En se proposant d’étudier les relations des Français avec le Royaume de Naples dans la mise en place d’une politique archéologique parmi les plus modernes d’Europe sous les règnes de Joseph Bonaparte et Joachim Murat, cette thèse s’inscrit dans plusieurs domaines de la recherche en Histoire (politique et culturelle), Histoire de l’Art et Archéologie. Il s’agit ainsi de nous pencher surl’Antiquité à travers le prisme du XIXe siècle, tout en tentant de répondre aux questions actuelles de l’Histoire de l’art sur les provenances archéologiques et le destin des oeuvres découvertes dans ces années. Devant l’ampleur des découvertes archéologiques faites pendant le decennio francese, nous choisissons de limiter la recherche au matériel céramique. Ce corpus homogène permet de revenir sur les découvertes et l’histoire des sites archéologiques de l’Italie méridionale dans les années 1806-1815, en explorant des archives inédites. Leur dépouillement systématique apporte de nouvelles connaissances sur l’histoire des sites fouillés et permet de retrouver la provenance perdue d’objets aujourd’hui conservés dans les musées européens. Par ce croisement inédit de sources, nous espérons donner une vision plus complète de la Naples du decennio francese, tout en élargissant les connaissances sur l’Histoire de l’Archéologie en Italieméridionale. C’est là tout l’enjeu d’un sujet aux confluences des différents courants de l’Histoire,contemplant l’Antiquité dans le miroir des premières années du XIXe siècle. / Dealing with the relationships between the French connoisseurship and the Kingdom of Naples in building of one of the most modern archeological policies in Europe under Joseph Bonaparte and Joachim Murat's reigns, this doctorate takes a part in several fields of research in History (political and cultural), Art History and Archeology. It makes us look at the Antiquity through the prism of the XIX Century, trying at the same time to answer today’s questions of Art History about the archeological proveniences and the faith of the vases discovered in those years. In front of the large number of archeological discoveries made during the French Decade, we choose to focus our research on ancient painted vases. This homogeneous corpus leads us back to the discoveries and the history of archeological sites in the south of Italy during the years 1806-1815 by exploring ancient and unpublished archives. Their systematic sorting gives new information on the History of excavations, allowing us to find out the lost provenance of ancient vases, today conserved in several museums in Europe.With this original sources crossing, we aimed at offering a more complete vision of Naples during the French Decade by broadening the knowledge on the Southern Italian archeological History.Here stands the stake of a study at the confluences of different streams of History, looking at the Antiquity in the mirror of the first years of the XIX Century.

La perception du Second Empire français a longtemps été sujette à controverse dans l’historiographie française. Alors que le régime a été synonyme de honte nationale pendant plusieurs décennies, l’historiographie en a tracé un portrait peu flatteur qui a tardé à évoluer. Cette interprétation négative dure jusqu’aux années 1930-1940, à partir desquelles les historiens remettent en question les idées reçues sur le régime et le perçoivent positivement. En effectuant une critique externe et interne d’ouvrages publiés par des auteurs français sur le Second Empire depuis 1870, le présent mémoire vise à identifier les facteurs qui expliquent la lente transformation de la perception du régime et de l’Empereur. La critique externe démontre que les auteurs, le contexte historique et la discipline historique ont joué un rôle dans cette perception. L’analyse interne de la politique socio-économique, intérieure et extérieure du régime, ainsi que de la personnalité de l’Empereur, démontre que d’autres facteurs, comme l’utilisation de sources et la façon d’aborder le sujet, ont eu un impact sur l’évaluation de Napoléon III et du Second Empire. / The perception of the Second French Empire has long been a subject of controversy in French historiography. For a long time, the regime was synonymous with national shame, and historians presented Napoleon III in an unfavourable manner that persisted for decades. Negative interpretations prevailed until the 1930s and the 1940s, after which a number of historians challenged preconceptions about the regime and began to portray it positively. By performing external and internal analyses of books on the Second Empire written by French authors since 1870, this thesis identifies factors that explain the slow transformation of the understanding of the regime and the Emperor by historians. External analysis will demonstrate that authors, historical context and changing norms in the historical profession play important roles in the writing of French history. Internal analysis consists of examination of the regime’s socio-economic, domestic, foreign policies, and of the Emperor’s personality. It will show that other factors, such as sources used and angles from which a subject is studied, had an impact on the way authors construed the Second Empire and Napoleon III.

O propósito deste trabalho é estudar o delineamento e os usos políticos do imaginário francês e napoleônico na América portuguesa, especialmente durante o processo de reorganização da Corte bragantina no Rio de Janeiro de 1808 a 1821. Problematizamos esta temática por intermédio de três interrogações essenciais: (1) que imagens de Napoleão o governo português divulgou nos anos iniciais de sua presença na América?; (2) em que medida essas imagens sustentaram (ou não) atitudes de repúdio à França e aos franceses de modo geral? e (3) que alterações ocorreram nessas representações no período posterior ao término das Guerras Peninsulares e da queda de Napoleão? Constatamos o uso de muitas dessas imagens pelo governo joanino com a intenção de reforçar seu status político e o controle sobre seus súditos, bem como resquícios dessas representações no imaginário da América portuguesa mesmo após a queda do Império napoleônico apesar do restabelecimento das relações diplomáticas e comerciais entre França e Portugal e a positivação do elemento francês na Corte do Rio. / Our purpose is to study the outlines and political uses of French and Napoleonic imaginary in the Portuguese America, especially during the reorganization process of the House of Braganza and the Portuguese Court in Rio de Janeiro from 1808 to 1821. We inquiry that thematic through three essential questions: (1) which images from Napoleon the Portuguese Government publicized in the initial years of its presence in the America? (2) how did those images support (or not) the refuse attitude to France and to French people in general? and (3) what kind of changes occurred in those representations after the ending of Peninsular Wars and the fall of Napoleon? We verify that the use of those images by Dom João\'s government had the intention to reinforce his political status and the control over his subjects, as well as traces from those representation in the Portuguese America imaginary even after Napoleonic Empire fall despite of Diplomatic and Commercial re-establishment between France and Portugal and the French element appreciation in the Court of Rio.

O propósito deste trabalho é estudar o delineamento e os usos políticos do imaginário francês e napoleônico na América portuguesa, especialmente durante o processo de reorganização da Corte bragantina no Rio de Janeiro de 1808 a 1821. Problematizamos esta temática por intermédio de três interrogações essenciais: (1) que imagens de Napoleão o governo português divulgou nos anos iniciais de sua presença na América?; (2) em que medida essas imagens sustentaram (ou não) atitudes de repúdio à França e aos franceses de modo geral? e (3) que alterações ocorreram nessas representações no período posterior ao término das Guerras Peninsulares e da queda de Napoleão? Constatamos o uso de muitas dessas imagens pelo governo joanino com a intenção de reforçar seu status político e o controle sobre seus súditos, bem como resquícios dessas representações no imaginário da América portuguesa mesmo após a queda do Império napoleônico apesar do restabelecimento das relações diplomáticas e comerciais entre França e Portugal e a positivação do elemento francês na Corte do Rio. / Our purpose is to study the outlines and political uses of French and Napoleonic imaginary in the Portuguese America, especially during the reorganization process of the House of Braganza and the Portuguese Court in Rio de Janeiro from 1808 to 1821. We inquiry that thematic through three essential questions: (1) which images from Napoleon the Portuguese Government publicized in the initial years of its presence in the America? (2) how did those images support (or not) the refuse attitude to France and to French people in general? and (3) what kind of changes occurred in those representations after the ending of Peninsular Wars and the fall of Napoleon? We verify that the use of those images by Dom João\'s government had the intention to reinforce his political status and the control over his subjects, as well as traces from those representation in the Portuguese America imaginary even after Napoleonic Empire fall despite of Diplomatic and Commercial re-establishment between France and Portugal and the French element appreciation in the Court of Rio.

Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Faculty of Education) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Gilbert Stuart completed the portrait of the new bride, Elizabeth Patterson Bonaparte, as well as portraits of 15 other women during his Washington period from late 1803 to early 1805. Scholars have often discounted this period in Stuart's work for its "compositional simplicity" and repeat choice of a stock white dress for the portraits of many of these women. But to dismiss this period is Stuart's work is to dismiss a period when Stuart positioned himself in the center of the "first circle" in Washington, a circle that included Dolley Madison and her most ambitious friends. Women, in this era after the American and French revolutions, had the freedom to enter into the public discourse. They were liberated from many of the more conservative principals of the early colonial period, shedding their restrictive clothing in the process. Stuart's salon, a highly visible public venue, as well as his ability to portray the strength of character and a direct, forthright gaze of the American woman, all made him extremely popular with women. Stuart, a critical force within the construction of a new image for this Nation, based on Jeffersonian ideas of republicanism, based his practice on simple, natural design influences. My goal is to more thoroughly examine Stuart's decisions in composing Betsy Bonaparte's portrait, as well as the facts surrounding her marriage to Napoleon Bonaparte's youngest brother. I will then consider why Elizabeth Bonaparte's wedding portrait represents the chef d'ouvre of his work during this period and how the young bride served as his muse, influencing his Washington style, and the women who followed her into the painter's studio. / text

"The long shadow of the emperor: fear and British press during the Napoleonic Wars (1795 –1815)” was a master thesis that combined the history of emotions with the use of quantitative computational techniques. The main objectives of the project were to detect and analyse the fear around the figure of Napoleon Bonaparte in the British press, between 1795 and 1815, and to check the feasibility of the proposed quantitative techniques for the history of emotions. The methodology consisted of the bibliographic collection of terms, web scrapping techniques, the creation of a database of mentions, and the emotional analysis of the subsequent information. The results showed how the emotion of fear was experienced in the British press, and the great explanatory potential of the methodology proposed by the study. The findings have revealed valuable information about international politics, public opinion, and erroneous assumptions in our current understandings of the Napoleonic Wars.

This study argues that the dialectic and the metamorphosis of the basso del tema and tema in Beethoven’s Eroica Variations, Op. 35 mirror the stages of the philosophical thought of German Idealism. The philosophical systems of the post-Kantian generation were housed in the values of the Goethezeit, in which the concept of self was regarded as fundamental for the worldview. In Germany these systems generated a new intellectual ethos that merged cultural nationalism with the glorification of the self (Burnham). Beethoven’s music gave reliable expression to the values of the Goethezeit, depicting the self as a spiritual entity with a constitutive autonomy, a possibility for self-transcendence, and a fundamental condition of struggle for freedom. While research has focused on Beethoven’s heroic style (Broyles) and the philosophy of his music (Adorno), there is very little literature on the relationship between Beethoven’s music and the philosophical thought of the time. In 1930 Schenker discussed the use of the Eroica theme in the Eroica Variations (Marston): first, the material is stated in its simple form; then, rhythmic structure, dynamics, tempo, texture, and key transform it. Schenker considers the large-movement form rather than the theme, giving emphasis to the basso del tema. This study proposes an analysis of Op. 35–focusing first on the first fourteen variations and then on the fifteenth variation and on the fugue individually–as the musical statement of the philosophical thought of the Goethezeit and offers a discussion on the historical perspectives in Op. 35. Then, the study applies the proposed philosophical and historical analysis of the Eroica Variations to explain how an interpretation based on critical theory can help concert performers develop a deeper understanding of such a demanding piece of repertoire. Finally, the study examines the Eroica Variations as one of the most substantial concert pieces for piano by Beethoven and of the beginning of the nineteenth century, and offers suggestions on how to meet the musical and technical challenges of the piece. / Music Performance

Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808-1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. Many of these works varied in style and content, but all helped in creating an ideal identity for Caroline. In all of the works she is portrayed as a powerful woman. She is either powerful by her settings (in the drawing room, or with Vesuvius in the background), her vast knowledge in the arts and fashion, her motherhood, her sensuality, or the way in which she is positioned and how she is staring back at the viewer within the works. The creation of this identity was uniquely Caroline's, mimicking Marie de Medici, Marie Antoinette and Josephine and Napoleon Bonaparte, while adding her own tastes and agendas to the creation. Through this identity she proved herself to be as equally French as Italianate through dress and surroundings. She even created a hybrid of fashion, wedding the styles together, by adding black velvet and lace to a simple empire-waisted silhouette. Caroline proved herself as politician, mother, educated and refined woman, pioneer in fashion, and Queen through the art that she purchased and commissioned.

O presente trabalho tem como objetivo desenvolver uma análise comparada da representação de Napoleão Bonaparte por meio do estudo da obra de Lev Tolstói, Guerra e paz, e dos exemplares da Gazeta do Rio de Janeiro. Para tanto, foi realizado o mapeamento de tais escritos com a finalidade de identificar as referências à figura de Napoleão e o contexto em que estão inseridas. Desta maneira, foi possível identificar as aproximações e os afastamentos entre os dois tipos de representações de Napoleão e a dimensão do mito napoleônico no imaginário de russos e luso-brasileiros. / This work aims to develop a comparative analysis of Napoleon Bonaparte representation through the study of Lev Tolstoys work, War and Peace, and Gazeta do Rio de Janeiros issues. Therefore, the mapping of such writings was done in order to find references to Napoleons figure and the context in which they are inserted. Thus, it was possible to identify the approaches and departures between two types of Napoleons representations and the size of Napoleonic myth in the minds of Russians and Portuguese-Brazilians.