This thesis studies five mainstream British weekly magazines: 'Time and Tide', the 'Nation and Athenaeum', the 'Spectator', the 'Listener', and the 'New Statesman'. It explores how these magazines reviewed, discussed and analysed modernist literature over an eighteen-year span, 1920-37. Over this period, and in these magazines, the concept of modernism developed. Drawing on work by philosopher Ian Hacking, this research traces how the idea of modernism emerged into the public realm. It focuses largely on the book reviews printed in these magazines, texts that played an important and underappreciated role in negotiations between modernist texts and the audience of these magazines. Chapter 1, on 'Time and Tide', covers a period from the magazine's inception in 1920 to 1926, and draws particularly on Catherine Clay's work on this magazine. It discusses the genre of 'weekly review' that this new magazine attempted to join, and the cultural place of modernism in the early 1920s. Chapter 2, on the 'Nation and Athenaeum', covers Leonard Woolf's literary editorship (1923-30), under the ownership of J. M. Keynes, and makes use of Keynes's archive at King's College, Cambridge, and Woolf's at the University of Sussex. Chapter 3, on the 'Spectator', covers Evelyn Wrench's editorship (1925-32), and explores the relationship between this magazine, ideologies of conservatism, and modernism. Chapter 4, on the 'Listener', focuses on the magazine's publication of new poetry, including an extraordinary 1933 supplement that printed W. H. Auden's 'The Witnesses'. This work revolves around Janet Adam Smith, literary editor in these years, and draws on Smith's archive at the National Library of Scotland as well as the BBC archives at Caversham. Chapter 5, on the 'New Statesman' in the 1930s under new editor Kingsley Martin, explores a period when modernism was more widely recognized, and pays particular attention to a short text by James Joyce printed in 1932, 'From a Banned Writer to a Banned Singer'.

This doctoral thesis explores the contexts of utopian writing and thinking in the Nahda, the Arab 'Awakening' of the long nineteenth century. Utopian forms of social imagination were responses to fundamental changes in the societies of the Arab-Ottoman world brought about by integration into a capitalist world economy and a European-dominated political system. Much Nahda writing was permeated by a sense of a 'New Age' opening and of wide horizons for future change - and this was not simply illusory, but a direct response to actual and massive changes being wrought in the writers' social world. My study focusses on Egypt and Bilad al-Sham in the middle decades of the nineteenth century, from the early 1830s to the mid-1870s. An initial chapter offers a definition of the social classes and groups which contributed to the Nahda in these years - such as the Beiruti bourgeoisie and the Egyptian-Ottoman official class - drawing on the work of Arab Marxists such as Mahdi 'Amil and social historians such as Bruce Masters. The following chapters deal in detail with writings produced by three distinct cultural formations within the Nahda movement, and with different aspects of their social imagination. Chapter 2 examines the discourse of civilisation (tamaddun) through the work of the Beiruti writers Khalil al-Khuri and Butrus al-Bustani in the 1850s and 1860s. Chapter 3 deals with Nahda writers' sense of their place within the European-dominated world, mainly through translations of geography books made by Rifa'a al-Tahtawi in Mehmed Ali's Egypt in the 1830s and 1840s. Chapter 4 examines the utopian aspirations of the Nahda, through a close study of the major utopian literary work of the period, Fransis Marrash's Ghabat al-Haqq (The Forest of Justice, 1865). Finally, a conclusion places my study in relation to other recent work in the field of 'Nahda studies'.

In the context of a renascent interest in the thought of Jean-Paul Sartre, this thesis proposes a close examination of one of his less studied texts, the study of Gustave Flaubert, L'Idiot de la famille (1971-72). The analysis focuses on theoretical developments that emerge from Sartre's biographical enquiry, pursuing an interdisciplinary approach combining a consideration of literary theory and literary history with the perspective of Sartre's philosophy of subjectivity. L'Idiot is situated amongst a wide variety of texts by Sartre, from Qu'est-ce que la littérature? (1948) to the Critique de la raison dialectique (1960), identifying theoretical innovations within Sartre's understanding of the subject (ch. 1), his social theory (ch. 2), his theory of the imaginary (ch. 3), of literary production (ch. 4) and of reading (ch. 5). Additionally, hitherto largely unexplored passages highlight Sartre's reflections on the situation of the late 1960s. Previous analyses of the philosophical innovations presented in L'Idiot have often focused on the strictly theoretical passages in the biography. The present thesis also concentrates on the 'imagined' scenes presented throughout the text. Read as an integral part of Sartre's method, it is suggested that the dramatization facilitated by the biographical format is an integral part of the theoretical enquiry. Despite the lack of explicit referencing provided by Sartre, the biography is explored in its open character, identifying a series of resonances and similarities with a diverse range of authors. The different chapters consider thinkers whose relationship with Sartre has received little or no attention (such as Pierre Bourdieu and Walter Benjamin), or whose work resonates with Sartre in ways that have so far gone unnoticed (Roland Barthes, Maurice Merleau-Ponty and Maurice Blanchot).

This thesis aims to show, how periodization and race converged vigorously during the nineteenth century. The research focuses mainly on the question of how nineteenth century historians viewed the transformation from Antiquity to the Middle Ages. For many scholars, the year 476 A.D. became associated with the fall of Rome. During the nineteenth century, historians elaborated two main arguments: 1) 'The Roman' emphasized the decline that had occurred after the fall of Rome. 2) 'The Teutonic' signified the rejuvenation which the German tribes had brought about in the decaying Empire. Although I relate to the 'Roman' argument, the heart of the discussion is devoted to the 'Teutonic' school that was supported not only by German but also by British or more accurately English historians. The first part of the dissertation is devoted to the theme of 'Community and Race'. In this part, I engage with the thematic question of how the historians of the second half of the nineteenth century constructed past and present communities through the concept of race. A close community or Gemeinschaft of English and German historians emerged during the middle of the nineteenth century. Based on the concept of Teutonic kinship, this community emphasized the notions of race and historical time, which actually invented a new sense of belonging. The English and the Germans were one, an almost indivisible community founded on a purported notion of race. Despite several national or particularistic inclinations, these nations had a common Teutonic past, which always bonded them together. Therefore, the historians 'imagined' a new ultimate transnational (racial) community of belonging. In the second part I study the theme of 'Time'. The linkage between the two parts is embedded in the idea of the Community as a 'Time Maker'. Namely, in what manner does the construction of a community by the historians defines the division of time. The chapter that links the two themes of 'Community' and 'Time' examines the writings of scholars in the eighteenth and nineteenth centuries who underlined the Germanic invasions of the 4th and 5th centuries A.D. as the events that symbolized the fall of Rome and the end of Antiquity. This governing observation is connected directly with the racial Teutonic feelings that were prevalent among English and German historians. The discussion of it set the framework for the following chapters, which delve into the distinct periodization's of Edward Augustus Freeman (1823-92) and John Bagnell Bury (1861-1927). These historians, who were in constant and close contact until the death of Freeman in 1892, reveal similarities as well as major differences in their historical writings. The main reason why they were chosen derives from the new periodization which they had adopted. Both of them devised a method that signified a departure from the accepted and almost 'sacred' division between Antiquity and the Middle Ages.

Orientador: Berta Waldman / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-06T17:33:22Z (GMT). No. of bitstreams: 1 Almeida_MariaInesParolinde_M.pdf: 363603 bytes, checksum: 068eb3dd1a102d48288813465af24327 (MD5) Previous issue date: 2003 / Resumo: A Violeta configura-se como um periódico de variedades que circulou em Cuiabá e no Estado de Mato Grosso durante a primeira metade do século XX (de 1916 a 1950), fruto do Grêmio Literário Feminino, o Júlia Lopes de Almeida, que fomentou parte da vida literária e intelectual da capital e do Estado durante o mesmo período. Este trabalho busca estudar a relação entre esse periódico e o Grêmio que o manteve, na medida em que estuda a relação de ambos com o seu contexto de produção cultural. Na tentativa de marcar a especificidade de A Violeta nesse contexto, buscamos em nossa análise discutir as implicações do agenciamento das tópicas do Nacionalismo e da Educação de Mulheres enquanto parte de um programa ideológico-cultural cuja ambigüidade se revela no tutelamento da leitora potencial da Revista, na constituição das heroínas das narrativas (enquanto exemplum) e da paisagem matogrossense figurada síntese do Brasil / Abstract: A Violeta is constituted as a varieties periodical that was in circulation in Cuiabá and in the State of Mato Grosso during the first half of the 20th Century (from 1916 to 1950), a product of the Grêmio Literário Feminino ¿Júlia Lopes de Almeida¿, an association that stimulated part of the literary and intellectual life of both capital and state during the same period. This work is intended to study the relation between the periodical and the association by which it was maintained, to the extent that it studies the relation of both and their background of cultural production. In the attempt of establishing the specificity of A Violeta in this context, we tried, in our analysis, to discuss the implications of the management of the topics related to Nationalism and the Education of Women as parts of an ideological-cultural program, which ambiguity is revealed in the care of the potential reader of the Magazine, in the characterization of the heroines in the narratives (as exemplum) and in the representation of the landscape of Mato Grosso as a synthesis of Brasil / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The aim of this paper is to trace the role Japan's print media played in the course by which the nation came to be imagined in the late nineteenth century, and once conceived, altered and expanded in the early twentieth century. By the conclusion of the Russo-Japanese War (1905) a shift from a multiplicity of ideological articulations vis à vis the nation to a hegemony of "official" nationalism, which incorporated imperialism, had occured. How Japanese newspapers became an effective and powerful ideological institution which served to facilitate the hegemony of "official" nationalism is here examined. As the manner in which a culture communicates is a dominant influence on the formation of a culture's social and intellectual preoccupations, the monopoly of print in Meiji Japan makes an analysis of it a crucial first step in understanding how Japanese nationalism developed. Meiji newspapers evolved through four distinct phases: "pro-establishment," "political," "early commercial," and "fully commercial." In each succeeding stage of development, news was more finely strained. Print media's commercial coming of age had significant consequences: "official" nationalism became hegemonic, non-"official" nationalisms were effectively marginalized, and print came to play an increasingly central role in the body politic. An examination of editorial coverage of the war indicates the 1903-1905 period was pivotal to this development. / Arts, Faculty of / History, Department of / Graduate

This study is an historical-philosophical analysis of art education in elementary, secondary, and normal schools in the United States from 1883 to 1910 as revealed through the Journal of Proceedings and Addresses of the National Education Association. Its purposes are to define and describe the role, practices, and status of art education as related to or influenced by selected philosophies, psychologies, theories of learning, and research, along with other prevalent factors such as the scientific, industrial movements, and mores of the period. Art education was found in an admitted state of infancy as the period began. 1883 marked its initial separation from the Manual Training Department and first recognition as an entity. This study of its status traces growth and improvement to a point of tentative public acceptance, and re-attachment of the Art Department to the Manual Training Department as an equal partner. Evidence presented seemed to indicate that progress had been made by art education in several important ways. School administrators had recognized that art did have a legitimate role in education, and a national organization had been formed to act as a forum. A uniform course of study had been presented, and current research in mental development had been considered. The scope of art instruction had been broadened to better serve educational and practical needs. Facilities had been improved, and there was a growing number of trained teachers and supervisors.

This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.

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