Master's thesis: Victorian era fashion theoretical and practical source of inspiration. Theoretical part of thesis explores fashion in 19 th century in UK in the context of contemporary facts. Thesis describes a development in particular parts of women's clothing which reflects former spirit and culture. In the next chapter is discussed how Victorian England has inspired nowadays fashion and its impact on modern subcultures. There are additionally added images for deeper understanding of this complex phenomena. Practical part of the thesis consists of development of ball jointed doll which was inspired by Victorian fashion. In addition, it includes sketches and workflow with visualization.

La famille Chaumont issue de la bourgeoisie namuroise émigre à Paris, vers 1719. Elle ne dispose d'aucun levier hors les billets financiers dévalués, gagnés dans l'approvisionnement des armées françaises des Flandres pendant le guerre de Succession d'Espagne. Elle spécule avec succès pendant la période du "Système de Law" pour construire une fortune foncière et acheter des offices de la haute administration royale.Elle construit aussi un réseau d'alliances matrimoniales avec de riches familles de noblesse récente. Par son mariage, le fils aîné est allié à Philibert Orry, futur ministre d'Etat. Il est commissionné chancelier du roi Stanislas, souverain des duchés de Lorraine et de Bar. Il reste en place vingt-neuf ans et gouverne les duchés pour le bien du royaume de France. Toute sa famille bénéficie de sa position pour obtenir charges et bénéfices lorrains dans l'administration, dans l'armée et le clergé.La troisième génération est installée dans la haute société de son temps et proche du pouvoir royal. Deux branches continuent la lignée comme intendant de province, intendant des POnts et Chaussées et évêque. La Révolution interrompt l'ascension des Chaumont proches des postes ministériels. Le rôle éminent de la famille est définitivement stoppé.Nous mettons en évidence sur trois générations, les ressorts qui font la fortune et l'ascension sociale de la famille Chaumont. Nous voulons montrer en quoi cette ascension n'est qu'un exemple parmi d'autres dans ce XVIIIe siècle et comment elle se distingue et présente des caractéristiques particulières. / Chaumont family, "bourgeois" from Namur won only depreciated bills of exchange by suppliing French armies during the wae of the Spanish succession in Flanders.They emigrated to Paris, around 1719 and speculated successfully during the 'Mississipi Bubble" to build a real estate fortune in France and buy offices in the senior royal administration.They also built a network of matrimonial alliances with rich, new ennobled families. The eldest son was related by marriage with Philibert Orry, future minister of State. He was appointed chancelor of king Stanislas, Duke of Lorraine and Bar. He stayed at this responsability for twenty-nine years and ruled the duchies for the sake of the French kingdom. The whole family benefited from the lasting appointment to obtain offices and prebends from Lorraine in the Church or the Army or the Administration.The third generation was installed in the high society, close to the royal power. Two branches still continued the family line as royal provincial intendant or director of the Roads Department or bishop. The French revolution disrupted the family's rise. THe prominent, close the king functions were definitively weakened.We highlighted the means used by the Chaumont family to realize their fortune and a very kick social rise over three generations; how this family was only one example among others but also why it was a particular case.

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The main purpose of this thesis is to study and analyze how concepts of childhood and adolescence were constructed in scientific medicine during the period 1870 to 1930. The focus in the first part of the thesis is to study the sick girl as a stereotype in 1870–1900. In the late nineteenth-century, the poor health of girls was a popular topic in Swedish medical discourse. It was a well-established opinion that a substantial number of Swedish girls suffered from various diseases and ailments. Mass- and coeducation was under debate and physicians became interested in the impact of schools and schooling on children’s health. It is here shown that children, and in particularly adolescents, were de-fined as gendered creatures. The doctors emphasized the universal nature of adolescence and conceptualized pu-berty as a traumatic and risky stage of life and they also tended to focus on middle-class girls. Pubescent girls were seen as most vulnerable to external stress such as mental strain and physical demands. Physicians claimed that ill health inevitably followed when girls were educated in the same way as boys. However, boys and their health were discussed too. The most common ailments for both girls and boys were overstudy, anemia, headaches and disor-dered digestion. It was also shown in various studies, that poorer children were substantially inferior in weight as well as in height. Chlorosis was a common theme in late nineteenth-century medical discourse. Although it appeared mainly as a girls’ disease in medical books and in most sanitary journals, health studies for example, showed that chlorosis could also be a boys’ disease. However, sick boys were rarely spoken of. Medical opinions on overstudy, chlorosis and dress reform could be interpreted as a concern for unhealthy girls as future mothers of the nation. It is not my intention to advertise doctors as vicious oppressors, as opponents of female emancipation. In fact, the doctors often pointed out social factors and unequal circumstances of childhood and adolescence for girls and boys. In early twentieth-century, the scientific opinion of girls changed. Even though gendered notions of children and youths persisted all through the period studied, more and more some doctors, Karolina Widerström, for example, began to question them. The new girl was not weak and ill, but rather healthy and active. However, a dividing line between those who claimed the weakness of girls and those who emphasized the new, healthy girl became more evident after 1900. In this thesis, this disparity is discussed in terms of popular medical discourse and scientific medi-cal discourse. In the latter, girls were still described as more sensitive and more frail than boys and as unfit for higher education and strenuous schoolwork. Thus, the new girl – vivid, healthy and equal to the boy – was above all a con-struction in popular medicine. The uniform medical discourse on girls from the late nineteenth-century thus dissolved. A number of changes in the medical discourse on sickness and health of girls and boys during in this period occurred. First, concepts of sickness and health were modified over time and fewer schoolchildren were considered sick. Fi-nally, in the beginning of the period studied, girls were sicker than boys were, but in the end, in the 1930s, there was no obvious gender difference. Both sexes seemed equally sick (or healthy).

O objetivo desta tese é analisar Operación masacre de Rodolfo Walsh à luz da reflexão sobre as relações entre literatura e testemunho. O trabalho tem como hipótese que Operación masacre pode ser lida como um romance de testemunho não só porque em suas páginas denuncia a prática da violência de Estado mas, sobretudo, porque essa violência gera o imperativo ético de escrever e a procura de uma forma narrativa. / The purpose of this thesis is to analise Operación masacre written by Rodolfo Walsh under the lights of reflection about the relations between literature and testimony. The work has as hypothesis that Operación masacre can be read as a testimony novel not only because in its pages denounces the State´s violence, but above all, because this violence generates the ethical imperative of writing and the search for a narrative form.

Made available in DSpace on 2016-04-27T19:31:57Z (GMT). No. of bitstreams: 1 Angela de Campos Machado Vessoni Calderazzo.pdf: 2921338 bytes, checksum: 82c420b3f20e988e3b94b4423021ce8b (MD5) Previous issue date: 2008-11-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / By the immanent analysis of the libretti, scores and recordings of the operas La découverte du nouveau monde, Le devin du village, Daphnis et Chloé, Les muses galantes, Pygmalion, romances and motets, composed by Jean-Jacques Roussseau, our work s theme is the history of the Enlightenment society through the composer s critic to what he named tourbillon social. Such critic was built on the hypothesis of a state of nature foreseen to correct a turbulent and corrupt society. Our starting point is the idea that Rousseau s sensitivity, as an artist of the XVIII th. Century, explains a paradoxal world and expresses a contradiction which opposes the natural to the modern . It is an idealization that confronts nature with the corrupt society; that materializes, in music and text, a modern vision of world, which moved away from a state of nature idealized by the composer. A design about the bourgeois world of the XVIII th. Century, and about the way a woman behaved in that social dynamics / Pela análise imanente dos libretos, partituras e gravações das óperas La decouverte du nouveau monde, Le devin du village, Daphnis et Chloé, Les muses galantes, Pygmalion, romanzas e motetos compostos por Jean-Jacques Rousseau, nosso trabalho tematiza a história da sociedade iluminista pela crítica do compositor ao que denominou tourbillon social. Crítica construída com a hipótese de um estado de natureza previsto para corrigir uma sociedade turbulenta e corrupta. Partimos da idéia de que a sensibilidade de Rousseau, como um artista do século XVIII, explica uma paradoxalidade de mundo e expressa uma contradição que opõe o natural ao moderno. Uma idealização que confronta natureza e sociedade corrompida. Que materializa, em música e texto, uma visão de mundo moderna, que se afastou de um estado de natureza idealizado pelo compositor. Um desenho do mundo burguês do século XVIII e da forma como a mulher agia naquela dinâmica social

La Nouvelle École de Paris est un objet à géométrie variable de l’histoire de l’art. Plus qu’une école nationale, elle est un concept résultant de la somme des discours qui n’ont de cesse de la définir de 1945 à 1980. L’École de Paris est une zone de transformation permanente au gré des projections et des interprétations des acteurs du monde de l’art (critiques, galeristes, artistes et historiens) ainsi que des intervenants extérieurs (politiques, milieux économiques). Chaque partie en a une lecture personnelle.Cette thèse, articulée en deux volets, revient sur les origines de ces interprétations contradictoires. Ainsi, la première partie concerne les lectures contemporaines de la Nouvelle École de Paris de 1945 à 1955. Cette période qui s’étend depuis la Libération de la France jusqu’au début de la guerre froide, revient sur les conditions d’émergence de la Nouvelle École de Paris et analyse les différentes acceptions qu’elle revêt. Le deuxième volet, intitulé l’École de Paris face à son histoire de 1955 à 1980, se concentre sur les réécritures de l’histoire de l’art. Au milieu des années 1950 la Nouvelle École de Paris atteint une stabilité qui relance la modernité et permet de réaffirmer la place de la France sur la scène internationale. Néanmoins, le modèle qui s’impose alors, va être fortement contesté tant au niveau national qu’international, alors que jusqu’ici l’École de Paris avait imposé un modèle historiographique basé sur la continuité des avant-gardes historiques françaises. À la fin des années 1960, l’école parisienne devenue trop embarrassante dans un monde de l’art internationalisé, devient un enjeu de relecture. L’histoire de l’art qui s’écrit dans les années 1970, frappée par la crise de l’avant-garde, réévalue les termes de son passé moderniste et ceux de la tradition nationale française. Il s’agit alors de déterminer la place et le rôle de l’École de Paris au sein du programme de refondation des politiques culturelles et de l’historiographie qui s’écrit de 1960 à 1980. Bien qu’officiellement condamnée, certains aspects de l’École de Paris entrent pourtant en résonnance avec la néo-avant-garde qui se développe entre 1970 et 1980, permettant de repenser et de dépasser les blocages engendrés par les définitions paradoxales de l’École de Paris. / The Nouvelle École de Paris is a “geometrical object” with multiple facets that have evolved throughout the History of art. More than a national school, the Nouvelle École de Paris arose from cumulative discourses that have been trying to define it from 1945 to 1980. The École de Paris is a permanent morphing zone, changing upon two main components. The first one includes the interpretations and projections stemming from various actors constituting the artistic community (i.e. critics, gallery owners, historians, artists, etc.) and the second one involves independent contributors (i.e. political and economic protagonists). Each one has a different reading. This thesis contains two parts, both exploring the multiple conflicting interpretations to understand the resulting artistic heritage of the École de Paris. Thus, the first part of the thesis named “The contemporary readings from 1945 to 1955” investigates the conditions and contexts allowing the rise of École de Paris and analyzes the multiple acceptations it faces through contemporary readings from the end of the Second World War in 1945, after the Liberation, to the beginning of the Cold War in 1955. The second part, named “L’ École de Paris facing its history, from 1955 to 1980” is focused on the way of rewriting the History of art. The Nouvelle École de Paris reaches enough stability to revive the modernity in the middle of the 50’s, allowing reinforcing the international position of France on the artistic scene. Nevertheless, the historiographical model based on the French historical avant-garde that has been so far imposed by the École de Paris will be strongly contested at both national and international levels. Becoming too embarrassing in such an internationalized artistic world, the École de Paris is again subjected to further reinterpretations at the end of the 60’s. Stricken by the artistic avant-garde crisis of the 70’s, the History of art is constrained to reappraise the terms defining its Modernist past and those of the artistic French national tradition. The new issues to determine the place and the role of the École de Paris within the rebuilding program of French cultural policies and through the historiography writing come up from1960 to 1980. Although officially condemned, the resonance of some aspects of the École de Paris within the neo-avant-garde arising between 1970 and 1980, allows rethinking and surpassing the blockages formerly engendered by all paradoxical definitions of the École de Paris.

O objetivo desta tese é analisar Operación masacre de Rodolfo Walsh à luz da reflexão sobre as relações entre literatura e testemunho. O trabalho tem como hipótese que Operación masacre pode ser lida como um romance de testemunho não só porque em suas páginas denuncia a prática da violência de Estado mas, sobretudo, porque essa violência gera o imperativo ético de escrever e a procura de uma forma narrativa. / The purpose of this thesis is to analise Operación masacre written by Rodolfo Walsh under the lights of reflection about the relations between literature and testimony. The work has as hypothesis that Operación masacre can be read as a testimony novel not only because in its pages denounces the State´s violence, but above all, because this violence generates the ethical imperative of writing and the search for a narrative form.

English abstract The master's thesis deals with different representations of non-European cultures and their inhabitants in musical dramas (operas and related genres) of the eighteenth century. Firstly it gives some typical characteristics of these musical artworks in historical context (focusing on Italian and French examples especially) than it concentrates on the topic of so-called exoticism in general. The final part of the thesis which is based on three case studies formulates some typical approaches to the problem of representation of non- european cultures by analyzing musical settings, stage representations and especially librettoes of three important operatic works by Vivaldi (Motezuma), Graun (Montezuma) and Rameau (Les Indes Galantes). The topic of exoticism in Handel 's selected operas is mentioned in a short survey. Keywords: 18th century, music history, opera history, Italian opera, French opera, exoticism, inrercultural relationships, comparative studies