Le genre de récit de voyage était très prisé au XIXe siècle, plus encore lorsqu’il concernait des contrées mythiques sur lesquelles se greffait le désir d’exotisme et la recherche de racines communes de générations d’Européens. De ce point de vue, l’Asie centrale ne fait pas exception. La rivalité russo-britannique pour le partage des zones d’influence avait provoqué une multiplication des voyages vers cet Orient mal connu. Parmi les récits britanniques les plus populaires de cette époque se distinguent ceux d’Alexander Burnes, observateur militaire, d’Arminius Vambéry, orientaliste, de Florentia Sale et de Frances Duberly, épouses d’officiers, de Henry Lansdell, prêtre anglican, de Frederick Burnaby, aventurier, etc. Ces textes représentent un genre multiforme, pris à un carrefour de discours difficiles à unifier. Tout en prenant compte la diversité de cette production littéraire, notre thèse tente de mettre en lumière la question de l’altérité que pose inévitablement le récit de voyage ainsi que d’étudier les enjeux géopolitiques et littéraires de l’écriture de voyage britannique en Asie centrale au XIXe siècle. Cette historicisation nous est nécessaire pour éviter la simplification du discours orientaliste des voyageurs britanniques tout autant qu’un ensemble de stéréotypes dépréciatifs, conduisant à légitimer un comportement impérialiste. / Travel writing and experience to different parts of the world were quite popular in the 19th century, having inspired generations of Europeans to quest for exoticism and mythic origins of Western culture. Central Asia had always been one of these territories which attracted British travellers and explorers. The clandestine imperial rivalry between Russia and Britain for the mastery of Central Asia multiplied the number of British travellers towards this unknown Orient. Among the most famous travelogues of this period are those written by Alexander Burnes, a military envoy, by Armenius Vambéry, an orientalist, by Florentia Sale and Frances Duberly, officers’ spouses, by Henry Lansdell, a missionary, by Frederick Burnaby, an adventurer, and by many others. These travel narratives, versatile and heterogeneous, bring on a problem of generic definition. Our dissertation aims at examining the phenomenon of Otherness, inherent to travel writing, as well as at mapping within narrative perspective the geopolitical and literary concerns in Central Asia. By choosing this approach our work strives to avoid the reduction of the British travelling discourse in this particular geographical area to a simple legitimacy of imperial policy in the Victorian age.

The 19th-century fascination with madness led to a theatrical phenomenon most palpably represented in the operatic mad scene, where the insane heroine expresses her madness in an aria of ‘phenomenal difficulty’ (Ashley 2002). This research explores the representation of female madness as power in the mad scenes of two famously mad opera characters: Lucia from Gaetano Donizetti’s Lucia di Lammermoor (1835) and Ophélie from Ambroise Thomas’s Hamlet (1868). The objective is to investigate the representation of female madness in the libretti, the musical scores and in visual performances, in order to challenge the notion of female madness as weakness. The research was conducted using a qualitative research paradigm. The study explored the depiction of female madness in various fields of artistic representation, and the concept of power and female power in literature, resulting in the novel interpretation of these enigmatic mad scenes. This was a hermeneutic study considered within an interpretive paradigm. The research was conducted in three stages: a literature review, a full score analysis and a visual performance analysis. The results show that the 19th-century gendered paradigm shift of madness to an overtly female disorder, led to various artistic interpretations of the madwoman, most notably in art, literature, theatre and opera. Opera proved to be the ultimate platform for the musical depiction of female madness, particularly due to the virtuosic vocal capacity of the coloratura soprano. In spite of social and political advancement, women were portrayed as weak in operatic plots. It was established that a delicate balance exists between power and powerlessness in the operatic mad scene. Both Lucia and Ophélie are women trapped in a patriarchal environment, and the onset of their madness is traditionally attributed to the weak default of their gender and their inability to process dramatic emotional events. However, the composers’ musical realisation of madness, as well as the embodied performance of both characters by the soloists, accentuates the interplay between madness as weakness and, most importantly, madness as empowerment. The study shows that the powerlessness associated with female madness is paradoxically reversed by the very factors that denote female madness in the operatic mad scene, namely gender and vocal virtuosity. Numerous musical and visual performance elements employed by composers and directors, notably depicting the madwoman as feeble, point to the empowerment of the seemingly ‘weak’ soprano. Musical elements used to portray madness include deconstruction, orchestration and high pitch. The study revealed additional musical elements, such as the inclusion of themes from previous acts of the opera, the use of specific instrumentation and a capella passages for soprano. The study argues that the characteristics that define female madness in music, namely gender and vocal excess, specifically contribute to the representation of madness as power. Elaborate coloratura vocal passages and scant orchestration are the two musical elements used by Donizetti and Thomas to assist in the depiction of female madness as power in the operatic mad scene. Consequently the study establishes that the extravagant vocal virtuosity displayed by the coloratura soprano casts the madwoman as powerful in the operatic mad scene. / Mini Dissertation (MMus)--University of Pretoria, 2016. / Music / Unrestricted

São poucos os estudos sobre as personagens femininas dentro de La Comédie Humaine, e estes se tornam ainda mais restritos quando tratam daquelas que aparecem no romance Le père Goriot. Nesse sentido, este trabalho pretende analisar como são construídas e organizadas dentro da narrativa, tendo em vista que sua composição é realizada de acordo com uma estratégia, bem como sua organização no texto. Outrossim, as personagens femininas são de grande importância na narrativa balzaquiana, apesar de aparentemente ocuparem apenas o segundo plano, pois são elas que, na maioria das vezes, vão auxiliar as personagens masculinas em seus projetos de ascensão social, a ponto de Rastignac, por exemplo, só ter conseguido sucesso por intermédio de sua tia, Mme de Beauséant. Isso sem contar a dona da pensão, Mme Vauquer, que é a primeira a ser descrita durante a narrativa e tem importância capital no destino de outras figuras hospedadas em seu estabelecimento. Por outro lado, a técnica mais conhecida utilizada por Balzac e que foi por ele desenvolvida é o retorno de personagens. No entanto, há outras de grande importância, e uma delas é o fato de que, para conseguir criar a quantidade de personagens existente dentro de La Comédie Humaine, foi necessário recorrer a um recurso de economia, ou seja, apresentar várias delas com características semelhantes, podendo ser ligadas duas a duas. Procuramos desenvolver esse aspecto ao longo deste trabalho, juntamente com as questões que permeiam o papel das figuras femininas, assim como o arrivismo e a sua importância para as masculinas. / There are few studies about the female characters in La Comedie Humaine, and these are even more restricted when they treat about those which appear in the novel Le Pere Goriot. Thus, this paper intends to examine how they are constructed and arranged within the narrative, considering that their composition is performed according a kind of strategy, as well as your organization in the text. Furthermore, the female characters are very important in Balzac\'s narrative, although apparently only occupying the background, because they are who, in most of the cases, will help the male characters in their projects of social mobility, until the point of Rastignac, for example, has only achieved success with the help of his aunt, Mme de Beauseant. This without counting the owner, Mme Vauquer, who is the first character to be described in the narrative and who has a capital importance in the destiny of other figures that are hosted on her property. Moreover, the technique most known and used by Balzac and which was developed for him is the return of characters. However, there are other techniques also very important, and one of them is the fact that, to achieve to create the amount of characters existing in La Comedie Humaine, it was necessary to apply a resource of economy, or, in other words, to present lots of characters showing similar characteristics and connected two by two. We were seeking to develop this aspect throughout this work, together with the questions that underlie the role of the female characters, as well as the arrivisme, and this importance for the male.

abstract: Did the Victorians live in a “rape culture”? London between 1870 and 1890 was certainly a place in which sexual violence was publicly condemned as an overall concept (W. T. Stead’s “The Maiden Tribute of Modern Babylon, for example). Yet, in contrast to the moral denunciation, the historical archive demonstrates excuses constantly condoned sexual violence (as evidenced in parliamentary debates, criminal transcripts, newspaper crime coverage, and social campaigns like those of Josephine Butler). Forensic medical doctors, police, coroners, journalists, illustrators, and editors all contributed and reinforced a system that sustained and condoned rape as evidenced by the newspaper crime reports; but, to blame them for their actions, as if each action was performed with malicious intent, would hide the greater system of oppression that operated both blatantly and in the shadows. When one demographic holds significant power over another – as men did over women in Victorian England – those power relations become embedded into its culture in ways that are never clearly transparent and continue to haunt the future until exposed and rectified. To this end, my dissertation investigates newspaper crime narratives to reveal the heterocryptic ghosts and make their multiple legacies visible. Murder of women by men are significantly linked via cultural perceptions. Anna Clark discovered this with Mary Ashford’s rape and murder in 1817. Though Ashford died from drowning, the narratives rewrote her death as if it was the rape that had killed her. Based on this correlation, this study focuses on six cases of unsolved female murder and dismemberment. The decision to use unsolved cases stems from the hypothesis that more gendered assumptions would manifest in the crime narratives as the journalists (and police, coroners, and forensic doctors) tried to discern the particulars of the crime within contexts that made sense to them. Analytical coding of the data demonstrates the prevalence of rape myths operating within the narratives in conjunction with misogynistic and classist beliefs. From initial discovery to forensic inspections to inquest verdicts and beyond a number of myriad historical materializations are exposed that continue to haunt the present. / Dissertation/Thesis / Doctoral Dissertation English 2020

abstract: During the nineteenth century, it was common for pianists to publish their own editions of Beethoven’s piano sonatas. They did this to demonstrate their understanding of the pieces. Towards the end of the century, musicians focused their attention on critical editions in an effort to reproduce the composer’s original intention. Unfortunately, this caused interpretive editions such as those created in the nineteenth century to fade from attention. This research focuses on situating these interpretive editions within the greater discourse surrounding the editorial development of Beethoven’s piano sonatas. The study opens with the critical reception of Beethoven, his Sonata in C-sharp minor, Op. 27 No. 2, also known as the “Moonlight” Sonata, the organology of the nineteenth-century fortepianos and the editorial practices of subsequent editions of the piece. It also contextualizes the aesthetic and performance practice of nineteenth-century piano playing. I go on to analyze and demonstrate how the performance practices conveyed in the modern Henle edition (1976) differ from those in selected earlier interpretive editions. I will conclude with an assessment of the ways in which nineteenth-century performance practices were reflected by contemporary editions. This study compares the First edition (1802) and seven selected editions of Beethoven’s “Moonlight” Sonata by Ignaz Moscheles (1814), Carl Czerny (1846), Franz Liszt (1857), Louis Köhler (1869), Hugo Riemann (1885), Sigmund Lebert and Hans von Bülow (1896), and Carl Krebs (1898) with the Henle edition. It covers the tempo, rubato, articulations, phrasing, dynamics, fingerings, pedaling, ornamentation, note-stem and beaming, pitch, and rhythm. I evaluate these editorial changes and performance practice to determine that, compared to modern practice, the 19th century fostered a tendency of applying rubato, longer slurs, diverse articulations, and expanded dynamic range. Furthermore, the instructions of fingerings, pedaling and ornamentation became more detailed towards the end of the century. / Dissertation/Thesis / Doctoral Dissertation Music 2020

“Ghost Rations” draws on environmental history and the history of capitalism to explain the development of the communal conflicts that tore apart the multi-ethnic, multi-confessional Ottoman Empire. It focuses on the Ottoman East in 1839-94, a period that began with a Sultanic declaration of religious equality and ended with a dramatic wave of communal violence, the Hamidian Massacres (1894-97). Recent work has described how communal boundaries hardened thanks to the rise of new discourses and symbols of belonging put forth by powerful agencies like the Ottoman state, European colonial powers, and Protestant missionaries. This project builds on these discursive and intellectual explanations for ethnic and religious divides, but it argues that in order to understand how new ideas about difference and belonging came into practice, we must account for provincial partners and the material conditions that assisted in their spread and uptake. To accomplish this, “Ghost Rations” takes up famine, the most intense of material conditions, in the decades before the Hamidian Massacres. The first half focuses on the 1839-76 expansion of imperial institutions that worked to define and police communal boundaries. The second half analyzes three cases of famine between 1879 and 1894, when these reform-oriented institutions wielded outsized influence by distributing life-saving humanitarian aid. These institutions, however, also had the effect of distributing hardship and trauma unevenly along ethno-religious lines. New technologies like the telegraph, environmental forces like El Niño, and financial changes like the spread of banking combined to distribute hunger and hardship along confessional lines. Suffering unequally borne radicalized communal tensions and set the stage for unprecedented violence in subsequent years.

Cette thèse cherche à analyser les trois tournées de l’actrice française Sarah Bernhardt (1844-1923) au Brésil, précisément dans les villes de Rio de Janeiro et Sao Paulo. Les voyages datant de 1886, 1893, 1905. Cette étude a comme arrière-plan les réflexions autour de la circulation culturelle et de la mondialisation de la culture au XIXe siècle. On considère les voyages Sarah Bernhardt comme un exemple précieux du processus de diffusion du théâtre français et d’internationalisation des publics. Coté brésilien, on percevra que cette même période, marquée par une forte présence artistique étrangère, est aussi le moment où les Brésiliens (ou du moins l’élite lettrée du pays) cherchent à penser l’identité du pays, tout en édifiant l’art dramatique national. L’enjeu de cette thèse est alors de comprendre comment la présence théâtrale étrangère se place dans ce contexte. Plus qu’une étude sur une « influence théâtrale » française au Brésil, l’objectif des pages qui suivent est de réfléchir à la formation de la pratique artistique brésilienne dans le cadre d’un processus plus large de mondialisation de la culture au XIXe siècle – où le théâtre occupe une place majeure. En ce qui concerne précisément Sarah Bernhardt, cette thèse cherche à démontrer l’importance de l’actrice dans ce phénomène. Grande étoile médiatique de la période, Sarah est, dans le même temps, liée au grand théâtre français de répertoire. La question est alors de comprendre comment ce « grand théâtre » se diffuse internationalement, tout en s’imprégnant des stratégies commerciales de l’industrie théâtrale de l’époque. Dans ce sens, on se demandera comment l’actrice construit son image à l’étranger, plus particulièrement au Brésil, et quelle partie du « marché » culturelle cherche-t-elle à dominer, soutenue par ses imprésarios. En un mot comment la « Sarah Barnum* » se veut-elle également ambassadrice du génie français ? Référence à l’entrepreneur de spectacles américain Phineas Taylor Barnum (1810-1891). Il était connu pour ses affaires très prospères dans le domaine culturel. Le Cirque Barnum, fondé en 1871 est devenu l’un des plus connus de l’époque et a rassemblé des artistes provenant de divers pays. Dans le monumental ouvrage édité par Noel Daniel sur le cirque aux Etats-Unis entre 1850 et 1950, Linda Granfield remarque l’importance de Barnum : « Aujourd’hui encore, les hommes d’affaires du monde entier étudient la conférence donnée par Barnum en 1858 et intitulée The Art of Money Getting («L’Art de faire de l’argent »). Il y exposait sa vision de la réussite financière et déclarait : « Aux Etats-Unis où nous avons plus de terres que d’habitants, il n’est pas difficile pour une personne en bonne santé de prospérer ». (Granfield, Linda. « Un vent de folie souffle sur la ville » In Noel Daniel (ed.), The circus 1850-1950. New York : Éditions Taschen, 2008. p.53) Les titres des différentes parties de son discours comme « Quoique que vous entrepreniez, mettez-y toute votre énergie », « Lisez la presse » et, une des  clefs de sa réussite, « Faites de la publicité », continuent d’inspirer les entrepreneurs à ce jour. Le surnom « Sarah Barnum » a été employé par l’actrice Marie Colombier, dans un livre qui proposait de témoigner de la tournée de Sarah Bernhardt en Amérique. L’ouvrage paru en 1883, qui a fait scandale : « Les Mémoires de Sarah Barnum » cherchait clairement à donner l’image d’une Sarah Bernhardt cabotine et intéressée par le profit, tout comme le grand imprésario américain Taylor Barnum. Voir Marie Colombier, Voyages de Sarah Bernhardt en Amérique. Paris : C. Marpon et E. Flammarion Éditeurs, 1887. / This work proposes an analysis of the french actress Sarah Bernhardt's (1844-1923) three tours in Brazil, precisely in the cities of Rio de Janeiro and São Paulo in 1886, 1893, 1905. Taking the thoughts about the flow of artists and the cultural globalization of the 19th century as a background, the present study considers Sarah Bernhardt tours as a precious example of the French theater diffusion process and of the internalization of audiences. In what regards Brazil, it is noticeable that the referred period, marked by a strong foreign artistic presence, is also the moment in which the country’s literate elite reflected about a project of a nation and about the construction of a national dramatic art. The focus of this thesis is, therefore, to locate Sarah Bernhardt’s tours in this panorama. More than a study about French “theatrical influence” in Brazil, our main goal is to ponder about the construction of the Brazilian artistic practice in a context of a broader process of cultural globalization in the 19th century, in which theater played a fundamental role. In what concerns Sarah Bernhardt specifically, this thesis intends to demonstrate the actress’s relevance in this phenomenon. Sarah was a great media star and, at the same time, associated to the french theater erudite repertoire. It attempts, therefore, to understand in what way this “repertory theater” is internationally broadcasted, also impregnating itself with commercial strategies common to the period’s theater industry. In that sense, the construction of the actress’s image abroad, specially in Brazil, is questioned. Also, what part of the cultural “market” Sarah Bernhardt and her managers tried to dominate is evaluated. In other words, how did the actress became Sarah Barnum, with a flair of ambassador of the génie français ?

abstract: The American sublime aesthetic, discussed frequently in literature and art of the United States, is equally manifest in the nation’s symphonic music as a concurrent and complementary aesthetic. The musical application of the American sublime supports and enriches current scholarship on American musical identity, nationality, and the American symphonic enterprise. I suggest that the American sublime forms an integral part of nineteenth-century American music and is key to understanding the symphony as a genre in the United States. I discuss American symphonic works by Anthony Philip Heinrich, George Frederick Bristow, William Henry Fry, Dennison Wheelock, and Florence Beatrice Price, aided by an analytical tool which I developed, to illuminate my appraisal of the nineteenth-century American symphonic enterprise. Their compositions contribute meaningfully to the complex history of identity formation for both American composers and the nation. In focusing on these incorporations of the sublime by white composers and composers of color from the nineteenth and early twentieth centuries, my research demonstrates how the American sublime expanded and transformed to better accommodate the country’s diverse citizenry, despite the marginalization of some. The nineteenth-century trans-Atlantic dialogue between Americans and their European contemporaries sustained a “distinctly cosmopolitan cultural ethos,” a phenomenon also described by Douglas Shadle as “one of the most vibrant intercultural exchanges in all of Western music history.” This dialogue shaped the cultural formation of identity for many American composers throughout the century and provided the foundation for a symphonic repertoire, which became internationally recognized for the first time as “American.” In this cosmopolitan environment, the Americanization of the sublime aided in the rebranding of long-established European artistic expressions like the symphony, while perpetuating the idealization of the nation’s geography, its people, and its beliefs. Perhaps most importantly, the American sublime supported the widely held belief in American exceptionalism and manifest destiny. The applicability of the American sublime to various genres made it a useful tool to assert autonomy and individuality in forms such as the symphony. For this reason, a revaluation of American symphonic music and its relation to the American sublime amplifies the significance of this repertoire. / Dissertation/Thesis / Doctoral Dissertation Music 2020

This essay argues that Little Women does not promote breaking stereotypical gender norms and nineteenth century gender roles, contrary to what several critics say. This paper will be using feminist criticism and analyzing two of the novel’s main characters, Meg and Jo, and examining their behavior towards stereotypical gender norms and rules. This essay concludes that while Jo challenges certain gender norms and roles, such as having “manly” emotions (anger) and taking on male-dominated jobs (author), within the narration she is punished for these and forced to become a conventional woman of the nineteenth century in order to live a happy life. On the other hand, Meg follows the rules of societal gender expectations and is rewarded for her behavior. By examining these two characters, this essay establishes that Little Women, because it is a didactic novel, delivers the moral that women can only be truly happy if they fit into stereotypical gender norms and roles.

This project focusses on the historic border region of the Himalayas as a central space for negotiations of power and identity in British South Asia. It particularly focusses on the standardization of mapping and surveying practices as socio-technological discourses through the 1840s to the 1920s that lead to the transformation of trans-Himalayan and Tibetan land into British territory that could be invaded, settled, and controlled. With a unique focus on subaltern agents moving through and past the Himalayas, this project writes a history of the transformation of the imaginary of the mountains, from a spatial feature that connected vibrant pre-colonial geographies to a natural resource object and a political border that delineated the limits of imperial territory. While previous scholarship has tended to examine the history of the Tibeto-Himalayan borderlands in the context of its importance to the British Indian, Indian, or Chinese nation-building practices, this project foregrounds the importance of trans-Himalayan connections and exchanges in examining the structural transformation of a region where historical forces simultaneously undermined the power of the British Indian state while reflecting the hegemony of its imperial project. Additionally, this project explores the tensions between the construction of “universal” discourses of empirical scientific practice in the late nineteenth and twentieth centuries, which claimed to orient the practices of geography, cartography and ethnography, and the constraints of the British imperial system predicated on the same coercive technologies to identify territory. The epistemic regime governing the production of geo-knowledge about Tibet and the Himalayas rose out of a series of contestations between the appropriation and rejection of local and indigenous knowledge, networks, and actors. Tracing a near hundred-year arc, I locate geography as a unique facet of colonial modernity that dictated imperial logics of developmentalism at the frontiers of the British empire, thereby demonstrating the birth of modern geography as mired in haphazard expeditions, rather than proceeding from well-defined scientific theory and protocols. This dissertation concentrates on three main aspects to revisit the history of construction of the geo-knowledge of the Tibeto-Himalayan borderlands by focusing on situated actors and connections: the epistemological contributions of native Indian, Tibetan, and Chinese surveyors in the employ of the Survey of India, the mobilization of labor for trans-Himalayan military and surveying expeditions, and the interactions between imperial knowledge productions and “indigenous” modes of spatial thinking as related in Tibetan revelatory guidebooks detailing the space of the Himalayas. Each of these aspects was critical in the re-constitution of the Himalayan mountains as a spatial unit that divided rather than connected political communities on either side.