Este projeto tem como objetivo o estudo das práticas fúnebres paulistanas e sua evolução ao longo do século XIX, período marcado por uma intensa secularização da sociedade. Novas ideias, formas de divertimento e de associação aportavam na cidade e gradativamente modificavam as tradições e costumes dos paulistanos, processo que atingiu igualmente a forma como se lidava com o sagrado e com a morte. Através dos debates acerca da construção de um cemitério público em São Paulo, buscamos entender como se deu a crítica aos costumes tradicionais na cidade, quais eram as forças motoras dessas transformações e quais as resistências impostas pela população. Antes entendidos como um dos pilares da Boa Morte cristã, uma garantia no caminho da salvação das almas, os enterros dentro das igrejas foram questionados durante o século XIX por médicos e legisladores que defendiam serem eles prejudiciais à saúde pública. As mudanças, no entanto, não foram recebidas passivamente pela população. Foram quase 30 anos de debates e tentativas frustradas, e, mesmo com a inauguração do cemitério da Consolação em 1858, as críticas não cessaram. / This project wants to comprehend the burial practices in Sao Paulo and its evolution throughout the nineteenth century, a period marked by intense secularization of São Paulo´s society. New ideas, entertainment´s and association´s forms landed in the city and gradually modified its traditions and customs, a process that also affected the way people dealt with the sacred and with death. Through the discussions about the construction of a public cemetery in São Paulo, we seek to understand how the critic of the traditional customs happened in the city, its driving forces and resistances. Understood as one guarantee on the path of salvation of souls, the burials within churches were questioned during the nineteenth century by doctors and politicians who argued they were harmful to public health. The changes, however, weren´t passively received by the population. It took nearly 30 years in debates and failed attempts, and even with the opening of Consolação cemetery in 1858, the critics haven´t ceased.

Analisamos a riqueza inventariada em Santa Rita do Turvo na segunda metade do século XIX. Inicialmente abordamos o nível de concentração e a composição dos recursos declarados. Posteriormente investigamos separadamente os principais grupos de ativos que compuseram os patrimônios dos indivíduos que faleceram ao longo do período recuperado e que foram inventariados. A análise particularizada permitiu qualificar o tipo de escravidão vigente, a paisagem agrária predominante e o mercado da localidade. Sustentamos que a produção de gêneros configurada em Santa Rita do Turvo assumiu proporções relevantes, conheceu certa estabilidade no correr da segunda metade do Oitocentos e conferiu movimento ao cenário econômico da localidade, independentemente de conexões com regiões de economias mais complexas e vultosas. Contudo, admitimos que as questões apontadas na tese tiveram como base um grupo restrito da população da localidade e não o conjuntos de seus habitantes. Certamente este aspecto conferiu limites para as análises realizadas. / Analyzed the wealth inventoried in Santa Rita do Turvo in the second half of the nineteenth century. Initially approached the level of concentration and the composition of the declared resources. Later separately investigated the main groups of assets that comprised the assets of individuals who died during the period recovered and were inventoried. The detailed analysis allowed qualify the type of current slavery, the dominant agrarian landscape and the market of the town. We hold that the production of genres set in Santa Rita do Turvo assumed relevant proportions, met some stability in the course of the second half of the nineteenth century and gave movement to the economic environment of the locality, regardless of connections to regions of more complex and bulky economies. However, we admit that the issues raised in the thesis were based on a small group of village population and not the sets of its inhabitants. Certainly this aspect given limits for analyzes.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-06-16T20:14:26Z No. of bitstreams: 1 anapauladutraboscaro.pdf: 2606929 bytes, checksum: 2f545098858b294a6e4a2d346a271dc7 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-13T14:26:46Z (GMT) No. of bitstreams: 1 anapauladutraboscaro.pdf: 2606929 bytes, checksum: 2f545098858b294a6e4a2d346a271dc7 (MD5) / Made available in DSpace on 2016-07-13T14:26:46Z (GMT). No. of bitstreams: 1 anapauladutraboscaro.pdf: 2606929 bytes, checksum: 2f545098858b294a6e4a2d346a271dc7 (MD5) Previous issue date: 2016-02-17 / A presente pesquisa tem como principal objetivo analisar as pequenas propriedades de escravos que se encontravam presentes nas localidades de Nossa Senhora da Conceição de Ibitipoca, Santa Rita do Ibitipoca, Ibertioga, Santana do Garambéu e São Domingos da Bocaina, na primeira metade do século XIX. Nesse sentido, através de uma análise sistemática das Listas Nominativas de Habitantes, procuramos examinar os pequenos proprietários de escravos, bem como os cativos que se encontravam sob a posse desses homens e mulheres no ano de 1831. Além disso, nos dedicamos a investigar as relações de compadrio que foram estabelecidas entre senhores e escravos, averiguando como se deram as alianças e os laços espirituais que uniram os indivíduos nessas pequenas unidades produtivas. / This research aims to analyze the small farms of slaves who were present in the towns of Nossa Senhora da Conceição de Ibitipoca, Santa Rita do Ibitipoca, Ibertioga, Santana do Garambéu e São Domingos da Bocaina, in the first half of the nineteenth century. In this sense, through a systematic analysis of Nominal Lists of Inhabitants, we seek to examine the small slave owners and the slaves who were under the ownership of these men and women in 1831. In addition, we are dedicated to investigate the relations of cronyism that were established between masters and slaves, checking how to have alliances and spiritual bonds that united individuals in these small production units.

A tela A Redenção de Cam (1895), de autoria de Modesto Brocos é um retrato de família marcado pelas distintas gradações de cor da pele entre seus membros, num movimento clareador que vai do negro (a avó) ao branco (o neto). Vencedora da medalha de ouro na Exposição Geral de Belas Artes de 1895, a pintura foi incorporada ao artigo apresentado por João Batista de Lacerda, diretor do Museu Nacional, no I Congresso Mundial das Raças em 1911, servindo de ilustração à tese do cientista, para quem o Brasil seria branco em três gerações. No mais, o quadro é fruto de um momento pós-emancipação, marcado pela forte adesão ao racialismo na esfera pública e da emergência de uma série de planos quanto ao destino da população de ascendência negra na ordem livre e republicana. A despeito de sua apropriação por Lacerda, a presente dissertação analisa A Redenção de Cam com base da hipótese de que a pintura procura demonstrar sua própria tese sobre o embranquecimento. Argumentamos que a tela concorre para fixar a imagem de um corpo negro branqueador, sobretudo na medida em que procura atribuir forma explícita a uma ideia ainda incerta, tanto aos olhos da ciência, quanto nos debates que ganhavam espaço junto à opinião pública de seu tempo. Logo, procuraremos discutir em que medida a pintura possibilita vislumbrar certas variáveis constitutivas de uma estética que, por sua vez, revela-se uma importante via de acesso a modos de ver profundamente imbricados em processos fundamentais daquilo que hoje entendemos como preconceito racial. Procuramos levar adiante a proposição de alguns críticos atuais, segundo os quais a tela é preconceituosa, observando em maior detalhe as soluções pictóricas empregadas pelo artista na caracterização da cena e de suas personagens. Será essencial, nesse trajeto, o diálogo com outras imagens, por meio do qual se tornarão mais evidentes certas tendências marcantes no tratamento pictórico de personagens de ascendência negra no período e também as especificidades de A redenção de Cam com relação a esses modelos. / Modesto Brocoss painting Redemption of Cham (1895) is a family portrait marked by the different colour shades of each characters skin, in a lightening movement from black (the grandmother) to white (her grandson). Awarded the golden medal in the 1895 Brazils General Fine Arts Exhibition, in 1911 the painting was incorporated as an illustration to the paper presented in the First Universal Races Congress by João Batista de Lacerda, the director of the National Museum, in order to exemplify the scientists thesis, arguing that in three generations, Brazil would be a white country. The painting is a post-emancipation work, marked by the strong adherence to racialism in the public sphere and by various projects regarding the black peoples destiny in the Brazilian free, Republican order. Despite of the paintings appropriation by Lacerda, the present master thesis analyzes Redemption of Cham through the hipothesis that it intends to demonstrante its own thesis on whitening. It will be argued that the painting contributes to fix the image of a black whitening body, especially when it seeks to attribute explicit form to an idea that still was not a consensus at that time, neither through the eyes of science, nor in the wider public debates on that issue. It will be asked to what extent the painting allows for envisaging certain aspects of an aesthetics that, in itself, could reveal to be an important chanel for accessing ways of seeing deeply embedded in fundamental processes of what is currently understood as racial discrimination. The thesis is aimed at developing the proposition made by recent critics, according to whom Redemption of Cham is biased by racial prejudice, taking a closer look at the ways adopted by the artist to depict the scene and its characters. In such an analysis, the dialogue between this painting and other images will be crucial in order to render visible certain patterns used to depict non-whites at that time, as well as the particularities of Redemption of Cham.

Entre 1820 et 1870, l’État et les villes françaises mettent en œuvre, à grands renforts budgétaires, une commande massive destinée à pourvoir les lieux de culte d’une statuaire monumentale à vocation liturgique et didactique. Une première partie est consacrée à l'approche synoptique de la sculpture religieuse du XIXe siècle, par l'entremise des grands programmes. Celle-ci permet de porter un regard d'ensemble sur une évolution chronologique rendue complexe par la variation des attentes et des ambitions, et ainsi de prendre conscience du statut de frontispices culturels qu'acquièrent, grâce à la sculpture, les édifices religieux. Cette étude montre d’ailleurs les places éminentes qu’occupent généralement au sein de ces ensembles sculptés le Christ, la Vierge et leur association dans la Pietà, auxquels est consacrée la deuxième partie. L'espace liturgique qu'initie la Restauration hérite de la Révolution et de l'Empire d'une dimension expiatoire. C'est cette douleur mêlée de foi et d'espérance qui guide l'exécution des Vierges à l'Enfant, des Christs crucifiés et des Pietà, leur attribuant une fonction de pôles liturgiques déterminant. La période connaît enfin, en terme de représentation hagiographique, un foisonnement étonnant. La troisième partie étudie l'importance numérique des saints comme le moyen dont use la restauration du culte pour favoriser une relation intercessionnelle de tout temps forte en France. Un triple dialogue est alors mis en évidence : celui des artistes dans le temps, celui des sujets dans l’imaginaire théologique et théocratique, et celui des formes dans les recoupements parfois surprenants des généalogies stylistiques. / Between 1820 and 1870, the State and the French cities are implementing - using a great budget - a massive order to fill the churches with monumental sculptures to serve a liturgical and educational purpose. The first part of this study examines the synoptic approach to religious sculpture of the nineteenth century, through the major programs. This leads to an overall view of a chronological evolution complicated by changes in expectations and ambitions and therefore to be aware of the status of cultural frontispieces that churches had acquired trough sculpture. This study also shows the prominent places that Christ and the Virgin generally occupy within these carved sets. The liturgical space initiated by the Restauration inherits expiatory dimension from the Revolution and the Empire. This pain mixed with hope and faith guided the execution of the Virgin and Child, crucified Christs and Pieta, giving them a decisive liturgical function. The period finally knows, in terms of hagiographic representation, a surprising abundance. The third part examines the numerous representations of the saints as a mean used by the restoration of religion to foster an intercessional relationship that has always been strong in France. Hence, a triple dialogue is highlighted: one between artists in time, one between subjects in the theological and theocratic imaginary, and one between forms in the overlaps - sometimes surprising - of stylistic genealogies.

This thesis seeks to examine the relationship between occult religion and the global circulation of texts. For some time now, scholars have rejected the secularism thesis or the idea that there has been a decline of religion in the post-Enlightenment period. Today, we largely accept that religion did not actually decline or disappear but, rather, it has changed form. Religion shifted from traditional religious institutions to become an aspect of aesthetic culture, available through the commercial economy. My work explores how the relationship between the book and commercial religion emerged and evolved during the long nineteenth century. Occultism has long been viewed as an aspect of the rise of secular society following the Enlightenment. This thesis proposes a new lens through which we can view the evolution of occultism, seeing it as a response to growth in global networks of empire and the commercialization of religion through the printed word. It explores how the nature of the transmission of occultism shifted, particularly during the final decades of the nineteenth century. Antoine Faivre’s foundational text Access to Western Esotericism (1994) put forward the concept of the transmission of occultism as something that occurs between a disciple and an initiate. My thesis, however, argues that the widening of print activity and literacy expanded the opportunities for initiation into magic to occur more broadly, changing the nature of who could become an initiate. As such, secrecy around magic became redefined. It shifted from being a pursuit of the literate elite to something that was widely available. This analysis is delivered in four chapters. The introduction examines the relationship between literature and nineteenth-century occultism. It also discusses the influence of globalization. Chapter one discusses the occult in post-revolutionary France and the influence of Egyptian orientalism on French occultism. Chapter two addresses Victorian occultism and discusses the context of a growing Victorian literary industry. Chapter three addresses the Theosophical Society as an agent of globalized and commercialized religion. It also addresses the importance of British imperialism in India. Finally, chapter four discusses the Hermetic Order of the Golden Dawn and the resurgence of Egyptian orientalism and elitism in British occultism.

Cílem této práce je prozkoumat Baudelairův vztah k jeho době. Prozkoumat, jaké soudobé fenomény nejvíce ovlivnily jeho dílo, a jak. Abychom tohoto cíle dosáhli, budeme postupně zkoumat čtyři obasti - politickou situaci, tvářnost města, novinový provoz a umění ve Francii devatenáctého století. Budeme se snažit v těchto oblastech umístit Baudelairovu osobu a zrekonstruovat vliv, který na Baudelaira a jeho dílo tyto oblasti měly. Sledovat budeme zejména dvě baudelairovské studie - esej Paříž druhého císařství u Baudelaira Waltera Benjmaina a knihu Baudelaire. L' irreductible Antoina Compagnona. Oba interpreti zdůrazňují, že pro náležité uchopení Baudelairova díla je nezbytné právě projasnění Baudelairova postoje k výše uvedeným oblastem. Problematickým, ale ústředním pojmem této práce je pojem modernité. Jelikož je tento pojem vztažen jak k Baudelairově době, tak k jeho postoji k této době, není možné jej jednoduše definovat a není to ani cílem této práce. Cílem je spíše v rozmanitých fenoménech devatenáctého století, stejně jako v Baudelairově postojích a dílu, rozpoznat to, co je s pojmem modernité slučitelné, alespoň v určitém z jejích významů. Uvidíme, že jak básníkova doba tak jeho dílo v sobě nese mnoho rozporů, nebudeme se však snažit tyto rozpory překlenout, ale naopak se je pokusíme...

Le mot prince au XIXème siècle correspond à un titre, une fonction, un état ou une façon de vivre. Alexandre Dumas, comme bien d’autres auteurs avant lui, va construire ses œuvres (La trilogie des Trois Mousquetaires, La Reine Margot, Le Comte de Monte-Cristo) autour de cette thématique. Mais son prince aura quelques originalités. La première partie de ce travail de recherches présente ce prince par nature, son aspect physique, sa grande voix de commandeur, et son regard pénétrant. Le prince a un physique impressionnant. Soit il est très beau, soit très fort, soit il a beaucoup de charme, soit il a cette aura qui fait de lui un homme exceptionnel, soit il a et il est cela à la fois. Son caractère est celui d’un grand homme : force morale et/ou spirituelle, volonté et audace, travailleur, rusé et stratège, mémoire et connaissance, réserve et mystère, dissimulation, fierté et hauteur, perspicacité ou clairvoyance, bonté, renaissance et métamorphose, baraka. La deuxième partie définit le gouvernement du prince, c’est-à-dire son pouvoir, le pouvoir de la princesse, et les rapports entre prince et princesse. La troisième partie définit le prince-héros. Il s’agit de préciser l’état du prince de Dumas dans l’histoire et l’Histoire, de signaler son besoin de l’Autre, de définir clairement le contexte littéraire : romantisme, réalisme, baroque et classicisme, et de dire précisément quel est l’apport personnel de Dumas dans la définition du prince et quels sont les éléments qui se retrouvent chez son prince. C’est un prince qui aura vécu dans les temps baroque, classique et romantique, qui aura toutes ces caractéristiques et qui ressemblera aussi au créateur du mythe de d’Artagnan. La figure du prince de Dumas, c’est celle du héros princier, c’est celle de celui qui fait l’Histoire, c’est celle de celui qui a l’essence divine ; c’est celle du Christ. / The word prince on the XIXth century means rank, a fonction, a state or a way of life. Alexandre Dumas, like many other writers before him, will build his novels (Les Trois Mousquetaires, Vingt ans après, Le Vicomte de Bragelonne, La Reine Margot, Le Comte de Monte-Cristo) around this subject. But his prince will have some specificities. The first part of this work of research presents this prince by nature, his look, his big voice, commander voice, and his deep stare. Prince has an amazing body. Either he is handsome, or very strong, or charming, or he’s got this aura which makes him exceptional, or he is all that. His nature is the nature of a bigman : moral strength and/or spiritual, will and daring, worker, crafty aud strategist, memory and knowledge, reservation and mystery, concealment, pride and haughtiness, shrewdness or clearsightedness, kindness, rebirth and metamorphosis, baraka. The second part defines prince’s gouverment, that means his power, princess power, and prince and princess relationships. The third part definies the prince-hero. We specify the state of Dumas’ prince in the history and the History, we signal his need of the Other, we define clearly the literary context : romanticism, realism, baroque, classicism, and we say precisely what is personnal Dumas contibution on prince definition and what elements be found again in his prince. This prince has lived during baroque, classic and romantic times. This prince will have all these characteristics and will look like d’Artagnan myth creator. Dumas’ prince figure is the one of prince-hero, the one of the man who makes History, the one of the man who has divin essence, the one of the Christ.

This thesis proposes and explores the concept of ‘invisible architecture’ as a means of interpreting the city in the nineteenth century. Invisible architecture is understood as the unseen structure which holds together the modern city, allowing it to exist as a concept despite the impossibility of gaining full knowledge of it. It has two sides, the first repressive and stabilising, the second fluctuating and utopian. In this way, the thesis is interested in the material and spatial basis of ideology, as well as the ways ideology can be disrupted or distorted. It is also interested in developing a link between invisible architecture and two forms of the unconscious: the psychoanalytic unconscious, which is read through Freud and Lacan, and Walter Benjamin’s ‘optical unconscious’. More broadly, the thesis explores the ongoing significance of Benjamin’s Arcades Project (1927-40) for nineteenth-century city literature. Invisible architecture is explored by analysing how it operates as an object of interest and concern for a selection of writers whose work engages with the modern city between approximately 1830 and 1885. Chapter One focuses on Nikolai Gogol, whose essay ‘On Present-Day Architecture’ (1835) is read in relation to Sergei Eisenstein (1898-1948). This text expresses the desire to bring into visibility the submerged history of architecture and to produce a modern urban architecture that is monolithic and controlling. At the same time, it imagines a city built from suspended structures made of iron, a form of architecture that is speculative and destabilising. Gogol’s use of the term ‘arabesque’ (as in his 1835 volume, Arabesques) is also investigated, with reference to ‘The Overcoat’ (1842), as a means of thinking about how the city both disrupts and evokes totality. Chapter Two looks at James Kay, Friedrich Engels and Elizabeth Gaskell’s writing on industrial Manchester, especially Mary Barton (1848). It argues that the trope of the underground, which is associated particularly with the working class, operates as a form of invisible architecture, and considers the ways Kay’s 1832 pamphlet on Manchester cotton-workers seeks to bring the city into greater visibility. Chapters Three and Four focus on Dickens’s London in Dombey and Son (1848) and Our Mutual Friend (1865) respectively. Chapter Three looks at the hidden, but unstable, connections between the domestic and financial ‘houses’ of Dombey, and reads the railway as a force which both breaks apart and connects the city of London. Chapter Four focuses on the river as indicating the presence of that which cannot be integrated into the city because it is fundamentally unknowable, drawing on Lacan’s work on vision and the unconscious. This chapter also suggests that city space in Our Mutual Friend is frequently uncanny, referring to Freud’s essay on the topic. Chapter 5 examines Zola’s Paris in The Kill (1872) and The Ladies’ Paradise (1883) in relation to Debord’s Society of the Spectacle (1967), arguing that Haussmann’s boulevards and the new department stores of Second Empire Paris seem to open up the city with new vistas of space and glass, offering absolute visibility, but at the same time suppressing and destroying parts of the city. The conclusion looks at whiteness within city space, basing its discussion on texts covered in the preceding chapters. It proposes the contradictory combination of visibility and invisibility which whiteness signifies as a final example of invisible architecture, and argues for a dialectical connection between nineteenth-century whiteness and the whiteness of modernism.

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.