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This thesis is an exploration of the antiquarian materiality of Walter Scott’s fiction, considering his antiquarian practices alongside his fictional output to suggest that the two are vitally and intricately connected. It locates Scott’s antiquarian researches within the context of a contemporary antiquarianism increasingly concerned with safeguarding the relics, ruins, memories and manners of the national past. The aims of this thesis are threefold. First, it illuminates a more dedicated and dynamic participation in contemporary antiquarian practices than has previously been attributed to Scott, exploring a broad scope of material antiquarian activities in which he was engaged throughout his life. Second, it demonstrates how Scott’s literary output was shaped by his participation in aspects of material antiquarianism, populating his fictions with relics and remains, and recognising the potential of the material artefact as a productive site of narrative. Finally and most importantly, it argues that Scott’s fictions frequently act as textual extensions of his material practice. Scott’s poems and novels are in multifarious and dynamic ways actively involved in the processes of collection, exhibition, preservation, and conservation evident in Scott’s material practices. In so frequently and deliberately incorporating the material relics unearthed by his antiquarian practices into the corpus of his fiction, Scott’s literary works might be regarded as an additional space in which the material past might be preserved, conserved, exhibited, and enshrined. In this way, Scott’s literary works might therefore be considered as antiquarian repositories in which predominantly Scottish antiquities might be preserved.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-05-14T20:22:01Z No. of bitstreams: 1 Lenzi, Maria Isabel-Tese-2013.pdf: 4033999 bytes, checksum: 9254efbebba8b2a90c366a1433b53b3d (MD5) / Made available in DSpace on 2014-05-14T20:22:01Z (GMT). No. of bitstreams: 1 Lenzi, Maria Isabel-Tese-2013.pdf: 4033999 bytes, checksum: 9254efbebba8b2a90c366a1433b53b3d (MD5) Previous issue date: 2013 / A tese tem como objeto de estudo a historiografia de Gilberto Ferrez e como fonte principal os documentos de seu arquivo pessoal existente no Arquivo Nacional, além de suas obras publicadas e pareceres para o SPHAN. O trabalho se insere no campo dos estudos da história da escrita da história e caracteriza como a obra de Gilberto Ferrez exemplifica o antiquariado enquanto forma de construção do conhecimento histórico. Discute também de que maneira esse modelo se mantém atual, contrariando a tendência a vê-lo apenas enquanto uma expressão da Época Moderna. Para definição do antiquariado, nos valemos de conceitos desenvolvidos por Arnaldo Momigliano. Considerando que Gilberto Ferrez também foi um colecionador notório, a pesquisa evidencia de que modo a prática de colecionar se constituiu como a base de sua formação de pesquisador em história, definindo o documento de época, sobretudo imagens, como objeto de estudo principal da História. Ao lado disso, a partir de Michel de Certeau, discute-se o lugar social da construção de sua historiografia, demarcando sua participação no IHGB e no Conselho Consultivo do SPHAN e sua rede de colaboração, descrevendo um ambiente de sociabilidade intelectual marcada por laços pessoais. Em seguida, a tese discute suas práticas de pesquisa, explorando os trabalhos publicados, os pareceres produzidos para o SPHAN e a correspondência mantida com seus pares. É apresentada ainda uma interpretação de sua leitura da história do Brasil como memória da civilização europeia, associada a estrangeiros que viveram no Brasil. / This dissertation discusses Gilberto Ferrez’s historiography. It uses as its main source the documentation from his personal archives preserved at the Arquivo Nacional, and cite as well the works the published and the technical judgements he issued as counselor at SPHAN. This text belongs to the field of studies dealing with the history of historical writing, and considers the manner in which the work of Gilberto Ferrez exemplifies antiquarianism taken as a form of constructio9n of historical knowledge. This dissertation also seeks to discuss how that model remains current, differing from those who tend to consider it only as an expression of the Modern Age. In order to define antiquarianism, we made use of concepts developed by Arnaldo Momigliano. Given the fact that Gilberto Ferrez also was a well-known collector, our research attests how the practice of collecting turned out to provide the foundations for his formation as a researcher in the historical field, choosing historical documents – especially images – as history’s main object of study. Making use of Michel de Certeau’s work, the social place in which Ferrez’s historiography is constructed is also explored, outlining his participation at IHGB and on SPHAN’s advisory board as well as his network of collaborators, disclosing an atmosphere of intellectual sociability characterized by personal tyes. This thesis then proceeds, to discuss his practice in research work, considering the books he published, the technical opinions issued as a counselor for SPHAN and the correspondence he maintained with he peers. Finally this thesis interprets the way in which Ferrez viewed Brazil’s history as a memory of European civilization, closely linked for foreigners who played a relevant role while living in the country.

The writings of John Aubrey (1626-1697) cover a variety of subjects, including natural philosophy, mathematics, educational theory, biography, and magic, among others. His principal scholarly interest, however, was antiquarianism, the early modern discipline which embraced subjects such as archaeology, anthropology, and palaeography. This thesis is a study of Aubrey’s antiquarian writings within the context of the European Republic of Letters. It begins with a revisionary survey of antiquarianism in England, 1660-1720, and proceeds to map his personal contacts and library before studying each of his major antiquarian works in detail. Aubrey emerges from this as a product of his time, but somewhat unusual in his eclectic use of the antiquarian tradition and his blending of antiquarian and natural philosophical methodologies. He was receptive to the latest scholarship, regardless of its origin, and his antiquarian writings were never mere antiquarianism, but moved beyond technical scholarship to address wider issues concerning the origins of English culture, the evolution of religion, the antiquity of the earth, and the nature of human invention. Aubrey is now best known for his so-called Brief Lives, a series of biographies of contemporaries, and this thesis also includes a chapter studying the Lives as a form of antiquarianism. It argues that their keen observation and unconventional form are due to a mixture of antiquarian minuteness with traditions of Theophrastan character-writing and Tacitean historiography and that previous readings of them rely too heavily upon an outdated view of Aubrey as eccentric and peripheral to the larger intellectual movements of the century. This thesis concludes with a reassessment of Aubrey’s scholarship and an argument that the patterns revealed highlight the insufficiency of current theories of antiquarian development in the early modern period. It also argues for the “literary” quality of Aubrey’s work and emphasises the importance of reading his antiquarian texts within the context of early modern definitions of literature.

The popular image of Richard III remains, even today, deeply indebted to Shakespeare's portrayal; however, the century following the publication of Shakespeare's play in 1597 witnessed a fresh and vibrant re-evaluation of this character in a diverse range of texts from poems and history works to pamphlets. While many authors still perpetuated the negative Tudor image, original writings challenged this ingrained view and resulted in a more nuanced assessment of Richard III than the one pervading the sixteenth century. The present thesis investigates a range of seventeenth-century texts about Richard III which shed new light on the reception of Shakespeare's play, bring unique testimony to the contemporary understanding of tyranny, and capture specific social and political anxieties of the period: the end of the Tudor dynasty, the conflict between the Crown and Parliament culminating in the Civil Wars, and the execution of Charles I. These texts offer a fuller picture of the contemporary literary-political climate, while illuminating the role of historical memory in forming national consciousness, including the forging and dismantling of myths. The thesis analyses seventeenth-century responses to Richard III in historiography, legal and constitutional debates, poetry, plays, and the visual arts. The first two chapters demonstrate that historians and legal theorists during the Stuart reign and the Civil Wars proved unexpected advocates of Richard III. Challenging the traditional narrative of Tudor chronicles, they reappraised Richard's election by parliament and his moderate taxation policies and contrasted them with the controversial high-taxation programmes of the Stuarts. The third chapter offers a re-evaluation of Richard's portraits which betray hitherto unnoticed marks of ageism as a symbol of governmental inadequacy. The chapter explores visual art as a distinct incarnation of historical commentary. Chapter four examines the depictions of Richard's conscience in poems by Richard Niccols and Christopher Brooke. The final two chapters analyse two extensive poems on Richard III. John Beaumont's 'Bosworth Field' (1629) offers an original account of the battle and Richard III as a study of patriotism and leadership. Thomas Wincoll's Plantagenets Tragicall Story (1649) transforms Richard III into a vehicle of anti-Cromwellian political allegory in the time of the regicide. By reconstructing the life of Wincoll, a royalist poet from a puritan family, the chapter outlines the contradictory nexus of convictions which underlie Civil War literature. Overall, my thesis argues that Richard III evolved from the plainly negative tyrant of Tudor chronicles to a more complex figure, resulting in a more original and balanced portrayal of his character in the seventeenth century.

This thesis studies contemporary China's heritage boom phenomenon as experienced through the everyday lives of antiquarian communities (collectors, antique dealers etc.) and heritage professionals in and around Beijing. Aiming to extend our vision beyond heritage sites and museums, which constitute the traditional subject of anthropological studies of heritage, the thesis explores the ways in which 'heritage' and 'treasure' are lived by wider Chinese urban residents, constituting a total social fact. Challenging the popular assumption made by heritage scholars in which heritage phenomenon is considered a by-product of modernity's tendency to contrast the current progress with the past as a benchmark, this thesis argues that contemporary China's heritage fever is, however, a social symptom of utopian replacement, in which the idea of linear progress promised by modernisation has been challenged by a recent nationwide utopian project of returning to 'the prosperous age' ('shengshi') with its emphasis on cyclical 'rise and fall'. Treasures of China, as 'Fragments of the Prosperous Age', have thus emerged as powerful imaginaries and resources to open up a utopian vision of ideal society based on fantastic imaginations of China's past glories. Foregrounding the relations between heritage and utopianism, the thesis subsequently investigates the complex ways in which heritage activists from state systems and antiquarian communities contribute to the utopian project from different pathways, bifurcating China's heritage phenomenon into formal and informal parts. Chapters one and two demonstrate that state-led imaginings have changed from the evolutionary perspective to one pursuing the glory of the past under the new spell of 'civilisational revival'. Officials and activists associated with formal heritage deploy a variety of discursive and bureaucratic technologies to securitise, manage and utilise China's ancient treasures, so as to legitimise the current regime. On the other hand, Chapters three and four show that collectors associated with informal heritage encounter fragments of the past in a bodily and joyful way. In ordinary antiquarian practices which juxtapose the cultivation of moral self with the patination of antique objects, collectors pursue an archaic yet neoliberal custodianship which has altered the ethics and sense of moral responsibility in the domains of market exchange. These two factions in China's heritage world may differ from each other in many aspects, but Chapter five suggests both of them, in fact, conspire to reproduce ancient 'prosperous age' ('shengshi') in the present and for the future. The thesis concludes with a discussion about the extent to which Hegel's future-oriented conception of 'capitalised History' that structures the writing of national history has transformed into a 'capitalised Heritage' in contemporary China. 'Capitalised Heritage' works to recast the importance of the Chinese nation in the contemporary world, reaching an ultimate reconciliation with the spectre and material legacies of the past.

This paper examines the connection between art and nationalism in Chinese culture and asserts that the recent market boom and price jump in Chinese fine art reflects a concerted yet conflicted effort by the Chinese government and Chinese society as a whole to reconcile with a problematic twentieth-century past. The paper first delves into the historical practice of utilizing art to construct political narratives though Ming-Qing dynasties before examining how antiquarianism was utilized by Mao Zedong himself and by the modern day Chines Communist Party.

This thesis offers a reappraisal of the Sabine glosses through the analysis of thirty-nine words, all glossed explicitly as Sabine in ancient sources ranging from the first century BCE to the sixth century CE. The study of the Sabine glosses found in ancient grammarians and antiquarians goes back to the beginnings of Italic scholarship. Over time, two positions on the Sabine glosses have crystallised: (a) the Sabine glosses are evidence of a personal obsession of the Republican author Varro, in whose work many Sabine glosses survive, and (b) the Sabine glosses are true remnants of a single language of which little or no epigraphic evidence has survived. By using the neogrammarian observation that sound-change is regular and exceptionless, it is possible to ascertain whether or not the Sabine glosses are likely to be from the same language. This thesis finds that the sound-changes undergone by the Sabine glosses show no broad agreement. The developments are characteristic of different languages – Latin, Faliscan and various Sabellic languages – and many changes are mutually exclusive. This consequently throws doubt on the assertion that the Sabine glosses are all taken from one language. Instead, the glosses should be seen as part of a discourse of the relationships between Romans, Sabines and Sabellic-speaking peoples. During the Republic, Sabines were central to Roman myth, historiography and political rhetoric. As the Sabines were a distinct people in the Roman foundation myths, but were largely Romanised in the Republican present, they became a convenient bridge between Rome and the Sabellic-speaking peoples of Central and Southern Italy, to whom Greek and Roman writers ascribed myths tracing origin back to the Sabines. This continued into the Empire, when emperors such as Claudius and Vespasian utilised their (supposed) Sabine heritage to gain ideological capital. In light of this, the phenomenon of Sabine glosses cannot be seen as one man’s interest, but as a means of reflecting on Rome’s relations with Sabellic-speaking Italy.

In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London’s burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen’s and Gentlemen’s Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level of patronage by spearheading the Handel Commemoration Festival of 1784 and serving for many years as a Director of the Concert of Antient Music, the most prestigious concert series in Georgian Britain. His lasting legacy, however, was his bequest to Cambridge University of his extensive collection of art, books and music, as well as sufficient funds to establish the Fitzwilliam Museum. At the time of his death, Fitzwilliam’s collection of music was the best in the land, save that in the Royal Library. Thus, his collection is ideally suited for examination as proof of his activities, taste and connoisseurship. Moreover, the music in Fitzwilliam’s collection shows his participation in the contemporary musicological debate, evidenced by his advocacy for ancient music, his agreement with the views of Charles Avison and his support for the music of Domenico Scarlatti. On one side of this debate were proponents of learned, ancient music, such as Fitzwilliam and Avison, whose Essay on Musical Expression of 1752 was a milestone in musical criticism. On the other side of the discussion were advocates for the more modern, “classical” style and genres, led by historian Charles Burney.

The essay deals with the early archaeology in Sweden during the 17th and 18th centuries in generally and with Henric Jacob Sivers excavations at Skrickerum in particularly. In the medieval, Christian Sweden, the relics from the antiquity was considered merely as symbols of the heathen past  but with the foundation of Sweden as a united kingdom they awoke interest as symbols for the nation and were used as tools in the nation building. The interpretation of the antiquity and the ancient relics where done with the Bible and the ancient writers of Greece and Rome as guides and sources. With the new scientific approach, inspired by the Enlightenment, the Swedish antiquity and its relics gained other meanings and understandings and during the early 19th century Swedish archaeology developed into a scientific subject. The aim of this essay is to retain a deeper understanding for how Swedish antiquity was looked upon during the period between the Renaissance and 1800 among scholars of the time. What similarities and differences can be spotted in a comparison with archaeology of today? Due to this, the essay concentrate on a few, selected scholars from each century and takes a look at questions like; what was considered antiquities, how where they interpreted and what part did the Christianity, and later on the Enlightenment, play in the view upon Sweden´s ancient past. In order to find answers on a broader and deeper level, the essay makes a detailed study of excavations performed by Henric Jacob Sivers at Skrickerum, Östergötland in 1757. Sivers, who was a priest and a scholar born and educated in Germany, was inspired by the new scientific view and very interested in the ancient past, he collected antiques and called himself “fornälskare”, antique lover. The excavations at Skrickerum took place during two days in June 1757 and Sivers documented the work rather thoroughly in his publication Berättelse om några nyligen i Tryserums Sokn, Tiust Härad och Calmare Län, öpnade hedniska Grafhögar och the theruti fundna Saker (Sivers 1758). How were these excavations conducted and how did they differ from excavations of today, in theoretical, methodical and conductional aspects? Sivers’ publication will give the answers and help us get a glimpse of Swedish archaeology in its early state.