This thesis is an investigation of the Philanthropic Society (est. 1788) and Refuge for the Destitute (est. 1804), two subscription charities established to prevent crime and reform members of the “criminal underclass” in London, England. This thesis engages the perspectives of both benefactors and beneficiaries, arguing that beneficiaries (or “objects”) were not passive participants in the charitable exchange, but actively sought to manipulate the institutions’ systems to secure their own desires —desires which did not always align with those of their benefactors. The introductory chapter explores the social, economic, and political conditions which led benefactors to create the institutions and which informed their aims and methods. The first chapter examines the strategies used by objects to secure charitable aid on their own terms. The post-institutional conduct of beneficiaries is the focus of the final chapter. Despite the intensive reformatory regimen of the Philanthropic and Refuge, a significant proportion of beneficiaries —at least one third— refused to fulfill benefactors’ expectations that they become law-abiding, industrious, and pious citizens. From the day of their application to the institutions to long after their departure, objects’ actions were informed by their own expectations and desires. / Social Sciences and Humanities Research Council of Canada (SSHRC)

Honoré de Balzac est aujourd’hui connu pour être le père du roman moderne et l’écrivain de La Comédie humaine. Mais nous oublions souvent qu’entre 1830 et 1832, au début de sa carrière, l’auteur a écrit, comme plusieurs écrivains de son temps, des contes. De multiples facteurs peuvent expliquer cet intérêt : les Contes fantastiques d’Hoffmann sont traduits de l’allemand en français et leur succès est immédiat. De plus, les nouveaux modes de publication littéraire, dans les revues et les journaux, favorisent la prolifération du genre. Un corpus retiendra notre attention : Les Cent Contes drolatiques, un projet, impopulaire en son temps, avec lequel Balzac souhaite « restaurer l’école du rire » en France. Au milieu du dix-neuvième siècle, l’auteur recrée des contes comme ceux que Rabelais, Verville et la reine de Navarre écrivaient en leur temps, trois ou quatre siècles auparavant. Pour ce faire, Balzac invente un langage qui simule le vieux français et crée des personnages grotesques. Qu’est-ce, dans l’écriture balzacienne, que l’esthétique du rire, et comment l’auteur exprime-t-il ce concept dans ses Cent Contes drolatiques? Pour répondre à ces questions, nous étudierons les manifestations du grotesque dans l’ensemble de l’œuvre de l’auteur. Aussi, selon Mikhaïl Bakhtine, dans L’Œuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance , le grotesque, uni au rire, est relié au corps : « Le trait marquant du réalisme grotesque est le rabaissement, c’est-à-dire le transfert de tout ce qui est élevé, spirituel, idéal et abstrait sur le plan matériel et corporel. » Par conséquent, ce sont les représentations du corps que nous examinerons dans ce travail. Finalement, l’étude du corps grotesque dans Les Cent Contes drolatiques montrera une autre facette de l’écriture balzacienne, souvent ignorée par les chercheurs : l’importance du rire et la vision du monde que celui-ci communique à travers la littérature. / Honoré de Balzac is mostly acknowledged, today, as the father of the novel and as the writer of La Comédie humaine. But we often forget that between 1830 and 1832, at the beginning of his career, the author wrote, mainly and like many writers of his time, short stories. Multiple factors can explain that interest, for example, Hoffman’s Contes fantastiques had been translated from German to French and their success was immediate. Moreover, the new mediums of literary publication, in magazines and newspapers, favoured the proliferation of the genre. One corpus will keep our attention through these pages: Les Cent Contes drolatiques, a project, unpopular in his time, with which Balzac aimed to « restaurer l’école du rire » in France. In the middle of the nineteenth century, the author recreated short stories like the ones that Rabelais, Verville and the reine de Navarre have written in their time, three or four centuries before. To do so, Balzac invented a language that simulated the old French and created grotesque characters. What is, in Honoré de Balzac’s work, the aesthetic of laugh, and how does the author express that concept in his Cent Contes drolatiques? To answer these questions, we will study the manifestations of the grotesque in the entire production of the writer. Also, according to Mikhaïl Bakhtine, in L’Œuvre de François Rabelais et la culture populaire au Moyen Âge et sous la Renaissance , the grotesque, linked to laugh, is related to the body : « Le trait marquant du réalisme grotesque est le rabaissement, c’est-à-dire le transfert de tout ce qui est élevé, spirituel, idéal et abstrait sur le plan matériel et corporel. » Consequently, it is the representations of the body that, in a further reflection, we will examine. Finally, the study of the grotesque body in Les Cent Contes drolatiques will show another facet of Balzac’s writing, often ignored by researchers : the importance of laughter and the vision of the world that it communicates through literature.

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Existing criticism that addresses the concept of Englishness in Elizabeth Gaskell’s writing is sparse and confined to a small part of her oeuvre, and, furthermore, has, in the main, placed Englishness (and England) in Gaskell’s fiction either within a Derridian paradigm of endless signifiers or in the realm of metaphor. I place Gaskell’s Englishness within its socio-historical milieu, and argue that, for Gaskell, England is primarily literal, her green and pleasant land, and that, in her writing, she envisages a slowly evolving and flatter English social system incorporating a wider selection of the English population than was the norm in the mid-nineteenth century. She wrestles with the place of the ‘other’ within English society. Indeed, as a female and as a Unitarian, Gaskell is herself ‘other,’ outside of hegemonic Englishness, and her outsider status had a marked influence on her Englishness. I argue that there are ambiguities in Gaskell’s vision for a more egalitarian Englishness. Her Englishness is couched in middle-class terms, in which, for Gaskell, the entry requirement into the ‘in group’ of Englishness (by, for example, the working classes) is middle-class acculturation, and she presents both the benefits and limitations of her liberal, middle-class perspective. Contemporary topics that inform Gaskell’s fiction include industrial change, economic liberalism, colonial expansion, political reform, and scientific debate, each of which brought issues of nationhood and identity into focus. Gaskell’s primary vehicle for producing Englishness in this historical context was through short stories and novels, although her essays and letters are also significant. I focus on four key areas which provide entry points into her constructions of Englishness: race, empire, imperial trade (especially tea, opium, and cotton), and gender/masculinity.

During the nineteenth century an unprecedented number of emigrants left Britain, primarily for America, Australia, Canada, and New Zealand. Recent historical scholarship has argued that these predominantly Victorian mass migrations belong to an even larger history of “Anglo” migration, characterized by its global reach and ideological investment in settlement. Situating my approach in relation to this wider framework, this thesis argues that Victorian periodicals played a key and overlooked role in both imagining and mediating the dramatic phenomenon of mass British settler emigration. As I argue in chapter 1, this is both owing to close historical and material links between settler emigration and the periodical press, and to the periodical’s deeper running capacities to register and moderate forms of modern motion. While most novels do little to engage with emigration, turning to periodicals brings to light a large range of distinct settler emigration texts and genres which typically work with cohesive spatio-temporal models to offset the destabilizing potentiality of emigrant mobility. Moreover, many now canonical texts originally published in periodicals can be situated alongside them; presenting opportunities to produce fresh readings of works by Charles Dickens, Anthony Trollope and others which I incorporate throughout. My first three chapters focus on settler emigration genres which circulated across a range of mainstream, predominantly middle-class periodicals: texts about emigrant voyages, emigration-themed Christmas stories, and serialized novels about colonial settlement. I argue that these texts are cohesive and reassuring, and thus of a different character to the adventure stories often associated with Victorian empire. The second part of my thesis aims to capitalize on the diversity and range which is a key feature of Victorian periodicals by turning to settler emigration texts that embody a feminized or radical perspective, and which often draw upon mainstream representations in order to challenge their dominant formations.

<p>Abstract</p><p>The album phenomenon developed in France and Spain and lasted throughout the entire nineteenth century. Albums were books with blank pages in which the owner collected contributions in the form of poetry, drawings, and music scores. These works were created for album owners by friends, acquaintances, and sometimes even suitors, and were meant to pay tribute to them. It is possible to imagine the album as a space of intense social and economic rivalry, in which owners of the books competed with one another to obtain the most luxurious books, and to fill them with the greatest number of entries from renowned artists. Similarly, contributors implicitly competed with one another to create the highest quality entries and contribute to albums that advanced their status as artists. However, established writers did not need further publicity, and many complained about the hassle of the constant request for contributions. To highlight the scope of the album phenomenon, and the frustration it caused writers and artists, José Zorrilla denounced album entry requests, stating that he had been solicited for album contributions a total of 188,000 times in his life. Honoré de Balzac condemned the album fashion even more fervently, declaring: "To hell with all albums." </p><p>I study the album as a practice that provides important information regarding gender, economic, and artistic exchanges in the milieus in which it flourished. My approach is based on the study of different types of texts. First, I analyze three essays on social customs that present the album from a perspective that mixes journalism and satire: Victor-Joseph Etienne de Jouy's 1811 essays "Des Album" and "Recherches sur l'Album et sur le chiffonier sentimental," and Mariano José de Larra's 1835 essay "El album." I use these essays to formulate a contextual theory on the album. I also examine nineteenth-century albums that I consulted in archives in France and Spain. Studying both the material construction of the albums and the contributions included in them, I try to understand the social and economic determinants of this social custom. Through the album entries, I explore the artistic networks established through, and exploited by, the album phenomenon, which were essential for successfully collecting contributions. Finally, I analyze fictional texts in which the album serves as a pivotal plot element used to shape the development of the stories and the roles of the protagonists. In my analysis of literary texts that portray the album, I focus on the establishment of gender and economic exchanges in this practice. I explore the imposition of traditional gender roles in the album phenomenon, according to which women were exclusively album owners and men were contributors. In my analysis of fictional texts, I also examine the economic aspect of this practice, reflecting upon the social class of the fictional characters involved in it. The literary texts that I study are: Honoré de Balzac's La Muse du département (1837), Manuel Bretón de los Herreros' El poeta y la beneficiada. Comedia en dos actos (1838) and El cuarto de hora. Comedia en cinco actos (1848), Juan de Ariza's "Historia de un album" (1847), Henri de Meilhac's L'autographe. Comédie en un acte (1858), Antonio Flores' "Cuadro cincuenta y uno. Placeres de sobremesa" (1863), José María de Pereda's Pedro Sánchez (1883), Juan López Valdemoro's "El álbum" (1886), and Leopoldo Alas `Clarín''s "Album-abanico" (1898). </p><p>The nineteenth century saw the rise of consumer culture and the proliferation of objects, such as cardholders, parasols, fans, pocket watches, and other trinkets. The album is at once part of this plethora of nineteenth-century objects and yet it is also distinct, in that it was a special piece of material culture that promoted a particular type of personal communication and required the creation of textual production. The album was established as a unique cultural manifestation, the study of which allows for a reconstruction of different types of social dynamics in its milieu. </p><p>Due to the complexity and richness of this object-centered practice, and the ways in which it developed, the album offers multiple analytical possibilities, as a social, historical, and literary phenomenon. One of the most significant contributions of this project lies in its transnational perspective and in its comparative analysis of different types of texts: essays on social customs, literary texts, and personal collections that survive in archival albums. The study of the exchanges that were fostered, and capitalized upon, through the album fashion is essential for understanding notions of private and public and collection as a practice. My analysis of the album yields invaluable insights into gender and class dynamics, ideas of art, and visual and material culture in nineteenth-century France and Spain.</p> / Dissertation

Until the mid 1970s, the image of the Irish Diaspora in Canada in the nineteenth century was that of a dichotomous group consisting of Irish Protestants, who worked their way up the economic ladder into mainstream society, and Irish Catholics, who never found their way out of poverty. However, with the emergence of quantitative analysis, this perception of the Irish came to be regarded as simplistic and anachronistic. New research found that the Irish in nineteenth century Canada were more diverse and complex than previously thought. In order to unravel this diversity and complexity, comprehensive analysis needed to be done at a regional level. In the late nineteenth century prior to the coming of the railway, British Columbia was a 'distinct society': a geographically isolated province anchored not by agriculture but rather resource extraction industries that attracted a largely adult male settler population. As such it provided a unique opportunity in which to study the Irish. My quantitative analysis of the Irish in British Columbia through the Canadian Census of 1881 suggests that within this 'distinct' settler society, Irish Catholics were 'ghettoized' in the workplace, in large part due to their religious affiliation.

The nineteenth-century English middle class was strongly influenced by science, industry, and capitalist managerial techniques. These trends also made their way into the domestic space, where women negotiated their application, particularly in the kitchen. This thesis examines domestic life in the context of the popularization of science and the history of technology and management to come to a fuller understanding of how middle-class women ran their homes between about 1800 and 1880, a period of broad industrialisation and business growth. The values of fact, precision, rationality, and order influenced the practice of cookery, the physical technologies in the home, and the management of people, time, and money. The middle-class male workspace celebrated the same values; women were the domestic counterparts of their husbands. Although the prescriptive literature was not always slavishly followed, adherence to these values, both at work and at home, could help cement the familys social status. / History

Comment les romanciers naturalistes ont-ils raconté le suicide? Quel est le traitement qu’ils ont réservé à ce thème officiellement honni, étant par trop lié aux chimères sentimentales des écrivains de la génération précédente? Loin de faire l’objet d’une condamnation unanime pour romantisme excessif, la mort volontaire essaime partout dans le roman naturaliste, impose sa présence énigmatique et ses valeurs tant polémiques que polysémiques, déploie – sur ce terreau austère qu’est l’écriture expérimentale – sa portée symbolique et heuristique sous la fascination qu’éprouvent ces romanciers devant les grands mystères sublimes et mortifères. Si la conjoncture épistémologique de l’époque fait du suicide une question avant tout médicale, la littérature naturaliste elle-même puise son originalité et ses fondements théoriques dans les sciences de la nature, en particulier la médecine; néanmoins, la mort volontaire se charge, chez les romanciers de cette veine, d’un capital philosophique qui, en tant que savoir et discours extrinsèques au récit, demande à être interrogé avec minutie. Aussi, à partir d’un bassin de douze romans parus entre 1857 et 1898 sous la plume de Gustave Flaubert, Edmond et Jules de Goncourt, Émile Zola, Alphonse Daudet, Guy de Maupassant et Édouard Rod, nous retenons huit problématiques principales, orientées suivant deux axes de réflexion : natures et philosophies du suicide. Tout au long sont sondées les portées spéculative et littéraire de la mort volontaire dans ces œuvres. / How did the French Naturalist novelists portray suicide? How did they deal with the romantic overtones of self-murder, a theme so strongly linked to the sentimental outbursts voiced by the previous generation of writers? Far from being banned for excessive romanticism suicide, albeit the object of openly expressed disdain by Naturalists, spreads its fiery black wings over much of the theoretically barren land that is the body of realistic novels complying – overtly or unwittingly – with the principles of Le Roman expérimental. The flaming, menacing, and enigmatic shadow thus cast over an intently objective and scientific literature is surprisingly apt at developing both polemic and polysemous fruits, and as it turns out sheds new light under the frightened but eager scrutiny of these novelists who found themselves fascinated by its great mystery, both sublime and deadly. If the state of knowledge at the time made suicide a problem essentially pertaining to medical and natural science, Naturalist literature itself was intent on synchronizing its depictions with the data, approach, and lexicon presented in scientific treatises. Yet suicide in these novelists’ fictions is loaded with a distinct philosophical sense which demands to be studied closely. Twelve Naturalist novels centered around self-murder, covering a forty-year period (1857-1898), stemming from Flaubert, Goncourt, Zola, Daudet, Maupassant, and Rod, serve as main ground for our investigation of eight chief interrogations, following two main orientations: we first review the diverse natures of suicide, then its many philosophies. Throughout are contemplated the literary and speculative reach of voluntary death.

227f. / Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2013-10-09T12:57:03Z No. of bitstreams: 1 PDF Final Olívia Biasin Dias.pdf: 3743004 bytes, checksum: b86d36f561dbc6f2e37a563e33fb3a31 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2013-10-30T18:18:04Z (GMT) No. of bitstreams: 1 PDF Final Olívia Biasin Dias.pdf: 3743004 bytes, checksum: b86d36f561dbc6f2e37a563e33fb3a31 (MD5) / Made available in DSpace on 2013-10-30T18:18:04Z (GMT). No. of bitstreams: 1 PDF Final Olívia Biasin Dias.pdf: 3743004 bytes, checksum: b86d36f561dbc6f2e37a563e33fb3a31 (MD5) / CAPES / A tese aborda a diversidade racial e cultural baiana por meio das observações dos viajantes estrangeiros Maria Graham, Charles Darwin, Daniel Kidder, conde de Suzannet, Robert Avé-Lallemant, Maximiliano de Habsburgo e Louis e Elizabeth Agassiz, que estiveram no Brasil, e passaram pela Bahia, no transcurso do século XIX. Demonstra-se como o componente humano – especialmente o negro, o índio e o mestiço – constituía objeto de interesse e apreciação desses agentes históricos. Além disto, constata-se que os temas: raça, religiosidade, educação e imigração europeia eram considerados fatores que poderiam afetar o grau de progresso e civilização da província da Bahia e, até mesmo, do Brasil. Para tanto, analisa-se de que modo as ideias e concepções de mundo presentes nos olhares dos visitantes gestaram imagens e representações acerca da Bahia oitocentista.This paper analyzes how the racial and cultural diversity in Bahia was observed by eight foreign travelers who visited Brazil and went through Bahia, Maria Graham, Charles Darwin, Daniel Kidder, conde de Suzannet, Robert Avé-Lallemant, Maximiliano de Habsburgo e Louis e Elizabeth Agassiz,in the course of the nineteenth century, demonstrating how the human component - especially the black, Indian and mestizo - became object of interest and appreciation of these historical actors. It appears as items race, religion, education and European immigration were considered as factors that could affect the degree of progress and civilization of the province of Bahia and even Brazil. Therefore, I seek to identify how the ideas and worldviews present in the visitor‟s eyes gave birth images and representations about the nineteenth-century Bahia. / Salvador