Ethnicity, religion, class, and gender are important elements in determining the cultural texture of society. This study examines these components at an important junction in the history of the Pacific Northwest through the lives of students enrolled in two girls’ schools established by the Sisters of Notre Dame de Namur (SNDN) in the Willamette Valley in the 1840s. These girls, predominantly métis daughters of fur-trade settlers and their Indian wives, along with their Irish and Anglo-American classmates, represent the socioeconomic and cultural transformation of the region as the mixing that gave rise to the unique intermediary culture referred to as “fur-trade society” succumbed to American political and social domination. The primary interest of this study is the process of acculturation facilitated by the Sisters of Notre Dame de Namur and the effect of this acculturation on the métis students. By using a sample of students drawn from the 1850 United States Federal Census of the Oregon Territory, documents relating to the fur trade, Catholic Missions, and early settlement, and standard genealogical and biographical sources, this study compares the two SNDN schools through an analysis of their academic and cultural purposes and ethnic lineage, socioeconomic class, and religious affiliation of other students. Furthermore, as a test of the success of their religious training and acculturation, this study examines the socioeconomic and ethnic characteristics of marriage partners and the students’ religious affiliation as adults, and looks for evidence of métis ethic identity. The resulting analysis uncovers a two-tier system of education that mirrored the bipartite social structure of fur trade: the SNDN tailored the educational offerings at the two schools to serve the different needs of their discrete populations of settlers. Subsequent to their schooling, servant class métis girls most often retained paternal religious and ethnic ties, while officer class daughters show less attachments to their Catholic religious roots and chose more ethnically diverse spouses. Finally, the exogamous martial patterns of both groups discount the presence of strong métis ethic identity.

The common conception that the cemetery holds the memory of all who died and were buried before us is a false one. There were certain biases in who was being commemorated, a form of selectivity to the memorial process, that caused a great number of people to erode from the landscape. The argument is based on observations from a sample of seventeen hundred individuals from the latter half of the nineteenth century in Montreal and surrounding villages. A selection of twelve surnames from archival data includes the three main cultures present in Montreal in the nineteenth century (French Canadians, Irish Catholics and English Protestants) and allows me to reconstitute families, to identify their kinship ties, and to determine their situation in life. Records from the cemeteries on Mount Royal and from the parishes of three rural villages confirm the burial of individuals from the sample. The presence or absence of these individuals in the cemetery landscapes depends on different commemorative practices influenced by religion, culture, gender, status and age.

Made available in DSpace on 2014-06-11T19:26:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-07Bitstream added on 2014-06-13T18:30:51Z : No. of bitstreams: 1 cara_at_me_arafcl.pdf: 657024 bytes, checksum: 419fdd8af1b1c1ed602ab09f91ab2354 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Jules Laforgue (1860-1887) a été um grand décadentiste/symboliste français; les caractéristiques de ses oeuvres touchent ces deux importants mouvements littéraires. Le Décadentisme a été antérieur au Symbolisme, avec um trait plus négativiste et pessimiste; le Symbolisme a été composé de deux tendances: la “sérieux-esthétique”, plus connue et étudiée, et la “prosaïque-ironique”. À partir de celle-ci, moins étudiée que celle-là, les recours utilisés sont développés dans les compositions de Laforgue, même si l‟écrivain dépasse les limites des mouvements littéraires, en écrivant des textes différents et originaux. Il a produit des oeuvres poétiques et en prose, qui révèlent des caractéristiques très particulières. Par rapport à la poétique, la critique actuelle a reconnu l‟importance du poète pour la poésie postérieure à lui, inclusivement celle des modernistes brésiliens comme Carlos Dummond de Andrade et Manuel Bandeira. Laforgue a été, de certe façon, suffoqué par ses contemporains Baudelaire, Verlaine, Mallarmé et Rimbaud; mais il est inséré entre les grands noms de la modernité poétique, dû à son importance littéraire. Ses écrits surprenants et ses caractéristiques innovatrices font de lui l‟inspirateur et maître de personnalités comme Ezra Pound et T. S. Eliot. Il est possible de percevoir quelques constantes dans l‟oeuvre de Laforgue: ironie, parodie, la quête pour des formes orales, la création de mots nouveaux et l‟humour. Il est vrai de dire que son oeuvre est riche en recours stylistiques et en vocabulaire; il y a une forte présence intertextuel des mythes, des légendes, des chansons, de citations de textes d‟autres auteurs et de personnages connus, ce qui rend les compositions du poète encore plus complexes. L‟écrivain crée avec maîtrise un langage propre et, à travers ses néologismes... (Résumé complet accès électronique ci-dessous) / Jules Laforgue (1860-1887) foi um grande decadentista/simbolista francês; as características de suas obras tocam esses dois importantes movimentos literários. O Decadentismo foi anterior ao Simbolismo, com teor mais negativista e pessimista; o Simbolismo foi composto de duas vertentes: a sério-estética, mais conhecida e estudada, e a coloquial- irônica. A partir desta, menos abordada do que aquela, desenvolvem-se os recursos utilizados nas composições de Laforgue, apesar de o escritor ultrapassar os limites de movimentos e tendências literárias, produzindo algo novo e original. Escreveu obras poéticas e em prosa, as quais revelam características bastante particulares. Com relação à poética, a crítica atual tem reconhecido a importância do poeta para a poesia subsequente a ele, inclusive a dos modernistas brasileiros como Carlos Drummond de Andrade e Manuel Bandeira. Laforgue foi, de certa forma, sufocado pelos seus contemporâneos Baudelaire, Verlaine, Mallarmé e Rimbaud; todavia está inserido entre os grandes nomes da modernidade poética, devido à sua importância literária. Seus escritos surpreendentes e suas características inovadoras é que fazem dele o inspirador e mestre de personalidades como Ezra Pound e T. S. Eliot. Podem-se perceber algumas constantes na obra de Laforgue: ironia, paródia, a procura por formas orais, a criação de novas palavras e o humor. É fato dizer que sua obra é rica em recursos estilísticos e em vocabulário; há forte presença intertextual de mitos, lendas, cantigas, citações de outros textos, de autores e de personagens conhecidos, o que torna as composições do poeta ainda mais complexas. O escritor cria, com maestria, uma linguagem própria e, através de seus neologismos, da dissonância e da quebra de expectativa, impressiona os leitores e demonstra sua relevância literária. Analisando poemas do livro L’Imitation...

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Made available in DSpace on 2015-05-07T15:09:47Z (GMT). No. of bitstreams: 1 parte1.pdf: 1727742 bytes, checksum: d44a0d68a571c47e2e4039a15aae5ff6 (MD5) Previous issue date: 2009-02-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Ce mémoire a comme objectif principal d analyser les histoires et souvenirs des anciennes élèves de la dernière classe de l école normale du collège Notre Dame des Neiges à João Pessoa, dans l année 1970. Son but est d offrir une contribution au champ d investigation, en croissance, d études de genre dans l histoire de l éducation brésilienne et paraibana, tout en souhaitant reconstruire et réinterpréter l ordre éducationnel et le lieu de ses sujets historiques dans le contexte étudié. Cette étude suit les présupposés théorico-méthologiques de la Nouvelle Histoire Culturelle et est basée dans le champ de la mémoire, en ayant comme principale source de recherche le témoignage oral, obtenu à travers des entretiens enregistrés et ultérieurement transcrits à fin de reproduire le document oral. D autres sources ont été utilisées comme complément pour la compréhension du quotidien scolaire en question, tels des documents officiels et non officiels. Pour l accomplissement de cette étude et la compréhension de la réalité analysée il a été nécessaire de raviver les éléments historiques de cette institution qui a fermé ses portes définitivement en 2002. Dans ce sens, les récits d une ex-directrice de l institution ont aussi été décisifs pour la recherche. Le plus grand défi de cette étude a été celui de dévoilé, à travers les souvenirs de quatre anciennes élèves, des faits historiques qui ont débuté la crise et le déclin du cursus de l école normale du Collège Notre Dame des Neiges en 1970. Une fois rassemblés les témoignages, on a effectué la systématisation et l interprétation analytique des catégories famille, école, discipline et déclin de la formation de l école normale. Ce processus a dévoilé des épisodes de vie articulés avec les espaces social, culturel et politique, et avec les expériences de la formation de l école normale à dans le sein d une école féminine et confessionnelle. Les échos de la formation éducationnelle reçue par les anciennes élèves sont présents dans leurs façons de concevoir le monde, surtout, la défense d un modèle scolaire marqué par la rigueur disciplinaire liée à la famille et aux valeurs chrétiennes à partir d une idéologie éducationnelle qui avait le but de soumettre les corps dans les rapports de pouvoir à l intérieur de l espace social. Se d un côté les anciennes élèves constatent le caractère disciplinant de l espace signalé, ainsi que ses pratiques, d un autre côté, elles veulent mettre en évidence l importance qu elles attribuent à ce model éducationnel. Une seule interviewée signale le besoin de se libérer de ses pratiques-là, en évitant de les reproduire chez elle. Finalement, à traves les récits et les documents utilisés, on a observé que chaque histoire individuelle a été fortement influencée et conditionnée par le contexte de l école. / Esta dissertação tem como principal objetivo analisar as histórias e memórias de ex-alunas da última turma concluinte do magistério do Colégio Nossa Senhora das Neves, em João Pessoa, no ano de 1970. Pretende oferecer uma contribuição ao crescente campo de investigação dos estudos de gênero na história da educação brasileira e paraibana, buscando reconstruir e reinterpretar a ordem educacional e o lugar dos seus sujeitos históricos no contexto pesquisado. Este estudo insere-se nos pressupostos teórico-metodológicos da Nova História Cultural e fundamentase no campo da memória, tendo como principal fonte de pesquisa o depoimento oral, obtido através de entrevistas gravadas e posteriormente transcritas com a finalidade de produzir o documento oral. Outras fontes também foram revisitadas como complemento para o entendimento acerca do cotidiano escolar em questão, a exemplo de documentos oficiais e não oficiais. Para a realização deste estudo e compreensão da realidade investigada, foi necessário trazer a tona os elementos históricos da referida instituição, que fechou suas portas definitivamente em 2002. Nesse sentido, os relatos de uma ex-diretora da instituição também foram decisivos para a pesquisa. O desafio maior deste estudo foi desvelar, por meio das memórias de quatro ex-alunas, fatos históricos que deflagraram a crise e o declínio da formação do magistério no Colégio Nossa Senhora da Neves em 1970. Reunidos os depoimentos, realizou-se a sistematização e interpretação analítica das categorias família, escola, disciplina e declínio do magistério. Tal processo revelou episódios de vida articulados com os espaços social, cultural e político, e com as vivências da formação do magistério no interior de uma escola feminina e confessional. Os reflexos da formação educacional recebida pelas ex-alunas estão presentes nas suas formas de conceber o mundo, sobretudo, na defesa de um modelo escolar marcado pelo rigor disciplinar, vinculado à família e aos valores cristãos a partir de uma ideologia educacional que tinha o propósito de submeter os corpos nas relações de poder dentro do espaço social. Se, por um lado, as exalunas constatam o caráter disciplinador do espaço assinalado, bem como de suas práticas, por outro, fazem questão de destacar a importância que atribuem a tal modelo educacional. Somente uma depoente enfatiza a necessidade que sentiu de libertar-se de tais práticas, evitando reproduzi-las em sua casa. Finalmente, por meio das narrativas e dos documentos consultado, observou-se que cada história individual se fez e se refez fortemente influenciada e condicionada ao contexto da escola.

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A la fois lieu commun du raisonnement et cliché discursif - selon la distinction opérée par Remy de Gourmont pour qui le lieu commun renvoie à la banalité de l'Idée, tandis que le cliché représente la matérialité même de la phrase -, l'antienne de l'influence du Roman de la Rose sur les arts figurés au Moyen Âge est devenue l'une de ces nombreuses redondances argumentatives sustentant régulièrement la rhétorique en histoire de l'art. Partie de ce constat inflationniste et du désir de vérifier le bien-fondé d'une hypothèse iconographique reliant le Roman de la Rose à la tenture de la Dame à la Licorne, cette enquête a essayé de mettre en exergue le danger des lieux communs de l'interprétation en histoire de l'art, et plus particulièrement de ceux faisant un usage inconsidéré du texte de Guillaume de Lorris et Jean de Meung. / Both discursive cliché and commonplace reasoning – according to the distinction made by Remy de Gourmot for whom the commonplace refers to the banality of the Idea while the cliché is the very materiality of the sentence – the anthem of the Roman de la Rose's influence on figurative arts in the Middle Ages became one of those many redundancies regulary invoked in argumentative rhetoric. Provoked by this observation and by the desire to check the relevance of an iconographic hypothesis linking the Roman de la Rose to the tapestry of the Lady and the Unicorn, this investigation has tried to highlight the danger of the interpretation commonplaces in Art History, especially those making a reckless use of Guillaume de Lorris and Jean de Meung's poem.

This dissertation examines key examples of foliate carving from the twelfth and thirteenth centuries, re-evaluating its historiographic context while refracting foliate decoration through the lens of climate in the medieval West. Looking to medieval ideas about plant life, weather, and religious devotion in France and England, this study posits that ecological change, rather than the influx of ideas in medieval universities, was a key factor in changing attitudes towards nature in the Middle Ages. The foliate program on the west façade of Notre-Dame of Amiens illustrates connections to environmental miracles, authenticity of local relics, and the Church’s attempts to intervene in natural disasters. Taking one of the most significant examples of medieval foliate sculpture, the interior foliate frieze of Amiens, a new analysis argues that sculptors knowingly made this monumental frieze look as if it were organic and alive, rather than reproducing each segment identically. Crockets, on the other hand, a site of repetition and modular adaptation, are considered an important aspect of Gothic design, especially in the quire and west front of Wells Cathedral, where innovative crocket designs appear to complement the visual identity crafted by the diocese.

This project focuses on an ideal solution for restoring the roof of Notre-Dame in Paris, which burned down together with its spire on April 15, 2019. The main motive behind the design was to create a quiet space that will serve as a memorial of the fire and reflect the unity of the society that contributed to the rebuilding found. The primary step of the whole reconstruction is to find an adequate way of renewal and its ethical boundaries. Main attention is focused on the roof and on the spire of the cathedral. As a tribute to medieval builders who consecrated their lives into this magnificent piece of work. The exterior of the new design has the same silhouettes and proportions that it has got eight centuries ago, but with a touch of a modern day aesthetics. When designing the interior of the roof, it was really important to maintain a clear representation of Gothic architecture – the balance between darkness and light. The space is divided into two parts. The first part represents darkness, as an obstacle, which each of us has to overcome. The second part is full of natural light that seems to tear the roof of the cathedral and illuminates the entire space inside. At the heart of the design is a gem that matters the most, life. The spire of the cathedral is designed with four pillars that symbolize the connection of mind-spirit-body with physical world The idea of the spire reflects these seemingly different things, but together they unite into one piece.

The master's thesis deals with famous Notre-Dame de Paris, which was destroyed by fire in 2019. The work focuses specifically on the design of completion of the construction. The cathedral is situated in the historical centre of Paris on the Île de la Cité. A lot of damage was caused to the building after the devastating fire on 15 April 2019. The aim of the thesis was to create a spiritual place that would maintain its past, but at the same time manage to follow ecological solutions in the present. The new design of the attic creates a sacred place, in which we realize the importance of faith and the peace of God. The cathedral is open to the general public ? religious people from all over the world come here to experience the love, joy and happiness that the cathedral invokes. The whole attic can be described as an open space, which symbolizes infinity or immortality from the religious point of view. It represents the connection of the past, present and future. The space is designed to hold priestly celebrations and to be open for the public. It can also be used for various events, such as exhibitions of sculptures that survived the fire.