This dissertation analyses the visual representations of the Lower Thames in the years between about 1880 and 1901 to understand the ways in which they reconstructed and projected modern life in London in and through visual forms. Focusing on works which were accessible in the broad middle-class sphere through exhibitions and publications, it sets out to show how non-modernist works of art articulated capitalist modernity in powerful terms. In translating a working port into representations such as exhibition pictures and newspaper illustrations, artists exploited the naturalist aesthetic. They highlighted the dirty, modern, chaotic and even dangerous river, while playing with the distance between that depicted working-class site and the middle-class audience of their work. Examining their subject and means of representation, the dissertation shows how the late Victorian representations of the Port of London illuminated the values of technology, labour, capital and the Empire.

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Abstract   This thesis examines the role of women who went as missionaries to China between the 1890’s and the 1930’s, with a special regard to the Swedish missionary Sally Nordling. I think it is interesting to find out more about their motives. What made these women choose to go far away from their homes in Europe to live and work for God?   I have noted that there is not much written about these women and I hope that this thesis will shed light on this part of history, and that I will be able to give my own personal reflections. Through analysing different biographies written about female missionaries that lived in China I hope to be able to answer my hypothesis that women through their religious conviction were able to escape their restricted lives. The main research question for this thesis is whether female missionaries were allowed to do similar work as men when going to China.

The West India Royal Commission of 1897 advanced a number of recommendations intended to lift the West Indies out of their depressed condition and to shape their future economic development. This thesis examines the efforts made to implement those recommendations and the extent to which they influenced economic progress in the colonies of Barbadoes, British Guiana, The Windward and Leeward Islands. Particular attention is directed towards the recommendation that the labouring populations be encouraged to settle on the land as small proprietors. This proposal provided for the welfare of the largely Negro populations of the colonies, but it also threatened to upset the plantation dominated nature of the agriculture economy. The Royal Commission believed that peasant land ownership could be extended only through the introduction of government schemes of land settlement. The considerations which underlay the success or failure of such schemes and of peasant proproetorship in gneral constitute the central theme of the thesis. Other aspects of the economu which are examined affected planter and peasant alike. Freight connections, choice of crops, methods of cultivation, availability of markets, and access to expert advice were considerations which determined the success of both plantation and peasant proprietary. The Colonial Office role in the development of these colonies was limited and for the most part initiative rested with the colonies themselves. Questions of crop selection, or of the location for a settlement scheme, could only be decided by local experts. Furthermore, Joseph Chamberlain, the most influential Colonial Secretary of the period, as far as the West Indies were concerned, clearly believed in delegating responsibility to the local official. Nevertheless, when appropriate, the Colonial Office did play an active part. Its influence over shipping contracts was considerable, whilst the survival of the valuable Imperial Department of Agriculture, established in consequence of a recommendation of the Royal Commission, was entirely due to Colonial Office determination in the face of Treasury resistance.

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As poéticas simbolista e decadentista surgiram no último quarto do século XIX, em Paris, como reação ao movimento naturalista e ao pensamento positivista e cientificista de então; logo se espalharam para outros países, dentre os quais se destacam Bélgica, Portugal e Brasil, cujos autores continuaram a manter intenso diálogo com a produção da capital francesa. As obras escritas nesse contexto costumavam apresentar preocupações quanto ao aspecto metafísico da existência, buscando correspondências entre mundo natural e mundo espiritual, ao mesmo tempo em que propunham uma série de inovações estético-formais, como o verso livre e a prosa poética. No plano temático, voltavam-se a mitos e lendas difundidos no imaginário ocidental, resgatando símbolos antigos para instaurar novas significações e atualizar imagens já desgastadas. Tendo em vista esse contexto e os recentes estudos sobre a representação dos animais na literatura, a presente tese procurou verificar em que medida os animais se fazem presentes e se revelam importantes no imaginário finissecular e de que maneira houve inovação na forma como foram retratados. Paralelamente, pretendeu-se confirmar a existência de um imaginário animal comum aos poetas e prosadores simbolistas e decadentistas, independentemente de seu país de origem, e apesar das particularidades próprias de cada autor ou obra. Para tanto, partindo das imagens da águia, do cisne e do verme, três dos animais mais recorrentes e significativos para o contexto finissecular, em autores de língua francesa e portuguesa, buscou-se interpretá-las em seu próprio contexto e comparálas com as simbologias atribuídas pela tradição de modo a averiguar as inovações propostas pelos simbolistas e decadentistas e as particularidades de seu imaginário animal. / Symbolist and Decadent poetics emerged in the last quarter of the 19th century, in Paris, as a reply to Naturalism and its contemporary positivist and scientistic philosophies. Symbolism and Decadentism soon spread to other countries, among which Belgium, Portugal and Brazil, whose authors much dialogued with its fellow French writers. Works written in such a context used to feature anxieties as to existences metaphysical aspect, seek similarities between natural and spiritual world, as well as propose a series of aesthetical and form innovations, such as the free verse and the poetic prose. When it came to themes, they sought myths and legends that were widespread in the Western imaginary, making use of long-lost ancient symbols so as to bring forth new meanings and modernise outworn imagery. Given this background and recent studies concerning the representation of animals in literature, the present thesis sought to ascertain how present and important animals are to the late 19th-century imaginary and how innovative their portrayal is. Furthermore, it was our intent to establish the existence of a shared imaginary about animals among symbolists and decadents, regardless of their birthplace and despite the particularities of each author and work. In order to reach this goal, eagle, swan and worm images were our starting point, since they proved to be among the most meaningful and recurrent animals, both in French and Portuguese speaking authors. Then, I analysed them in their own context and proceeded to compare them to their traditionally assigned symbology, so as to learn the innovations proposed by symbolists and decadents, as well as the particularities of animals within these movements imaginary.

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<p>Inferno constitutes a turning point in Strindberg's literary production in that scriptural quotations appear more frequently and a new style emerges. This thesis presents the characteristics of the scriptural quotations appearing in Inferno (1897) and Jacob Wrestles (a fragment following Légendes, written in French and in Swedish in 1898). Comparative, discourse, textual and intertextual approaches are used to define the place and role of scriptural quotations in this literary corpus.</p><p>From a historical point of view, both novels are part of the religious history of late 19th century France, where religion played a more important role than during the scientific, rationalist era characterizing the preceding decades. Strindberg adopts a new style corresponding to the spirit of his time. The art of "quoting the Bible at random" is a rhapsodic style, which appears mainly in Strindberg’s correspondence, in his Occult Diary (writings contemporary with Inferno) and in the work of some French 19th century writers. This style originates, above all, in the occult tradition, but it is also a means of imitating the Bible and identifying with a prophetic figure.</p><p>The research discussed in this dissertation has made it possible to determine, for the first time, what Bible translations are used in the two novels by Strindberg (translations by Ostervald and Martin / Roques). Five different types of rewritings of quotations were found: omissions, cutting of verses, substitutions, typographical changes and inversions. These variations were aimed at harmonising the Biblical text and the Strindbergian text, while removing contextual and theological elements that bothered the writer. The discourse analysis has concentrated on the quotations viewed as reported speech, distinguishing different ways of introducing Biblical verses in the novel. It was found that the narrator's subjectivity is present in the comments leading up to the quotations. The polyphonic character of some quotations has stressed the importance of identification play between the narrator and certain quotations characters such as Christ, Job and the psalmist.</p><p>The intertextual analysis has revealed a large number of similarities in the scriptural quotations in the literary production of Strindberg, Swedenborg and French 19th century literature. It is shown that Inferno contains various quotations that appear in Occult Diary and in other writers’ works, such as those of Swedenborg, Péladan, Zola, Huysmans and Chateaubriand. Jacob Wrestles, on the other hand, does not include as many intertextual elements but instead reassembles many scriptural quotations that were underlined in the Bible translation used for this novel: La Sainte Bible, Ostervald's translation from 1890, which can be found in Blå Tornet (The Strindberg Museum in Stockholm). Strindberg is consequently recycling Biblical material when he writes Inferno, while resorting to the French Bible of Ostervald from 1890 to write Jacob Wrestles.</p><p>The quotations strewn in Inferno constitute a crescendo and reveal the narrator’s unsuccessful attempt at conversion, at the same time forming the structure of a complaint psalm in which the narrator cries out his suffering and awaits liberation. In the French text of Jacob Wrestles, the writer offers a package of scriptural quotations in order to identify the narrator as "a religious man", imploring God's mercy like Moses and Job. In the Swedish text of Jacob Wrestles, a new perspective is introduced as a result of the change in language, the change from Old to New Testament, the new spiritual disposition of the narrator and the sudden intrusion of the writer in the narrator’s space. The role of scriptural quotations in the entire fragment of Jacob Wrestles is a true linguistic, thematic and theological revolution, which accounts for the narrator's extraordinary religious evolution. The misery of the narrator in Inferno allows a ray of Christian hope, which will persist in Strindbergs’s literary production post-Inferno.</p>