabilizado, e como algumas personagens poderiam contornar os interditos sociais. Ao trazer essa obscura portuense à luz, pretendemos também refletir sobre como uma autora pensava a sua realidade e qual o reflexo disso na sua produção literária. / It is not an easy task to research about Portuguese female writers from the Nineteenth century. The biggest barrier is the lack of sources, which is mainly due to the role that the women played in the 1800s society. Without political rights and restricted to private areas, these women should always be dependent on men. By entering in an area that does not belong to them, it is understandable that the women who dared to assert themselves as writers have done that using the principle of anonymity. This is the case of Maria Peregrina de Souza (1809-1894). She had a deep involvement in literary periodicals of that time, in which she published novels, poems and folk tales, using pseudonyms such as "Uma obscura portuense" (a porto obscure), "Mariposa" (Moth) or her initials, "D. M. P." Through a dialogue with History, we study the works Retalho do mundo (1859), Maria Isabel (1866), Henriqueta: romance original (1876) and Pepa (1846). We also edited the last one. Our objective is to investigate, in those works, how the discourse of the common sense is, sometimes, confirmed and, sometimes, destabilized, and how some characters could have bypassed the social prohibitions. By bringing this "porto obscure" to light, we intend to reflect how a female writer thought about her reality and how this reflected in her writings.

Essa monografia tem como objetivo compreender a atuação dos ferreiros frente às transformações ocorridas no século XIX na África central. As inúmeras modificações ocorridas na região afetaram diretamente a vida dos ferreiros. A intensificação do chamado comércio legal e o acesso às áreas mais interioranas levaram ao aumento da solicitação do trabalho desses especialistas, que rapidamente se adequaram às novas demandas e souberam aproveitar as oportunidades surgidas. A introdução da metalurgia do ferro na África central proporcionou intensas modificações nas sociedades africanas, contribuindo para colocar os ferreiros num lugar privilegiado dentro das suas comunidades. O trabalho do ferreiro, além de ser exclusivamente masculino, era cercado por segredos inacessíveis à maioria. A visão de mundo baseada no equilíbrio entre homem e natureza exigia desse profissional, não apenas o conhecimento profundo do meio-ambiente, mas também das forças espirituais que o regem. Por isso, esses especialistas desempenhavam inúmeros papéis além daqueles ligados propriamente ao seu ofício, como a participação nas cerimônias de entronização e morte de chefes e, em algumas regiões, nos rituais ligados à fertilidade. / The subject of this work is to understand the role of blacksmiths within the transformations of the nineteenth century in Central Africa. The many modifications that took place in the region directly changed the way of life of the blacksmiths. The intensification of the so called legal trade in the region and the access to inland areas led to the increase request of these professionals which rapidly adequate their selves to the new demands, benefiting from the new opportunities. The introduction of iron metallurgy in Central Africa provided intense modifications in African societies and contributed to put the blacksmiths in a special place. Ironworking was exclusively masculine and surrounded by secrets hidden to most people. The African vision of world based on the balance between men and nature required from the blacksmiths not only a profound knowledge about the environment but also a vast perception of the spiritual forces that regulate it. Therefore the blacksmiths played innumerous roles besides their professional and technical assignments. They participate as key figures in inauguration and death ceremonies of chiefs and in some regions also in fertility rituals.

A dissertação tem por objetivo analisar a especificidade da infraestrutura viária da província de Minas Gerais entre 1835 e 1889. Considera-se que as obras viárias envolveram uma rede específica de atores: engenheiros nacionais e estrangeiros, executores das obras (arrematantes, empreiteiros, encarregados) e artífices. Enfatiza-se o processo de adoção de novas tecnologias construtivas e a importância de atores distintos no âmbito da Engenharia no Brasil, assim como as formas de contato e transmissão de conhecimento científico e técnico durante a construção de pontes e estradas. Verifica-se que a modernização viária de Minas Gerais presenciou (i) a intensa circulação de engenheiros e, consequentemente, a junção de problemas técnicos e econômicos na edificação de pontes e estradas; (ii) a fragilidade do sistema de patente de 1830 na tentativa de construção e difusão de uma ponte pênsil no Brasil; (iii) a existência de rotas internas que atendiam a circulação mercantil. O trabalho mostra as relações entre o mercado (setor de exportação e abastecedor de gêneros alimentícios), o Estado e os transportes. Além disso, analisa-se a construção de pontes e estradas no Brasil do século XIX, dando uma atenção especial à disponibilidade de instrumentos científicos. Os resultados mostram que a compra e uso de instrumentos científicos criou uma rede de contato entre engenheiros e uma oficina de instrumentos científicos. A análise dos processos de pontes e estradas forneceu quatro resultados específicos: 1) a relação comercial estabelecida entre o Armazém e Oficinas de Ópticas e Instrumentos Científicos, na cidade do Rio de Janeiro e os engenheiros; 2) os produtos comprados e reparados no estabelecimento comercial; 3) a maneira pela qual os engenheiros viajavam e a divisão social do trabalho em torno das tarefas diárias de transporte, desmontagem e manutenção dos instrumentos científicos; 4) os livros comprados nas livrarias em a cidade do Rio de Janeiro. Portanto, intenta-se avaliar as relações e negociações estabelecidas entre os indivíduos com formação nos campos disciplinares da Engenharia, ressaltando as interações da ciência, da técnica e da tecnologia com outras esferas, ou seja, as formas de organização da sociedade, a institucionalização da Engenharia, as práticas dos arrematantes e artífices e a condição financeira da província de Minas Gerais no que tange aos investimentos em infraestrutura viária. / The dissertation aims to examine the specificity of the road infrastructure of the province of Minas Gerais between 1835 and 1889. It is considered that the road works involved a specific network of actors: national and foreign engineers, executors of works (bidders, contractors, foremen) and craftsmen. The intent is to highlight the process of adoption of a new technology and the importance of different actors in the context of civil engineer in Brazil, as well the manner in which contact and transmission of scientific and technical knowledge took place during the process of construction bridges and roads. The evidences of modernization on Minas Gerais indicate an intense circulation of engineers and how the activities of engineers interwove technical and economic problems during the process of construction roads and bridges. This research examines the fragility of the Brazilian patent system (1830) in an attempt construction and diffusion of a suspension bridge as well as the presence of internal routes that supported a mercantile circulation. This work shows the relationship between State, market (export sector and non-export sector) and the transport. Moreover, the dissertation examines the construction of bridges and roads in the nineteenth- century Brazil, giving a special attention to the availability of scientific instruments. The results show that purchase and use of scientific instruments created a network between engineers and scientific instrument workshop. The analysis of the processes of bridges and roads provided four specific results: 1) the commercial relationship established between the Optical Warehouse Workshop and Scientific Instruments (Armazém e Oficinas de Ópticas e Instrumentos Científicos) in the city of Rio de Janeiro and the engineers; 2) the products bought and repaired in the commercial establishment; 3) the manner in which the engineers traveled, and the social division of labor around the daily tasks of carrying, dismantling and keeping the scientific instruments; 4) the books bought in the bookstores in the city of Rio de Janeiro. Thus intends to evaluate the relationships and negotiations between individuals with training in disciplines of Engineering, highlighting the interactions of science, technique and technology with other spheres, in other words, the ways of organizing society, the institutionalization of Engineering, practices of bidders and craftsmen and financial condition of the province of Minas Gerais regarding investments in road infrastructure.

A vida da moça, que ainda criança começara a ouvir vozes lhe revelando a missão de libertar a França dos invasores ingleses, que liderou um exército, coroou o seu rei e teve um destino trágico, sendo queimada viva como herege, parece saída de uma obra literária, mas como bem lembra Colette Beaune Joana dArc é provavelmente, a figura de mulher mais documentada de toda a História. Atualmente contam-se 20.000 estátuas públicas, centenas de biografias e peças de teatro, dezenas de filmes, óperas e músicas. Seria possível desvendar as razões para tamanho sucesso? Essa popularidade foi alcançada ao longo de um processo contínuo e homogêneo, ou houve rupturas, sobressaltos e novas atribuições à heroína que possam ser verificados ao longo do tempo? Essa tese discute a importância da primeira metade do século XIX para esse fenômeno. Nesse período a historiografia francesa se esforçou para enquadrar Joana dArc, heroína há muito honrada pelo reino da França, nos padrões da sociedade pósrevolucionária. Longe de desqualificá-la como figura incompatível com a modernidade pretendida por aquele país, tal como proposto no contexto revolucionário, Joana foi alçada ao panteão dos heróis nacionais tendo sua imagem amalgamada aos ideais de 1789. Buscamos desvendar o processo que tornou possível a popularização de uma nova Joana dArc naquele período, processo intimamente ligado aos valores burgueses então difundidos: a nação, o povo, a pátria, o indivíduo. As novas características atribuídas à Joana correspondiam às expectativas burguesas a partir de um discurso ligado a uma nova visão da História que passou a ser considerada como potencial produtora de verdades e justificativas que embasassem a configuração social que se anunciava. / The life of the young lady whose childhood was haunted by the hearing of voices which revealed to her a mission to free France from English invaders, who led an army, crowned her king had a tragic fate and was burned at the stake as a heretic seems to be taken from a literature work. But as Colette Beaune has rightly pointed out Joan of Arc is probably the most documented woman figure in all World History. It can be numbered about 20,000 public statues, hundreds of biographies and plays, dozens of films, operas and other pieces of music. Would it be possible to unfold the reasons for such an interest in her? The question lies, however, in how quite high popularity was gained. Was it the result of a continuous and homogeneous process or were there interruptions, surprises and new attributions assigned to the heroine that can be verified over time? This thesis discusses the importance of the former half of the nineteenth century to this phenomenon. Throughout this period French historiography struggled to fit Joan of Arc, the heroine overly honored by the kingdom of France, in the patterns of a post-revolutionary society. Far from discrediting her reputation as a figure incompatible with modernity desired by that country, as proposed in the revolutionary context, Joan was elevated to the national pantheon of heroes and had her image amalgamated to the ideals of 1789. Its sought to disclose the process that led to a substantial popularization of a new Joan of Arc at that time, and is intimately connected to bourgeois values disseminated then: nation, people, homeland and individual. New features attributed to Joan met the bourgeoisie expectations through a discourse on a new way of looking at History that turned out to be regarded as a potential producer of truths and justifications to support the social setting that was being announced.