Le sculpteur François Rude (1784-1855), auteur du relief universellement connu de La Marseillaise qui orne l’un des piédroits de l’arc de triomphe de l’Étoile à Paris, est l’un des artistes majeurs de la période romantique. Pourtant, depuis 1904, aucune étude d’envergure ne lui a été consacrée. Cette thèse propose de réévaluer son œuvre par le prisme de la question stylistique. Qu’est-ce que le romantisme de Rude et comment s’inscrit-il dans le mouvement romantique en sculpture ? À partir d’un catalogue raisonné, la totalité de sa carrière est interrogée : ses années de formation à Dijon puis à Paris sous l’Empire ; son exil à Bruxelles dans les années 1820 où il développe la leçon néoclassique ; son retour à Paris où il devient une figure centrale du mouvement romantique avec le Jeune Pêcheur Napolitain au Salon de 1833 ; l’accomplissement de ce qui restera son chef-d’œuvre, Le Départ des volontaires inauguré en 1836 et qui sous le titre La Marseillaise va devenir une icône nationale ; son investissement politique au travers de ses nombreuses statues de Grands Hommes, qu’il réalise en interrogeant les codes académiques ; enfin, la part plus intime de son travail dans les autres genres majeurs de la statuaire que sont les œuvres religieuses et mythologiques. Cette étude réaffirme la place centrale de Rude dans le paysage artistique du premier XIXe siècle. Elle démontre qu’il n’a pas été l’artiste d’une seule œuvre, mais qu’il a bien réformé en profondeur la pratique statuaire, devenant ainsi un maître pour plusieurs générations de sculpteur tant classiques que d’avant-garde, comme Carpeaux, Rodin ou Bourdelle. On peut ainsi donner raison à Apollinaire qui avait vu en lui le père de la statuaire moderne. / The sculptor François Rude (1784-1855), known for his work La Marseillaise which decorates the Arc de Triomphe in Paris, is one of the major artists of the romantic period. Yet there have been no major studies focused on his work since 1904. This thesis reevaluates Rude's oeuvre through a stylistic lens. What was romanticism for Rude, and how did he influence the Romantic Movement in sculpture? Based on a catalogue raisonné, the thesis investigates his full career—his years of training in Dijon and then in Paris under the Empire, his exile in Brussels in the 1820s where he internalized the lessons of Neo-classicism, his return to Paris where he became one of the central figures of the Romantic Movement with the exhibition of his Neapolitan fisherboy at the 1833 Salon, the completion of what remains his primary masterpiece and a national icon, La Marseillaise, unveiled in 1836 under the name Le Départ des volontaires, his sense of political engagement as demonstrated through his numerous Great Men statues, built with a constant questioning of the academic codes, and finally, the more intimate side to his work represented by his religious and mythological statues.This thesis confirms Rude’s central position in the artistic field of the first part of the 19th century. It demonstrates that, more than just the creator of a single masterpiece, Rude contributed profoundly to reforming sculptural practice, becoming a master for multiple generations of sculptors both classical and avant-garde, such as Carpeaux, Rodin or Bourdelle. In this way, the thesis validates Apollinaire, who saw in Rude the Father of Modern Sculpture.

L’objectif de cette thèse est l'analyse de scènes de bal dans des textes narratifs du XIXe siècle produits dans trois pays : France, Portugal et Brésil. Nous soulignons premièrement la présence et l'imaginaire construits autour de cette pratique sociale ; ensuite, à partir d'onze scènes littéraires de bal, nous analysons et discutons la diversité de représentations auxquelles cet événement a donné lieu. En considérant la scène de bal un endroit privilégié pour le développement de rencontres, drames et promotions, on observe comment chaque texte travaille le phénomène du bal, en établissant, pour cela, un constant mouvement dialectique entre l’imaginaire social et le littéraire. Dans la dernière partie du travail, les résultats obtenus sont placés à la lumière des études sur les régimes de l'imaginaire. Cette analyse nous permet de vérifier la présence du régime nocturne comme trace commune, bien que, à l'intérieur de cet univers, les personnages présentent des éléments contradictoires et innovateurs. Au long du travail, nous observons la position occupée par l’individu dans le bal et sa relation avec la société moderne, en analysant, en même temps, de quelle manière les scènes contribuent à renforcer ou à réfuter des conceptions littéraires et artistiques de l’époque. Nous visons à démontrer que ce topos, fréquent dans les productions du XIXe siècle, constitue un élément remarquable pour la compréhension de l'imaginaire historique, social et littéraire de la période. Il s'agit d'une recherche de caractère pluridisciplinaire qui se fonde sur des textes de critique littéraire, d’histoire, de sociologie, d’anthropologie, en complément à la lecture des textes littéraires. La mise en perspective comparatiste se révèle stimulante pour comprendre les particularités et la complexité de ces scènes, ainsi que les éléments de l'imaginaire qui les composent. / This thesis aims at analyzing ball scenes in narrative texts produced in three countries in the nineteenth century: the countries are France, Portugal, and Brazil. First, we emphasize the presence and the imaginary built around this social practice; after that, altogether with the eleven ball literary scenes, we analyze and discuss the diversity of representations to which this event has given place. Considering the ball scene as a privileged situation to the development of meetings, dramas, and promotions, we observe in what way each text works with the ball phenomenon, settling for this, a constant dialectical movement between the social and literary imaginary. In the last part of this paper, the results are placed to the light of studies on the imaginary schemes; such an analysis that allows us to verify the presence of the night scheme as a common thread, though, within this universe, the characters exhibit contradictory and innovative elements. Throughout this study, we have highlighted the position occupied by the individual at the ball and his or her relationship with modern society, analyzing at the same time, how the scenes contribute to strengthen or refute literary and artistic conceptions at the time. Our aim is to demonstrate that this topos, often present in the nineteenth century literary pieces, is a significant element in understanding the historical, social and literary imaginary of those times, social and literary period. Our research has a multi-disciplinary nature supported by literary criticism, history, sociology, anthropology, in addition to the reading of literary texts. The comparative perspective proves to be stimulating when it comes to understanding the characteristics and complexity of these scenes as well as imaginary elements that compose them.

In the 1780s the medieval weapon of war; the English longbow, enjoyed a renaissance, as historical archery became a fashionable recreation among the English aristocracy. Later, during 1819-1845, longbow archery developed into a mass movement, as it spread downwards in the English class system, into the bourgeoning middle class. During the entire time period of 1780-1845, the “English warbow” was instrumental in producing a specific English (i.e. not British) nationalistic memory culture regarding the medievalmilitary triumphs of the “English bowmen” in battles of old, against French and Scottish forces, as well as reproducing a nationalistic narrative surrounding the English national hero and master-archer Robin Hood. The English longbow, as an object, became a mani- festation of English nationalism. An important fact was that both men and women were included as archers, despite the masculine context of the memory culture surroundingmilitary archery, the celebration of medieval English battlefield victories and the man- liness of the English “bowmen”. How did England come to view the female archer as an ideal for English women, while at the same time publicly upholding a patriarchal doctrine of a feminine “private sphere” womanhood, whereby women should be constrained to the domestic space as housewives, mothers and daughters? How was the English inclusion of females in the nationalistic public sphere of longbow archery made possible, communica- ted and reproduced? In summary, this study is about how longbow archery was manife- sted in the context of the rise of English modern nationalism and how women were inclu- ded – or rather included themselves – as English longbow archers. As the study shows, the answers exists in an inter-relating web of English memory culture regarding warfare and historical archery; gender constructions and female agency; constructions of English national identity and English nationalism within a British context; and class developments in English society. This accounts for how the Amazon Archers of England came to exist from 1780-1845. / På 1780-talet fick det engelska medeltida krigsvapnet; den engelska långbågen, en ovän- tad och plötslig renässans i England, när historiskt bågskytte blev en hobby på modet inom den engelska aristokratin. Efter Napoleonkrigens slut 1815 utvecklades skyttet till enfolklig massrörelse, inom den växande och allt mer inflytelserika engelska medelklassen. Under tidsperioden 1780-1845 blev den engelska långbågen (The English longbow ellerThe English warbow) instrumentell i produktionen av en specifikt engelsk – det vill sägainte brittisk – nationalistisk minneskultur, utifrån de medeltida engelska bågskyttarnassegrar på slagfälten, i krig mot franska och skotska arméer. Parallellt förstärktes de natio- nalistiska narrativen kring den engelske nationalhjälten och långbågeskytten Robin Hood. Den engelska långbågen, som objekt, blev en manifestation av engelsk nationalism. En viktig del av den engelska långbågskytterörelsen var inkluderingen av både kvinnor och män, trots skyttets karaktär av maskulin krigiskhet och militärhistoria, angående medel- tida krigståg, där ”the English bowman” hade triumferat. Faktum är att den kvinnliga bågskytten hyllades som ett ideal för engelska kvinnor, samtidigt som patriarkal brittisk doktrin dikterade att kvinnor borde hålla sig innanför hemmets väggar, i den privata sfä-ren, medan den offentliga sfären (yrkeskarriär, politik, idrott, etc.) borde vara ett exklusivtmanligt utrymme. Kvinnor skulle vara fruar, mödrar eller döttrar – inte krigare. Hur vardessa bägge kvinnoideal möjliga att förena? I denna fråga återfinns denna studies kärna. Hur konstruerades engelsk krigshistorisk nationalism 1780-1845 kring den engelska långbågen? Hur inkluderades kvinnor i denna maskulina nationalism? Hur producerades, kommunicerades och reproducerades kvinnlig agens i en militärhistorisk nationalistiskdiskurs, som i andra europeiska länder (exempelvis Sverige) ansågs självklart exklusivtmanlig? Sammanfattningsvis visar denna studie hur den engelska långbågen blev central för den gryende engelska moderna nationalismen 1780-1845, och hur kvinnor inkluderades – eller snarare inkluderade sig själva – i denna nationalism, som långbågeskyttar. Studien visar att svaren på forskningsfrågorna återfinns i en sammanflätad väv av engelskminneskultur, angående historiska krig och bågskytte; genuskonstruktioner och kvinnlig agens; konstruktioner av engelsk nationell identitet och engelsk nationalism; samt engel- ska samhällsutvecklingar under introduktionen av modernitet och industrialism. Allt detta berättar historien om hur de engelska bågskytte-amazonerna–The Amazon Archers of England–blev en realitet 1780-1845.

A tese discute a atuação de Arthur Azevedo como crítico de arte e colecionador no circuito artístico do Rio de Janeiro entre os anos 1870 até os primeiros anos do século XX. A partir de um levantamento de textos esparsos sobre arte escritos pelo autor na imprensa carioca esforça-se por analisar e situar sua produção crítica frente à arte brasileira da segunda metade do século XIX. Concomitantemente busca-se analisar o conjunto de obras (gravuras, pinturas, livros, álbuns e manuscritos) reunidas pelo dramaturgo nesse mesmo período. Frente a essas duas extensas atuações desenvolve-se como tese central a ideia de que a dupla atuação de Arthur Azevedo somente foi possível, por ser aquele um período de reestruturação do meio artístico permitindo que intelectuais como ele, sem formação na área, pudessem atuar como crítico e colecionador. / This thesis discusses Arthur Azevedo\'s acting as an art critic and collector in the circuit of art in Rio de Janeiro from the 1870\'s until the early years of the Twentieth Century. According to a survey of scattered texts of art written by the author in the \"carioca\" press, he strives to analyze and situate his critical production within the Brazilian art of the second half of the Nineteenth Century. At the same time, it is sought to analyze the set of works (prints, painting, books, albums and manuscripts) gathered by the playwright in this same period. With respect to these two extended performances, it is developed as a central thesis the idea that Arthur Azevedo\'s dual acting was only possible because that period was the restructuring of the artistic movement. Thus, enabling that intellectuals like him could act as critics and collectors without professional training.

O Estado Independente do Congo foi reconhecido internacionalmente em 1885 como resultado da ação de representantes europeus em obter tratados de cessão de soberania junto às autoridades e chefes africanos da região da bacia do Congo. No entanto, a implantação de uma missão civilizadora, em consonância com os interesses comerciais do monarca belga Leopoldo II, não se deu sem conflitos, embates e resistências. A crueldade e a arbitrariedade que marcaram tal processo ecoaram na opinião pública internacional, gerando movimentos de denúncias sobre as violências que vitimaram as populações africanas. Este trabalho busca analisar as reações e acomodações ocorridas a partir da situação colonial que se impôs frente a um contexto no qual se faziam presentes múltiplas e variadas formas de organização política das sociedades africanas da região. / The Congo Free State was internationally recognized in 1885 as a result of the action of European representatives in obtaining sovereignty transfer treaties with the African authorities and leaders of the Congo Basin region. However, the implementation of a \"civilizing mission\" aligned to the commercial interests of the Belgian king Leopold II, has not been without conflicts, struggles and resistances. The cruelty and arbitrariness that have marked this process echoed on the international public opinion, generating movements of complaints about violence toward the African populations. This work seeks to analyze the reactions and accommodations that followed the colonial situation that was imposed in a context in which were present multiple and varied forms of political organization of African societies in the region.

As últimas décadas do século XIX foram marcadas por grandes transformações na sociedade brasileira. Além do fim da escravidão e da instauração do regime republicano, assistiu-se a um significativo crescimento das cidades, o que impactou o estilo de vida das classes instruídas e os valores herdados do sistema patriarcal. Em A musa de espartilho, o erotismo na poesia parnasiana brasileira é investigado em suas possíveis relações com seu contexto histórico-social, levando-se em conta as continuidades e descontinuidades com a sensibilidade romântica. Quatro poetas são estudados: Raimundo Correia, Alberto de Oliveira, Francisca Júlia e Luiz Delfino. / The last decades of the nineteenth century were marked by major changes in Brazilian society. In addition to the end of slavery and the establishment of the Republican regime, there has been a significant growth of cities, which impacted the lifestyle of the educated classes and the inherited values from the patriarchal system. In A musa de espartilho (The muse wearing a corset), the eroticism in Brazilian Parnassian poetry is investigated in its possible relations to its historical and social contexts, taking into account the continuities and discontinuities with the romantic sensitivity. Four poets are studied: Raimundo Correia, Alberto de Oliveira, Francisca Julia and Luiz Delfino.

O objetivo desta pesquisa é a análise e a interpretação da série de crônicas Gazeta de Holanda, escritas por Machado de Assis e publicadas entre 1º de Novembro de 1886 e 24 de fevereiro de 1888, em um dos jornais de maior tiragem do Rio de Janeiro na época, a Gazeta de Notícias. Para a abordagem, consideramos a articulação entre dois elementos bastante visitados pelo tradição crítica brasileira: a produção de crônicas em grande volume e variedade pelo escritor brasileiro mais estimado de seu tempo; e a crônica como um gênero literário relativamente novo, se comparado aos demais já reconhecidos pela tradição, o que faz dele algo generalizadamente menos estimado, mas, certamente, bastante popularizado e praticado pelos principais autores brasileiros. Além disso, priorizamos o campo de comunicação em que esses textos foram elaborados, principalmente, para não descartarmos a priori dados potencialmente significativos para interpretação dos textos. No caso de Machado de Assis, mesmo que em muitas das crônicas analisadas não haja referência direta a fatos e acontecimentos publicados nos jornais da época, podemos afirmar que a estrutura significativa de seus textos está em diálogo direto com a potencialidade do campo comunicacional em que está inserido. Assim, discorreremos nesta pesquisa sobre: o gênero dentro de seu contexto social, fundamentando a ideia generalizada na crítica brasileira que o associa a algo como gênero nacional; e a análise formal da Gazeta de Holanda, sugerindo o rendimento literário dos textos, enquanto unidades autônomas e enquanto conjunto de textos seriados; e, por fim, apontando sua significativa pertinência dentro da produção do cronista. / The objective of this research is the analysis and interpretation of the chronicles Gazeta de Holanda, written by Machado de Assis and published between 1st November 1886 and February 24, 1888, in the newspaper of largest circulation in Rio de Janeiro at the time, Gazeta de Notícias. For this purpose, we have considered the relation between two elements frequently cited by the brazilian literary criticism tradition: the chronicle gender was produced in large quantity and variety by the most esteemed Brazilian writers; besides, the brazilian chronicle was a literary genre relatively new, if compared with others already recognized by the tradition, which has transformed it in something less estimated, but certainly yet very popular and practiced by the major of the brazilian authors. In addition, we prioritized the social context in which these texts were produced, mainly, to do not ignore a priori information potentially significant for the interpretation of the texts. In the case of Machado de Assis, even that in many of the chronicles analyzed there is no direct reference to facts and events published in the newspapers of the time, we must say that the significant structure of their texts is in direct dialogue with the capability of the context in which it is inserted. Thus, we will discuss in this research: the genre within its social context, trying to understand the general idea that the brazilian critics linked the chronicles with something like a \"national genre\"; the formal analysis of the Gazeta de Holanda, suggesting the literary relevance of these texts, as isolated units and as set of texts; and, finally, pointing its significant relevance within the chronicler production.

O presente trabalho tem como objetivo empreender um estudo sobre as irmandades de pretos constituídas na região do Vale do Paraíba paulista durante o século XIX. Analisálas no contexto da escravidão em uma região de característica predominantemente rural e com forte presença escrava. Avaliar o seu alcance social no que tange aos irmãos cativos, a sua importância na construção de sociabilidades e estratégias de sobrevivência, propiciando aos pretos espaços de luta, resistência e integração com a sociedade mais ampla. Delinear as suas características próprias, distintas ou não daquelas existentes nas irmandades presentes nas áreas ditas urbanas. / This paper aims to undertake a study of the black brotherhoods formed in the Vale do Paraíba during the nineteenth century. Analyze them in the context of slavery in a region of predominantly rural character and strong presence slave. Assess their social impact in relation to others captives, their importance in the development of sociability and survival strategies, allowing the black spaces of struggle, resistance and integration with the wider society. Outline its own characteristics, different or not present in the kindred of those existing in urban areas said.

Este trabalho analisa a formação do Pensamento Econômico Brasileiro no século XIX. Um de seus objetivos é argumentar a favor da possibilidade da existência de pensamentos econômicos nacionais em detrimento da visão que entende a teoria econômica como universal. Além disso, sustentamos a ideia de que é possível, no caso do Brasil, abordar a questão a partir do século XIX, ao contrário de grande parte dos estudos sobre Pensamento Econômico Brasileiro, que concentram suas abordagens no século XX e na problemática da superação do subdesenvolvimento. Assim, discutimos a formação das ideias, do Brasil e suas interpretações, relacionando-as ao Pensamento Econômico Brasileiro e suas possibilidades de abordagem. Procuramos discutir teórica e metodologicamente a questão da universalidade e da nacionalidade na teoria econômica, negando a primeira e afirmando a segunda, propondo que faz sentido, além de ser fundamental, considerar a teoria econômica e seu pensamento a partir das especificidades de cada nação. Disso deriva o Pensamento Econômico Brasileiro, resultado de análises e, muitas vezes, de adaptações e da difusão de teorias produzidas em outros contextos, a partir de nossas particularidades e condição periférica, o que lhe confere originalidade e importância. A partir disso, argumentamos que ser factível abordar o tema tendo como referência o século XIX. O que nos leva a organizar, articular e sistematizar o que chamamos de Pensamento Econômico Brasileiro no século XIX, tendo como referências as análises e discussões do pensamento de José da Silva Lisboa, o Visconde de Cairu, o Ensino de Economia Política no Brasil durante o século XIX e o debate monetário entre papelistas e metalistas, enfatizando as ideias de Rodrigues Torres, Souza Franco e Mauá. / This work analizes the configuration of the Brazilian Economic Thought in the nineteenth century. One of its aims is to argue that the existence of national economic thoughts is possible, instead of the point of view that comprehends Economic Theory as universal. Besides, we sustain the idea that the Brazilian Economic Thought can be approached considering its history in the nineteenth century, unlike a great amount of published material on the matter. Such material has as focus the approach on the twentieth century and the overwhelming underdevelopment issue. Thus, we discuss the conception of ideas originated in Brazil and their interpretations, linking them to the Brazilian Economic Thought and its possibilities of approach. It is intended, here, to discuss the universality and nationality of the Economic Theory, in a theoretical and methodological way. The aim is to deny the first and affirm the second one, proposing as reasonable and essential to consider Economic Theory and its thought regarding the specifities of every nation. The Brazilian Economic Thought flows from such idea and it is the result of analysis and, for many times, the adjustments and diffusion of theories produced in other contexts, concerning our particularities and peripheral conditions, are the elements that give originality and importance to it. Taking this into consideration, we argue that the approach whose focus is the nineteenth century is achievable. This concept leads us to the organization, articulation and sistematization of what we call Brazilian Economic Though during the nineteenth century, based on references such as exerpts of thoughts and discussions from José da Silva Lisboa, the Viscount of Cairu, Political Economy teachings in Brazil, during the nineteenth century and the currency debate between papelistas and metalistas, emphasizing the ideas by Rodrigues Torres, Souza franco and Mauá.

Nesta dissertação, serão levantados na peça histórica O beijo do Infante alguns fatos relacionados às Grandes Navegações, a partir da memória de um velho marinheiro que enaltece os feitos de D. Henrique. O luto das famílias que ficaram em terra, as opiniões contrárias aos empreendimentos marítimos são analisados nas falas dos outros personagens e aproximados da crítica anti-expansionista, presente no episódio do Velho do Restelo. Na segunda peça, Triste viuvinha, serão levantadas as diversas leituras acerca da sociedade portuguesa, no final do século XIX. Essas considerações tomaram sentido a partir da análise das peças em conjunto com o suporte da história de Portugal, com os estudos da memória, da saudade e do saudosismo. Dessa forma, tem-se como objetivo interpretar as atribuições que o dramaturgo pretendeu enviar à comunidade quando leram ou assistiram as encenações / This dissertation studies some facts related to the Great Navigations, from the memory of an old sailor who praises the accomplishments of D. Henry, in the historic part of O beijo do Infante. The mourning of the families which stay ashore, opinions contrary to maritime enterprises are seen in the lines of the others characters.The second part deals with Triste viuvinha and studies various readings of the Portuguese society in the late nineteenth century. These considerations have taken place from the analysis of the pieces, along with the support of Portugal\'s history, of the studies of memory, longing and nostalgia. The objective has been to interpret the tasks which the playwright intended to convey to the community, when they read or watched the performances of these plays.