This thesis is a comprehensive analysis of the hull remains of La Belle, a ship wrecked off the coast of Texas in 1684 during the failed attempt by Robert Cavelier Sieur de La Salle to establish a colony at the mouth of the Mississippi River. The analysis of La Belle's hull focused on five research goals. The first was to reconstruct the conception and design of the hull. Because La Belle was built on France's Atlantic coast, it was expected that the ship would fit into Atlantic traditions of shipbuilding. Instead, it exhibits an ancient Mediterranean method known only from Renaissance manuscripts. Until La Belle's discovery no archaeological example associated with this method had been identified. Reconstruction of the lines also revealed the unexpected use of surmarks that reflect a transition from a largely empirical approach to the architecturally-based ship plan. The second goal was the documentation of a previously unstudied ship type, the barque longue, through an analysis and description of the hull's assembly and its comparison to contemporary shipbuilding practices. The third goal was an analysis of newly discovered registries, letters, and documents specific to La Belle that raised fundamental questions regarding the ship's genesis and typological identification. The fourth goal was species identification of the timbers to provide a more detailed picture of forest exploitation and to identify whether Old or New World timbers were used in the repairs noted in the hull. The fifth goal was to obtain information on the origin of the wood through dendrochronological analysis. That analysis raised unexpected questions regarding dating and the possibility of re-use of whole frame sets. Because there are no other investigated late 17th-century shipwreck sites from the Rochefort region with species and dendrochronology data, La Belle has provided a benchmark for these two analyses. These five research foci provide a unique picture of late 17th-century shipbuilding in French Atlantic shipyards and contribute to the study of hull design, ship typology, construction and assembly, wood species use and origin, dendrochronological dating, and timber reuse.

The most prolific woman writer of belle époque Brazil, Júlia Lopes de Almeida is remembered chiefly for her proto-feminist novels like A Falência (1901). This essay extends critical analysis to the heretofore overlooked Livro das Noivas (1896), a domestic manual once reprimanded by Jeffrey Needell as counterproductive to the feminist cause. With theoretical references to Genette, Agamben, Butler, Woolf, Ludmer, and others, it contextualizes Noivas within late 19th-century discourse on women’s education and the tradition of conduct literature, ultimately determining that Almeida subverts the conventions of the latter in defense of the former. Like João Luso, who declared Noivas a “curso” for soon-to-be-married women, this essay reads the book as a remedial addendum to the superficial education that left women unprepared to confront what Almeida and her liberal contemporaries deemed their responsibility to ensure the nation’s future by supplying it educated and healthy sons. In a deep analysis of the author’s extended dedication to her husband, Filinto, this essay moreover redresses Needell’s division of Noivas from Almeida’s novels. Rather than an aberration, the manual is a companion piece to the author’s fictional corpus. As a performative dissimulation of moral femininity, it compensates for Almeida’s unorthodox and, for the time, questionably “feminine” career. / text

In the years after the Liberal Reforms of the 1870s, the capitalization of coffee production and buttressing of coercive labour regimes in rural Guatemala brought huge amounts of surplus capital to Guatemala City. Individual families—either invested in land or export houses—and the state used this newfound wealth to transform and beautify the capital, effectively inaugurating the modern era in the last decades of the nineteenth century. This dissertation considers the urban experience of modernity in Guatemala City since the 1870s. It argues that until the 1920s and 1930s, modernity in the city was primarily influenced by aesthetic modernism in the form of shopping arcades and department stores with their commodities, sites of bourgeois pleasure and pomp such as the hippodrome and Temple to Minerva, society dances, expositions, and fairs. After this point, the social fallout of economic modernization increasingly defined the experience of urban modernity in Guatemala City. Capitalist development altered the social relations of production in the countryside, precipitating massive urbanization that characterized urban life in the second half of the twentieth century. My analysis helps to account for shifting perceptions of Guatemala City; regarded during the fin-de-siècle as the “Paris of Central America”—owing to its wide boulevards, dawning consumer culture, and cosmopolitan nature—the capital today is considered one of the most dangerous cities in the Americas. I argue that, since the Liberal Reforms, urban Guatemalans learned to see, act, and think as modern subjects. The idea of the “optics of modernity” is introduced to understand epistemological shifts in perception associated with technological, scientific, religious, social, economic, and cultural changes. The optics of modernity denote both the markers of modernity (such as trains, department stores, and new social types like dandies) and new subject positions that altered the experience of the modern world. With these optics of modernity, I argue that urban Guatemalans learned to acclimatize themselves to living in a modern city. The culture of modernity during the Guatemalan Belle Époque (roughly from 1892 until 1917) is of particular interest. This dissertation proposes that the economic expansion of the period was frequently punctuated by recessions and depressions as the prices of export agricultural commodities dropped and rebounded on global markets. These economic crises constrained the bourgeoisie’s visions of liberal utopia. A unique cultural phenomenon known as the cultura de esperar (the culture of expecting, hoping, and waiting) is introduced in this work to describe the epistemological predicaments that arose when the hopes and expectations of modernity were stifled by economic gluts. The analysis explores a wide variety of topics from nineteenth-century séance culture, bull fighting in cinema, the modernist avant-garde, and the dawning of consumer culture to the contrast between verticality in urban architecture and the expansion of urban slums.

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Durante la I Guerra Mundial Cuba exporta azúcar a precios altos e importa gran cantidad de bienes materiales, servicios y prácticas. Para la élite de la república poscolonial, esta coyuntura significa la oportunidad de acelerar la realización de la utopía de bienestar y confort presente en las expectativas del cambio de siglo y dominación. La Independencia debía conducir a la civilización, a los tiempos modernos, a una redefinición de la identidad. La república -liberación de las fuerzas productivas- pareció el marco o medio adecuado para alcanzar la nueva meta. Numerosos cambios acontecieron antes de 1920, teniendo La Habana como único escenario. Pero la ruta oligárquica no condujo a la modernidad, sino a la construcción de un complejo simulacro moderno. Un espacio hedonista marcado por un tiempo circular, nuevas tensiones y la acumulación de una peligrosa melancolía revolucionaria. Este desenlace sin conclusión configura los laberintos de la cultura insular del siglo XX. / During the World War I Cuba exports sugar at high prices and imports large quantities of material goods, services and practices. For the post-colonial elite, this situation means the opportunity to accelerate the utopia of well-being and comfort present in the expectations of what the new century and change in domination would bring about. Independence should lead to civilization, to modern times, to a redefinition of identity. The republic-liberation of a productive forces-seemed to provide the appropiated framework to achieve the new goal. Numerous changes occurred before 1920, taking Havana as the sole scenario. But the oligarchic path led not to modernity, but the construction of a complex appereance of modernity: a hedonistic space marked by circular time, new tensions, and the rising of a dangerous revolutionary melancholy. The inconclusive outcome shapes the intrincate labyrinths of the insular culture of the twentieth century.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2006. / Includes abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 152-155, 36-38).

Thesis (M.A.)--Brigham Young University. Dept. of Communications. / Bibliography: leaves 103-109.

Thesis (D. Min.)--New Orleans Baptist Theological Seminary, 2006. / Includes abstract and vita. Includes final project proposal. Includes bibliographical references (leaves 152-155, 36-38).

Storytelling has existed since the beginning of humanity, in every culture. Today, we are still telling stories that are hundreds of years old. Sleeping Beauty, or La belle au bois dormant, is a classic fairy-tale. In the original version by Charles Perrault it is a story in two parts with a morality poem in the end. In this work, the relation between the story and the lessons that can be drawn from it and its final morality are examined. The aim of this work is to find out if the morality confirms or contradicts the story in La belle au bois dormant, and in what way, and secondly if La belle au bois dormant fulfil our expectations of a fairy tale. In order to give a deeper understanding of the key words, fairy-tale, as a genre, and the role of moral in literature two books aimed for literary education in French schools are used. By defining fairy-tale as a genre and the role of moral messages in literature, they can be compared to our story. Furthermore, by using examples from the story and analysing the story and the morality poem of Sleeping Beauty respectively, thus this essay spreads light on the contradicting messages in this fairy-tale. At the end of this work the conclusion is reached that the morality poem is not in any way confirmed by the story and that the two differ in terms of theme, content, and message, and thus La belle au bois dormant differ from traditional fairy tales because its morality does not support the story.

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