On Monday 22 June 1772, the English jurist William Murray, 1st Earl of Mansfield, delivered his oral verdict as Chief Justice of the Court of King’s Bench in the famous case involving the enslaved Afro-British servant James Somerset to declare that only an Act of Parliament could legalize domestic bondage and that Somerset was a free man. For the estimated 15,000 captives living in the English metropole, Somerset v. Stewart effectively undercut the Anglo-Atlantic slavocracy that had hid behind legal technicalities and extrajudicial decrees defending domestic bondage since the last quarter of the seventeenth century. In order to offer a full treatment of Somerset, its Afro-British legal antecedents, and the Black experience in Early Modern Britain, this work traces the roots of British racial construction--deep seated physiognomic, socio-cultural, legal, and economic roots that date to 1553 when the English first explored equatorial West Africa or what cartographers generically branded “Negroland.” When investigating Somerset scholars have overlooked the semantics of race, its longue durée link to English legal systems, and the historical actors who socially and legally defiled the Black presence in the British Empire. In addition to reconnoitering the origins of British racial construction, this work examines the judicial minutia of Afro-British case law and Mansfield’s 1772 decision, while offering a comprehensive account of its immediate and long-term effects on emancipations in the Anglo-American diaspora. This provides an all-inclusive treatment neglected by Somerset scholars. Mansfield’s verdict was an exceptional threat to slavery in that it resonated powerfully within interracial trans-Atlantic abolitionist movements and the enslaved communities that waged various forms of “diasporic warfare” against captivity throughout the British Empire. My original quantitative data based on the Glasgow University “Runaway Slave in Eighteenth-Century Britain project” reveals the correlation between pro- and anti-slavery Afro-British legal cases and the 830 ‘runaway’ and eighty-two ‘for sale’ advertisements published in eighteenth-century British newspapers. The quantitative evidence illustrates that from 1758 the surge of Afro-British ‘runaways’ led to the high-profile trials of Joseph Harvey (1762), Jonathan Strong (1765), and Thomas John Hylas (1768) which provoked increased anti-slavery activity the following decade. Indeed, by the 1760s servants were absconding in record numbers and resisting--as what I coin metropolitan maroons--and domestic slavery was quickly dying out in Britain. The public reaction to Mansfield’s 1772 verdict, coupled with the precipitous fall of post-Somerset ‘runaway’ and ‘for sale’ advertisements, proved the end of de facto slavery in England. While its legal legacies were at times ambiguous, the Somerset case gained new meanings in the imaginations of emancipationists and pro-slavery apologists alike, as tellings and retellings of its verdict were passed by word of mouth among enslaved people and through popular publications among literate free people in the decades that followed. Some of the reverberations were resounding and others much more subtle, yet all attest to the special significance of Somerset in the long emancipationist struggle against slavery.

Près de la moitié des personnes âgées vivant dans un Centre d'hébergement et de soins de longue durée (CHSLD) souffrent d'agitation. Il est donc essentiel pour les chercheurs de disposer de mesures valides et fiables de ce phénomène. Le Cohen-Mansfield Agitation Inventory (CMAI) est l'un des instruments de mesure les plus utilisés dans le domaine. Il a récemment été traduit et partiellement validé. Cette étude vise donc à déterminer la structure factorielle de la version française de cet instrument, administré à 373 personnes âgées de plus de 60 ans. Les résultats de l'analyse factorielle en composantes principales avec rotation orthogonale (varimax) suggèrent l'existence de trois facteurs (agitation verbale, agitation physique sans agressivité et agitation avec agressivité). Ces résultats corroborent ceux obtenus avec la version originale anglaise et la version allemande du CMAI. De plus, ils confirment que l'agitation est un concept multidimensionnel.

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 0593 / tarastar@gmail.com

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 2015-04-16 / 0593 / tarastar@gmail.com

Orientador: Cleide Antonia Rapucci / Banca: John Milton / Banca: Antonio Roberto Esteves / Resumo: O presente trabalho pretende fazer uma análise da tradução para o português de alguns contos da obra Bliss & other stories, de Katherine Mansfield, feita pelo escritor Érico Veríssimo. Propomos uma comparação da tradução com o texto de partida a fim de avaliar as soluções tradutórias encontradas na transmissão dos efeitos de sentido propostos pela autora e, por conseguinte, abordar o caráter tradutório do escritor, já que é um ramo de sua atividade profissional não difundido amiúde, embora tenha sido de extrema relevância para seus trabalhos literários posteriores. Assim, verificamos se o tradutor em questão teve o que Ohmann denomina "intuição estilística". Em uma primeira instância, apresentamos um levantamento das principais teorias acerca da tradução e da vertente desconstrutivista, de Jacques Derrida, na qual nos baseamos para a realização da apreciação das traduções. O estudo da relação entre Katherine Mansfield e Érico Veríssimo por meio da tradução aprimora a tradutologia, já que nos permite analisar a postura de um escritor/tradutor perante uma prosa poética. E, por fim, os contos representativos do estilo da escritora neozelandesa e as traduções destes, feitas por Érico Veríssimo, foram analisados a fim de formularmos as devidas conclusões. Para tanto, tomamos como base teórica a teoria desconstrutivista, bem como considerações realizadas por estudiosos da tradução, como Francis Henrik Aubert, José Paulo Paes, Haroldo de Campos, entre outros. / Abstract: The present work intends to analyze the translation into Portuguese of some of the short stories of Bliss & other stories, by Katherine Mansfield, done by the writer Érico Veríssimo. We propose a comparison of the translation with the source text in order to evaluate the solutions of translation found in the transmission of the sense effects proposed by the author and, consequently, to approach the writer's translator character , because it is a branch of his professional activity that isn't spread frequently, although it has been of extreme relevance to his subsequent literary works. So, we verified if the translator presents what Ohmann denominates "stylistic intuition". In a first instance, we presented a survey of the main theories concerning translation and the deconstructionist theory of Jacques Derrida, on which we were based for the accomplishment of the appreciation of the translations. The study of the relationship between Katherine Mansfield and Érico Veríssimo through the translation perfects translation studies, since it allows analyzing the posture of a writer/translator before a poetic prose. And, finally, the New Zealand writer's short stories and their translations, done by Érico Veríssimo, were analyzed in order to formulate the due conclusions. We took as theoretical base the deconstructionist theory, as well as considerations from specialists in translation studies, such as Francis Henrik Aubert, José Paulo Paes, Haroldo of Campos, and others. / Mestre

This study examines the settings in Jane Austen's six novels. Chapter I introduces the topic generally, and refers briefly to Jane Austen's aims and methods of creating her settings. Short accounts are given of the emphasis put on setting in the criticism of Jane Austen's work; of the chronology of the novels; and of the use made of this aspect of the novel in eighteenth-century predecessors. Chapter II deals with the treatment of place in Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park and Emma. The consideration of five novels together makes it possible to generalize about aspects of place common to all , and to discuss particulars peculiar to individual novels without, I hope, excessive repetition. The chapter may be thought disproportionately long, but this aspect of setting is most prominent and important in the delineation of character. Chapter III discusses the handling of spatial detail and time in these five novels. Chapter IV offers a fuller analysis of what is the chief concern of this thesis, the nature and function of setting, in respect of the single novel Persuasion, and attempts to draw together into a coherent whole some of the points made in Chapters II and III. Persuasion separates conveniently from the other works, not only because it was written after them, but more importantly because in it there is a new development in Jane Austen's use of setting. Some critics, notably E.M. Forster and B.C. Southam, have found startlingly new qualities in the setting of Sanditon, and, certainly, the most striking feature of the fragment is the treatment of place. But Jane Austen left off writing Sanditon in March 1817 because of illness, and the twelve chapters make up too small and unfinished a piece to be considered in the same way as the other novels. The Watsons, too, except for some references to it in Chapter I, does not come within the scope of this dissertation. Another introductory point needs to be made briefly. Where it is necessary, the distinction between Jane Austen and the omniscient narrator is observed, but generally, partly because it is clear that Jane Austen's values are close to those of the narrator, and partly because it is convenient, traditional and sensible to do so, the name "Jane Austen" is used to refer both to the actual person and to the narrator of the novels.

This thesis attempts to clarify how the authors incorporated their theological beliefs in their writing to more clearly discover, although modern audiences often enjoy both authors, why Charlotte Bronte was unimpressed with Jane Austen. The thesis is an examination of the ways in which Jane Austen and Charlotte Bronte interact with the Evangelical Reformation within the Anglican Church in their novels Mansfield Park and Jane Eyre, respectively. Both authors, as daughters of Anglican clergymen, were aware of and influenced by the movement, but at varying degrees. This project begins with a brief explanation of the state of the Anglian Church and beginnings of the Evangelical Reformation. The thesis then examines George Austen's influence on his daughter and the characters and text of Mansfield Park to observe the ways in which traditional Anglicanism and tenets of Evangelicalism are discussed in the novel, revealing more clearly where Austen's personal beliefs aligned. Similarly, the project then analyzes Patrick Bronte's influence on Charlotte Bronte and evaluates the characters and text of Jane Eyre to mark the significance of the Evangelical movement on Charlotte Bronte. After studying these works and religious components of their lives, the thesis argues that Austen's traditionally Anglican subtlety with the subject of religion did not appeal to Bronte's passion for the subject, clearly inspired by the Evangelical Reformation. / Master of Arts / Charlotte Brontë was unimpressed with the writing of Jane Austen, which is surprising as the audience for one author usually also enjoys the other author as well. Although the specific reason for Brontë’s distaste for Austen is unknown, this thesis proposes that Brontë disagreed with how Austen portrayed Evangelicalism. Both Brontë and Austen were Anglican clergymen’s daughters, and they both grew up with an awareness of the Evangelical Reformation occurring in the Anglican Church. Brontë was influenced by the movement more, which this thesis shows after first outlining the Evangelical Reformation, exploring Austen’s relationship with it and how it appears in Mansfield Park, and then examining Brontë’s relationship with the Reformation and how it appears in Jane Eyre as well. This thesis contains brief historical and biographical sketches of the authors and their families, literary examinations of the novels Mansfield Park and Jane Eyre to study how the authors interacted with the Evangelical ideals, and an analysis that looks at faith in these two novels in a comparative way to explain why Brontë might have disagreed with and therefore disliked Austen’s writing.

In this study I analyse the role of the heroine in the work of four New Zealand writers, Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme, starting from the assumption that such a role is influenced by the notion of the fall and by the perception of the vertigo entailed in it. In order to prove this I turn to the texts of four New Zealand writers dedicating one chapter to each. In the first chapter a few of Katherine Mansfield's short stories are analysed from the vantage point of the fall, investigated both in the construction of the character's subjectivity and in the construction of the narration. In the second chapter a link is established between Katherine Mansfield and Robin Hyde. A particular emphasis is put on the notion of subjectivity in relationship developed by the two writers, highlighting the link between this kind of subjectivity and the notion of the fall. In the third chapter the focus is subsequently shifted to Robin Hyde's work, in particular one of her novels, Wednesday's Children, which is read in the context of Mikhail Bakhtin's theory of the carnivalistic. In the fourth chapter the notion of the fall is analysed in the fiction of Janet Frame, which is related to the treatment of the notion of the fall present in Keri Hulme's The Bone People. The fifth chapter is dedicated to the analysis of The Bone People as in the novel the notion of the fall and the vertigo perception find their fullest expression, whilst in the sixth chapter a significant parallel is drawn between Janet Frame's Scented Gardens for the Blind and Keri Hulme's The Bone People and links are established with their predecessors. Finally in the seventh chapter the critical perspective is broadened to comprise those common elements in the writing of Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme that have been neglected by focusing uniquely on the notion of the fall, and thus to contribute to a more complete overall picture of the comparison presented in this study.

Jane Austen sprinkles deaths throughout her novels as plot devices and character indicators, but she does not tackle death directly. Yet death pervades her novels, in a subtle yet brutal way, in the lives of her female characters. Austen reveals that death was the definition and the destiny of women; it was the driving force behind the social and economic constructs that ruled the eighteenth-century woman's life, manifested in language, literature, religion, art, and even in a woman's doubts about herself. In Northanger Abbey Catherine Morland discovers that women, like female characters in gothic texts, are written and rewritten by the men whose language dominates them. Catherine herself becomes an example of real gothic when she is silenced and her spirit murdered by Henry Tilney. Marianne Dashwood barely escapes the powerful male constructs of language and literature in Sense and Sensibility. Marianne finds that the literal, maternal, wordless language of women counts for nothing in the social world, where patriarchal,figurative language rules, and in her attempt to channel her literal language into the social language of sensibility, she is placed in a position of more deadly nothingness, cast by society as a scorned woman and expected to die. Fanny Price in Mansfield Park is sacrificed as Eve, but in her death-like existence and in her rise to success she echoes Christ, who is ultimately a maternal figure that encapsulates the knowledge of the goddess, the knowledge that from death will come life. Emma Woodhouse in Emma discovers that her perfection, sanctioned by artistic standards, is really a means by which society eases its fears about death by projecting death onto women as a beautiful ideal. In Persuasion, Anne Elliotfindsthat women endure death while men struggle against it, and this endurance requires more courage than most men possess or understand. Austen's novels expose the undercurrent of death in women's lives, yet hidden in her heroines is the maternal power of women—the power to bear children, to bear language and culture, to bear both life and death.

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