The town of St. Joseph, established in 1835, served as an important deep-water port for receiving and shipping dry goods up the Apalachicola River north along the vast network of navigable inland waterways in southeastern U.S. during the early nineteenth century. Unfortunately, this town was hit with a yellow fever epidemic and a series of hurricanes that, combined with the infancy of its cotton trade activities, eventually devastated its economy and population. The town disappeared by 1842, only much later to be replaced by modern Port St. Joe (est. 1909), located north of the original settlement. However, St. Joseph's influence upon Florida's economy was paramount. It hosted Florida's first constitutional convention, where the first five constitutions were drafted. Despite St. Joseph's historical gravity, little was known about its economic impact to Florida; much of its history is shrouded in folklore. Recently a large artifact collection from St. Joseph was made available for professional research. The collector invited me to document the materials and do the first archaeological investigation of this lost town. This research also utilizes the material culture to examine questions of early nineteenth-century capitalism and consumer behavior.

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The problem of this investigation is determining the artists, places, dates, subjects, and types of frescoes done in nineteenth century England. Through research in nineteenth and twentieth century materials, this information was disclosed. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons fro using fresco, and fresco's relevance to the subjects of the paintings. The differences in the technical aspects of fresco and its adaptations are explored. Included in this paper are discussions of the artists, chronology, the fresco projects, stylistic considerations, reasons for using fresco, and fresco's relevance to the subjects of the paintings. It is concluded that the fresco revival was a part of the prevalent Romantic mood of the period and a wish to make England an important nation in the art world's eyes. The revival, however, failed. Its fresco scenes crumbled off the walls that supported them.

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No description available.

This study explores the manifestation of piety and sensuality in the operas Manon and Thaïs by Jules Massenet. These two themes are prevalent in Massenet’s operas as well as his oratorios, although it is not clear why this is so. His admiration and love for the human voice and his ability to compose beautiful melodies are reflected in the fact that he composed primarily for the lyric theatre. Piety and sensuality in Manon and Thaïs are articulated predominantly by the eponymous female characters. In order to understand the characters and the motivations that steer their lives, it was necessary to gain an understanding of the socio-historical context of piety and sensuality. This understanding was reached through means of a traditional literature review, which also shed light on the nineteenth-century Zeitgeist and its influence on Massenet and his work. This is a hermeneutic study conducted in light of an interpretive paradigm. The libretti of Manon and Thaïs were explored by means of a close reading to identify sections dominated by piety and sensuality. Following the example of Lawrence Kramer, a combination of close reading and analysis was used to look at the ways in which piety and sensuality are articulated in the music. It became clear that Massenet used various compositional techniques to differentiate between piety and sensuality in his music scores. These techniques were applied with such skill that a listener can identify these two themes through close listening. / DMus (Performance), North-West University, Potchefstroom Campus, 2015

This study explores the manifestation of piety and sensuality in the operas Manon and Thaïs by Jules Massenet. These two themes are prevalent in Massenet’s operas as well as his oratorios, although it is not clear why this is so. His admiration and love for the human voice and his ability to compose beautiful melodies are reflected in the fact that he composed primarily for the lyric theatre. Piety and sensuality in Manon and Thaïs are articulated predominantly by the eponymous female characters. In order to understand the characters and the motivations that steer their lives, it was necessary to gain an understanding of the socio-historical context of piety and sensuality. This understanding was reached through means of a traditional literature review, which also shed light on the nineteenth-century Zeitgeist and its influence on Massenet and his work. This is a hermeneutic study conducted in light of an interpretive paradigm. The libretti of Manon and Thaïs were explored by means of a close reading to identify sections dominated by piety and sensuality. Following the example of Lawrence Kramer, a combination of close reading and analysis was used to look at the ways in which piety and sensuality are articulated in the music. It became clear that Massenet used various compositional techniques to differentiate between piety and sensuality in his music scores. These techniques were applied with such skill that a listener can identify these two themes through close listening. / DMus (Performance), North-West University, Potchefstroom Campus, 2015

1 online resource (ix, 442 leaves) / No abstract available / Religious Studies and Arabic / D. Litt. et Phil. (Religious Studies)

This study investigates the ownership and leasing of plots of land by women in four regions of England throughout the nineteenth century including Oxfordshire and surrounding counties (agricultural); West Yorkshire (industrial); London (the metropolis); and Durham ( mining). Innovative research was linked to standard econometric analysis utilising a new source of information about land, namely the books of reference produced by the railway companies. These books had unique advantages, particularly as legal documents scrutinised by Parliament and the public. Information was compiled about 23,966 plots including their uses and details of ownership, leasing and occupation; with a minimum sample of 400 plots per region, per decade. The women were recorded when identified in the documents as owners, lessors or lessees. The study compares the uses of plots with a woman owner or lessee with plots owned by men or institutions. The influence of parish characteristics and the roles of common law and equity on women’s plot ownership are considered, especially the effects of the Married Women’s Property Acts of 1870 and 1882. On average women owned 12.4 per cent of the sampled plots and leased 3.8 per cent, with regional variations. Plot usage and location were important at regional and parish level with women adapting their ownership to local economic conditions. Differences were found between the uses of women-owned plots and those owned by men and institutions. The greatest percentage of women-owned plots everywhere were owned or leased by women with no male or institutional co-owners. There was a multi-regional, long-term time trend towards a greater involvement of women in plot ownership during the century, with a spike in women’s ownership in Yorkshire and London during the Railway Mania. The Married Women’s Property Act of 1870 reduced women’s ownership of plots in every region except London, whereas the 1882 Married Women’s Property Act had mixed effects across the regions. Overall, the research challenges the view that legal and social constraints confined women’s ownership of land to wealthy widows and spinsters and shows that ownership was far more widespread than has been supposed.

Jenny Lind was an opera singer in the years 1838–49. During this time she was given the status f an icon mainly due to her image. She was almost sanctified by the press. Her “private personality” was assigned a saintly purity, and she became a stereotype symbol of femininity. This dissertation investigates what factors interacted that made this possible, and highlight the importance of Lind’s voice for her image. Jenny Lind’s voice was a high soprano, but not very powerful. By positioning herself in a singing tradition that corresponded to her voice’s advantages, she managed to develop an equilibrium, which she used well. Lind’s voice was often perceived as unusual; she had a particular voice timbre. She also had a vocal defect. Her tones from f’–a’ are described as “husky”, and sometimes hoarse. This means that her voice let through more air than her vocal cords could use. My argument is that it was the voice damage that created unique timbre that the contemporary critics perceived as particularly “feminine”. Lind’s weak and damaged voice corresponds to the nineteenth century’s female ideal: fragile and weak. Moreover, Lind needed to adept her roles to her damage voice and the consequence was that also her interpretations were perceived “feminine”. In other words, Lind exerted a gender performative voice processing. All of Jenny Lind’s roles became representatives of femininity, regardless of whether it was the role’s purpose or not. Lind adapted all her interpretations to her weak voce, it's strength being high notes, pianissimo dynamics and equilibrism, and gave all her roles a genderstereotyped voice.