Thesis (Ph. D.)--Illinois State University, 1981. / Title from title page screen, viewed March 22, 2005. Dissertation Committee: John McCarthy (chair), Joan Smith, Dale Jackson, Vivian Jackson, John Brickell. Includes bibliographical references (leaves 108-113) and abstract. Also available in print.

Dans le contexte de la Belle Époque, nombreux sont les romanciers qui s’attachent à représenter des « groupes », de forme et d’ampleur très diverses. Cette représentation du groupe engage des enjeux d’ordre moral mais aussi, et plus encore, des enjeux politiques. À travers le groupe, la question posée est celle de l’individu dans son rapport avec la société, voire avec la Nation. Dans cette période dominée par une volonté générale de réagir contre la décadence, cette question est celle de l’individualisme, analysé et présenté comme une maladie et comme le facteur même de la décomposition du corps social par Bourget, dès 1881, dans sa « Théorie de la décadence ». La question est d’ordre moral dans la mesure où elle concerne les devoirs de l’individu ; elle est aussi d’ordre politique, dans la mesure où elle concerne la bonne marche de la société, voire la bonne santé de la Nation. Elle est enfin d’ordre esthétique, à la fois parce que la problématique de la décadence de l’œuvre littéraire et celle de la décadence du corps social sont indissociables, suivant la vision organiciste de Bourget dans sa « Théorie de la décadence », et parce que le rapport entre l’individu et le groupe, en renvoyant au lien qui unit le romancier à son public, mais aussi à des groupes littéraires ou des réseaux d’influence, engage une certaine vision de la littérature. Cette thèse vise ainsi rendre compte de ces réflexions à partir, non pas des prises de position des uns et des autres, mais bien de la représentation du groupe proposée à l’intérieur même des fictions romanesques. Dans cette perspective, la réflexion se focalisera plus particulièrement sur quelques romans qui ont en commun de représenter différentes formes de groupes, notamment Paludes et Les Caves du Vatican d’André Gide, Les Déracinés de Maurice Barrès, L’Étape de Paul Bourget, Le Soleil des morts de Camille Mauclair et L’Enfant chargé de chaînes de François Mauriac / In the context of the Belle Epoque, many novelists who cling to represent "groups", shape and diverse scope. This group representation incurs moral issues but also, and more, political issues. Across the Group, the question is that of the individual in his relationship with the company or with the Nation. In this period dominated by a general will to react against the decay, this question is that of individualism, analyzed and presented as a disease and as the same factor of the decomposition of the social body by Bourget, in 1881, in his "Theory decadence. " The question is moral insofar as it relates to the duties of the individual; it is also political, insofar as it relates to the proper functioning of society or the health of the nation. Finally, it is aesthetic, both because the problem of the decline of the literary work and the decadence of society are inseparable, according to the organismic vision Bourget in his "Theory of decadence", and because the relationship between the individual and the group, referring to the link between the novelist to his audience, but also to literary groups or networks of influence, committed a certain vision of literature. This thesis aims to reflect these thoughts from, not the stances of each other, but the representation of the group proposed to the inside of romantic fictions. In this perspective, reflection will focus particularly on some novels that share represent different forms of groups, including Paludes and Les Caves du Vatican Gide, The Uprooted of Maurice Barres, The Step of Paul Bourget, Le Sun dead Mauclair Camille and The Child in chains of François Mauriac

Tese (doutorado)—Universidade de Brasília, Instituto de Ciências Humanas, Programa de Pós-Graduação em História, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-03-29T16:14:38Z No. of bitstreams: 1 2017_LilianeCarneirodosSantosFerreira.pdf: 8586836 bytes, checksum: bd59204b8f9c975a8a14bd13aedc933b (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-04-19T17:38:59Z (GMT) No. of bitstreams: 1 2017_LilianeCarneirodosSantosFerreira.pdf: 8586836 bytes, checksum: bd59204b8f9c975a8a14bd13aedc933b (MD5) / Made available in DSpace on 2018-04-19T17:38:59Z (GMT). No. of bitstreams: 1 2017_LilianeCarneirodosSantosFerreira.pdf: 8586836 bytes, checksum: bd59204b8f9c975a8a14bd13aedc933b (MD5) Previous issue date: 2018-04-19 / A presente tese de doutorado objetivou estudar, tomando como referencial teórico os conceitos trabalhados no âmbito da História Cultural, a ópera no Rio de Janeiro no período entre 1889 e 1914, compreendido pelo que se convencionou denominar Belle Époque, enfatizando seu período republicano. A partir da compilação de informações relativas às apresentações de companhias líricas, companhias de teatro musicado de outros gêneros que traziam óperas em seus repertórios, e também de alguns espetáculos promovidos por iniciativas amadoras, buscamos compreender o espaço da ópera dentre as atividades artísticas que ocorriam na cidade. Ainda tomando as críticas, crônicas e textos opinativos de intelectuais ligados à crítica de arte nos periódicos da época, intentamos perceber os múltiplos significados a ela associados, de maneira a procurar fornecer algumas explicações para a realização de tantas temporadas líricas em um período em que o Brasil, especialmente sua capital, passava por crises que seriam, a princípio, empecilhos para a promoção de espetáculos caros. Percebemos que, a depender dos grupos de atores envolvidos – empresários, artistas, público, críticos – havia sentidos específicos atribuídos à ópera, os quais procuramos destacar e analisar, compreendendo ainda a importância desse gênero músico-teatral para a difusão de projetos civilizatórios que então tomavam forma naquele momento, e que tinham como veículo privilegiado a imprensa. / This thesis aims to study, taking as a theoretical reference the concepts adopted by Cultural History, the opera in Rio de Janeiro between 1889 and 1914, understood by what is known as belle époque, emphasizing its republican period. From the compilation of information about the performances of opera companies, music theater companies from other genres that brought operas in their repertoires, and also from some concerts promoted by amateur initiatives, we sought to understand the space of opera among the artistic activities that took place in the City. Taking criticisms, chronicles and opinion pieces of intellectuals linked to art review in the periodicals of the time, we try to perceive the multiple meanings associated with it, in order to provide some explanations for the accomplishment of so many lyrical seasons in a period in which Brazil, especially its capital, was experiencing crises that were, at first, obstacles to the promotion of expensive recitals. We perceive that depending on the groups of actors involved - entrepreneurs, artists, audiences, critics - there were specific senses attributed to the opera, which we tried to highlight and analyze, also understanding the importance of this musical-theatrical genre for the diffusion of civilizational projects that took shape at that moment, and had the press as a prime vehicle.

Submitted by ALEXANDRE JOSÉ DE ABREU null (alexandreabreu20@hotmail.com) on 2017-05-01T15:42:15Z No. of bitstreams: 1 Tese.pdf: 90972973 bytes, checksum: 670ec54a208cb3bbaf22f5a4e2a76fa4 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-05-03T20:00:47Z (GMT) No. of bitstreams: 1 abreu_aj_dr_ia.pdf: 90972973 bytes, checksum: 670ec54a208cb3bbaf22f5a4e2a76fa4 (MD5) / Made available in DSpace on 2017-05-03T20:00:47Z (GMT). No. of bitstreams: 1 abreu_aj_dr_ia.pdf: 90972973 bytes, checksum: 670ec54a208cb3bbaf22f5a4e2a76fa4 (MD5) Previous issue date: 2017-03-15 / Inicialmente, a tese procura demonstrar a presença da belle époque na cidade de Campinas em finais do século XIX. Embora sem todos os seus fundamentos, o fenômeno se apresenta por meio de sua reurbanização, eventos culturais e instituições diversas. Neste sentido, o estudo da trajetória de José Pedro de Sant’Anna Gomes se insere, confirmando o impacto da belle époque sobre uma periodização distinta. Procurou-se reunir o conhecimento mais recente sobre Sant’Anna Gomes, assim como, paralelos possíveis com os modelos disponíveis no período. Por fim, apresenta-se o estudo de duas de suas obras instrínsicamente relacionadas com a sociedade campineira da época e seus novos paradigmas. / This thesis seeks to demonstrate the presence of “belle époque” in the city of Campinas at the end of the 19th century. Although lacking all its foundations, the phenomenon presents itself through redevelopment, cultural events, and diverse institutions. In this context, the study of the trajectory of José Pedro de Sant'Anna Gomes is inserted, confirming the impact of belle époque on a specific periodization. We gather the most recent knowledge about Sant'Anna Gomes, as well as possible parallels with the models available in the period. Finally, we present the study of two of his works intrinsically related to the Campinas society of the time and its new paradigms.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Publiés en volumes chez l’ancienne librairie Furne entre 1894 et 1917, les « Voyages excentriques » de Paul d’Ivoi constituent une collection prisée par la jeunesse à la Belle Epoque. Ces romans d’aventures inscrits dans la lignée de Jules Verne sont très représentatifs de leur temps, avec des intrigues enracinées dans un contexte politique proche du moment de leur écriture. Soucieux de contribuer à la formation patriotique et morale de leurs lecteurs, ils s’appliquent à soutenir l’œuvre coloniale de la France, à promouvoir les valeurs de la République française et à célébrer le rayonnement du pays à travers le monde. L’action, qui présente souvent un enjeu diplomatique international, suscite le voyage en terre étrangère et la rencontre avec d’autres nationalités dont la vision est le reflet des relations amicales ou conflictuelles que la France entretient avec elles. Mais de la réalité, les « Voyages excentriques » basculent dans la fiction en usant des diverses ressources que leur offre le genre du roman d’aventures alors à son apogée. L’exotisme et la fantaisie scientifique sont les deux thèmes les plus représentés, parfois agrémentés d’une touche policière ou d’espionnage. Dans sa pratique du roman d’aventures, Paul d’Ivoi cultive l’art de la variation par rapport à ses prédécesseurs, affirmant sa propre manière dans l’inventivité de ses gadgets scientifiques merveilleux ou la place prépondérante qu’il donne aux femmes. Il connut un grand succès au début du XXème siècle comme cadeau d’étrennes, livre de prix, fascicule populaire, feuilleton de quotidien à un sou, adapté au théâtre et même au cinéma. Son originalité réside surtout dans la notion d’excentrique qui fédère sa collection de romans Belle Epoque. / Published in volumes between 1894 and 1917 by the former bookshop Furne, Paul d’Ivoi’s "Voyages Excentriques" made up a collection which was very much valued by the youth of the Edwardian Era.These adventure novels, in the tradition of Jules Verne, were highly representative of their time with plots deeply rooted in the political ideas pervading then. They were anxious to contribute to the patriotic and moral moulding of their readers and applied to support the colonial work of France while promoting the values of the French Republic and celebrating its influence all over the world. The action, which often deals with international diplomatic stakes, sends the characters abroad to meet other nationalities whose visions reflect their relationships with France, whether friendly or of conflict.However the "Voyages Excentriques" swing from reality into fiction using the various means that adventure novels, then at their peak, offered them. Exotism and scientific extravagance are the main themes, often accompanied with detective stories or spy fiction as secondary sorts. When writing his adventure novels, Paul d’Ivoi carefully paid attention to differentiating himself from his predecessors, asserting his own manner by inventing wonderful scientific gadgets or giving a preponderant role to women. His books were a great success at the turn of the 20th century as New Year’s gifts, school prizes, popular manuals or cheap serials which were adapted on stage or even in movies.He is most original in his dealing with eccentricity which is to be found all through his collection of Belle Epoque novels.

[pt] O presente trabalho visa investigar o lugar social dos candomblés na belle époque carioca, a partir das crônicas de Paulo Barreto (João do Rio) acerca dos candomblés no Rio de Janeiro publicadas na Gazeta de Notícias e na Kosmos, propondo a construção de uma percepção do candomblé para a sociedade carioca na virada do século XIX para o XX e a realização de um esboço de mapa da religiosidade carioca na belle époque. / [en] The present work intends to investigate the social place of the candomblés in belle époque of Rio de Janeiro, from the chronicles of Paulo Barreto (João do Rio) about the candomblés in the Rio de Janeiro published in the Gazeta de Notícias and in the Kosmos, proposing the construction of a perception of the candomblé for the society of Rio de Janeiro in the turning of the century XIX for the XX and the realization of a sketch of map of the religiosity of Rio de Janeiro in belle époque.

Submitted by Geyciane Santos (geyciane_thamires@hotmail.com) on 2015-10-07T14:17:23Z No. of bitstreams: 1 Dissertação - Caroline de Souza Rodrigues.pdf: 2436372 bytes, checksum: 27ea10e0018dad0158f1503b362749e4 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-08T13:12:36Z (GMT) No. of bitstreams: 1 Dissertação - Caroline de Souza Rodrigues.pdf: 2436372 bytes, checksum: 27ea10e0018dad0158f1503b362749e4 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-10-08T13:17:55Z (GMT) No. of bitstreams: 1 Dissertação - Caroline de Souza Rodrigues.pdf: 2436372 bytes, checksum: 27ea10e0018dad0158f1503b362749e4 (MD5) / Made available in DSpace on 2015-10-08T13:17:55Z (GMT). No. of bitstreams: 1 Dissertação - Caroline de Souza Rodrigues.pdf: 2436372 bytes, checksum: 27ea10e0018dad0158f1503b362749e4 (MD5) Previous issue date: 2014-02-27 / FAPEAM - Fundação de Amparo à Pesquisa do Estado do Amazonas / This thesis aims to analyze the processo f marginalization of woman in Manaus, in the late nineteenth century and early twentieth century. With this analysis, we aim to undestand what were the discourses used to justify the female segregation to the private área. In that direction, we searched about the idea of the public woman, used as the idea of the ideal woman that was spread throughout this period. To understand this process, we discuss about some of the conceptions men used to see the role of woman and how men understood and built the image of woman in na área regard as male territory, i.e., the public space in the cities, shuch as theaters, squares and cafés. To understand the construction off emele marginality, we´ll work in the light of hsitorical research making use of documents such as travelers accounts newpapers, report and province posture codes. / A presente dissertação tem como objetivo analisar o processo de marginalização das mulheres em Manaus, no final do século XIX e início do século XX, objetivando compreender quais foram os discursos utilizados para justificar a segregação feminina ao espaço privado. Na busca por respostas, caminhou-se em direção da mulher pública. Usada como o avesso da mulher ideal que fora propagada ao longo desse período. Para entender esse processo, buscou-se discutir alguns dos olhares lançados sobre as mulheres e de como eles viam, entendiam e construíram a imagem da mulher em um espaço tido como território masculino, ou seja o espaço público das cidades como teatros, ruas, praças e cafés. Para que se pudesse entender a construção da marginalidade feminina, permeou-se em documentos como relatos de viajantes, jornais, relatórios de província e códigos de postura.

La « Belle Époque », expression qui désigne la période s’étendant de la fin du XIXe siècle à 1914, est un syntagme qui interroge et dont l’origine reste incertaine : généralement située vers 1918, son apparition ne se résume pas à la stricte comparaison entre l’horreur de la Grande Guerre et le temps de paix qui l’a précédée. L’émergence du syntagme « Belle Époque » est plus complexe et ses emplois tendent à se multiplier, timidement, au cours des années 1930 et à se stabiliser après la Seconde Guerre mondiale. Les représentations de la Belle Époque sont elles aussi source de confusion : entre louange et blâme, entre indifférence ou sublimation, cet entre-deux-siècles ne laisse pas indifférent et suscite de nombreux discours, essentiellement littéraires, qui constituent le paradigme des représentations de la Belle Époque. Le paysage littéraire des années 1930 présente une production massive de souvenirs de l’époque 1900 ainsi que de nombreux romans-fleuves à contexte Belle Époque. Le genre littéraire, le contexte d’écriture, la trame narrative, les thèmes abordés, les figures et les événements, l’ensemble de ces éléments constituent les principaux facteurs de reconfiguration. C’est donc essentiellement à travers la littérature que s’invente la Belle Époque, au miroir des années 1930. / The “Belle Époque”, the expression wich appoints the period extending of the end of the XIXth century to 1914, is a syntagm wich questions and whose origin remains uncertain : generally situated by 1918, its appearance does not amount to the strict comparison between the horror of the Great War and the peacetime which preceded it. The emergence of the syntagm “Belle Époque” is more complex and its uses tend to multiply, shyly, during 1930s and to stabilize after the Second World War. The representations of the Belle Époque are too source of confusion: between praise and disapproval, between indifference or sublimation, this inter-centuries does not unmoved and arouses numerous speeches, essentially literary, which constitute paradigm of the representations of the Belle Époque. The literary landscape of the 1930s presents a massive production of memories of period 1900 as well as numerous sagas to context Belle Époque. The literary genre, the context of writing, the narrative weft, tackled issues, the figures and the events, all these elements constitute the main factors of reconfiguration. It is thus essentially through the literature that invents the Belle Époque, at the mirror of the 1930s.

[pt] A Primeira Igreja Batista do Rio de Janeiro foi fundada em agosto de 1884 através dos esforços missionários do pastor William Buck Bagby. Implantada na Rua do Santana (região central da antiga capital federal). Em 1928 essa comunidade religiosa foi transferida para Rua Frei Caneca, ao pé do atual Morro do São Carlos. Tal mudança trouxe impactos diretos para a sua composição. A partir da segunda metade da década de 1920 foi possível constatar, com maior intensidade, a entrada de imigrantes pobres, costureiras, operários, negros e domésticas para as fileiras da igreja. Certamente, esse novo espaço possibilitou um maior relacionamento da comunidade com as classes subalternas. Contudo, essa transferência foi sucedida por outro fenômeno: um aumento significativo da aplicação de processos disciplinares. Partindo desse ponto, nossa dissertação tem como objetivo investigar as causas e os sentidos desses mecanismos institucionais de controle. Entendemos que essas práticas sinalizavam o que os batistas enxergavam como padrão de conduta e o que era negado, reprimido e rechaçado pelo grupo. Por meio dessas dinâmicas, é possível vislumbrar processos de construção e desconstrução de identidades batistas no Rio de Janeiro. Esse foi o objetivo central que o presente trabalho visou alcançar. / [en] The First Baptist Church of Rio de Janeiro was founded in August 1884 through the missionary efforts of Pastor William Buck Bagby. Set up on Rua do Santana (central region of the former federal capital), in 1928 this religious community was transferred to Rua Frei Caneca, near the current Morro do São Carlos. This change brought direct impacts to its composition. From the second half of the 1920s onwards, it was possible to see, with greater intensity, the entry of poor immigrants, seamstresses, workers, blacks and domestic workers into the ranks of the church. Certainly, this new space enabled a greater relationship between the community and the subordinate classes. However, this transfer was succeeded by another phenomenon: a significant increase in the application of disciplinary proceedings. Starting from this point, our dissertation aims to investigate the causes and meanings of these institutional control mechanisms. We understand that these practices signaled what the Baptists saw as a standard of conduct and what was denied, repressed and rejected by the group. Thus, we see that, through these dynamics, it is possible to investigate the elaborations of Baptist identities in Rio de Janeiro. This is the central objective that the present work aims to achieve.