This study examines a small body of 19th-century American literature about the Antarctic: Adam Seaborn's (pseud.) Symzonia (1820), Edgar Allan Poe's "MS. Found in a Bottle" (1833) and The Narrative of Arthur Gordon Pym (1838), Peter Prospero's (pseud.) "The Atlantis" (1838-39), and James Fenimore Cooper's The Monikins (1835) and The Sea Lions (1849). These were written in a transitional phase in the history of the Antarctic. At the start of the period, the region was almost completely unknown. Towards the end of the period, however, the region had been mapped in its essence, and the existence of an Antarctic continent had been verified. For complex reasons, the region came into cultural focus in the U.S. during the 1820s to 40s, culminating in the first major American scientific expedition in 1838-42 to explore the South Seas and the Antarctic. The study is primarily historical, tracing ideas to their historical contexts in order to determine what these authors used the unknown space of the Antarctic for. These texts were written in imaginative response to contemporary notions of the Antarctic, which is reflected in the mode of representation. The literature is in the mode of speculative fiction-most of texts imagining a tropical, inhabited Antarctic-up until the region is explored, at which point it turns to realism. The texts fall into three categories: the utopian, liminal, and realistic. The utopian texts-Symzonia, The Monikins, and "The Atlantis"-are works of social criticism, using the blank space of the Antarctic to treat a diverse range of issues, including politics, evolutionary theories, race, and gender. Poe's "MS" and Pym represent the liminal category; they dramatize the anticipation of an imminent Antarctic discovery, narrating up to a point of revelation, only to stop short. The Sea Lions is the only realistic text, coming after the Antarctic is explored. Here the knowledge of the Antarctic has solidified into the environment we know today, but with religiously symbolical overtones.

Made available in DSpace on 2016-04-26T20:48:51Z (GMT). No. of bitstreams: 1 Alexandre Flavio Silva Andrada.pdf: 670430 bytes, checksum: d317a9a7393cab2f5438d96670a8d051 (MD5) Previous issue date: 2008-05-20 / The present work aims to provide a critique to the Walrasian approach in Macroeconomics. The debate between Keynesians (Keynes, New Keynesians and Post-Keynesians) and Neoclassical (Monetarists and New Classical) about method, expectations, and equilibrium is presented. Trying so to refuse Lucas s critique, which says that Keynes did not respect economic analyze straightjacket , i.e., selfish agents and clear markets. About unemployment a critical revision of General Theory s second chapter is made as well the concepts of natural rate and involuntary unemployment. The conclusions are: do not seem that Friedman s instrumentalist approach is the correct referential to Macroeconomics, rational expectations hypothesis do not explain men effective behavior, continuous market clear is tautological, and involuntary unemployment referred to a foreign economic agent individual characteristics situation. It is a Macroeconomic unemployment. At last while Microeconomics can avoid historicists considerations, Macroeconomics can not. Macroeconomics issues are related to historical moment, stage of institutions development and to a more human economic agent behavior / O presente trabalho visa apresentar uma crítica à abordagem walrasiana na Macroeconomia. Apresenta-se o debate entre Keynesianos (Keynes, Novos Keynesianos e Pós Keynesianos) e Neoclássicos (Monetaristas e Novos Clássicos) sobre o método, as expectativas e o equilíbrio na análise econômica. Tenta-se, assim, refutar a crítica de Lucas segundo a qual Keynes não teria respeitado a camisa-de-força da economia, isto é, agentes egoístas e equilíbrio nos mercados. A respeito do desemprego, faz-se uma revisão crítica do segundo capítulo da Teoria Geral, bem como dos conceitos de taxa natural de desemprego e desemprego involuntário. As conclusões obtidas são as seguintes: não parece ser correta a abordagem instrumentalista de Friedman como referência para a Macroeconomia, a hipótese de expectativas racionais pouco diz sobre o comportamento real dos homens, o equilíbrio contínuo dos mercados é tautológico e o desemprego involuntário diz respeito a uma situação alheia às características individuais do agente econômico. É um desemprego macroeconômico. Por fim, enquanto a microeconomia pode abster-se de considerações historicistas, a Macroeconomia não o pode. As questões Macroeconômicas estão ligadas ao momento histórico, ao grau de desenvolvimento das instituições e ao comportamento mais humano do homem econômico

Submitted by Rosana Moreira (rosanapsm@outlook.com) on 2018-10-24T18:58:39Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_PaisagemEspolioArthur.pdf: 8830121 bytes, checksum: 7b226ff0214219026f9c1fa53dee6058 (MD5) / Approved for entry into archive by Edisangela Bastos (edisangela@ufpa.br) on 2018-10-25T12:28:49Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_PaisagemEspolioArthur.pdf: 8830121 bytes, checksum: 7b226ff0214219026f9c1fa53dee6058 (MD5) / Made available in DSpace on 2018-10-25T12:28:49Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese_PaisagemEspolioArthur.pdf: 8830121 bytes, checksum: 7b226ff0214219026f9c1fa53dee6058 (MD5) Previous issue date: 2018-04-19 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho se propõe a examinar o processo de constituição / atuação dos pintores do Grupo do Utinga e o papel por eles desempenhado no cenário cultural de Belém, nos anos 40 e 50 do século passado. Determinante na condução deste processo, o pintor Arthur Frazão assume posição central nesta discussão. Além de documentos oficiais do Governo do Estado do Pará, jornais e revistas de circulação nacional publicados no século XX, os arquivos privados dos artistas Arthur Frazão e Ruy Meira constituem-se como fontes primárias para esta pesquisa. A arte, a identidade e narrativa visual na Amazônia também serão observadas a partir das obras deste grupo de artistas. / This work aims to analyze the creation of the "Utinga Group" and the role played by its painters in the cultural scenario of Belém during the 1940's and 1950's. A leading figure in that process, artist Arthur Frazão takes a central place in this discussion. The primary sources of this research are official documents from the archives of the State of Pará, coetaneous national newspapers and magazines and Arthur Frazão’s and Ruy Meira’s private archives. Amazonian art, identity and visual narrative are also examined through the works of this group of artists.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-04-19T17:44:42Z No. of bitstreams: 1 DIS_ISRAEL_MENDES_COMPLETO.pdf: 2626772 bytes, checksum: 4871148c45e94b1a05d0e829a5947170 (MD5) / Made available in DSpace on 2016-04-19T17:44:42Z (GMT). No. of bitstreams: 1 DIS_ISRAEL_MENDES_COMPLETO.pdf: 2626772 bytes, checksum: 4871148c45e94b1a05d0e829a5947170 (MD5) Previous issue date: 2016-01-12 / This work promotes a search of the structural relationship between poetry and play. Thus, a theoretical and literary pathway was mandatory. French Symbolism was the analytical starting point of this study, especially in the figures of Baudelaire, Rimbaud and Mallarm?. This last one, taken as the apex of the playful and experimental poetry of his time, was the greatest pillar of this approach. In addition, a playful pathway was also required, blending concepts and theories sourced from the game field. This search yet showcased the investigation of compelling issues such as hypertextuality, co-authorship and rewriting. / O presente trabalho promove uma busca pela rela??o estrutural entre a poesia e os jogos. Para tanto, um percurso te?rico-liter?rio se fez necess?rio. O Simbolismo Franc?s foi o ponto de partida anal?tico deste estudo, em especial nas figuras de Baudelaire, Rimbaud e Mallarm?. Este ?ltimo, enquanto ?pice da poesia l?dica e experimental da sua ?poca, foi o grande pilar desta abordagem. Al?m disso, tamb?m foi necess?rio um percurso l?dico, fazendo uso de conceitos e teorias pertencentes ao universo dos jogos. Esta busca permitiu ainda investigar quest?es intrigantes como hipertextualidade, co-autoria e reescritura.

This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.

El objeto de esta investigación es analizar la definición del arte propuesta por Arthur Danto y evaluar su validez. Es notable que la propuesta de Danto dependa estrechamente de la aceptación del experimento de los indiscernibles perceptivos. Por ello he analizado la concepción de la percepción implícita en la formulación del experimento y he tratado de caracterizar la validez del experimento teniendo en cuenta las posibles concepciones que son compatibles con el. Asimismo he analizado la noción de "mundo del arte" propuesta por Danto como condición necesaria para el arte y, finalmente, he abordado su definición del arte -que consta de dos condiciones: "ser sobre algo" y "encarnar un significado". La definición resulta insuficiente pues no es obvio que todas las obras sean sobre algo en el mismo sentido ni tampoco que todas "encarnen un significado". / The subject matter of this dissertation is Arthur Danto's art's definition, whose validity I have tried to assess. It is noticeable that Danto's proposal strongly depends upon the acceptance of the experiment of perceptual indiscernible objects that nevertheless have a different ontological status. For this reason, I have analyzed the perceptual view implied by the formulation of the experiment and I have also tried to characterize other compatibles perceptual views that are compatible with the experiment in order to grant its validity. I have analyzed the notion of "artworld" which was put forward by Danto as a necessary condition for art and, finally, I have assessed his art's definition in terms of "aboutness" and "embodiment". This definition is not sufficient to cover all the objects we usually classify as art for it is not at all obvious that every object satisfy them.

“The Proletarian Prometheus: Socialism, Ethnicity, and Revolution at the Lakehead, 1900-1935” is an analysis of the various socialist organizations operating at the Canadian Lakehead (comprised of the twin cities of Port Arthur and Fort William, Ontario, now the present-day City of Thunder Bay, and their vicinity) during the first 35 years of the twentieth century. It contends that the circumstances and actions of Lakehead labour, especially those related to ideology, ethnicity, and personality, worked simultaneously to empower and to fetter workers in their struggles against the shackles of capitalism. The twentieth-century Lakehead never lacked for a population of enthusiastic, energetic and talented left-wingers. Yet, throughout this period the movement never truly solidified and took hold. Socialist organizations, organizers and organs came and went, leaving behind them an enduring legacy, yet paradoxically the sum of their efforts was cumulatively less than the immense sacrifices and energies they had poured into them. Between 1900 and 1935, the region's working-class politics was shaped by the interaction of ideas drawn from the much larger North Atlantic socialist world with the particularities of Lakehead society and culture. International frameworks of analysis and activism were of necessity reshaped and revised in a local context in which ethnic divisions complicated and even undermined the class identities upon which so many radical dreams and ambitions rested. / Thesis (Ph.D, History) -- Queen's University, 2007-12-14 20:26:40.652

The Emma Lake Artists’ Workshops from the 1950s to the 1970s were a series of professional workshops held in northern Saskatchewan, under the auspices of the University of Saskatchewan and Regina College, for the creation and advancement of a dynamic arts culture in the province and as a way for the individual artists there to overcome feelings of isolation from the Canadian cultural hubs. Throughout the course of the Workshops provincial and federal attitudes, and cultural policies and perspectives on cultural nation building exerted an overarching influence in the shaping of the Workshops. The Workshops drew the attention and support of many established celebrity U.S. artists and it is due to their presence and influence at the Workshops that it is possible to examine the provincial and national response to perceived U.S. cultural imperialism. The founding and maturity of the Workshops is a case study of the ways in which the politics of Canadian nationalism and the effects of U.S. cultural imperialism in the late nineteenth and early twentieth centuries interacted to impact the growth and development of art communities across Canada. The Workshops serve as an example of the effects, on a regional art movement, of Canada’s relationship with the United States, and Canadian response to the perceived threat of cultural imperialism from the U.S. Because the Workshops were a microcosm of cultural production, involving artists who, aside from their participation at Emma Lake, were often fairly isolated from the ebb and flow of art currents inherent to larger cultural centers, the Workshops are also an important case study of the effects of national and provincial policy on the regional arts. The Workshops’ history reveals that ideas of nationalism, regionalism and continentalism can come together to have a profound and unique effect on the development of an art community. / Thesis (Master, Art History) -- Queen's University, 2011-12-20 17:29:24.88

De nos jours, le motif de la " crise de l'éducation " est récurrent dans les discussions publiques sur le système éducatif, et ce des deux côtés de l'Atlantique. Aux Etats-Unis, c'est au lendemain de la seconde guerre mondiale qu'il prend une tournure nouvelle. Jusqu'alors on avait parlé de " crise " pour désigner les difficultés matérielles et financières du système, mais l'expression prend une autre signification après 1945, tandis que s'installe un débat entre les partisans de l'éducation moderne, modèle inspiré par les principes de l'éducation progressiste, et les défenseurs d'une éducation humaniste, qui dénoncent une dégradation des exigences intellectuelles et des résultats de l'enseignement public. Cette étude se propose de restituer les termes de ce débat et d'analyser ses répercussions sur les dynamiques du système éducatif américain. La confrontation entre deux philosophies de l'éducation ne se limite pas à la sphère des professionnels et on en retrouve les échos dans la presse de grande diffusion comme dans certains films hollywoodiens. Alors que les États-Unis font face à une crise de confiance après le lancement réussi du satellite Spoutnik, le gouvernement américain désigne le système éducatif comme maillon faible en s'appuyant sur les critiques formulées tout au long des années 1950 par les adversaires de l'éducation moderne. Le télescopage du débat sur l'éducation et des logiques de Guerre froide ouvre alors la voie à une intervention fédérale inédite dans le domaine de l'éducation, avec l'adoption du National Defense Education Act de 1958.

Four of the composers of the Second New England School, Amy Cheney Beach (1867-1944), Arthur Foote (1853-1937), George Whitefield Chadwick (1854-1931), and Horatio Parker (1863-1919), led the flowering of America's art music in the late nineteenth and early twentieth centuries. This study focused on these composers' partsongs that contain an original piano part and also on one chamber work with piano by each of them. The role of pianism within these works was the primary topic of this study, and the piano's contribution to the partsongs and the chamber works was compared and contrasted.The study centered on the four composers' compositional techniques, and the relationship between the voices or strings to the piano was identified. It also revealed the technical demands placed on the pianist. Each partsong or chamber work movement was first briefly analyzed and then suggestions to the pianist/ensemble were made, which were based on the analysis, and that intended to draw the pianist's attention to the most relevant concerns that he will face while preparing this music. The works that I included in this study are from the first period of American history in which American composers wrote significant pieces of art music. The compositions from this turning point in American history reveal a fascinating mix between German Romantic, Modernist, and "American" elements. I found both the partsongs and chamber pieces to be worthy of study, and the large body of works of these four composers, in my opinion, deserves greater exposure.The piano writing, in both their partsongs and chamber works, is quite accomplished and reveals just how gifted these four composers were as pianists. The varied piano textures and the technical demands for the pianist create challenging, yet enjoyable interesting, piano parts, which serve both the partsongs and chamber pieces very well. The piano writing of these four composers' chamber pieces is more complex than that of their partsongs, but both genres contain effective piano parts. Contemporary audiences of classical music would find the piano writing of these works (not to mention the works in their entirety) to be very worthwhile. / School of Music