Made available in DSpace on 2014-06-11T19:32:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-03-01Bitstream added on 2014-06-13T20:03:52Z : No. of bitstreams: 1 barbosa_rc_dr_assis_parcial.pdf: 125860 bytes, checksum: 550870f74b0312a91ef7c0528c96879f (MD5) Bitstreams deleted on 2015-08-28T16:09:01Z: barbosa_rc_dr_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-08-28T16:10:02Z : No. of bitstreams: 1 000641254_20151231.pdf: 128485 bytes, checksum: 4ff5f025ae353b5b7814410496d06c74 (MD5) Bitstreams deleted on 2016-01-04T10:26:43Z: 000641254_20151231.pdf,. Added 1 bitstream(s) on 2016-01-04T10:28:34Z : No. of bitstreams: 1 000641254.pdf: 1243575 bytes, checksum: 8e0bca5f612405a468e43bc3331e1966 (MD5) Bitstreams deleted on 2017-01-02T15:03:56Z: 000641254.pdf,. Added 1 bitstream(s) on 2017-01-02T15:05:10Z : No. of bitstreams: 1 000641254.pdf: 49504527 bytes, checksum: 113151c3d6ff3c2410941b87c6faaab1 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O século XIX foi caracterizado pela historiografia ocidental como um momento de elaboração e definição de importantes conceitos científicos, pela busca por avanço tecnológico, assim como pelo crescimento literário e cultural. A retomada e a utilização de elementos da cultura greco-romana têm sido presença constante na formação e utilização desses conceitos. Alguns trabalhos populares vitorianos sugeriam que os romanos clássicos deixaram para os ingleses uma civilização que se dirigiu quase que diretamente para o estado moderno inglês. Partindo desse pressuposto, o objetivo deste trabalho é analisar como os vitorianos interpretaram a sexualidade romana, bem como, a conduziram no que diz respeito à construção de uma moral sexual no período, através da leitura das obras de Ovídio, poeta latino do século I d.C. que teve muita repercussão em seu momento histórico. Dentre suas obras, a Ars Amatoria se destaca, por pregar a ideia de que o prazer sexual entre homens e mulheres, para ser plenamente satisfatório, deveria ser mútuo, e a relação, livre e espontânea por ambas as partes. No entanto, Ovídio foi uma referência não assumida entre os vitorianos, justamente pelo fato de o século XIX estar marcado por uma necessidade de controle da conduta sexual. Esse controle insere-se no contexto de uma nação que vive um momento de mudanças devido à crescente industrialização e logo ao descontrole populacional desencadeado por fatores sociais, econômicos e imperialistas. A literatura vitoriana se caracteriza em parte pela produção de romances e biografias moralizantes, fato este que excluiria Ovídio do modelo de um herói que deveria ser exaltado. / The nineteenth century was characterized by Western historiography as a period of working up and definition of important scientific concepts, by search for technological advancement, as well as by literary and cultural growth. The recovery and the use of greek and roman culture elements have been constantly present in the formation and use of these concepts. Some popular Victorian works suggested that the Classic Romans left to the British a civilization which turned almost directly to the modern English state. Based on this purpose, this work aims to analyze how the Victorians interpreted the Roman sexuality, and how they led it concerning to the construction of a sexual morality in that period. For this, we resort to reading Ovid‟s works, Latin poet of the first century AD which had repercussions in his historical moment. Among his works, Ars Amatoria is detached, for preaching the idea that sexual pleasure for men and women, to be fully satisfactory, should be mutual, and the relationship, free and voluntary by both parties. However, Ovid was a reference not assumed among the Victorians, precisely because the nineteenth century is marked by a need to control sexual behavior. This control is inside the context of a nation that is experiencing a period of change due to increasing industrialization and soon to lack of controll of population triggered by social, economic and imperialist factors. The Victorian literature is characterized in part by the production of moralizing novels and biographies, a fact that excluded Ovid as a model of a hero which should be exalted.

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

Submitted by MANUELA GRATON MARCELLO null (manu.graton@gmail.com) on 2016-09-12T22:37:34Z No. of bitstreams: 1 Dissertação Manuela Graton Marcello.pdf: 1091648 bytes, checksum: 6ced89dc5ea0ec9cde217bc5c18c559e (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-09-14T20:04:20Z (GMT) No. of bitstreams: 1 marcello_mg_me_sjrp.pdf: 1091648 bytes, checksum: 6ced89dc5ea0ec9cde217bc5c18c559e (MD5) / Made available in DSpace on 2016-09-14T20:04:20Z (GMT). No. of bitstreams: 1 marcello_mg_me_sjrp.pdf: 1091648 bytes, checksum: 6ced89dc5ea0ec9cde217bc5c18c559e (MD5) Previous issue date: 2016-08-23 / Publicada em 1865 e considerada obra nonsense, Alice’s Adventures in Wonderland é o livro mais conhecido de Lewis Carroll (pseudônimo de Charles Lutwidge Dodgson). Escrito e publicado no período vitoriano, Alice apresenta um cenário repleto de fantasia onde a protagonista vive suas aventuras, que são vistas por muitos leitores como algo meramente fantasioso e desprovido de lógica. A partir de leituras relacionadas à sociedade vitoriana e ao discurso histórico, percebe-se que os acontecimentos e experiências experimentados pela garota são permeados por traços irônicos relativos à sociedade em que Alice vivia. A presente dissertação propõe, com base no estudo da narrativa histórica realizado por Hayden White, particularmente a questão do tropo da ironia, o entendimento de como o discurso no Alice é relacionado a implicações da ideologia da época. No âmbito da História da época e das técnicas discursivas utilizadas pelo autor o presente trabalho resgata alguns dos aspectos históricos ironizados por Carroll, utilizando não somente os estudos relacionados à linguagem e aos modos de elaboração de enredo de Hayden White (1994, 1995), mas também a história dos princípios educacionais da Inglaterra vitoriana, de Morais (2004). / Published in 1865 and considered a work nonsense, Alice’s Adventures in Wonderland is the best-known book by Lewis Carroll (pen-name of Charles Lutwidge Dodgson). Written and published in the Victorian period, Alice is set in a fantastic scenario where the protagonist’s adventures take place, and the book is seen by many readers as something merely fanciful and illogical. From readings related to Victorian society and historical discourse, it is clear that the events and experiences lived by the girl are permeated by ironic traces related to the society of Alice’s day. The present dissertation, based on Hayden White’s study of historical narrative, particularly the question of the trope of irony, proposes an understanding of how Carroll’s discourse in Alice is related to implications of the prevailing ideology. In the context of the history of the period and of the discursive techniques used by the author the present study examines some of the historical aspects satirised by Carroll, utilising not only Hayden White’s studies of language and modes of plot development (1994, 1995), but also Morais’s history of the principles of Victorian education, Morais (2004).

This thesis attempts a re-interpretation of late nineteenth-century agricultural depression, specifically in England, by complementing economic histories to suggest a hitherto neglected cultural component equally defined Victorian comprehension of both the phenomenon's geographic distribution and symbolic form. Adopting recent theoretical shifts in historical geography that validate the use of literary evidence in combination with economic data sources, the thesis claims depression was constructed from an accretion of mythologised layers of meaning deposited unconsciously or otherwise. These symbolic forms influenced spatial outcomes both in material and imaginary realms, and the nature of debate at varying levels from fanning debates to intellectual discourses. The thesis examines three distinct examples of the accumulation and distribution of depression symbolism and how each signification was acted upon by different discursive communities. Firstly, attention will be directed towards farming behaviour and the consumption of depression myth. Critically the thesis suggests within farming, depression emerged as a state of mind that inhibited the production of indigenous solutions, thus further propagating depression. Secondly, the thesis moves on to examine how the- technicalities of agrarian debate were seized by wider national debates, thus further codifying the depression with numerous social anxieties such as fin de siecle fears, national destabilisation and racial degeneration. Interestingly, icons of failure conferred upon depression within this higher level of discursive interaction are returned to the parochial level, further influencing farming behaviour. An additional implication suggests the geography of depression is heavily skewed towards a perceived threat to an invented homeland at a time of emergent national identities. Finally, the thesis considers an agrarian-led response to farm failure, the introduction of small holdings and the philosophy of la petite culture, as a potential solution. The theoretical basis of land reform campaigns envisaged a major overhaul of the failed rural order of patrician sponsored agriculture, yet were influenced by the accumulated mythology of depression. Thus farm failure as conceived within imaginary geographies proved as persuasive in interpreting depression as physical expressions of distress in real space.

ABSTRACT This essay concerns Christina Rossetti’s poem Goblin Market and its use in a Swedish upper secondary classroom. The purpose of this essay was to analyse the poem through a Marxist perspective and investigate how both the analysis of the poem and the poem itself could be used when teaching English to an upper secondary class. This was done in two stages; firstly by analysing the Victorian society’s effect on Rossetti’s poem through a Marxist criticism perspective and secondly by using a specific pedagogic method called the Socratic Dialogue method when analysing the use of the analysis and the poem in the classroom. When analysing the poem and how it has been affected by its contemporary society, it becomes clear that the poem provides a critique in several ways towards consumerism and social ideals of Victorian Britain. Concerning the use of the poem and the analysis in the upper secondary English classroom it is evident that the poem and the literary analysis combined provides an interesting view on Victorian Britain for the pupils to discuss while having Socratic seminars.

As one of the most well-known figures of the nineteenth century, John Stuart Mill was depicted extensively in journalism, pictures, life-writing and fiction. This thesis draws on a selection from these diverse and underexplored sources to offer a new perspective on Mill’s presence in Victorian cultural and emotional life. It shows how Mill figured in fierce debates about science and culture in the mid- to late-nineteenth century, and how ideas of Mill’s ‘femininity’ were used to both attack and commend him philosophically, politically and personally. Mill’s ‘Saint of Rationalism’ label continues to belie the extent to which he was associated with ideas of passion, sensitivity, tenderness, feeling, and emotion in the nineteenth century. This project explores how such terms were invoked in relation to Mill as a philosopher and politician, but also how they related to readers’ encounters with his works. More than any previous study, this thesis pays close attention to the interaction between verbal and visual depictions, and considers official images and caricatures of Mill alongside written accounts. Though much scholarship emphasises that Mill’s reputation went into decline after his death in 1873 (to be recovered in the late twentieth century), this thesis demonstrates the vitality and diversity of literary engagements with Mill in the late-nineteenth and early-twentieth centuries. It offers case studies of three authors – Thomas Hardy, Mona Caird and Olive Schreiner – and reads both the form and content of their fiction as involved in recognisably Millian experiments in living. Exploring the Millian concepts that figure in novels by Hardy, Caird and Schreiner not only expands the sense of the philosophical context to their writings, but underscores the continued relevance of Mill to discussions of self-development and education, free discussion and intellectual independence. Finally, this thesis suggests ways in which work on representations of Mill could be developed to gain further insight into the cultural history of the philosopher, into interactions between philosophy and literature, and into the nineteenth-century definitions of liberal culture that inform twenty-first century debates.

Despite consumption and retailing having grown to form a meta-narrative in historical enquiry, the village shop has largely escaped attention. Remarkably little is known about the long-term development of rural services, particularly shops, which are often ignored as marginal and undynamic. Moreover, whilst their recent decline has highlighted their perceived importance to the vitality of village life, the extent to which this is based on a romanticised or historically myopic image is unclear. This thesis seeks to rectify this lacuna by critically assessing the real and imagined role of the shop and shopkeeper within village life during the nineteenth century, in terms of supplying goods and services, integrating and representing community as a place and a network of people, and projecting images of the rural into the wider national consciousness. It adopts an innovative interdisciplinary approach and offers an integrated analysis of a wide range of visual, literary and historical sources: from paintings and serialised stories to account books and trade directories. Central to the argument is a sustained interrogation of the shifting historic construction of the village shop and its keeper, from exploitative and anti-rural to the epitome of a nostalgic and sentimentalised view of England’s rural communities. This is compared to the lived experience, as established from the historical record, quantitative analysis conducted at both village and county level. This synthetic approach has required the amalgamation of multiple perspectives: writer and artist; reader and consumer; observer and participant; patron and critic; shopkeeper, customer and villager. The thesis inputs into debates relating to the commercial history and cultural understanding of rural communities, the findings broadening our understanding of the history of rural retailers and the communities they served, shedding light on rural consumption and how changing attitudes to retailing, rural communities and the countryside were developing. It also contributes to other key areas of research including the notion of community (places and networks) and cultural representations of people, place, space and everyday life.

This thesis contends that the idea of productive sexual continence - that is, abstinence from sexual activity understood as a constructive practice - significantly shaped a branch of thought within and around the British Aesthetic Movement of the late nineteenth century. Recent critical work has stressed sexual liberation or permissiveness as among the values of Aestheticism, and has read Aesthetic representations of continent states as indications of repressed, sublimated, or coded sexuality. Reading these representations through period-specific sexual discourses, I reveal an alternative discursive tradition within Aestheticism, in which the idea of productive sexual continence formed an important part of thinking about the 'aesthetic life', or the life lived according to aesthetic principles. The enquiry privileges the place of sexual ideas and values in the context of the intellectual culture of the Aesthetic Movement, and of the late-Victorian period generally, rather than focusing (as much scholarship has done) upon the writers' 'real-life' sexual behaviour, desires or identities. Sexual continence was often understood in the period as conducive both to individual health and happiness, and to one's relationship with society. At a time when Aesthetic writers were often accused of endorsing excessive individualism and excessive sensuality, this idea facilitated the elaboration of an aesthetic ethic that could incorporate intense sensuous (but not sensual) pleasure and also responsible sociability. After an Introduction that outlines the scope and method of the thesis, Chapter One illustrates the ubiquity of this idea in medical writing (professional and popular) about the sexual body in the period, and within Classical and Christian intellectual discourses commonly drawn upon by Aesthetic authors. Four chapters follow in which roughly the same idea is shown to take a central role in representations of the 'aesthetic life' in the work of four major writers. Chapter Two posits that there were broadly two traditions of reading Walter Pater in the late nineteenth century: one in which he was taken as an apologist for a radical sensual individualism, and another that emphasized his advocacy of restraint and reserve as both stylistic and ethical principles. Informed by early readings in this latter tradition, I demonstrate the plausibility of an interpretation of Pater as carefully distinguishing between aesthetic sensuousness and sensuality. Pater also, I argue, can viably be read as assessing the ideal aesthetic life in terms of health and love, and representing sexual continence as compatible with both. Chapter Three looks at Lionel Johnson's incorporation of this continent ideal into his Christianized cultural humanism, evolved in his letters, poetry, and criticism. In the poetry resistance to temptation is described as a process by which potentially sensual experience is made safely sensuous, while in the letters and criticism can be found admiration for various continent states that reconcile individual aesthetic experience with social responsibility. In Chapter Four, the pre-1900 essays of Vernon Lee are shown to be consistently anti-sensual, while distinguishing this sensuality from a kind of continent sense experience identified as aesthetic, and associated with Pater. Lee also uses this aesthetic sensuousness as a model for ideal - i.e. disinterested and respectful - relations between people, and between people and things. Chapter Five examines the co-existence of this discourse with other, contradictory models of aesthetic living in the work of George Moore. Moore was generally pro-sensual, and considered 'sex' (in the abstract) to be integral to art; but he also associated the production of art with continent states. An alternative, sexually continent Paterian tradition can, I argue, help to account for these discordant moments. A Conclusion briefly indicates the further relevance of such thinking beyond the bounds of the Aesthetic Movement.

The late-Victorian and Edwardian period marked the zenith of urban park construction, spurred on in part by concerns about the physical and moral health of those living in the city. For the middle-class reformers at the time, public parks offered a space through which the unique and complex social issues of the era could be addressed and resolved. The public park was unique in that it made children visible on an unprecedented scale. Their role was fixed at the very heart of discourses on health; of the body, the mind, the nation, and the empire. This research explores these discussions of identity, and how that was negotiated by children in the very specific landscape of the public park. Previous work on the concept of childhood during this period has focused on an adult interpretation of the figure of the child, steeped in nostalgia and imbued with an adult fear and hope for the future. I argue that this ignores the lived experience of the child, and denies them agency in creating their own identity. This thesis uses a methodology inspired by current research in the emerging interdisciplinary field of childhood studies and drawing on the insights of material cultures studies to address this. The park space offers a unique opportunity to study lived experiences of childhood, designed as it was for use by the general public, with children firmly in mind. This work addresses the gaps in our knowledge and understanding of public urban parks in relation to children and explores the idea of a late-Victorian and Edwardian childhood identity as a complex and nuanced phenomenon. Throughout my thesis I use three parks as my primary case studies. These are Saltwell Park in Gateshead, Whitworth Park in Manchester, and Greenhead Park in Huddersfield. All three parks are situated in towns in the north of England that experienced dramatic change as a result of the industrial revolution and so reflect the anxieties present nationwide as a result of this change. By way of contrast I also consider parks in London and elsewhere to understand the uniqueness of these parks but also how they were situated within broader national debates over children and childhood. My investigation is broken down into three major thematic areas, each of which seeking to explore and analyse a particular aspect of childhood identity. The first of the three themes is the ‘Natural Child’. I explore the notion that children were thought of having a greater connection with, or affinity for, the natural world, and that they benefitted in particular from access to nature. The second area of research is the ‘Playful Child’. Here the idea that children were inherently playful, frivolous and could be shaped through correct play will be discussed. Finally, I investigate the ‘Empire Child’, exploring the notion of the child as the future of the Empire and the Nation, and the embodiment of concerns over racial superiority, military conquest and economic power. Within each of these sections I examine the way that this idea is expressed in the prescriptive and other literature, before addressing the way in which these notions could be articulated in the park landscape. The material culture of the park and the way in which the parks encouraged or discouraged children’s behaviour is analysed in relation to each of these themes. Significantly I also show how children engaged with, or rejected, notions of childhood identity, acknowledging that children were not just passively receiving instruction, but were actively involved in negotiating their own identity.

This study explores how Anglophone fiction from the mid-Victorian period to the outbreak of the First World War acted as an imaginative testing-ground for theories of the evolution of language. Debates about the past development and the future of language ranged beyond the scope of empirical data and into speculative narrative. Fiction offered to realize such narratives in detail, building imaginative worlds out of different theories of language evolution. In the process, it also often tested these theories, exposing their contradictions. The lack of clear boundaries between nature and culture in language studies of the period enabled fictions of language evolution to explore questions to which contemporary researchers have returned. To what extent is communication instinctive or conventional? How do social and biological factors interact in the production of meaning? The study traces two opposing tendencies of thought on language evolution, naming them language ‘progressivism’ and ‘vitalism’. Progressivism imagined speakers evolving away from involuntary, instinctive vocalizations to extert rational control over their discourse with mechanical precision. By contrast, language vitalism posited a mysterious, natural power in words which had weakened and fragmented with the rise of writing and industrial society. Certain genres of fiction lent themselves to exploration of these ideas, with utopian tales seeking to envision the end-goals of progressive theory. Representations of primitive language in imperial and prehistoric romances also promoted progressivism by depicting the instinctive, irrational speech from which ‘civilization’ was imagined as advancing away. Conversely, much historical and invasion fiction idealized a linguistic past when speech had expressed natural truth, and the authentic folk origins of its speakers. Both progressivism and vitalism were undermined through the late nineteenth century by developments in biology, which challenged claims of underlying stability in nature or purpose in change. Simultaneously, philologists increasingly argued that meaning was conventional, attacking models of semantic progress and degradation. In this context, a number of authors reconceptualized language in their fiction as a mixture of instinct and convention. These imaginative explorations of the borderlands between the social and biological in communication prefigured many of the concerns of twenty-first-century biosemiotics.