Many senior officers in the Royal Navy of late-eighteenth and early-nineteenth centuries saw the French Revolutionary and Napoleonic Wars as a time of dramatic social change within the officer corps. Naval and civilian commentators alike expressed concern that the virtue of birth had replaced the virtue of merit when it came to the selection of officer recruits, and that the change adversely affected discipline and subordination. This thesis seeks to test the accuracy of these observations, and modern interpretations of them, by determining when and why changes in the social make-up of the corps of “young gentlemen” took place, and the effects of those changes on naval professionalism. This study asserts that social developments in the navy’s officer corps are most transparent at the entry level. Data on the social backgrounds of more than 4500 midshipmen and quarterdeck boys, from 1761 to 1831, shows that the presence of the social elites among officer aspirants was directly affected by states of war and peace and the popularity of a naval career for well-born sons. While contemporaries saw a growing elitism among officer recruits between 1793 and 1815, the data suggests that the scions of peers and the landed gentry were more prevalent in the peacetime service of 1771 and again after 1815, when the weight of social and political connections again became determining factors in the selection of officer trainees. The cultural changes that influenced the popularity of a naval career for young “honorables” between the Seven Years’ War and Parliamentary Reform highlight the social and political pressures that were exerted on recruiting captains and the Admiralty. Together they help to explain developments in the social make-up of the navy’s future-officer corps and the relationship between the naval microcosm and British society at large.

Denna uppsats undersöker dekadensens betydelse för Klas Östergrens generationsroman Gentlemen (1980). Syftet är dels att uppmärksamma ett hittills förbisett författarskap, dels att applicera en teori som kan belysa Gentlemen. Frågeställningen utgår därmed ifrån hur dekadensen återspeglas i romanens huvudkaraktärsskildringar, samhällsstämningar och form. Uppsatsens dekadensdefinition grundar sig i Paul Bourgets Théorie de la decadence (1883), där han skildrar samhällets, individens och språkets förfall. Utifrån dessa tankar antar jag en bred dekadensdefinition som fokuserar människans ambivalens inför att leva i en värdemässigt förfallen värld. Dekadensteorin är därmed utgångspunkten för analysen där jag genom närläsning urskiljer framträdande dekadenta drag. Framförallt betydande är den s.k. Makten, och dess förväntningar på lojalitet, som orsak till undergångsstämningar. För att hantera samtidens mörker blir konsten en utväg likt, dekadensens artificiella paradis. Henry gör likt dandyn konst av sig själv och sina trygghetsskapande vardagsritualer, Leo försöker sin illojalitet trogen avslöja sanningen om Maktens lögner i sin poesi, och berättaren Klas berättar sanningen om Henry och Leo genom att skriva Gentlemen. Genom en homodiegetiskt berättare upplöses karaktärerna till deras handlingar, och intrigen till detaljerna. Därmed återfinns dekadensen både i bokens tematik och estetik. / This essay examines the importance of decadence in the generational novel Gentlemen (1980) by Klas Östergren. The aim is partly to draw attention to a neglected authorship, partly to apply a theory that can illuminate Gentlemen. That is why I ask how decadence is reflected in the novel's main characters, community atmosphere and form. My definition of decadence is based on Paul Bourget's Theorie de la decadence (1883), in which he portrays society, individuals and the language's decline. With these thoughts in mind, I assume a broad definition of decadence that focuses on man's ambivalence towards life in a world that is fallen in sense of values. The theory of decadence is thus the starting point of this analysis through close reading, where I discern prominent aspects of decadence. Especially significant is the so-called Makten (The Force), and its claims for loyalty, as a cause of apocalyptic atmosphere. In order to deal with this dark, contemporary period, art becomes a refuge in similar ways as the artificial paradises of the Decadent era. Henry, like a dandy turns himself and his comforting everyday rituals into art; Leo, faithful to his disloyalty, tries to uncover the truth about the lies of Makten in his poetry; and Klas the narrator tells the truth about Henry and Leo by writing Gentlemen. By a homodiegetic narrator the characters are dissolved into their actions and the plot into details. Thus, both the book's aesthetics and themes can be traced to decadence.

<p>Denna uppsats undersöker dekadensens betydelse för Klas Östergrens generationsroman <em>Gentlemen </em>(1980). Syftet är dels att uppmärksamma ett hittills förbisett författarskap, dels att applicera en teori som kan belysa <em>Gentlemen</em>. Frågeställningen utgår därmed ifrån hur dekadensen återspeglas i romanens huvudkaraktärsskildringar, samhällsstämningar och form.</p><p>Uppsatsens dekadensdefinition grundar sig i Paul Bourgets <em>Théorie de la decadence </em>(1883), där han skildrar samhällets, individens och språkets förfall. Utifrån dessa tankar antar jag en bred dekadensdefinition som fokuserar människans ambivalens inför att leva i en värdemässigt förfallen värld. Dekadensteorin är därmed utgångspunkten för analysen där jag genom närläsning urskiljer framträdande dekadenta drag.</p><p>Framförallt betydande är den s.k. Makten, och dess förväntningar på lojalitet, som orsak till undergångsstämningar. För att hantera samtidens mörker blir konsten en utväg likt, dekadensens artificiella paradis. Henry gör likt dandyn konst av sig själv och sina trygghetsskapande vardagsritualer, Leo försöker sin illojalitet trogen avslöja sanningen om Maktens lögner i sin poesi, och berättaren Klas berättar sanningen om Henry och Leo genom att skriva <em>Gentlemen</em>. Genom en homodiegetiskt berättare upplöses karaktärerna till deras handlingar, och intrigen till detaljerna. Därmed återfinns dekadensen både i bokens tematik och estetik.</p> / <p>This essay examines the importance of decadence in the generational novel <em>Gentlemen </em>(1980) by Klas Östergren. The aim is partly to draw attention to a neglected authorship, partly to apply a theory that can illuminate <em>Gentlemen.</em> That is why I ask how decadence is reflected in the novel's main characters, community atmosphere and form.</p><p>My definition of decadence is based on Paul Bourget's <em>Theorie de la decadence</em> (1883), in which he portrays society, individuals and the language's decline. With these thoughts in mind, I assume a broad definition of decadence that focuses on man's ambivalence towards life in a world that is fallen in sense of values. The theory of decadence is thus the starting point of this analysis through close reading, where I discern prominent aspects of decadence.</p><p>Especially significant is the so-called Makten (The Force), and its claims for loyalty, as a cause of apocalyptic atmosphere. In order to deal with this dark, contemporary period, art becomes a refuge in similar ways as the artificial paradises of the Decadent era. Henry, like a dandy turns himself and his comforting everyday rituals into art; Leo, faithful to his disloyalty, tries to uncover the truth about the lies of Makten in his poetry; and Klas the narrator tells the truth about Henry and Leo by writing <em>Gentlemen</em>. By a homodiegetic narrator the characters are dissolved into their actions and the plot into details. Thus, both the book's aesthetics and themes can be traced to decadence.</p>

During a period corresponding to approximately 1789−1872 the Swedish system of estates was phased out. New ideas challenged the organic view of society, and through a number of political reforms the estate privileges were abolished one by one. The reforms went hand in hand with a change in the social stratification at that time. The distinct difference between peasants and gentlemen that had characterized the countryside were erased and replaced by new ways of categorising people. This development has been described in broad strokes in previous research, leaving the roles of individuals overshadowed. This thesis is about individuals who were on the border between being peasants and gentlemen, how they were viewed by the class society, and the role they played in the dissolution of the same. The focus is centred on a population of wealthy farmers around the rural areas of Västerås during the years 1780−1900, and how they were perceived and acted in terms of title, lineage, education, occupation, farm holdings, building customs, naming customs and political life. The investigation shows that the differences between peasants and gentlemen remained during the period, but that it changed in character from a difference in kind, to a difference in degree. Important reasons for this were the gentlemen’s increased interest in agriculture and the emergence of a group of very wealthy farmers. The increase of rich farmers was more prevalent in the first half of the nineteenth century. They embraced some of the gentry’s behaviour, for instance through the acquisition of mansions, but as they often held political positions that by law should be held by peasants, they also preserved their common appearance. In this way the limits for what could be considered common were moved forward, and the difference between peasants and gentlemen weakened. The gentry’s interest in agriculture increased gradually and was marked by the introduction of agricultural institutes in the mid-1800s. As the old elite increasingly devoted themselves to agriculture they used titles as ”possessionat” and ”godsägare” (landlord) to rise above the peasants. They made themselves the elite in the peasants' own field, thus opening up to being associated with rich farmers.

An analysis of the correspondence between Charles Lyell and Gideon Mantell from 1821 to 1852, in conjunction with other manuscript material, highlights the contrasting backgrounds and geological careers of the two men. It is also characterised by two underlying themes: the nature and timing of their geological work; and the influence of various social factors on their career plans and desire to achieve high social and scientific status. In turn, these points raise several wider issues and inter-related questions concerning the following aspects of English geology in the first half of the nineteenth century. When, why and how did an elite group of geologists emerge in England during this period? Who were its members and what were their characteristics in common? What was the nature and scope of the geological work carried out by the identified elite? In what way did it differ from Mantell's? What social and other barriers did Mantell encounter in his search for scientific and social status? What were the critical factors? In this thesis these issues are examined on a decade-by-decade basis, in three main chapters, as a prelude to examining the central question of why Mantell, unlike Lyell, did not achieve the status of an elite geologist. First, an elite group of English geologists is identified through a series of prosopographic and 'screening' analyses of all members of council of the Geological Society of London (GSL). Geologists who did not meet the prescribed criteria are taken into account. Thirteen geologists are identified in the penultimate and final stages of screening over the four decades. Mantell was the only provincial identified, but he did not attain a position in the final list, which consisted exclusively of a distinctive group of 'gentleman-specialists'. Second, the concept of a geological 'domain' is introduced to analyse the nature and scope of the geological work carried out by the identified group. A critical finding is that all members identified in the final 'screening' list established a 'domain' in one of four categories of the concept and were recognised as the leading authority or exponent of the domain they had fashioned. Finally, the impact and relative importance of specific social and other factors on the careers of Lyell and Mantell are examined. When the findings from each decade of the three chapters are brought together it is shown that by the end of the 1820s it was necessary for a future elite geologist to be so 'positioned' in terms of basic geological experience, location, income and available time that he was able to identify and subsequently fashion an appropriate geological 'domain'. 'Gentleman-specialists', such as Lyell, who were able to follow this strategy, constituted a clearly defined elite that dominated the GSL in the 1830s and 1840s. Mantell's failure to achieve elite geological status stemmed from the fact that he placed too much emphasis on fashioning his image and social status, rather than his scientific career. In doing so, he let the opportunity slip of establishing a major domain - British fossil reptiles - in the early 1830s.

An analysis of the correspondence between Charles Lyell and Gideon Mantell from 1821 to 1852, in conjunction with other manuscript material, highlights the contrasting backgrounds and geological careers of the two men. It is also characterised by two underlying themes: the nature and timing of their geological work; and the influence of various social factors on their career plans and desire to achieve high social and scientific status. In turn, these points raise several wider issues and inter-related questions concerning the following aspects of English geology in the first half of the nineteenth century. When, why and how did an elite group of geologists emerge in England during this period? Who were its members and what were their characteristics in common? What was the nature and scope of the geological work carried out by the identified elite? In what way did it differ from Mantell's? What social and other barriers did Mantell encounter in his search for scientific and social status? What were the critical factors? In this thesis these issues are examined on a decade-by-decade basis, in three main chapters, as a prelude to examining the central question of why Mantell, unlike Lyell, did not achieve the status of an elite geologist. First, an elite group of English geologists is identified through a series of prosopographic and 'screening' analyses of all members of council of the Geological Society of London (GSL). Geologists who did not meet the prescribed criteria are taken into account. Thirteen geologists are identified in the penultimate and final stages of screening over the four decades. Mantell was the only provincial identified, but he did not attain a position in the final list, which consisted exclusively of a distinctive group of 'gentleman-specialists'. Second, the concept of a geological 'domain' is introduced to analyse the nature and scope of the geological work carried out by the identified group. A critical finding is that all members identified in the final 'screening' list established a 'domain' in one of four categories of the concept and were recognised as the leading authority or exponent of the domain they had fashioned. Finally, the impact and relative importance of specific social and other factors on the careers of Lyell and Mantell are examined. When the findings from each decade of the three chapters are brought together it is shown that by the end of the 1820s it was necessary for a future elite geologist to be so 'positioned' in terms of basic geological experience, location, income and available time that he was able to identify and subsequently fashion an appropriate geological 'domain'. 'Gentleman-specialists', such as Lyell, who were able to follow this strategy, constituted a clearly defined elite that dominated the GSL in the 1830s and 1840s. Mantell's failure to achieve elite geological status stemmed from the fact that he placed too much emphasis on fashioning his image and social status, rather than his scientific career. In doing so, he let the opportunity slip of establishing a major domain - British fossil reptiles - in the early 1830s.

El presente trabajo de investigación plantea un estudio sobre la factibilidad de realizar un proyecto económicamente rentable respecto a la personalización de regalos para caballeros para ocasiones especiales en el mercado peruano debido a que se ha investigado sobre la dificultad permanente de elegir un obsequio para un hombre al no contar con muchas opciones a medida de los clientes en mercado nacional o regional. Nuestra ventaja diferencial es “Ser una marca especializada en el diseño, personalización y entrega de regalos para hombres, generando nuevas experiencias duraderas en ocasiones especiales; cuya propuesta realza tres preguntas: ¿Qué contiene esta caja? ¿Para qué será esta barreta?; y ¿Requerirá de mucha fuerza abrirla?”. Nuestra propuesta va dirigida al segmento: mujeres y hombres de los distritos de Lima Metropolitana, para quienes es importante regalar más que un obsequio; una experiencia original y personalizada en una ocasión especial. Para comprender mejor el mercado y al consumidor se empleó un cuestionario y las redes sociales para identificar factores críticos de éxito y fracaso que pueda tener la investigación en el mercado nacional y las acciones necesarias para que la viabilidad del mismo perdure y sea replicable en la región. Contaremos con una plataforma digital para la comercialización de los regalos personalizados y respecto al análisis financiero se concluye que la idea de negocios presentada es rentable, mostrando flujos de caja positivos a partir del segundo año y una Tasa de Retorno de 49.22% superior a lo mínimo esperado de un negocio de este rubro. / The present research project proposes a study on the feasibility of making an economically profitable project regarding the personalization of gifts for gentlemen for special occasions in the Peruvian market due to the fact that it has been investigated about the permanent difficulty of choosing a gift for a man. not have many options tailored to customers in national or regional market. Our differential advantage is "Being a brand specialized in the design, personalization and delivery of gifts for men, generating new lasting experiences on special occasions; whose proposal highlights three questions: What does this box contain? What will this bar be for? and Will it require a lot of force to open it? " Our proposal is aimed at the segment: women and men from the districts of Metropolitan Lima, for whom it is important to give more than a gift; An original and personalized experience on a special occasion. In order to better understand the market and the consumer, a questionnaire and social networks were used to identify critical factors of success and failure of the research in the national market and the actions necessary for its viability to be replicable in the region. We will have a digital platform for the marketing of personalized gifts and regarding financial analysis it is concluded that the business idea presented is profitable, showing positive cash flows from the second year and a Return Rate of 49.22% higher than the minimum expected from a business in this area. / Trabajo de investigación

This thesis is a queer analysis of two graphic novels by writer Alan Moore: The League of Extraordinary Gentlemen series (art by Kevin O’Neill, 1999-Present) and Lost Girls (art by Melinda Gebbie, 1992-3). These two works re-contextualize familiar characters such as Dr. Jekyll and Mr. Hyde, Mina Murray, and Alice to uncover both the liberating desires and the sexist, homophobic, and imperialistic anxieties underlining historically popular fiction. Focusing on three characters utilized in Moore’s work, this thesis argues that the ideological associations with those chosen characters and the reconstructions of queerness in their narratives offer contemporary subjects resistance to limiting cultural tendencies and create an alternative space that call attention to phobic societal constructs. Both Lost Girls and the League series redefine discursively constituted identities and offer the potential to re-write normative codes of sex and sexuality.

Shakespeare's The Two Gentlemen of Verona, is accredited as being one of his early comedies. It is not as widely popular as Taming of the Shrew or A Midsummer's Night, and is also known "as the comedy with a problem ending", this being the immediate forgiveness of Silvia to Valentine and Julia to Proteus. My initial reaction to this ending was of disgust and wonderment of how a 21st century audience would react to this. The director, Alex Mackenzie, a fellow graduate MA student, approached the script with very strong initial concepts but at the same time her approach was very loose and fluid. She wanted to create a world with a modern feel, yet one that was not divorced from Shakespeare. She saw their world as being off kilter, a world that did not necessarily exist. Costumes in this world would be the main element to bridge the worlds of modern and period. Her definitions of periods for this production were the Renaissance and Romantic. With the set design minimalistic and the lights stylized, my approach was to find costumes that not only fit the character's personalities, but also to bring a connection with the audience to this modern world while maintaining a feel of the shows original roots. Since this play has a sense of a class system of servants and nobles, merging of ideals was necessary to find a safe place to show class in a classless modern society. I planned to mark class distinction in three areas: silhouette, color, and texture, using costume research from Elizabethan England, the ideas of modern high fashion's adaptation of period clothing, and the runway work of high fashion designers, particularly those from Milan, Italy. By combining these elements, I was able to bring a modern look that was not only fashionable, but also intriguing. The sources of inspiration that were under consideration included lace ruffles on shirts, chain mail for the knight, breeches, and Elizabethan collars. Colors were also integral to class distinction through the use of texture and vibrant hues to show upper class.

This dissertation offers fairly full readings of three early Shakespearean comedies. Because these works are still partly misunderstood, it has seemed reasonable to lay the critical emphasis on explication, though a certain amount of judging has been inevitable. The aim has been to induce recognition of aspects of these plays to which much modern criticism has seemed opaque.