Diss.--Mainz--Johannes-Gutenberg-Universität, [199-]. / Bibliogr. p. 296-313. Index.

Este trabalho procura situar, em sua primeira parte, o teatro Trianon, inaugurado no Rio de Janeiro em 1915, na história do teatro brasileiro. No primeiro capítulo, apresenta o discurso do “teatro moderno brasileiro" e sua construção histórica. No segundo capítulo centra-se na inauguração do teatro Trianon e destaca o papel que efetivamente ocupou em nossa tradição teatral. No terceiro capítulo apresenta Leopoldo Fróes, maior ator nacional do período, que brilhou nos palcos do Trianon, e relata algumas histórias de sua vida profissional. Em sua segunda parte, traz artigos sobre o Teatro Trianon coletados em jornais cariocas durante o período de março de 1915 e fevereiro de 1921, e um quadro com todas as peças encenadas no período.

Este trabalho procura situar, em sua primeira parte, o teatro Trianon, inaugurado no Rio de Janeiro em 1915, na história do teatro brasileiro. No primeiro capítulo, apresenta o discurso do “teatro moderno brasileiro” e sua construção histórica. No segundo capítulo centra-se na inauguração do teatro Trianon e destaca o papel que efetivamente ocupou em nossa tradição teatral. No terceiro capítulo apresenta Leopoldo Fróes, maior ator nacional do período, que brilhou nos palcos do Trianon, e relata algumas histórias de sua vida profissional. Em sua segunda parte, traz artigos sobre o Teatro Trianon coletados em jornais cariocas durante o período de março de 1915 e fevereiro de 1921, e um quadro com todas as peças encenadas no período.

This thesis proposes to link certain consistent themes in the historiography of interwar and wartime Hungary. Hungary's inability to successfully resolve its minority problems led to the nation's dismemberment at Trianon in 1920 after World War I. This fostered a national Hungarian reaction against the Trianon settlement called the revisionist movement. This revisionist "Trianon syndrome" totally dominated Hungarian politics in the interwar period. As Hungary sought allies against the hated peace settlements of the Great War, Hungarian politics irrevocably tied the nation to the policies of Nazi Germany, and Hungary became nefariously assessed as "Hitler's last ally," which initially stained the nation's reputation after World War II. Although some historians have blamed the interwar Hungarian government for the calamity that followed Hungary's associations with Nazi Germany, this thesis proposes that there was little variation between what could have happened and what actually became the nation's fate in World War II. A new interpretation therefore becomes evident: the injustices of Trianon, Hungary's geopolitical position in the heart of Europe, and the nation's unfortunate orientation between the policies of Nazi Germany and Bolshevik Russia predestined the nation to its fate in World War II. There was no other choice for Hungarian policy in World War II but the Axis alliance. The historian of East Central Europe faces a formidable challenge in that the national histories of this region are often contradictory. Hungarian historiography is directly countered by the historical theories and propositions of its Czech, Serb, and Rumanian enemies. By historiographical analysis of the histories of Hungary, its enemies among the Successor States, and neutral sources, this thesis will demonstrate that many contemporary historians tend to support the primary theses of Hungarian historiography. Many of the arguments of the Hungarian interwar government are now generally supported by objective historians, while the historiographical suppositions of the Successor States at the Paris Peace Conference have become increasingly reduced to misinformation, falsification, exaggeration, and propaganda. The ignorance of the minority problems and ethnic history of East Central Europe led to an unjust settlement in 1919 and 1920, and by grossly favoring the victors over the vanquished, the Paris Peace Treaties greatly increased the probability of a second and even more terrible World War.

This interdisciplinary thesis belongs to Marie Antoinette studies. The contemporary dissonant commodification of the controversial historical character of the last Queen of France, detected at her former home, Petit Trianon, drives the course of the thesis research. Considering the complexity and controversy of the subject, the thesis seeks to make a contribution to extant scholarship by clarifying important modern history issues through a fresh approach: by using art history as an indicator in assessing the historical truth of the narrative of Petit Trianon, the residence identified as home to the last Queen of France. The thesis examines Petit Trianon and Marie Antoinette in the context of four major narratives - the historical, cinematic, architectural and heritage narratives - relevant to the contemporary heritage interpretation of Petit Trianon as well as its visitor perceptions. In addition to sourcing evidence for the arguments originating in art history information, the thesis relies on the data collection provided by a tailor-made survey for the topic, placing the results in the wider context of a hermeneutical interpretation of data found in either history or contemporary popular culture. The array of Marie Antoinette’s images detected by the analysis charts the commodification of this historical character at Petit Trianon: its production and consumption. It is through the assessment of this commodification that the present thesis reveals the misconceptions surrounding the historical character best known as Marie Antoinette. The thesis argues that the true role of the last Queen of France was successfully obscured through juxtaposition with her perception by the French collective memory. In other words, the perception of Marie Antoinette had subverted historical truth. Furthermore, the commodification of her historical character is perpetuated in an endless chain of representations fuelled by postmodern consumerism.