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This dissertation has examined the tanci fiction Jing zhong zhuan, or A Biography of Dedication and Loyalty, authored by a gentry woman writer Zhou Yingfang in the late nineteenth century. I argue that by adapting the well-known patriotic story of General Yue Fei in Chinese history, Zhou Yingfang suggests new directions in grand historical narrative in her own voice and from her own perspective. Negotiating the writing conventions of earlier legends, she turns the stereotyped masculine image of Yue Fei into a hero in both public and domestic settings. In addition, she adds many detailed episodes from Yue Fei's family life and portrays virtuous women in a chaotic historical period, paralleling the conventional narration of wars and politics. Although often (mis)read as a text that inspires nationalism, Jing zhong zhuan actually redefines significant values in late imperial China, including the importance of family and the complex relation between filial piety and political loyalty. The tanci also enriches the notions of female virtues, expanding them from chastity to beauty, learning and management skills. Employing tanci, a unique genre that is closely associated with and quite dominated by women, Zhou Yingfang demonstrates her gendered consciousness in relationship to late nineteenth-century Confucian family dynamics and her self-representation and literary engagement within grand historical narratives. My dissertation sheds light on the dynamics between women's writing and historiography, as well as on the discourses of patriotism and emerging nationalism at the turn of the twentieth-century in China.

Made available in DSpace on 2014-06-12T17:37:01Z (GMT). No. of bitstreams: 2 arquivo8443_1.pdf: 7463601 bytes, checksum: 8997fb10adb9f05e0fda4cd7e700fc8a (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Os estudos conduziram à priorização da alterabilidade e sua relação com características petrográficas e tecnológicas dos tipos comerciais do granito Marrom Imperial. Foram direcionados à qualificação e aplicação desses materiais pétreos como material ornamental e de revestimento. Os experimentos de ataque químico foram procedidos utilizando-se insumos preparados e disponíveis no mercado, bem como soluções especificamente preparadas com os seus princípios ativos. Ensaios químicos comprovaram que os produtos de alteração estão compatíveis com a mobilidade dos componentes moleculares dos minerais constituintes. Macroscopicamente e sob microscopia óptica foram verificados aspectos texturais das alterações, destacando-se a isotropia dos produtos secundários amorfos e isométricos. Outrossim, hidróxidos e outros produtos coloridos puderam ser observados sob luz paralela. A petrografia explorou relação textural entre as espécies minerais dos três tipos comerciais do granito , na busca de identificar o mais susceptível à alteração, bem como a ordem de alterabilidade semi-quantitativa dos diversos insumos. Valores de medição do brilho expressam a qualidade da refletância que o polimento transmite ao medidor. Portanto, quanto maior a agressão na mesma peça maior será a perda do brilho, o que pôde ser observado nas placas atacadas principalmente por ácidos e bases fortes. Enquanto os valores médios encontrados para índices físicos e desgaste Amsler estão dentro dos limites aceitáveis, o mesmo não acontece para compressão uniaxial e gelo-degelo, significando referências para a aplicabilidade otimizada. Portanto os três tipos comerciais de Marrom Imperial têm aplicações distintas com finalidades específicas

In the early second century AD four extraordinary imperial deifications are recorded. The first took place during the reign of the emperor Trajan (r. 98-117), who deified his sister, Ulpia Marciana, immediately following her death in 112. Next, in 119, Marcianas daughter, Matidia, was deified by Hadrian (r. 117-138), who was married to Matidias daughter, Vibia Sabina. The usual interpretation of these two deifications is that the honours paid these women bolstered imperial prestige within a political atmosphere that later allowed Hadrian to use their deifications as a means of creating a fictive dynastic connection to legitimize his succession. Similar motivations are applied by scholars to the deifications of Pompeia Plotina, the dowager empress of the emperor Trajan, who died during the tenure of his successor, Hadrian, in 123, and of Hadrians own wife, Vibia Sabina, who died in 136 or 137, little more than a year before her husband. Intriguingly, none of these women is much remembered in extant historical records, though other evidence for their prominence statues, coins, inscriptions, buildings in Romes centre is striking in its abundance. The rationale for the deifications of these women therefore remains the subject of a debate that ultimately engages questions of female involvement and the meaning of that involvement within Romes traditional hierarchies of power and prominence. This paper seeks a culturally relevant context for the mystery of these deifications, proposing that the theoretical underpinnings for female deification lie as much in the implications of female involvement in the public sphere as they do in dynastic considerations. Using a social and ethnographic approach, it investigates evidence for the wealth, social standing, and public presence of these early second century women and connects these to the Romans need to uphold traditional mores and morals in the face of social change and shifting political realities.

In the early second century AD four extraordinary imperial deifications are recorded. The first took place during the reign of the emperor Trajan (r. 98-117), who deified his sister, Ulpia Marciana, immediately following her death in 112. Next, in 119, Marcianas daughter, Matidia, was deified by Hadrian (r. 117-138), who was married to Matidias daughter, Vibia Sabina. The usual interpretation of these two deifications is that the honours paid these women bolstered imperial prestige within a political atmosphere that later allowed Hadrian to use their deifications as a means of creating a fictive dynastic connection to legitimize his succession. Similar motivations are applied by scholars to the deifications of Pompeia Plotina, the dowager empress of the emperor Trajan, who died during the tenure of his successor, Hadrian, in 123, and of Hadrians own wife, Vibia Sabina, who died in 136 or 137, little more than a year before her husband. Intriguingly, none of these women is much remembered in extant historical records, though other evidence for their prominence statues, coins, inscriptions, buildings in Romes centre is striking in its abundance. The rationale for the deifications of these women therefore remains the subject of a debate that ultimately engages questions of female involvement and the meaning of that involvement within Romes traditional hierarchies of power and prominence. This paper seeks a culturally relevant context for the mystery of these deifications, proposing that the theoretical underpinnings for female deification lie as much in the implications of female involvement in the public sphere as they do in dynastic considerations. Using a social and ethnographic approach, it investigates evidence for the wealth, social standing, and public presence of these early second century women and connects these to the Romans need to uphold traditional mores and morals in the face of social change and shifting political realities.

El Fòrum d’August de Roma va ser una gran plaça pública inaugurada l’any 2 a.C. que es va bastir al voltant del temple de Mart Venjador amb llargs pòrtics revestits de marbres i farcit de cicles icònics escultòrics que resumien la història mítica de la fundació de Roma, els fets dels seus grans homes i la història de la casa d’August, el PaterPatriae. Ens hem centrat en la relació dels diferents espais arquitectònics amb la seva decoració, proposant una lectura dels seus diversos conjunts iconogràfics gràcies al establiment de vincles visuals i simbòlics entre els diferents elements icònics. Aquesta tasca ens ha permès revelar la complexa trama de relacions que s’establiren entre les escultures i relleus que formaven el programa iconogràfic del fòrum. / The Forum of Augustus in Rome was a great public square opened in 2 BC built around the Avenger Mars temple with long marble porticoes and filled with sculpture series that resumed all the history of Rome from its very foundation, the deeds of all its great men and of the house of Augustus, Pater Patriae. We focused on the relationship of the different architectural spaces with the decoration, offering a reading of the multiple iconographic sets using the symbolic and visual links between the iconic elements. This work has allowed us to reveal the complex web of relationships between the sculptures and reliefs that were the iconographic program of the forum.

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Thesis (Ph. D.)--Catholic University of America, 1934. / At head of title: The Catholic university of America. Bibliography: p. 82-90.

Thesis (Ph. D.)--Catholic University of America, 1934. / At head of title: The Catholic university of America. Bibliography: p. 82-90.