Made available in DSpace on 2014-06-11T19:32:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-27Bitstream added on 2014-06-13T20:04:21Z : No. of bitstreams: 1 barbon_mcv_dr_arafcl.pdf: 3030855 bytes, checksum: f6d275af28a5d9f78364700d01c19902 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta tese procuramos seguir o caminho percorrido pelo melodrama em Portugal ao longo do século XIX, investigando as suas ocorrências no teatro português desde o início do século – quando ali se instalava o Romantismo –, passando pelo período do Ultrarromantismo, quando o gênero ganhou mais relevo, até chegar à época do Decadentismo-Simbolismo, quando as formas melodramáticas ainda se revelavam vigorosas, embora com alterações que tentamos esmiuçar. Investigamos o melodrama – com os seus conteúdos e as suas formas específicas – tal como se estabeleceu no Portugal oitocentista e como se desenvolveu ao longo desse período, procurando compreender as relações deste gênero dramático com o contexto sócio-cultural que o estimulou – afinal, a força do melodrama perdurou ao longo de Oitocentos. Verificamos qual a contribuição de Almeida Garrett enquanto introdutor do teatro romântico em Portugal, lutando por uma produção nacional de qualidade, susceptível de elevar o gosto e a cultura do público e, portanto, contrário à presença do melodrama, mas em cujas peças encontramos vestígios deste gênero. Considerando-se que a pesquisa abrangeu um período bastante extenso, utilizamos as seguintes obras como textos paradigmáticos: O cativo de Fez (1839), de Silva Abranches; Os dois renegados (1839), de Mendes Leal; O fratricida (1844), de Guerra Leal; O último acto (1859), de Camilo Castelo Branco e, finalmente, de D. João da Câmara, O pântano (1894) e A Rosa Enjeitada (1901) / In this thesis, we tried to follow the way through the melodrama in Portugal throughout the XIX century, by investigating its occurences in the Portuguese theatre since the beginning of that century – at the time that the Romanticism established itself there –, going through the period of the Ultra-romanticism, when the genre got more notorious, until it gets to the period of the Decadentism-Symbolism, when the melodramatic features still revealed themselves vigorous, nevertheless under some changes which we tried to examine in detail. We investigated the melodrama – with its contents and its specific features – such as how it established itself in the Portugal eighties, and how it developed itself throughout this period, trying to understand the relation between this dramatic genre and the social-cultural context which stimulated it – at last, the strength of the melodrama lasted through the Eighties. We checked what the contribution of Almeida Garrett was as an introducer of the romantic theatre in Portugal, struggling for a national production of quality, susceptible to lift up the taste and the culture of the public hence opposed to the presence of the melodrama. However, we could found traces of this genre in his plays.– Taking into consideration that the research comprised a considerable extensive period, we used the following masterpieces as paradigmatic texts: O cativo de Fez (1839), by Silva Abranches; Os dois renegados (1839), by Mendes Leal; O fratricida (1844), by Guerra Leal; O último acto (1859), by Camilo Castelo Branco and, finally, by D. João da Câmara, O pântano (1894) and A Rosa Enjeitada (1901)

Á la fin du XVIIIe siècle, la technique du vitrail est menacée de disparition en France. En réaction, les tentatives en vue de retrouver les procédés de cet art se sont multipliées, aussi bien dans le milieu artistique que scientifique. Le but de cette thèse est de faire le point sur les avancées technologiques mises en œuvre pour la réalisation de vitraux au XIXᵉ siècle à travers l’étude de l’ensemble des brevets déposés au XIXᵉ siècle concernant les techniques de fabrication et de décoration du verre. Par l’étude de ces brevets, nous avons pu montrer que ces innovations ont été les plus nombreuses dans la seconde moitié du XIXᵉ, en relation avec la montée de la demande en vitraux. Les innovations sont de deux ordres : d’une part celles concernant la fabrication du verre et de verres spéciaux (coloré, opalescent, irisé, etc.), d’autre part celles concernant les techniques de décoration du verre (peintures vitrifiables, procédés de gravure et procédés d’impression). Les peintres verriers ont été des acteurs actifs pour le développement de ces innovations, comme en témoignent les brevets qu’ils ont déposés et les vitraux qu’ils ont réalisés avec ces nouvelles techniques. / At the end of the eighteenth century, the technique of stained glass was endangered in France. In response, attempts to rediscover this art process increased in both the artistic and scientific communities. The purpose of this thesis is to determine the technological advances for making stained glass that were implemented during the nineteenth century through the study of all patents submitted at this time for techniques of glass manufacture and decoration. By studying these patents, we have shown that these innovations were the most numerous in the second half of the nineteenth century, in connection with the rise in the demand for stained glass. Innovations are twofold: firstly those related to the manufacture of glass and special glass (colored, opalescent, iridescent, etc.); secondly those concerning glass decoration techniques (enamels, printing and engraving processes). Glass painters were active players in the development of these innovations, as evidenced by the number of patents they filed and the amount of stained glass work they produced with these new techniques.

abstract: Scientific and Cultural Interpretations of Volcanoes, 1766-1901 analyzes nineteenth-century conceptions of volcanoes through interdisciplinary literature and science studies. The project considers how people in the nineteenth century used science, aesthetics, and other ways of knowing to understand volcanoes and their operations. In the mid-eighteenth century, volcanoes were seen as singular, unique features of the planet that lacked temporal and terrestrial reach. By the end of the nineteenth century, volcanoes were seen as networked, environmental phenomena that stretched through geological time and geographic space. Scientific and Cultural Interpretations of Volcanoes, 1766-1901 offers a new historical understanding of volcanoes and their environmental connections, using literature and science to show how perceptions of volcanic time and space changed over 135 years. The first chapter, using texts by Sir William Hamilton, Hester Piozzi, and Priscilla Wakefield, argues that in the late eighteenth century important aspects of volcanoes, like their impact upon human life and their existence through time, were beginning to be defined in texts ranging from the scientific to the educational. The second chapter focuses on works by Sir Edward Bulwer-Lytton and Charles Lyell to demonstrate the ways that volcanoes were stripped of metaphysical or symbolic meaning as the nineteenth century progressed. The third chapter contrasts the 1883 eruption of Krakatoa with Constance Gordon-Cumming’s travels to Kīlauea. The chapter shows how even towards the end of the century, trying to connect human minds with the process of volcanic phenomenon was a substantial challenge, but that volcanoes like Kīlauea allowed for new conceptions of volcanic action. The last chapter, through a post-apocalyptic novel by M. P. Shiel, shows how volcanoes were finally beginning to be categorized as a primary agent within the environment, shaping all life including humanity. Ultimately, I argue that the change in thinking about volcanoes parallels today’s shift in thinking about global climate change. My work provides insight into how we imagine ecological catastrophes like volcanic eruptions or climate change in the past and present and what that means for their impact on people. / Dissertation/Thesis / Doctoral Dissertation English 2016

Focusing on the poetry published in the Cornhill, Once a Week, Good Words, and the Argosy, four of the most prominent illustrated literary periodicals of the 1860s, this dissertation contends that the popular poetry found in mid-century periodicals is not only essential to our understanding of the periodical press, but also that the periodical is integral to our understanding of Victorian poetics. Each chapter examines the poetry and poetics of a single periodical title and addresses several key issues related to the publication of poetry in the periodical press: the power and influence of illustrated poetry in contemporary visual culture, the intended audience of the literary periodical and the issues that raises for editors and poets, the sociology and networks of print, and the ways in which periodical poetry participated in contemporary debates about prosody. This dissertation thus offers an alternative history of Victorian poetry that asserts the centrality of the periodical and popular poetry. In other words, it argues that without a consideration of the vital importance of periodical poetry, Victorian poetry studies is quite simply anachronistic. / Graduate / 2018-12-31 / 0593 / 0391

A presente pesquisa tem como objetivo apresentar ao leitor as traduções, feitas pela primeira vez para a língua portuguesa diretamente dos originais, em russo, de textos selecionados de Aleksander Serguêievitch Púchkin, publicados em sua revista literária \"O Contemporâneo\", durante a década de 1830. Além disso, o trabalho traça um panorama histórico prévio ao surgimento do periódico, bem como uma análise do momento histórico de sua fundação - rico em jornais e revistas literárias - e o legado deixado por \"O Contemporâneo\", dando subsídios para o entendimento das razões históricas e pessoais para sua realização. / This work aims to present the translations of selected essays and articles, for the very first time straight from the originals in russian directly to portuguese, published by Alexander Sergeyevich Pushkin on his literary magazine \"The Contemporary\" during the 1830 decade. Besides that this research traces an historical overview of the preceding decades, as well as analysis of the specific moment of publication of \"The Contemporary\", rich in literary and magazine newspapers. There is also a drilldown of its legacy, providing the reader with subsides to the fully understanding of Pushkin´s personal and literary motivations.

This study examines stories from the 1800s about the Swedish folklore creature Näcken with the purpose to define what kind of view on gender they are presenting. The geographical area in focus is the Swedish south province Småland. The ambition is to see how the stories describe the thinking, acting and meaning about gender and authority. This will also be studied in relation to the norms and ideals of gender that dominated in the 1800s. Former studies has shown that the view of folklore and gender interacted and carried each other in the 1600s and the 1700s. There are also research that indicate that the creature Näcken maintained gender patterns in the 1800s. This research determines more general patterns concerning gender and has not done a more firmly analysis in relation to the change in the view on gender which took place between the 1700s and the 1800s, which this study intend to do by using Yvonne Hirdman’s gender system as a theoretical framework. The result has shown that the understandings of Näcken had a role to play in the context of social control, seeing as the understandings affected the behavior of people. The most clear message the stories expresses is that men had more capacity to act than women, which is in line with the 1800s ideals about gender that derived from a polarization norm. This can also be seen in the context in which the meeting with Näcken took place, namely the in the context of work and other activities, but not in connection to physical places in line with the polarization norm, in which the women should have met the creature closer to the farm and the men’s meeting should have more distance from the farm. The stories also expresses a valuing of characteristics which were highly valued as norms in the 1800s. The characteristics also have a moral dimension. Men with highly valued characteristics were more likely to succeed with their attempts and had bigger chances of escaping Näcken. Within the moral spectrum one can find a Christian motive as well, since warnings about neglecting the religion takes place. For women though, the stories’ moral dimension spoke about precepts and the negative consequences which could follow if the women did not practice restraint and carefulness. From the 1600s and 1700s to the 1800s Småland, there is also a continuity regarding sexual relationships between women and Näcken to be found. Those kinds of relationships are rare to find in the sources.

This thesis analyzes Plans, Elevations, Sections, and Details of the Alhambra (1836-1842) by British Architect Owen Jones in relation to British conceptions of Spain in the nineteenth century. Although modern scholars often view Jones’s work as an accurate visual account of the Alhambra, I argue that his work is not only interested in accuracy, but it is also a re-presentation of the fourteen-century monument based on Jones’s ideologies and creative faculties. Instead of viewing the Alhambra through a culturally sensitive, historical lens, Jones treated it as an Imaginary Geography, as Edward Said called it, through which he could promote his interests and perspectives. Although there were many British views of Spain in nineteenth-century, this thesis will focus on two sets of seemingly contradictory conceptions of Spain that were especially important to Jones’s visual and ideological program in Alhambra: Spain’s status as both the Catholic and Islamic Other, and its frequent interpretations through both romantic and reform-oriented lenses. Through a closer look at Arabian Antiquities of Spain by James Cavanah Murphy and the illustrations from The Tourist in Spain: Granada by David Roberts, I show the prevalence of these mindsets in nineteenth-century reconstructions of the Alhambra. Then, I compare portions of these works to plates from Jones’s Alhambra to illustrate Jones’s similar adaptation of these perspectives despite the visual peculiarity of his work as a whole.

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

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-08-22T11:16:48Z No. of bitstreams: 1 arquivo total.pdf: 1760949 bytes, checksum: 2953c01cd509cf9a4a0b43b121fb74ea (MD5) / Made available in DSpace on 2016-08-22T11:16:48Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1760949 bytes, checksum: 2953c01cd509cf9a4a0b43b121fb74ea (MD5) Previous issue date: 2016-05-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Our work is a possible example of writing and dialogue about the field of School Subjects and Teaching of History. Through the sources worked by (the) researchers (as) of Paraiba History of Education of the nineteenth century - official documents (reports, speeches, speeches, messages and offices of provincial presidents and directors of Public Instruction), dictionaries, laws and regulations, maps, database, newspapers and historiographical framework, we were uniting information and building knowledge of knowledge, science, chair and history of discipline in Paraiba secondary education - we seek also infer the debate, influence and the limits of discipline History in the school of the nineteenth century Paraíba, as well as concerns about the "quality of education", both with regard to the teacher / student relationship, the association with other knowledge, as the domain of the material used. Another feature of our work was to emphasize the communication between subjects that make up the secondary public education in Paraíba of the nineteenth century - teachers, students, directors of public education, the provincial presidents, inspectors, community - both inside and outside the walls of secondary school. We emphasize also that the figures were extremely important for the evaluation of the number of students - enrollment and attendance - chairs, materials, among others; as well as their relationship with the reports / legislation allowed more consistent interpretations of the configuration of the construction of school knowledge for the teaching of history. Thus, based on the assumptions and possibilities raised by cultural history, we make an approach focusing on school culture and school material culture - works, objects and methods - with emphasis on studies of School Subjects and Teaching of History. / Nosso trabalho é um possível exemplo de escrita e do diálogo acerca do campo das Disciplinas Escolares e do Ensino de História. Por meio das fontes trabalhadas pelos (as) pesquisadores(as) da História da Educação paraibana sobre o século XIX – documentos oficias (relatórios, discursos, falas, mensagens e ofícios dos presidentes de província e diretores da Instrução Pública), dicionários, leis e regulamentos, mapas, banco de dados, jornais e o arcabouço historiográfico, fomos unindo informações e construindo conhecimento acerca do saber, ciência, cadeira e disciplina de História na instrução secundária paraibana -, procuramos inferir igualmente sobre o debate, influência e os limites da disciplina de História no Liceu da Paraíba Oitocentista, assim como as preocupações com a “qualidade do ensino”, tanto no que diz respeito à relação professor/aluno, à associação com outros saberes, quanto pelo domínio do material utilizado. Outra característica de nosso trabalho foi a de ressaltar a comunicação entre os sujeitos que compõem a instrução pública secundária na Paraíba do século XIX - professores, alunos, diretores da instrução pública, presidentes da província, inspetores, comunidade -, dentro e fora das paredes liceais. Destacamos igualmente que os dados quantitativos foram de extrema importância, para a avaliação da quantidade de alunos - matrículas e frequência -, cadeiras, materiais, entre outros; como também a relação destes com os relatórios/legislação possibilitaram interpretações mais consistentes sobre a configuração da construção do saber escolar relativo ao ensino de história. Dessa forma, com base nos pressupostos e possibilidades levantadas pela História Cultural, procuramos fazer uma abordagem focando na cultura escolar e cultura material escolar – obras, objetos e métodos -, com ênfase nos estudos das Disciplinas Escolares e do Ensino de História.

Submitted by Maike Costa (maiksebas@gmail.com) on 2017-01-23T11:45:35Z No. of bitstreams: 1 arquivo total.pdf: 5141167 bytes, checksum: da192e32db00244ae5db8e043a63f470 (MD5) / Made available in DSpace on 2017-01-23T11:45:35Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 5141167 bytes, checksum: da192e32db00244ae5db8e043a63f470 (MD5) Previous issue date: 2016-06-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / In the Catholic man from the city of Natal in the eighteenth hundreds, prevailed the idea that for a "right way" to heaven, it had to be met with certain practices that, if not done, the salvation would be uncertain. Living a life that is consistent to the ordering of the Church was necessary, but having a pompous funeral, ending in the atria of the church or in the brotherhood in which one was a member, was shown essential on the way to Paradise. However, these funeral traditions have become an obstacle to public health, because health workers - devised by European Enlightenment discourses - created that the the miasma (putrid exhalations of sick people and animals / dead) were disease vectors and demanded a cemetery away from where the living lived. From this premise, this research builds a narrative of how was this impasse in the then city of Natal in the nineteenth century, relying on reports and speeches of the provincial presidents, as well as decrees and health-hygienist character of policy measures (especially Imperial Decree of 1st October 1828 - which attributed the building of external cemeteries for burials), and data on the damage caused by Cholera morbus (a pandemic that swept spaces and arrived in Brazil in 1855). Based on this, we've analyzed these speeches and sanitary-hygienists measures supported by Enlightenment ideals and secularization, who aimed progress and hygiene standards for society, as part of a rational process and tended to reject the religion of social and political structure. Based on the ideas of Peter Berger and Danièle Herviu-Léger on secularization, the research uses historical documents (Province of Presidents Reports, Death Books, Official Gazettes, etc.), which are located in the History and Geography of Rio Grande do Norte Institute and the Public Collection of the Archdiocese of Natal to respond to building policy measure of the public cemetery of Alecrim was an exponent of death's secularization in the nineteenth century Natal. When working with these historical documents, and when these documents were read, it was noted that although the building of a public necropolis has been made, there was a possible boycott of the measure for people being buried there, which came to have been burials there when the Chapel was built on site, an act that Peter Berger conceptualizes as dessecularization. / No homem católico natalense do oitocentos imperava a ideia de que para uma “ida certa” ao Céu, era necessário cumprir certas práticas que, caso não feitas, era incerta sua salvação. Viver uma vida condizente ao que ordenava à Igreja era necessário, mas ter tido um funeral pomposo, finalizando no sepultamento dentro dos átrios da igreja ou confraria da qual fosse membro se mostrava essencial ao Paraíso. No entanto, essas tradições fúnebres tornaram-se um entrave à saúde pública, pois os sanitaristas – idealizados por discursos iluministas europeus – criam que os miasmas (exalações pútridas de pessoas e animais doentes/mortos) eram vetores de doenças e exigiam um cemitério longe de onde habitavam os vivos. Partindo dessa premissa, esta pesquisa constrói uma discussão de como se deu esse impasse na então Natal do século XIX, apoiando-se em relatórios e discursos dos presidentes da província, bem como dos decretos e medidas políticas de caráter sanitário-higienista (em especial o Decreto Imperial de 1º de Outubro de 1828 – que atribuía às Câmaras a construção de Cemitérios extramuros para os enterros), além de dados sobre o dano causado pela Cólera-morbo (uma pandemia que varreu espaços e que chega ao Brasil em 1855). Baseado nisso, analisou-se esses discursos e medidas sanitário-higienistas respaldados em ideais iluministas e secularizantes, que objetivavam o progresso e higienização da sociedade, como parte de um processo racional e que tendia a afastar a religião da estrutura social e política. Se embasando nas ideias de Peter Berger e Danièle Herviu-Léger sobre secularização, a pesquisa se utiliza de documentos históricos (Relatórios de Presidentes da Província, Livros de Óbitos, Diários Oficiais etc), que se encontra. no Instituto Histórico e Geográfico do Rio Grande do Norte e no Acervo Público da Arquidiocese de Natal, para responder se a medida política de construção do cemitério Público do Alecrim foi um expoente da secularização da morte na Natal do século XIX. Ao trabalhar com esses documentos históricos. Lido esses documentos, notou-se que, embora a edificação de uma necrópole pública tenha sido efetivada, houve um possível boicote à medida de ali ser enterrado, o que voltou a haver sepultamentos quando construiu-se uma capela no local, ato que Peter Berger conceitua como dessecularização.