L’argument initial, le laboratoire romanesque, fait glisser la thèse de la perspective “le roman et la science” à celle de "la science du roman". En présentant la Recherche comme observatoire et laboratoire humain et littéraire, le roman émerge autant comme outil de perception que comme objet d’investigation. Le premier chapitre montre l’intérêt du roman pour la science et les innovations technologiques, ainsi que les similitudes entre l’écriture et la démarche scientifique. La place des objets du quotidien dans la confection de l’œuvre ouvre la porte à la partie subjective du réel, aussi cruciale pour le narrateur qu’une description objective ou scientifique de phénomènes tel le passage du temps. La Recherche explore les zones inconnues du temps par le biais du sensible, déstabilisant ainsi le postulat de la relativité temporelle comme intrinsèquement scientifique. Apparaît une matière temporelle dont la nature change en fonction de la subjectivité du narrateur. La Recherche dévoile une relativité temporelle proprement romanesque qui remet en question la primauté d’une réalité scientifique par rapport aux vérités se dégageant des interstices textuels, et amorce la disparition de la chronologie au profit de l’organicité de l’œuvre. Ce désencrage temporel doublé du désengagement de l’auteur permet à une neutralité productive de s’épanouir et d’offrir une vision du monde inattendue. Le choix du neutre est observable dans la peinture des entre-deux masculin-féminin, la description presque comique des amitiés remodelées par l’affaire Dreyfus, et la particularité du style proustien. C’est grâce à cette neutralité que l’œuvre atteint un morcellement épistémologique productif ouvrant la voie à un renouvellement du genre romanesque. Le dernier chapitre répond à la question «que reste-t-il de Proust?». La fragmentarité, la plasticité du roman et la place de la fiction dans la cohésion narrative de la Recherche ressortent d’œuvres qui adoptent également un mode d’écriture autobiographique métissé. Cette nouvelle voix autobiographique se délivre du carcan de la confession et de l’introspection grâce à l’imaginaire. En brisant le pacte autobiographique, le souci d’authenticité s’évanouit laissant s’épanouir au-delà du canon le démon romanesque, et ouvrant la boîte de Pandore ou sur des réalités dérisoires ou sur un mode de l’intériorité. / Romance Languages and Literatures

Early Ottoman dance practices that took place in gender segregated spaces andallowed for a certain degree of sexual explicitness and expressions of homoerotic desirewere disavowed among Turkish elites in the eighteenth and nineteenth centuries. "Bellydance" became associated with non-Turkish performers, while the Tanzimat and YoungTurk state employed the theater to perform emerging ideas about 'Turkishness' and the'New Woman.' In the early Turkish Republic, the new cadre of Kemalist militaryofficers and bureaucrats altogether rejected its Ottoman heritage and danced the waltz ina close embrace to the music of Western orchestras.This thesis charts significant changes in dance practices between the late OttomanEmpire and early Turkish Republic in order to examine the articulation of modern viewsof gender and sexuality. Dance played a formative role in shaping Turkish modernityand framed moral issues about gender, sexuality, and public space, reflecting andreshaping social life at the same time.

This dissertation explores burial practices and funeral rituals in Mexico City during the late-nineteenth and early-twentieth centuries. I argue that international shifts in ideas about public health, class, and nationalism were reflected in new spaces and practices for dead bodies. Furthermore, I examine how mass death challenged traditional burial practices. The daily practices involved in managing the disposal and veneration of dead bodies illuminate the social and cultural challenges in building modern cities and the ways in which these projects are adopted or rejected by the citizenry. The first three chapters focus on the modernization of burial practices in the nineteenth century. Burial reform laws in the 1850s led to the foundation of the capital's first large, modern cemetery, the Panteón de Dolores, by the Liberal government in 1879. The cemetery became a microcosm for the clean, modern city, mapping the new social class configuration through the distribution of its graves. Quickly the administrators of the Dolores Cemetery failed to meet ideal due to the realities of daily operation. The cemetery had been imagined as a space that reflected elite ideas of modernity, but it served a capital that was mostly indigent. In response to overcrowding, the technology of cremation, which targeted the poor, created a class division between those who could be buried and those who had to be cremated. Government officials successfully constructed a modern, sterile approach to death and began to wrest away control of the symbolic power of death from the Catholic Church. The last two chapters focus on the temporary breakdown of these practices and the reinterpretation of funeral rituals in the early twentieth century. Instability and high mortality rates during the Revolution of 1910-1920 led to overcrowding in cemeteries and spread the dead beyond the cemetery, including impromptu battlefield cremations. A comparison of three funerals in 1928-1929 shows new ways in which the funeral was used to perform ideas about the nation, family, and masculinity. The Revolution's unmanageable casualty levels and the advent modern, secular funerary practices in the period before the Revolution influenced how the government, military, and civilians handled and memorialized death.

From a normative perspective, sport is often viewed as a form of benign entertainment and an optimal vehicle for health and community development devoid of political bias. This thesis examines the way sport has been constructed and mobilized as an instrument of neoliberalism, especially through a nexus of biopedagogies that instruct ways of knowing, ordering and conditioning bodies. Historically, sport's instrumental role to the politics of governance similarly continues to be a powerful way and useful vehicle to exercise dominance and mastery over one's own body, nature and others. Building upon the work of Michel Foucault and Nikolas Rose, I contend that psy-prefixed disciplines that surfaced from Western capitalism play a distinct role in mobilizing sport to reconfigure the body in such a way that it serves political economic goals. This thesis offers a sociological approach to critically examine the disciplining of the body through sport with the intent to foster moral development, social inclusion and peace-building according to a neoliberal framework of health. Drawing from Foucault’s work as a kind of theoretical toolbox to inform a geneaology, with some archaeological examples, of the biocitizen as he or she has been made a useful subject of neoliberal health. This geneaology addresses the shifts and splits in the human sciences that have contributed to the ubiquity of psy- practices and disciplining techniques that shape the youth education of bodies, movement and physicality. Foucault’s notion of “dividing practices” and the relational interdependency of what is constructed as normal or deviant, reveals a co-dependent producing of the self and its normalization as well as the problematizing and policing of the “other.” These systems of difference undermine the diversity of physical cultures and practices while also creating a binary oriented approach to healthism discourses, which effectively order, dominate and subordinate specific bodies, thereby furthering networks of inequality and exclusion. Finally, the last section turns to the period of modern aestheticism, theatre performance and critical pedagogy in order to rethink possibilities of sport beyond the present limits of the competitive capitalist rubric that shapes body knowledges and practices in current physical education. / Thesis (Master, Sociology) -- Queen's University, 2011-08-29 13:43:27.429

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This thesis examines public school music in the making of a modern middle class in late-Victorian Toronto. Its aim is to show how this subject both shaped and was shaped by the culture of modernity which increasingly pervaded large urban centres such as Toronto during the course of the nineteenth century. In so doing, this study also examines various aspects of the acoustic soundtrack during the period under study—particularly that which witnessed the advent of industrialization—to bring additional context and perspective to the discussion. Using an approach which goes beyond pedagogic and bureaucratic justification, the overall intent is to present the evolution of school music and its public performance within a much broader acoustic framework, that is, to weave it into the increasingly-urban soundtrack of Toronto, to gain some appreciation of how it would have been heard and understood at the time. In addition to its primary historical discourse, the study also draws meaning and context from a variety of other academic disciplines (musicology, sociology and education, to name but a few). Because of this, it necessarily moves from the general to the specific in terms of its overall focus, not only to provide background, but also to help make sense of the ways in which each of these areas informed and influenced the development of Toronto’s public school system and the inclusion of music in its classrooms. It then proceeds more or less chronologically through the nineteenth century, placing particular emphasis upon the careers of prominent educators such as Egerton Ryerson and James L. Hughes, to mark significant shifts in context and philosophy. Within each, a thematic approach has been employed to highlight relevant developments that likewise informed the way in which school music was conceived and comprehended. In this way, it is hoped that a fresh perspective will emerge on the history of public school music in Toronto, and prompt further research that employs aural history as a more prominent tool of historical research.

Henry Black was born in Adelaide in 1858, but arrived in Japan in 1864 after his father became editor of the Japan Herald. In the late 1870s, Henry Black addressed meetings of members of the Freedom and People�s Rights Movement. His talks were inspired by nineteenth-century theories of natural rights. That experience led to his becoming a professional storyteller (rakugoka) affiliated with the San�y� school of storytelling (San�yuha). Black�s storytelling (rakugo) in the 1880s and 1890s was an attempt by the San�y�ha to modernise rakugo. By adapting European sensation fiction, Black blended European and Japanese elements to create hybridised landscapes and characters as blueprints for audiences negotiating changes synonymous with modernity during the Meiji period. The narrations also portrayed the negative impacts of change wrought through emulation of nineteenth-century Britain�s Industrial Revolution. His 1894 adaptation of Oliver Twist or his 1885 adaptation of Mary Braddon�s Flower and Weed, for example, were early warnings about the evils of child labour and the exploitation of women in unregulated textile factories. Black�s kabuki performances parallel politically and artistically inspired attempts to reform kabuki by elevating its status as an art suitable for imperial and foreign patronage. The printing of his narrations in stenographic books (sokkibon) ensured that his ideas reached a wide audience. Because he was not an officially hired foreigner (yatoi), and his narrations have not entered the rakugo canon, Black has largely been forgotten. A study of his role as a mediator of modernity during the 1880s and 1890s shows that he was an agent in the transfer to a mass audience of European ideas associated with modernity, frequently ahead of intellectuals and mainstream literature. An examination of Black�s career helps broaden our knowledge of the role of foreigners and rakugo in shaping modern Japan.

O presente estudo parte do impasse em uma experiência formativa no âmbito da licenciatura em filosofia, representado pela questão do outro na educação especial. Para respondê-la, os registros da Modernidade como fato histórico e da Modernidade como experiência subjetiva orientam o argumento. Busca-se, na história das ideias, compreender o surgimento da educação especial a partir da lógica de um mundo partido por uma corrente de dualismos e dicotomias, ocorrendo a principal delas entre o self e o outro. Procura-se refletir sobre como essa problemática se desenvolve no âmbito educacional, intersubjetivo por excelência, mas principalmente naquele nomeado como especial, onde a questão do outro é potencializada. Em resposta ao primado da subjetividade e ao ocultamento do outro estabelecido na Modernidade, é introduzido o tema do reconhecimento. A tese é que o reconhecimento é central nas questões de escolaridade e educação, servindo como lente para contextualizar as perspectivas que engendram e circunscrevem a educação especial – tais como a caritativa, a médica e a político-legal, de viés inclusivo. A pesquisa vincula a questão da alteridade às situações concretas em que ela é vivenciada, com efeitos nos campos da moral, da ética e do agir pedagógico. / This essay has its starting point on the impasse that occurs in an educational experience in the scope of the licentiate in Philosophy – the question of the other in special education. In order to respond to that question, records of Modernity as an historical fact and also as a subjective experience are used to guide the argument. Based on the history of ideas, this essay aims to comprehend the emerging of special education through the logical thought of a world divided by a stream of dualisms and dichotomies – being the main one that between the self and the other. The study seeks to reflect about how that problematic is developed in the educational scope (intersubjective par excellence) and especially in the special education scope, in which the question related to the other is potentialized. Answering the primacy of subjectiveness and to the hiding of the other established in Modernity, the recognition matter is introduced. The thesis is that recognition has a central role in issues related to schooling and education and works as a lens to contextualize the perspectives that engender and circumscribe special education, such as the charitable, the medical and the political perspectives, with inclusive bias. This essay links the alterity matter to the concrete situations in which it is experienced, with effects on the fields of moral, ethics and pedagogical act.

vii, 237 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / Fannie Farmer of the Boston Cooking School may be the only culinary expert from the Progressive Era who remains a household name today, but many other women took part in efforts to reform American foodways as well. Employing "scientific cookery," cooking based on the sciences of nutrition and physiology, these women paradoxically formed their careers within a prescribed culture of women's domesticity. At a time when the food industry was rapidly growing, culinary authorities engaged in commercial enterprise as intermediaries between producers and consumers by endorsing products, editing magazines and advertising recipe booklets, and giving cooking demonstrations at food expositions. This study examines the role of cooking experts in shaping the culture of consumption during the forty years beginning in 1876, when the first American cooking school based on scientific principles was founded in New York. Consumer culture here refers not only to advertising and a set of beliefs and customs regarding shopping at retail stores. Expanding the definition of consumption to include cooking (producing meals entails consuming foods) and eating, this dissertation also explores how cooking experts helped turn middle-class women into consumers of food. Drawing on cooking authorities' prescriptive literature, such as cookbooks, magazine and newspaper articles, and advertising cookbooks, this study takes a bifocal approach, illuminating the dynamic interplay between rising consumerism and foodways. Culinary experts not only helped develop the mass marketing and consumption of food. They also shaped a consumerist worldview, which exalted mental and physical exuberance, laying the groundwork for consumer culture, especially advertising, to grow. They adopted commercial aesthetics into their recipes and meal arrangements and, claiming that the appearance of foods corresponded to their wholesomeness, culinary authorities suggested eye-appealing dishes for middle-class women to make and consume. The entwinement of culinary and consumer cultures involved cooking teachers' insistence on the domesticity of women, especially their role of providing family meals. This gender expectation, along with consumer culture, characterized twentieth-century America. Culinary reformers helped modernize American society at large at the turn of the twentieth century. / Committee in charge: Daniel Pope, Chairperson, History; Ellen Herman, Member, History; James Mohr, Member, History; Geraldine Moreno, Outside Member, Anthropology