Esta dissertação de mestrado tem como enfoque o livro Viagem ao Brasil, escrito pelo Príncipe Maximiliano de Wied-Neuwied, bem como as imagens, gravuras e aquarelas produzidas pelo príncipe por conta da viagem. Entre 1815 e 1817, o príncipe percorreu os atuais estados do Rio de Janeiro, Espírito Santo, Minas Gerais e Bahia. Esta viagem resultou no diário publicado na Alemanha em 1820 e em diversos outros países e línguas nos anos subseqüentes. O diário de Maximiliano poderia ter sido relegado, como tantos outros diários produzidos no século XIX sobre o exótico Novo Mundo, mas sua descrição minuciosa da história natural do país e o tratamento pitoresco conferido à população que hora serve para confirmar os estereótipos de Maximiliano, hora para justificar a originalidade de seus escritos chamam a atenção do leitor através da presença de Guack, índio Botocudo que dispensa as funções de acompanhante, tradutor e, sobretudo, interlocutor indispensável no contato de Maximiliano com o território desconhecido e inexplorado. Contudo, por meio do papel de Guack na narrativa pode-se perceber que o território percorrido por Maximiliano é tudo menos desconhecido ou inexplorado, e sua população certamente não é virgem ou intocada. A análise concentra-se na criação da denominação Botocudo, nas estratégias usadas pelos nativos em seu constante contato com os portugueses, os escravos oriundos da África e mesmo entre os diversos grupos indígenas, e quão pouco consciente Maximiliano parece ser no que diz respeito à realidade que o cerca, na produção do diário, pinturas e aquarelas a serem apreciados pelos europeus. / This thesis focuses on the diary written by Prince Maximilian von Wied Neuwied, based on his journey in Brazil. Throughout the years of 1815 to 1817, the prince traveled across the current Brazilian states of Rio de Janeiro, Espírito Santo, Minas Gerais and Bahia. His two-year journey resulted in a diary, published in Germany in 1820 and in several other countries and languages during the following years. Even though it could have been yet another journal amidst the hundreds produced in the nineteenth century concerning the exotic New World, its thorough description of the countrys natural history and its picturesque approach to its population which at times are either brought about to confirm Maximilians stereotypes and previous readings on Brazil, and at other times, to justify the originality of his writings catches the readers eyes for the subtle presence of Guack, an Indian from the so-called Botocudo tribe who plays a crucial role in the journey both as Maximilians accompanier, translator, and above all, indispensable interlocutor in the acquaintance with what Maximilian refers to as this unknown, unexplored territory. Yet it is by means of Guacks role in the narrative that one is inevitably driven to see that the territory Maximilian visits is anything but unknown or unexplored, and its population is anything but virgin and untouched. The analysis focuses on the creation of the Botocudo label, which can be traced as early as the sixteenth century, the strategies used by the natives in their constant contact with the Portuguese, the African slaves and even amongst themselves, and how aloof Maximilian seems to be regarding the reality surrounding him while producing his diary, paintings and images for his European counterparts.

Esta dissertação de mestrado tem como enfoque o livro Viagem ao Brasil, escrito pelo Príncipe Maximiliano de Wied-Neuwied, bem como as imagens, gravuras e aquarelas produzidas pelo príncipe por conta da viagem. Entre 1815 e 1817, o príncipe percorreu os atuais estados do Rio de Janeiro, Espírito Santo, Minas Gerais e Bahia. Esta viagem resultou no diário publicado na Alemanha em 1820 e em diversos outros países e línguas nos anos subseqüentes. O diário de Maximiliano poderia ter sido relegado, como tantos outros diários produzidos no século XIX sobre o exótico Novo Mundo, mas sua descrição minuciosa da história natural do país e o tratamento pitoresco conferido à população que hora serve para confirmar os estereótipos de Maximiliano, hora para justificar a originalidade de seus escritos chamam a atenção do leitor através da presença de Guack, índio Botocudo que dispensa as funções de acompanhante, tradutor e, sobretudo, interlocutor indispensável no contato de Maximiliano com o território desconhecido e inexplorado. Contudo, por meio do papel de Guack na narrativa pode-se perceber que o território percorrido por Maximiliano é tudo menos desconhecido ou inexplorado, e sua população certamente não é virgem ou intocada. A análise concentra-se na criação da denominação Botocudo, nas estratégias usadas pelos nativos em seu constante contato com os portugueses, os escravos oriundos da África e mesmo entre os diversos grupos indígenas, e quão pouco consciente Maximiliano parece ser no que diz respeito à realidade que o cerca, na produção do diário, pinturas e aquarelas a serem apreciados pelos europeus. / This thesis focuses on the diary written by Prince Maximilian von Wied Neuwied, based on his journey in Brazil. Throughout the years of 1815 to 1817, the prince traveled across the current Brazilian states of Rio de Janeiro, Espírito Santo, Minas Gerais and Bahia. His two-year journey resulted in a diary, published in Germany in 1820 and in several other countries and languages during the following years. Even though it could have been yet another journal amidst the hundreds produced in the nineteenth century concerning the exotic New World, its thorough description of the countrys natural history and its picturesque approach to its population which at times are either brought about to confirm Maximilians stereotypes and previous readings on Brazil, and at other times, to justify the originality of his writings catches the readers eyes for the subtle presence of Guack, an Indian from the so-called Botocudo tribe who plays a crucial role in the journey both as Maximilians accompanier, translator, and above all, indispensable interlocutor in the acquaintance with what Maximilian refers to as this unknown, unexplored territory. Yet it is by means of Guacks role in the narrative that one is inevitably driven to see that the territory Maximilian visits is anything but unknown or unexplored, and its population is anything but virgin and untouched. The analysis focuses on the creation of the Botocudo label, which can be traced as early as the sixteenth century, the strategies used by the natives in their constant contact with the Portuguese, the African slaves and even amongst themselves, and how aloof Maximilian seems to be regarding the reality surrounding him while producing his diary, paintings and images for his European counterparts.

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<p>The aim of this essay is to examine the relationship between picture and room, between wallpainting and architecture. The basis for such exploration is the mural painting in Sweden at the turn of the 20th century, and the artist in focus is Prince Eugen (1865-1947).</p><p>His works "Sommar"(1904), "Rimfrosr"(1909) & "Staden vid vattnet"(1922) and the rooms in which they are in make for an anlysis concerning how the totality of the space is experienced by the viewer.</p><p>The main issue in mentioned expeience is how the mural is perceived with regard to the other elements in the room. And here, the walls' "flatness" enhancing its decorative qualities plays in. The problem with a mural built on the principles of perspective becomes evident when a wall is seen to vanish through the painting of an illusion on it.</p>

This study examines the slave narratives The Interesting Narrative of the Life of Olaudah Equiano, The History of Mary Prince, A West Indian Slave, Related by Herself and The Bondwoman’s Narrative to determine the way in which these texts depict the economics of labor in slave society. Taking into account the specific socio-historical contexts in which these narratives were written, this study analyzes the way in which the representations of labor in these narratives interrogate slavery and address issues relating to the social relations and power dynamics of their respective societies. Emphasis is given to the way in which the gender complexities of slavery merge with the dynamics of labor thereby underscoring some of the peculiarities of the female slave experience.

The Tongass National Forest in southeast Alaska contains 2,176 square kilometers of karst. As part of the evolving Tongass Land Management Plan, research into the function of karst systems is crucial in understanding how forest management affects not only karst areas but also surrounding ecosystems. Dye trace and water balance results in two watersheds on the north end of Prince of Wales Island demonstrate the difficulty in containing the effects of management, as water can enter karst catchments from unknown sources at different flow regimes. A dye trace was conducted in Windgate and Canyon Block watersheds. Two sinking streams were traced to one resurgence spring in Canyon Block, and four sinking streams were traced to one resurgence spring in Windgate. Water balance data calculated for the entire study period and individual storm events suggests that Windgate has been sufficiently delineated. Data from the study period and storm event water balance calculations for Canyon Block suggest that at high flow discharge is pirated into Canyon Block from another system. High resolution monitoring in each catchment show that there is no significant delay between the increase in discharge and the arrival of direct runoff, as evidenced by the quick decrease in specific conductance. This could result in a quick transmission of sediment and contaminants through the karst system into downstream salmon habitat.

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Bereits kurz nach seinem Regierungsantritt im Jahr 1553 hatte der junge Kurfürst August vereinzelt Handschriften und Bücher binden und mit seinen Initialen versehen lassen....

The aim of this essay is to examine the relationship between picture and room, between wallpainting and architecture. The basis for such exploration is the mural painting in Sweden at the turn of the 20th century, and the artist in focus is Prince Eugen (1865-1947). His works "Sommar"(1904), "Rimfrosr"(1909) &amp; "Staden vid vattnet"(1922) and the rooms in which they are in make for an anlysis concerning how the totality of the space is experienced by the viewer. The main issue in mentioned expeience is how the mural is perceived with regard to the other elements in the room. And here, the walls' "flatness" enhancing its decorative qualities plays in. The problem with a mural built on the principles of perspective becomes evident when a wall is seen to vanish through the painting of an illusion on it.