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.

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.

Maria Amália Vaz de Carvalho (18471921), escritora portuguesa dos fins do século XIX e início do XX, atravessou o oceano para falar às suas leitoras de aquém do Atlântico. Suas ideias chegaram à imprensa carioca e alcançaram as páginas de um dos jornais de maior influência na corte brasileira que, em 1878, data em que a autora iniciou sua colaboração, já havia comemorado seu 50 aniversário de fundação: o Jornal do Commercio (do Rio de Janeiro). Este periódico, que possuía predominância masculina em seu corpo de articulistas, passou a contar com a colaboração da escritora, para que pudesse tratar de assuntos relacionados ao mundo feminino. Ao longo dessa contribuição, Maria Amália Vaz de Carvalho não se restringiu aos assuntos relacionados ao universo considerado das mulheres, também expressou suas opiniões sobre política, sociedade e literatura, em artigos e narrativas curtas. O propósito deste trabalho é analisar a obra ficcional da autora presente no referido periódico, desvelando opiniões que somente através da ficção podemos observar. Também apontamos, para o objetivo de esclarecer as possíveis controvérsias que envolvem sua obra, posição e opiniões acerca da emancipação intelectual feminina no século XIX / Maria Amália Vaz de Carvalho (1847-1921), portuguese writer at the end of the nineteenth century and the beginning of the twentieth, crossed the ocean to talk to her females readers at the other side of the Atlantic. Her ideas came to the Rios press and reached the pages of a greatest influence newspaper in brazilians court that, in 1878, when the authoress started her collaboration, had already celebrated the 50th anniversary of the foundation: the Jornal do Commercio (of Rio de Janeiro). This journal, which had a predominance of male writers, began to count with the collaboration of the writer, for deal with issues about the females world. Throughtout this contribution, Maria Amalia Vaz de Carvalho wasnt restricted with issues related to the females universe, also expressed her opinions on politics, society and literature, in articles and short stories. The purpose of this dissertation is to analyse the fictional work of this authoress in the journal, revealing opinions that only throught fiction we can observe. We also can point to the objective of clarifying the possible controversies surrounding her work, opinions about the position and intellectual emancipation of women in the nineteenth century

This thesis examines the representation of glass in French and Belgian poetry associated with the Symbolist and Decadent movements. It incorporates a number of authors, particularly focussing on Baudelaire, Mallarmé, Laforgue, Rodenbach, and Maeterlinck, but also encompassing more minor writers where appropriate, as well as some writers on the periphery of Symbolism and Decadence. The thesis investigates how the growing use of glass in architecture, technology, and visual art influenced late-nineteenth-century poets, providing these writers with a means by which to understand their social context as well as a multi-faceted metaphor through which to interrogate their own poetic mechanisms. Glass, in its various manifestations - windows, lenses, hothouses, aquariums, Exhibition halls, Art Nouveau glasswork, and stained glass - prompts meditation on such questions as: the interaction between subject and object; the relationship between fiction and reality; the infinite; poetic form; nature and artifice; and aesthetic identity. Ultimately, I combat the traditional understanding of this poetry as being solely concerned with the pure realm of dreams, the soul, and the 'Idée'. Instead, I insist on the material world as a starting point for this poetry, demonstrating that it is not immune to environmental factors, but rather that it uses its environment as a route towards the elusive 'Idée'. Glass is key to this process because its very ambiguity makes it a suitable embodiment of the tension between the material and the unknown, invisible, or ideal.

In the late nineteenth century, the use of pastels underwent a revival and many young British artists adopted the medium as a new means of expression. This surge in popularity was marked by three exhibitions dedicated to contemporary works in pastel held at the Grosvenor Gallery in London between 1888 and 1890. These shows attracted over three hundred participants and culminated in the formation of the Society of British Pastellists in 1890, which counted amongst its eminent members William Stott of Oldham (1857-1900), James Guthrie (1859-1930), George Clausen (1852-1944) and Elizabeth Armstrong (1859-1912). Despite its auspicious beginnings this movement was short-lived and the society disbanded the following year. This has caused scholars to treat the use of pastel by British artists as just a passing fad in the oeuvres of individual artists and in studies of contemporary stylistic trends. Yet, the varying involvement of these four artists with the most pioneering art movements in Britain would suggest that this medium formed an intrinsic part of their move towards a modern aesthetic. Thus, the diverse approaches of these artists will form a prism through which to examine the importance of materiality for the development of new subject matter and stylistic innovations. This study will involve not only a consideration of the formal properties of these works but also the culture in which they were produced, exhibited and critically received. Indeed, it is hoped that by situating these pastels within a wider cultural context that a further understanding of their long-term significance in the canon of modern art in Britain can be achieved. In this way, I believe that this study will contribute towards a new position for pastel as a modern medium that was essential for the invention of new artistic practices at this time.

The eighteenth century witnessed the proliferation of voluntary associations throughout the British-Atlantic world. These voluntary associations consisted of groups of men with common interests, backgrounds, or beliefs that were willing to pool their resources in order to achieve a common goal. Enlightenment Scotland was home to large numbers of clubs ranging from small social clubs to large national institutions. The records of these societies suggest that most, if not all, of the men who formed them believed that defining and performing Scottish identity was important to preserving the social and cultural traditions of Scottishness in the absence of state institutions. These patriotic associations followed Scots across the Atlantic and provided the model for similar clubs in the American colonies. This thesis examines the construction and performance of Scottish identity by Scottish clubs in Scotland and America from c.1750-1832. It, in contrast to the existing historiography of Scottish identity, asserts that associations were vehicles through which Scottish identity was constructed, expressed, and performed on both sides of the Atlantic. It demonstrates that clubs provided Scots with the tools to manufacture identities that were malleable enough to adapt within a wide variety of political and cultural environments. This was particularly important in a period that witnessed major political disruption in the shape of the American and French Revolutions. By directly comparing Scottish societies in both Scotland and America, the thesis also reassesses and revises common attitudes about the relationship between Scottish identities at home and in the wider diaspora. Often seen as distinct entities, this thesis emphasises the similarities in the construction of Scottish identity, even in divergent national contexts. Drawing on a variety of sources ranging from rulebooks, minute books, and published transactions to memoirs, newspaper articles, letters, and even material goods, this thesis reveals that the Scottish identity constructed and performed by associations in America was no less ‘Scottish’ than that formulated in Scotland, indeed it paralleled and built upon the practices and attitudes developed in the home country. It rested on the same foundation, yet followed a different political trajectory as a result of the differing environment in which it was expressed and the different communities of Scots that expressed it. Indeed, the comparison between Scottish clubs in Scotland and America demonstrates that modern Scottish identity is the creation of a diasporic, transnational Scottish experience.

1 online resource (ix, 442 leaves) / No abstract available / Religious Studies and Arabic / D. Litt. et Phil. (Religious Studies)

Après avoir fait le point sur l’état des recherches dans l’Histoire de l’histoire de l’art, la thèse interroge la notion de Renaissance italienne à partir de l’esthétique classique (Quatremère) et de la réaction romantique en faveur du gothique (Lassus, Viollet-le-Duc, Didron) et des primitifs (Rio). L’auteur rapproche la définition de Renaissance consacrée par Michelet au débat contemporain entre tenants du gothique et de la Renaissance. On souligne en même temps, l’émergence de nouvelles données liées à la race et au milieu dans le débat sur la Renaissance (Beulé, Ramée, Viollet-le-Duc) qui insiste sur son origine latine et méditerranéenne. En suite sont approfondies la vision de Taine (fondée sur l’exaltation du corps, de la forme et du paganisme), celle de Renan et de Gebhart (qui placent les origines de la Renaissance au Moyen âge chrétien), et elles sont rapportée au nouveau climat philosophique et idéologique de la seconde moitié du siècle. Un nouveau pan du débat s’ouvre avec les doctrines de Courajod, qui place l’origine de la Renaissance en France au XIVe siècle, et de Müntz tenant de l’esthétique classique, partisan de l’origine italienne et d’une vision de la Renaissance en tant qu’ « âge d’or » de l’humanité. La dernière partie de la thèse suit le développement du débat au XXe siècle, et retrace la ‘victoire’ des tenants du Moyen âge (Mâle, Lemonnier, Michel, Vitry, contre Louis Dimier), la crise de l’histoire de la culture reléguée au second plan par le formalisme (Bertaux, Hourticq, Faure), la définition de Renaissance en tant que prolongement du Moyen âge de Focillon, pour conclure avec la ‘réforme’ de l’histoire de la culture opérée par André Chastel et sa nouvelle définition de Renaissance. / After an update on the state of research on the history of History of Art, the thesis questions the concept of the Italian Renaissance from the classical aesthetics (Quatremère) and the romantic reaction in favor of Gothic (Lassus, Viollet-le-Duc, Didron) and Primitives (Rio). The author makes a comparison between the definition of Renaissance given by Michelet and the contemporary debate between supporters of Gothic and supporters of Renaissance. It is noted -at the same time-, the emergence of new data related to race and “milieu” in the debate on the Renaissance (Beulé, Ramée, Viollet-le-Duc) who insists on his Latin and Mediterranean origin. Moreover, the thesis thoroughly analyzes the vision of Taine (based on the exaltation of the body, shape and paganism), Renan and Gebhart (who place the origins of the Renaissance to the Christian Middle Ages) according to the new philosophical and ideological climate of the second half of the century. A new side of the debate opens with the doctrines of Courajod, who places the origin of the Renaissance in France in the fourteenth century, and the theory of Müntz supporter of the classical aesthetics and advocate of Italian origin and the definition of Renaissance as a "Golden Age" of mankind. The last part of the thesis follows the development of the debate in the twentieth century, and traces the 'victory' of the supporters of the Middle Ages, (Mâle, Lemonnier, André Michel, Vitry, against Louis Dimier), the crisis in the history of culture overshadowed by the formalism (Bertaux, Hourtiq Faure), the definition of Renaissance as an extension of the Middle Ages by Focillon, concluding with the 'reform' of the history of culture made by André Chastel and his new definition of “Renaissance”.

This dissertation studies the cultural concept of “decadence” in Latin America during the nineteenth and twentieth century. It focuses on the reception of Cuban writer Julián del Casal (1863-1893) as an emblematic case. It approaches “decadence” in literary, sociological and historical terms, and relates its emergence (as cultural concept) to the legitimation crisis of colonialism brought about by the advent of industrial capitalism in the nineteenth century. The dissertation presents a comparative study of the relationship between fin de siècle and the twentieth century categorizations of the "decadent" and "degenerate" artist. Julián del Casal is analyzed as a cornerstone for such debates in three interrelated spheres: literary criticism in pre-Independence Cuba, including discussions on nationhood, art, culture, and literature; Latin American modernismo criticism, in particular the debates among writers and critics on the role of literature in fin-de-siècle Latin America; and twentieth-century literary reformulations of “decadence” among writers associated with the journal Orígenes. The dissertation combines theoretical approaches on the sociology of literature, cultural and Transatlantic theories of “decadence”, and close readings of archival material. This dissertation makes a contribution to bridging the gap between literary and cultural approaches to “decadence” as both a literary strategy and a cultural and political phenomenon. It asserts that, in order to understand the significance of “decadence” in Cuba and in the rest of Latin America, it is important to go beyond traditional approaches, which have circumscribed the study of “decadence” to the nineteenth-century, and have treated it merely as an aesthetic phenomenon. Instead, the dissertation highlights the significance of this concept, in the study of twentieth-century literature and politics, as a tool to revisit the impact of colonialism and nation-formation in Latin America.