nÃo hà / Esta pesquisa busca analisar os elementos utilizados por Tim Burton para representar a Era Vitoriana atravÃs do figurino, meio de transporte e decoraÃÃo. Trabalharemos tambÃm com a traduÃÃo em imagens do nonsense em sua adaptaÃÃo fÃlmica Alice in Wonderland (2010). Nessa perspectiva, o presente trabalho resulta de um estudo comparativo entre o filme e a obra na qual se baseia, o cÃnone da literatura infantil Aliceâs Adventures in Wonderland de Lewis Carroll (1865). Para tanto, faremos um cotejo entre as duas obras à luz das teorias de Elizabeth Sewell (2015), Wim Tigges, (1988) e Susan Stewart (1980) que alicerÃam o gÃnero literÃrio nonsense. LanÃaremos mÃo da versÃo literÃria Lewis Carroll: The Complete Fully Illustrated Works de 1995 da editora Gramercy, contendo toda a obra de Lewis Carroll com ilustraÃÃes originais. Isso, a fim de viabilizar e facilitar a comparaÃÃo com as figuras presentes no texto literÃrio, quando necessÃrio, para investigar se houve aproximaÃÃo na representaÃÃo visual feita pelo diretor.

This thesis deals with the topic of the female characters in selected novels of Charles Dickens. The theoretical part is focused on describing the characteristic features of the women in the Victorian period. The practical part analyses the most important female characters according to the author's personal choice, shows similarities and differences among them and compares them with the society at that time.

No description available.

The purpose of this study is to catalogue the chairs and sofas of Old City Park that reflects the American Victorian style and to provide a brief historical account of the style's development. Old City Park in Dallas, Texas is the first major restoration of its kind in the Dallas area. Its aim is to provide an educational as well as historical center for the city. The restoration project began when Millermore, a Southern Colonial house built in 1862, was moved to Old City Park and an agreement was made between the Dallas Park Department and the Dallas County Heritage Society for its erection and restoration. the Society and the Park Department agreed ti create a heritage center in the Old City Park that will illustrate the growth and development of Dallas from 1841 to 1910. This catalogue was done to help justify the historical significance of the furnishing collections destined for use in the restoration of Old City Park. Organized according to substyles, the catalogue contains data collected on each entry and is illustrated by color slides. A brief account of the American Victorian Period precedes these entries.

No description available.

Abstract: Modern readers frequently perceive female characters in Victorian novels as insipid and inane, blaming the static portrayals on the angel in the house stereotype attributed to Coventry Patmore's poem of the same name. The stereotype does not accurately reflect the actual Victorian woman's life, however. Examining how the stereotype evolved and how the middle-class Mid-Victorian woman really lived provides insight into literary devices authors employed either to reinforce the angel ideal or to reconcile the ideal with the real. Wilkie Collins's portrayal of Marian Halcombe in The Woman in White features a dynamic female who has both androgynous characteristics and angel-in-the-house qualities, exemplifying one more paradox in a society riddled with contradictions.

Building on Penelope Summerfield’s argument that the end of the Victorian music hall in the early twentieth century signaled not “death” but a class-conscious evolution of the genre prompted by a “process of deliberate selection later made to look natural and inevitable,” this project examines the acts of censorship and resistance which characterised the final years of the Victorian music hall. Selecting the 1912 Royal Variety or Royal Command Performance as the “end” point of the genre, and limiting my focus to London music halls, this project examines competing aims of working, middle, and upper class participants: it suggests that the upper-class aspirations of the managers of London’s music halls, paired with middle-class moral desire for social control over the working-classes, eventually enforced by the London County Council in the mid-late nineteenth century, saw the rise of “respectability” in the genre while severing its ties to London’s working classes. Juxtaposing ephemeral evidence produced by or focused on London music halls in the late nineteenth century (leading up to and including the 1912 Royal Command Performance) with contemporary research on the classed nature of social control and censorship practices, this thesis intends to make the classed-struggle for power and ownership over the identity of London’s music halls evident. In doing so, the thesis alludes to the potential success of a third wave of music hall or the neo-music hall, to replace out-dated reflections of the music hall revival sparked by “The Good Old Days” and nostalgia post World War II. / Thesis / Master of Arts (MA) / This thesis pairs an analysis of meeting minutes, newspaper articles, song-sheets, and theatrical programmes from London’s Victorian music halls with contemporary music hall scholarship and studies of censorship to add to the discussion of the genre’s “end” or “death.” Using the work of Judith Butler, this thesis is divided into a study of how censorship transformed the music hall’s landscape, content, and culminating performance from its onset. As a result, this thesis argues that the controlling factors which shaped the genre led to what other music hall scholars have considered its end. By identifying the styles and modes of censorship used in the evolution of the English music hall genre, and in in-period methods of resistance to social control, this project suggests the radical potential of the music hall form as a contemporary style of theatre.

Many Nineteenth century writers experienced the withdrawal of God discussed by Miller in The Disappearance of God. Robert Browning and Charles Dickens present two examples of "Fra Lippo Lippi" and Great Expectations model effective alternatives to accepting God's absence. Conversely "Andrea del Sarto" accepts the void the other two heroes shun.

Made available in DSpace on 2016-04-25T20:20:40Z (GMT). No. of bitstreams: 1 Helena de Lima Corvini.pdf: 402435 bytes, checksum: c27b65909c893b98758526a82026bf2a (MD5) Previous issue date: 2012-05-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This present dissertation intends to accompany Oscar Wilde's steps through late Victorian London, the booming center of an already decadent Empire. At this time being, positivist and imperialist discourses explain the reality. Both the medical science and the law fight over the theme of homosexuality. In a time when the symbolic authority to name homosexual desire is being questioned, Wilde is brave enough to state the precedence of the artist in naming the world. His life and works cause exalted reactions. His excentricities outrage London's high-society, of which Wilde becomes the arbiter of elegance, despite being a complete outsider: Irish and homosexual. He lives Aestheticism and dandism to the fullest, he lives a purposedly gay lifestyle and excites the fear of exerting some sort of "corruption" or "influence" over young men of the British society. His writing, through the use of paradoxes and symbolic invertions, shows the underpinnings of the aparently neutral text of normative reality. In his judgment, he is turned into the scapegoat of a severely repressed and puritan society. His works have founded the camp sensibility and a decidedly homosexual aesthetics / A presente dissertação busca acompanhar os passos de Oscar Wilde pela Londres da era vitoriana tardia, o centro pujante de um Império já em decadência. Nesse momento, o status quo produz um discurso positivista e imperialista sobre o mundo. A homossexualidade é disputada pelos discursos da ciência médica e da jurisprudência. Numa época em que a autoridade simbólica para nomear o desejo homoerótico se encontra questionada, Wilde tem a ousadia de afirmar a primazia do artista em nomear o mundo. Com sua vida e sua obra, Wilde provoca reações exaltadas. Suas excentricidades chocam a alta sociedade londrina, da qual se torna o árbitro da elegância, apesar de sua posição de outsider: irlandês e homossexual. Vivendo plenamente os ideários do Esteticismo e do dandismo, tem um estilo de vida acintosamente gay e suscita o medo da "corrupção" e da "influência" sobre os homens jovens por parte da sociedade inglesa. As masculinidades estão sendo elaboradas nesse momento e há o medo de que os homens jovens deixem de ser viris cavalheiros para se tornarem afeminados dândis. Em seus escritos, por meio de paradoxos e inversões simbólicas, Wilde também mostra a costura por baixo do texto aparentemente neutro da realidade normativa. Em seu julgamento, é transformado em bode expiatório de uma sociedade severamente reprimida e puritana. Suas obras permanecem hoje como fundadoras da sensibilidade camp e de uma estética decididamente homossexual

Made available in DSpace on 2016-04-26T14:53:38Z (GMT). No. of bitstreams: 1 Helena de Lima Corvini.pdf: 402435 bytes, checksum: c27b65909c893b98758526a82026bf2a (MD5) Previous issue date: 2012-05-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This present dissertation intends to accompany Oscar Wilde's steps through late Victorian London, the booming center of an already decadent Empire. At this time being, positivist and imperialist discourses explain the reality. Both the medical science and the law fight over the theme of homosexuality. In a time when the symbolic authority to name homosexual desire is being questioned, Wilde is brave enough to state the precedence of the artist in naming the world. His life and works cause exalted reactions. His excentricities outrage London's high-society, of which Wilde becomes the arbiter of elegance, despite being a complete outsider: Irish and homosexual. He lives Aestheticism and dandism to the fullest, he lives a purposedly gay lifestyle and excites the fear of exerting some sort of "corruption" or "influence" over young men of the British society. His writing, through the use of paradoxes and symbolic invertions, shows the underpinnings of the aparently neutral text of normative reality. In his judgment, he is turned into the scapegoat of a severely repressed and puritan society. His works have founded the camp sensibility and a decidedly homosexual aesthetics / A presente dissertação busca acompanhar os passos de Oscar Wilde pela Londres da era vitoriana tardia, o centro pujante de um Império já em decadência. Nesse momento, o status quo produz um discurso positivista e imperialista sobre o mundo. A homossexualidade é disputada pelos discursos da ciência médica e da jurisprudência. Numa época em que a autoridade simbólica para nomear o desejo homoerótico se encontra questionada, Wilde tem a ousadia de afirmar a primazia do artista em nomear o mundo. Com sua vida e sua obra, Wilde provoca reações exaltadas. Suas excentricidades chocam a alta sociedade londrina, da qual se torna o árbitro da elegância, apesar de sua posição de outsider: irlandês e homossexual. Vivendo plenamente os ideários do Esteticismo e do dandismo, tem um estilo de vida acintosamente gay e suscita o medo da "corrupção" e da "influência" sobre os homens jovens por parte da sociedade inglesa. As masculinidades estão sendo elaboradas nesse momento e há o medo de que os homens jovens deixem de ser viris cavalheiros para se tornarem afeminados dândis. Em seus escritos, por meio de paradoxos e inversões simbólicas, Wilde também mostra a costura por baixo do texto aparentemente neutro da realidade normativa. Em seu julgamento, é transformado em bode expiatório de uma sociedade severamente reprimida e puritana. Suas obras permanecem hoje como fundadoras da sensibilidade camp e de uma estética decididamente homossexual