Tesis sobre el tema "Census, 1819"

Since 1801 the British government has counted the population once every ten years. Only the Second World War has interrupted this practice, making the census one of the most enduring administrative institutions of the modern British state. This dissertation is about why legislators and political economists first sought to quantify demographic change in the early nineteenth century. The first chapter explains the administrative organisation of census-taking under John Rickman, who directed the first four censuses. The second chapter examines the legislative origins of census-taking in eighteenth-century Britain. It compares the efforts of two backbenchers, Thomas Potter and Charles Abbot, to establish a national census in 1753 and 1800. The third chapter analyses the pre-census empirical basis of fiscal policy during the 1790s, paying patticular attention to William Pitt the Younger's use of political arithmetic to estimate the yield of Britain's first income tax. The fou1th chapter examines the function and limitations of the population data used by four national accountants - Benjamin Bell, Henry Beeke, J. J. Grellier and Patrick Colquhoun - in their responses to Pitt's new tax. The fifth chapter re-assesses the economic and social thought of Robet1 Southey, whose opposition to T. R. Malthus's Essay on the pr;ndple of populahon, and especially its commitment to poor law abolition, arose from a fundamental disagreement about the state's role in welfare provision. The sixth and seventh chapters consider the relationship between information gathering and state formation. Chapter six quantifies the number and range of printed accounts and papers produced by the House of Commons in the early nineteenth century. It challenges previous analyses which have used public expenditure and statute-making as measures of state formation. The final chapter explores how census data was used to determine the redistribution of parliamentary representation that took place as a result of the 1832 Reform Act. Employing a diverse range of methodologies and sources, this study contributes to histories of economic thought and state formation by revealing the extent to which political arithmetic converged with Smithian political economy during the French revolutionary and Napoleonic wars. This convergence proved sho1t-lived, however, and early nineteenthcentury political arithmetic was consigned to historical oblivion by the world 's first professional economist, John Ramsay McCulloch. Nonetheless, reasoning by 'number, weight, or measure', paiticularly in respect of population, challenged and transformed the conduct of parliamentary business in this period, leading to the legislative dissolution of the existing electoral system in 1832.

This paper formally analyzes the role of yearly snowfall in explaining the changes in home valuations near ski resorts in the western United States. Using data on housing values for selected U.S. Census tracts, combined with detailed weather data, passenger arrival data from 10% of all commercial air traffic, and characteristics of nearby ski resorts, I find precise and consistent estimates of days of snowfall and number of available destinations by airport on housing values.

Comment la perception d’un auteur et d’une œuvre s’articule-t-elle aux contraintes propres à l’espace culturel étranger dans lequel advient leur réception ? Qu’en est-il lorsqu’il s’agit d’un « monument » comme Voltaire et que l’espace dans lequel cette réception s’inscrit est perçu aujourd’hui comme idéologiquement hostile, au mieux culturellement hétérogène, à la nature du projet voltairien ? Ce travail reconstruit l’émergence et la réception des textes de Voltaire dans l’Italie du XVIIIe siècle. On y démontre qu’après une première réception limitée au cadre d’une République des Lettres à bout de souffle où Voltaire fait paradoxalement le jeu des cattolici illuminati, la rupture qui intervient à la fin des années 1740, sanctionnée par la condamnation des Œuvres à Rome en 1752, ouvre une seconde phase de la réception voltairienne de l’Italie. La solution de continuité observée, plus idéologique qu’esthétique, prive l’auteur de ses premiers soutiens mais facilite aussi la réception de ses textes dans un espace public qui, en même temps qu’il se constitue, construit à son usage l’œuvre de Voltaire. Une approche pluridisciplinaire s’attachant au rôle de la censure et aux modalités d’appropriation présente la réception non plus comme un phénomène passif relevant d’une stricte adhésion mais comme la construction évolutive et concrète d’une œuvre et d’un auteur. A travers le paradigme de Voltaire, lecture et censure apparaissent comme deux activités aux frontières particulièrement poreuses dans l’Italie du XVIIIe siècle
How does the perception of an author and his work relate to the specific constraints of the foreign cultural background in which they are received? What if the author in question is a “monument” like Voltaire and the background of the reception is now perceived as ideologically hostile to the nature of Voltaire’s project, or at best culturally heterogeneous? This work traces the emergence and reception of Voltaire’s texts in the 18th century Italy. It is demonstrated that, after a reception first limited to the framework of the collapsing Republic of Letters, where Voltaire paradoxically played the game of the cattolici illuminati, the break that took place in the late 1740ies, and ultimately the condemnation of the Works in Rome in 1752, opened a new phase in the reception of Voltaire in Italy. The solution of continuity, more ideological than aesthetic, that we can observe deprived the author of his first supports but also made easier the reception of his works in a public sphere which, as it constituted itself, built Voltaire’s work for its own use. A pluri-disciplinary approach, dealing with the role of censorship as well as the ways of making the work one’s own, presents reception as no longer a passive phenomenon of mere adherence but as a concrete and evolving construction of a work and its author. Through Voltaire’s paradigm, reading and censorship appear as two activities between which the lines still remain blurred in 18th century Italy

Introduction: The aim of the present thesis is to determine the line of argument presented by the clergy of the Swedish State Church in the parliamentary debates regarding the forms of census registrations during the years 1723-1812. This discussion resulted in a new form of census registration in 1812, according to which the parish registration was accorded a greater importance than before. As a result of vast tax evasion, demands were put forth by the authorities that the clergy should be compelled to hand over the parish catechetical registries. The clergy was here faced with a conflict of loyalty between the state and their parishes. To structurally examine the line of argument of the clergy may not only clarify how this conflict was met by the clergy, but also serve as an illustration of the relationship between church and state in 18th century Sweden. The effects of the form of census registration of 1812 on the parish catechetical registries are also touched briefly upon.    Method: To fullfill this aim, the parliamentary records of the clergy have been examined and analysed in accordance with the methods of argumentation analysis presented in Vedung (1971). Secondary sources regarding the historical circumstances surrounding the parliamentary debates of 1723-1812 have been utilized as well.           Analysis: In the analysis the individual arguments presented by the clergy have been distinguished according to three levels: description, evaluation and recommended course of action. These levels are furthermore presented schematically, so as to comprehensively illustrate the line of argumentation.   Results: The results of the endeavour show that the representatives of the church and state did not agree as to the legitimate extent of the state’s influence in church matters. The clergy defended the Lutheran idea of separation between church and state power, despite the fact that contemporary canon law asserted an almost unbreakable bond between church and state authority. This is a two years master’s thesis in Archival Science.

Na estrada, pegadas sugerem passos e descompassos de andarilhos de diferentes tribos. Por toda parte, pisadas: rastejantes, superficiais, firmes, a-fundadas, dançarinas, crianceiras e até rasuradas. A diagramação é a máquina que captura as relações de forças e ressalta, no percurso e no percorrido, linhas, fluxos e composições. Da vida, lampejos de pensamentos desgarram-se. Dos pensamentos, possibilidades de vida desprendem-se. É nesse ponto que a experimentação suscita outros modos de pensamento e desencadeia novas maneiras de viver. É por essa conjugação com a vida que os signos se dão à sensibilidade e coagem-na a sentir. A agressão inicial repercute: leva a memória a aprender um imemorial, a fabular um por vir e a resistir ao presente; introduz o tempo no pensamento e o desafia a pensar o impensado. À vista disso, a aprendizagem conduz as faculdades ao exercício transcendente e requer uma educação voltada para a emissão e a exploração dos signos. Da conexão entre educação, crianceiria e filosofia, forças são duplicadas e devires precipitados.

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CAPES, PROEX
O presente trabalho discorre acerca da escrita de radionovelas para a atualidade. Trata- se de um estudo de caso que analisa o roteiro A Deusa do Cangaço, produzido, em 2011, no projeto Nova Rádio Caleidoscópio, vencedor do edital de Apoio à Produção de Programas Radiofônicos de 2010, na categoria Série de Programas Radiofônicos de Radionovelas do Instituto de Radiodifusão Educativa da Bahia – IRDEB – e Secretaria de Cultura do Governo do Estado da Bahia. O projeto visava a criação e veiculação de quatro radionovelas a serem transmitidas pela Rádio Educadora FM. Para analisar A Deusa do Cangaço, realizou-se uma pesquisa bibliográfica, e de algumas fontes audiovisuais, sobretudo de radionovelas antigas e atuais. Também foram feitas entrevistas com profissionais envolvidos nessa e em outras edições do edital. A pesquisa se utiliza de conceitos ligados à serialidade, performatividade, oralidade e narrativa e termina por identificar elementos passíveis de experimentações para esse gênero.
This paper discusses about the soap opera written for today. This is a case study, which analyzes the script A Deusa do Cangaço, produced in 2011, the project Nova Rádio Caleidoscópio, winner of Apoio à Produção de Programas Radiofônicos of 2010, na categoria Série de Programas Radiofônicos de Radionovelas of Instituto de Radiodifusão Educativa da Bahia – IRDEB – and Secretaria de Cultura do Governo do Estado da Bahia. The project aimed at creating and broadcasting four soap operas to be transmitted over Rádio Educadora FM. To analyze A Deusa do Cangaço, it was conducted a literature search, and some audiovisual sources, especially of old and new dramas. It were also made interviews with professionals involved in this and other editions of the public notice. The research uses concepts related to seriality, performativity, and orality, narrative and ends by identifying possible elements to trials for this genre.

2011 - 2012
Si è deciso di prendere in considerazione un periodo estremamente delicato per l’evoluzione politica della Spagna. Ci stiamo riferendo all’epoca definita come“Ultimo Franchismo” ed agli esordi della Transición Española che conduce alla successiva democrazia. In questo momento di forte cambiamento, un elemento appare però stabile: la figura di Arias Navarro. Francisco Franco prima, ed il suo successore Don Juan Carlos di Borbone poi, nominano il medesimo Presidente del Governo. Quest’ultimo troverà non poche difficoltà nel ponderare la sua azione tra tradizione, con conseguente ancoraggio al passato, e l’inesorabile evoluzione del regime. All’interno di questo contesto, il nostro studio prenderà in considerazione un elemento specifico: Il Controllo dell’Informazione operato dal Movimiento sulla Stampa dell’epoca. Siamo partiti da alcuni quesiti di base: Durante gli ultimi anni del suo Governo, Franco applicava ancora un rigido controllo dell’informazione, attraverso la censura nei mezzi di informazione, o lo stesso poteva giudicarsi allentato? Terminato il Franchismo, si conclude anche la censura? Per quali ragioni il Caudillo inaspriva ed allentava le maglie del controllo dell’informazione in modo quasi periodico? La ricerca è stata suddivisa in due parti: a) l’aspetto storico-teorico analizzerà brevemente l’evoluzione del Governo del Generalísimo mettendola in relazione con i differenti dispositivi, norme e leggi promulgate negli anni con l’unico fine di limitare, censurare o eliminare il punto di vista “differente” espresso sui giornali e le riviste dell’epoca. b) la ricerca sul campo (della durata di circa dieci mesi), invece, è stata realizzata presso l’Archivio dell’Amministrazione Pubblica della Spagna, situato ad Alcalá de Henares. In seguito all’analisi di circa quattrocento fascicoli e procedimenti amministravi di censura predisposti dal Ministero della Cultura, lo studio dei dossier del Ministero dell’Informazione, nonchè delle note riservate emesse dallo stesso, abbiamo approfondito questioni quali il delicato ruolo del censore, i linguaggi della censura, il ruolo privilegiato della Prensa (trad. “stampa”) del Movimiento e l’iter amministrativo di un fascicolo. Al termine di tale ricerca, sono state predisposte le conclusioni e l’analisi sommativa e sostanziale di quanto appurato durante la ricerca. [a cura dell'autore]
XI n.s.

This article studies the expressions and the institutionalization of popular sovereignty in post-independent Bolivia (1825-1879) by analyzing two components of the democratic system: the subjects involved and the procedures for representation. As far as the former, the article underlines the fact that being a citizen was not limited to voting, but was also exercised by other activities connnected with work, taxation, public petitions and the use of arms. On the other hand, the study of the procedures for organizing and the carrying out of elections highlights two additional realities: first, voting had a regulatory function intended to level off competition and avoid conflicts, and secondly, the reduced number of the electoral body did not inhibit the development of political competition because political participation went beyond elections to include the use of violence and other illegal activities
Los procesos de expresión y de institucionalización de la soberanía popular en la Bolivia postindependiente (1825-1879) son estudiados en este artículo a partir del análisis de dos de los componentes del sistema democrático: los sujetos y los procedimientos representativos. Con respecto al primer punto, se subraya que ser ciudadano no se reducía a votar y que podía ejercerse tal estatus mediante otro tipo de acciones, vinculadas al trabajo, la contribución, las peticiones pú-blicas o las actividades armadas. De otro lado, el estudio de los procedimientos relativos a la implantación y el desarrollo de las elecciones remarca dos valores de los mismos: primero, el voto tuvo una función reguladora encaminada a dirimir competencias y evitar conflictos, y segundo, el tamaño reducido del cuerpo electoral no impidió el desarrollo de la competencia partidaria, ya que la participación política ligada a las elecciones tuvo otras posibilidades de acción relacionadas con la violencia y la ilegalidad

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Universidade do Vale do Rio dos Sinos
Esta dissertação teve o propósito de efetuar estudos sobre cenas do espaço escolar, através da vivência junto aos gestores, educadores, alunos e comunidade da Escola Flôres da Cunha, no município de Esteio, Rio Grande do Sul. O projeto da Escola, nos seus espaços físicos e político-pedagógicos, constituiu a questão central investigada, bem como a relação destes, com a construção da cidadania. A averiguação se valeu de observação participante, questionários, entrevistas semi-estruturadas e documentos da escola, como o PPP e os registros feitos a partir dos conselhos participativos. Através do conjunto de cenas analisados nessa dissertação, convido o leitor interessado a discutir a relação das cenas do cotidiano escolar, em especial, as do espaço externo, contrapondo às diretrizes estabelecidas no Projeto Político Pedagógico que definiu as ações, concepção de educação e de cidadania na comunidade escolar
This dissertation had the purpose of making studies on scenes of the school space, through the existence close to the managers, educators, students and community of School Flôres da Cunha, in the municipal district of Shore, Rio Grande do Sul. The project of the School, in their physical and political-pedagogic spaces, constituted the investigated central subject, as well as the relationship of these, with the construction of the citizenship. The verification was been worth of participant observation, questionnaires, semi-structured interviews and documents of the school, as PPP and the registrations done starting from the pieces of advice participant. Through the group of scenes analyzed in that dissertation, invited the interested reader to discuss the relationship of the scenes of the daily school, especially, the one of the external space, opposing to the established guidelines in the Pedagogic Political Project that it defined the actions, education conception and of citizenship in the school community

Au temps des dernières monarchies françaises, la surveillance de la librairie s’appuie sur les textes fondateurs que sont le décret napoléonien du 5 février 1810 et la loi promulguée par Louis XVIII le 21 octobre 1814. Dans la capitale, centre des pouvoirs politiques et culturels de la France, imprimeurs et libraires parisiens font l’objet d’un contrôle particulièrement serré, orchestré par l’administration de la Librairie. Un imprimeur en lettres ou un libraire n’est autorisé à exercer qu’à condition de détenir un brevet, titre professionnel personnel, délivré par le roi sur proposition du ministre de tutelle de la Librairie. Le brevet constitue un instrument-clé dont se sert la Librairie pour asseoir son autorité. Par celui-ci, elle contrôle l’ « entrée en librairie » et elle peut brandir la menace de son retrait vis-à-vis des professionnels en exercice. Les inspecteurs de la Librairie ainsi que les commissaires de police se rendent dans les ateliers d’imprimerie et les boutiques, librairies et cabinets de lecture, pour contrôler le respect des procédures légales et la nature des ouvrages proposés au public. Au cours des différents règnes, de nouvelles lois complètent l’arsenal juridique en définissant les crimes et délits qui, en matière de publications, sont passibles de sanctions ainsi que le « tarif » des peines – amendes et emprisonnement – afférentes. L’étude de la surveillance de la librairie de 1814 à 1848 souligne les inflexions politiques d’un pouvoir monarchique hésitant entre liberté de la presse et censure inavouée
In the days of France’s latest monarchies, the surveillance of bookselling relied on two founding laws: the napoleon decree of February 5th, 1810 and the law enforced by King Louis 18th on October 21st, 1814. In the capital, which was the heart of France’s political and cultural powers, Parisian printers and booksellers were being imposed a very strict control organized by the bookselling authority. A printer as well as a bookseller could only work provided they should be in possession of a patent, “brevet”, a professional license delivered individually by the king upon the suggestion of the ministry in charge of bookselling government. Therefore, a “brevet” became the key-instrument to strengthen the power of the bookselling management. By this means, they controlled the access to “bookselling” along with the threat of a potential withdrawal. Bookselling inspectors as well as police superintendents would go to printing workshops, booksellers and reading rooms to check whether legal procedures were being respected and which books were being proposed to the public. In the course of the different reigns, new laws completed the judicial arsenal by defining crime which, as far as publishing is concerned, was subject to fines or imprisonment. The study of the bookselling surveillance from 1814 to 1848 emphasizes the political changes of monarchies hesitating between freedom of the press and unspoken censorship

Outre l'analyse thématique du désir au niveau de la diégèse, et l'enquête génétique, notre recherche utilise l'approche narratologique, afin de faire émerger les structures du récit, et l'approche sémio-pragmatique, dans le but d'étudier la façon dont le texte forstérien, à certains endroits métatextuel, programme sa réception par le lecteur, sollicitant la participation active de celui-ci. Par ce jeu des désirs auctoriaux et lectoraux se dessinent au final les figures respectivent du lecteur et de l'auteur, engagées dans l'échange littéraire. Dans cette perspective, nous explorons la fiction forstérienne en y examinant principalement la représentation de l'espace, mais aussi les relations complexes unissant sujets et objets du désir, ainsi que la stratégie énonciative particulièrement sophistiquée que met en oeuvre Forster aux prises avec l'autocensure.

Alfred Hitchcock, le réalisateur des plus grands films à suspense de l’histoire du cinéma, s’avère être aussi le réalisateur de grands films d’amour. De film en film, revient chez lui l’idée qu’il est vital pour chaque héros, homme ou femme, de faire couple. C’est grâce à cette union que le héros solitaire, immature et égocentrique, menacé de mort, accusé le plus souvent d’un crime qu’il n’a pas commis, sera en mesure d’affronter toutes les épreuves de la vie. Cette idée est si présente que nous la qualifions d’obsédante. Chez Hitchcock, comme dans les contes de fées, c’est grâce à son union avec l’autre que le héros, qui n’a pas encore atteint une maturité suffisante, pourra devenir adulte. De plus, la sécurité affective qu’il pourra trouver dans son couple sera seule en mesure d’apaiser véritablement ses angoisses. Tout au long de sa carrière, Alfred Hitchcock resta fidèle à son idée de l’amour montrant que l’homme et la femme, en s’unissant, parviennent à se sauver d’une existence vide de sens. C’est dans ses très nombreuses scènes de baiser qu’Alfred Hitchcock a su le mieux exprimer son idée du couple. Ces scènes célèbrent l’union tant espérée entre son héros et son héroïne, mais racontent aussi toutes les difficultés qu’ils peuvent avoir à vivre leur amour. A Hollywood, Hitchcock réalisa davantage de films d’amour et respecta les règles esthétiques implicitement instaurées depuis les années 1920 pour ces scènes, mais le cinéaste créa rapidement son propre style. En ce qui concerne le code Hays, nous avons constaté que les choses sont plus complexes que ce qui est habituellement raconté, notamment à propos de la célèbre scène de baiser dans "Notorious" ("Les enchaînés")
Alfred Hitchcock, the director of the biggest thrillers of the cinema history, turns out to be also the director of big romances. It is vital for every hero, man or woman, to make couple; it’s the recurring idea of his movies. It is thanks to this union that the lonely hero, immature and egocentric, threatened with death, in most of cases accused of a murder which he did not commit, will be able to face every trial of life. This idea is so current in Hitchcock’s that we describe it as obsessive. In Hitchcock’s, as in fairy tales, it is thanks to his union with the other that the hero, who has not reached a sufficient maturity yet, can become an adult. Furthermore, only the emotional security which he can find in his couple will be really able to calm his fears. Throughout his career, Alfred Hitchcock stood by his idea of love showing that the man and the woman by bringing together succeed in saving each other from a meaningless existence. In his very numerous kiss scenes, Alfred Hitchcock clearly expresses his idea of the couple. These scenes celebrate the so hoped union between his hero and his heroine, and tell how they have difficulty living their love. In Hollywood, Hitchcock directed more romances and complied with the esthetic rules implicitly laid down since the 1920’s for these scenes, but quickly the filmmaker created his own style. Concerning the Hays code, we observed that things are more complicated than what is usually told, especially about the famous kiss scene in "Notorious"

Le théâtre patriotique, né lors de la guerre d'Indépendance qui ouvre le XIXème siècle espagnol, connaît une très grande popularité au moment de la guerre d'Afrique (1859-60) et continue à se développer à la faveur de quarante ans de conflits incessants qui débouchent sur le "Désastre" de 1898 et la perte des dernières colonies espagnoles. Ses auteurs sont issus de la bourgeoisie et mettent en scène la société dont ils rêvent, où le bon peuple va se faire tuer sans provoquer d'émeutes, lui permettant de racheter du service ses propres enfants. Théâtre de propagnade parfois, il s'appuie sur les cadres théâtraux préexistants, s'insère parfaitement dans la production de l'époque ; utilisant des recours familiers aux spectateurs, il rend ainsi son message extrêmement efficace. .
The patriotic plays, with appeared with the War of Independence opening the 19th century in Spain, were very popular during the Africain War (1859-1860) and continued to develop thanks to forty years of uninterrupted conflicts leading to the "Disaster" of 1898 and the lost of the last Spanish colonies. Their writers come from the Bourgeoisie and present the ideal society of which they dream and in which the good people goes to get killed without rebelling, thus allowing the Bourgeois to pay not to send their own children. Becoming sometimes a tool of propaganda, these plays use the preexisting theatrical bases and perfectly fit in the production of this period ; by using the usual theatrical resorts, they make their message particularly efficient. .

Orientador: Carlos Eduardo Ornelas Berriel
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Em ¿Jogos e Cenas do Casamento¿, nosso objetivo principal é apresentar um estudo detalhado da construção e do modo como Machado de Assis elabora suas personagens e seus narradores em Contos Fluminenses (1870) e Histórias da Meia Noite (1873). Se considerarmos a imagem principal que une as treze narrativas desses livros, veremos que todas ¿ a exceção aparente é ¿Aurora sem dia¿ ¿ são histórias de amor que têm como imagem/tema central o casamento, seja nos preparos que antecedem o contrato ou em seus aspectos cerimoniais, seja na intimidade conjugal dos lares já concebidos. Mais do que isso, há um elo maior entre as histórias, e uma imagem que se afirma como preponderante: o fracasso do casamento. As mocinhas e os heróis machadianos são construídos mediante as dificuldades e os problemas matrimoniais, decorrentes muitas vezes de imposições paternas ou das expectativas (mediadas, sobretudo, pela literatura) e experiências amorosas dos envolvidos. São essas personagens, em última hipótese, que veiculam essas imagens de fracasso e as apresentam ao leitor. Mas nesse processo de captação do amor e do casamento aparece quase sempre um narrador a sussurrar no ouvido do leitor algo acerca da personagem e da imagem amorosa construída por ela. Dessa forma, as imagens e cenas matrimoniais são filtradas (e desestabilizadas) pelas exposições de personagens e narradores, uns a intervirem na concepção amorosa de outros. Por isso, este estudo prioriza não só a caracterização dessas primeiras personagens machadianas, mas também dos narradores desses contos como forma de examinar melhor o modo como ambos constroem essas imagens amorosas e a partir de que outras associações elas nascem e se definem, já que se tratam, na maior parte das vezes, de homens e mulheres inexperientes em relação ao amor e à própria realidade do casamento.
Abstract: In ¿Jogos e Cenas do Casamento¿, our main objective is to introduce a detailed study of the construction and the way Machado de Assis elaborates his characters and narrators in Contos Fluminenses (1870) and Histórias da Meia Noite (1873). If we consider the mainstream image that joins the thirteen narratives of this collectanea, we will see thal all of them ¿ the apparent exception is ¿Aurora sem dia¿ ¿ are love stories that bears as a mainstream image/theme the marriage, either in the preparations that happen before the contract or its ceremonials aspects, either in conjugal intimacy of conceived homes. Moreover, there is a bigger link between the stories and an image that is itself preponderant: the failure of marriage. The ¿machadianos¿ ladies and heroes are constructed the difficulties and matrimonial problems, generated most of the time by father impositions or expectancy (mediated for literature) and love experiences of the involved ones. These characters are in last hypothesis, the ones that take the images of failure and introduce them to reader. But in this process of catching love and marriage, almost always there is a narrator whispering something on the ear¿s reader about the characters and the loving image constructed by the character. In this way, the matrimonial images and scenes are filtered for expositions of the characters and narrators, intervening in the loving conception of each other. Thus, this study prioritizes not only the characterization of the first ¿machadianos¿ characters, but also the tale¿s narrators as a way of examining better how they both construct these loving images and from where other possible associations are born and defined, once they deal, most of the times, with inexperienced men and women in relation to love and the reality of marriage.
Doutorado
Literatura Brasileira
Doutor em Teoria e História Literária

Préfet entré en politique au mitan du XIXe siècle, Charlemagne-Émile de Maupas a commencé à être redécouvert par les dix-neuviémistes il y a une trentaine d’années, dans un contexte de relecture historiographique du Second Empire. Claude Vigoureux, dans une étude pionnière, a notamment mis en lumière son rôle, en tant que préfet de police de la Seine, dans l’élaboration et l’exécution du coup d’État du 2 décembre 1851. Son parcours riche et varié, souvent réduit à cet évènement, mérite pourtant d’être appréhendé dans sa globalité, d’autant que de sa première expérience de sous-préfet à Uzès à la prestigieuse préfecture des Bouches-du-Rhône, en passant par le ministère de la Police générale, la légation de France à Naples ou le Sénat impérial, Maupas a laissé de très nombreux papiers privés qui constituent un précieux fonds pour l’historien. Notre thèse, qui s’inscrit dans la perspective d’une biographie totale, a donc pour objet d’analyser sa trajectoire administrative, politique et notabiliaire, depuis les monarchies censitaires jusqu’à la Troisième République naissante. Nous entendons en outre montrer comment ce notable à la fois singulier et idéal-typique, profondément conservateur et attaché au régime monarchique, a mobilisé ses réseaux et ses capitaux multiples pour construire sa carrière
Charlemagne-Émile de Maupas, a prefect who entered politics in the mid-nineteenth century, began to be rediscovered by historians some thirty years ago in the context of a historiographical rereading of the Second Empire. Claude Vigoureux in particular published a pioneering study shedding light on his role as Prefect of Police of the Seine and in the elaboration and execution of the coup d'état of December 2, 1851. His rich and varied career, often reduced to this event, nevertheless deserves to be understood in its entirety, especially as Maupas left numerous private papers, from his first experience as a sub-prefect in Uzès to the prestigious prefecture of Bouches-du-Rhône, via the Ministry of the General Police, the French legation in Naples and the Imperial Senate, which constitute a precious collection for the historian. Our thesis, which is written with the perspective of a total biography, therefore aims to analyze his administrative, political and notabiliary trajectory from the census monarchies to the nascent Third Republic. We also intend to show how this deeply conservative, singular and yet ideal-typical notable who was committed to the monarchical regime mobilized his networks and his capital to build his career

Cette thèse propose d'étudier une source littéraire négligée : les poèmes et les feuilletons publiés dans les journaux de Bourbon et de Maurice de 1817 à 1848. Après le dépouillement des deux presses, après la sélection des œuvres et leur rassemblement dans deux annexes littéraires, l'auteur en propose ses commentaires historiques et littéraires. Les Bourbonnais et les Mauriciens cultivés réagissent aux changements politiques qui les secouent en composant des poèmes subtils. Or, la réforme majeure de ces décennies 1817-1848 demeure l'abolition de l'esclavage, progressive pour Maurice (1835 et 1839) et brutale pour La Réunion (1848). Ces riches documents dessinent une Histoire culturelle et littéraire, une Histoire de la Presse, une Histoire des élites ainsi qu'une Histoire politique des Îles-Sœurs. Ces poèmes permettent surtout une nouvelle Histoire de l'Abolition de l'esclavage dans ces colonies. Si certaines œuvres expriment les peurs et les rejets par les colons de l'abolition, d'autres textes livrent des opinions créoles, étonnantes de philanthropie. L'image de l'élite créole en est rénovée : ces colons de la première moitié du XIXe siècle se révèlent être cultivés, amoureux des métaphores et comparaisons, intéressés par l'Histoire.

Leo Strauss affirme avoir redécouvert l’art d’écrire oublié des philosophes du passé. Il s’agit d’une technique littéraire consistant en un discours de prime abord orthodoxe - c'est le niveau ou l'enseignement exotérique d'un texte -, mais qui communique « entre les lignes » la pensée véritable de l’écrivain, de nature hétérodoxe - c'est le niveau ou l'enseignement ésotérique. La lecture de tels auteurs requiert donc une herméneutique adaptée, permettant de saisir l’écart entre l’évidence de ce qu’affichent les écrits de l’auteur, et la vérité secrètement distillée derrière la lettre de ses écrits. Cette méthode de lecture est le point d’orgue de travaux entrepris par Strauss dès les années 1920. Elle est formalisée à la fin des années 30, et accompagne une mutation de l’écriture de l’auteur. Les travaux traitant de cette partie de l’œuvre du philosophe consistent généralement d’une part à critiquer sa clé herméneutique, en confirmant ou en infirmant sa pertinence, ou d’autre part à envisager la portée politique et philosophique de l’exo/ésotérisme. Les études s’attachant à comprendre la construction de ce prisme de lecture à travers le parcours intellectuel de Strauss demeurent sauf exception relativement parcellaires, et s’attachent à éclairer l’art d’écrire en le rattachant à certaines références. Les examens se focalisant sur la façon dont l’exo/ésotérisme se forme au fil du corpus straussien affleurent depuis quelques années, et c’est notamment au sein de ce champ de recherche que se situe la thèse. Au-delà, il s’agit de porter l’attention sur le propre style de Strauss, en se concentrant précisément sur la façon dont il conçoit et fait usage des catégories de l’exotérique et de l’ésotérique. La façon dont l’auteur s’en empare et le rôle qu’elles jouent dans l’économie de sa pensée peut renseigner quant à la façon de le lire et de le comprendre. Revenir aux sources de l’art d’écrire, examiner sa formation et observer son emploi par Strauss lui-même permet ainsi de donner un éclairage nouveau sur la thèse controversée de l’écriture entre les lignes des philosophes
Leo Strauss asserts having rediscovered the lost art of writing of philosophers of past. It is a literary technique consisting of a speech at first sight orthodox - it is the exoteric teaching or level of a text -, but which communicates "between lines" the real thought of the writer, heterodox in nature - it is the esoteric teaching or level of the speech. The reading of such authors thus requires an adapted hermeneutics, allowing to seize the gap enter the obvious fact of what show obviously the text of the author, and the truth secretly distilled behind the letter of its papers. This method of reading is the climax of works begun by Strauss from the 1920s. It is formalized at the end of the 30s, and appears with some modifications of the style of writing of the author.The studies dealing with this part of the work of the philosopher consist generally on one hand in criticizing his hermeneutic key, by confirming or by countering its relevance, or on the other hand to envisage the political and philosophic impact of the exo/esotericism. The studies attempting to understand the construction of this prism of reading through the intellectual course of Strauss remain allowing exception relatively fragmented, and attempt to highlight the art of writing by connecting it with certain references. The examinations focusing on the way the exo/esotericism forms in the course of the straussian corpus appear since a few years, and it is in particular within this field of research that is situated this thesis. Beyond, it pays attention on the own style of Strauss, by concentrating exactly on the way he conceives and makes use of categories of the exoteric and of the esoteric. The way the author seizes it and the role which they play in the economy of its thought can inform as for the way of reading it and understand his thought. Returning to the sources of the art of writing, examining its formation and observe its use by Strauss himself can give a new lighting onto the controversial theory of the writing between lines of philosophers

Esta tesis doctoral explora las traducciones de literatura en lengua inglesa producidas en el franquismo todavía comercializándose en la actualidad y analiza el impacto que ejercen en el lector contemporáneo. En particular se ha examinado la versión de Jane Eyre llevada a cabo por Juan G. de Luaces publicada por la editorial Iberia en 1943 y que Espasa Calpe ha sacado al mercado en 2011 en la colección “Austral”. A excepción de exiguas modificaciones estilísticas, las supresiones y los cambios retóricos de la versión de Luaces se mantienen en esta reciente edición, prolongando criterios traductológicos generalizados en la España de posguerra. El análisis comparativo entre la novela de Charlotte Brontë y la traducción ha revelado abundantes supresiones y modificaciones de aspectos relacionados con los roles de género, modelos familiares, religión e intertextualidad. Por otra parte, se han producido alteraciones de aspectos retóricos como el cambio del tiempo verbal, el modo narrativo, los apóstrofes al lector y el heterolingüismo. El análisis ha sido complementado mediante la utilización de una metodología teórica interdisciplinar que aglutina el enfoque cultural y la sociología crítica bourdieusiana en los estudios de traducción junto al examen paratextual y el análisis de la censura. Por una parte, la aproximación a la traducción como una práctica sociocultural ha resultado operativa para ofrecer una investigación más exhaustiva del producto final y también de las posibles causas de las modificaciones llevadas a cabo en la traslación. Por consiguiente, se ha estudiado el contexto histórico en el que influyen condicionantes específicos (poder, ideología, manipulación, intereses nacionales o religión) así como el entramado social en el que funcionan los agentes involucrados en el proceso de traducción (motivaciones personales y profesionales o posición en la estructura jerárquica del “campo”, entre otros). En segundo lugar, el examen de la censura presente en ambos contextos, institucional en el primero y económica en el segundo, junto con otros tipos de “manipulación”, ha servido para proporcionar una dimensión adicional a la interpretación sociocultural. El análisis paratextual se suma a estas perspectivas, ofreciendo información tanto sobre el objeto final y su presentación al público lector como sobre los discursos que circulan a su alrededor, que influirán en su recepción. La exploración de estos elementos ha demostrado la anacronía de esta versión sexagenaria y la distorsión de la obra más reconocida de la autora británica, distinguida con un notable grado de capital simbólico desde mediados del siglo XIX. En línea con el planteamiento bourdieusiano se ha inferido que en la comercialización de Jane Eyre de 2011 el principio heterónomo ha prevalecido a la adecuación del contenido en el contexto actual.
The ongoing production of translations produced during the Franco regime begs the question of what the contemporary reader makes of a text generated over seventy years earlier. The thesis centres on the 1943 translation into Spanish of Charlotte Brontë’s renowned Jane Eyre, the labour of Juan G. de Luaces, who had established a name for himself as a journalist, poet and writer of prose fiction in 1920s and 30s Spain. Following the Civil War, Luaces became the country’s most prolific translator of literary texts from English into Spanish. An analysis has been set up to compare the 1943 translation and 2011 version, which reveals how gender issues, family models, religion, together with other ideological or rhetorical features were modified or suppressed in order to adjust to the regime’s dictates. Both cultural and sociological theories applied to translation have been drawn upon whilst a paratextual assessment together with an examination of the impact of censorship, generated by both self and state, have created an interdisciplinary approach which substantiates the comparative analysis and ultimately accounts for the manipulations in the 1943 version, echoed in the 2011 publication.

Cette recherche a pour objectif d'analyser la posture difficile de l'intellectuel en butte au pouvoir et aux discours officiels. En choisissant deux auteurs emblématiques de ce combat, dont l'œuvre est marquée par la subversion idéologique, par la dissidence et par l'écriture de l'indicible, l'étude de cette thèse permet d'ouvrir des perspectives diverses sur chaque écrivain ayant subi le même contexte, dans les champs à la fois de la pratique littéraire et de l'histoire des idées. Il s'agit de deux figures de l'opposition : Mme de Staël et Sonallah Ibrahim, deux écrivains ayant vécu dans leur chair une persécution morale, déclinée sous la forme de l'exil et de la censure exercée par le pouvoir auquel ils s'opposent. C'est sous l'angle de la Subversion idéologique et formelle dans l'écriture de soi chez ces auteurs et dans une analyse pluridimensionnelle - littéraire, historique, politique et philosophique - que cette thèse étudie le paradoxe de la persécution morale, laquelle est à la fois répressive et féconde, tant sur le plan littéraire que sur celui de l'engagement de ces auteurs. Comment, dans un contexte de répression continue, ces auteurs imprégnés d'idéaux politiques (liberté, républicanisme, socialisme) et qui s'engagent et engagent par là-même leur intimité dans le combat, se retrouvent-ils bâillonnés par un pouvoir qui leur est contraire, hostile ? Les deux écrivains, porteurs d'une idéologie dont il s'agira de dégager les fondements, apprennent à composer avec la réalité. Et, à partir de cette persécution, se met en œuvre une démarche autobiographique donnant naissance à une écriture de soi implicite et déguisée, à une alchimie fondatrice et salvatrice, grâce à laquelle ils peuvent reprendre la parole en mettant en œuvre des stratégies littéraires telles que le déguisement, la distanciation, le non-dit et le silence. L'écriture devient une arme destinée à déjouer la censure, à critiquer et à dénoncer l'adversaire incarné chez les deux auteurs par l'image d'un Tyran. Ainsi, en étudiant la singularité de l'écriture de soi chez Mme de Staël et Sonallah Ibrahim, l'objectif de cette thèse est d'analyser les répercussions scripturales de l'exil, de la censure et de la dissidence sur les conditions de production et de diffusion des textes, et aussi sur les démarches mises en œuvre dans l'acte d'écrire lui-même. L'analyse porte donc sur la manière dont ces auteurs parviennent à témoigner de leur situation de persécutés, et affrontent celle-ci en convoquant des stratégies d'écriture de soi originales dont le but est d'exprimer une vérité indépendante, renversée et cachée, qui ne se découvre qu'au lecteur qui fait preuve de perspicacité. Le déguisement, la distanciation, le non-dit, l'ironie sont des marqueurs à la fois de la subversion idéologique, dans le sens où ils illustrent la portée dénonciatrice de textes qui témoignent de l'indicible, et aussi de la subversion formelle dans l'écriture de soi, en ce que cette écriture, chez Mme de Staël et Sonallah Ibrahim, se singularise par son anticonformisme en dépassant les règles de cette écriture, démontrant ainsi que l'écriture de soi est un genre hybride et en mouvement. Dans les deux cas, il s'agit d'une subversion, d'un retournement et d'un renversement propice à la confrontation de la volonté subversive de l'auteur avec la dimension esthétique de la littérature. Cette démarche est propice par conséquent au rôle phare auquel s'attachent ces auteurs, à savoir le souci de l'intérêt général, le souci d'exprimer ses réflexions politiques en vue d'éveiller la conscience d'autrui. C'est ainsi, en s'effaçant devant une cause morale qui les dépasse en tant qu'individus, que Mme de Staël et Sonallah Ibrahim manifestent le mieux le pouvoir véritable de la littérature
This research aims to analyse the difficult position of the intellectual in conflict with the power and official discourse. By choosing two emblematic authors whose work is marked by ideological subversion, by dissidence and by the writing of the inexpressible, the study of this thesis opens up various perspectives on each writer who has undergone the same context, in the fields of both literary practice and the history of ideas. The study focuses on two figures of the opposition : Mme de Staël and Sonallah Ibrahim, two writers who have lived in their flesh a moral persecution, declined in the form of exile and censorship exercised by the power they stand up to.It's from the point of view of the of ideological and formal Subversion of the self- writing (autobiography) of these authors and according to a multidimensional analysis - literary, historical, political and philosophical—, in this thesis, we study the paradox of moral persecution, which is both repressive and fruitful, both on the literary level and also on the commitment of these authors. In a context of continuous repression, how do these authors, imbued with political ideals (freedom, republicanism, socialism), engage and thereby engage their inner self in to an ideological and political struggle, find themselves gagged by a power that is contrary to them, hostile ? The two writers bearer of an ideology, whereof foundations are to be revealed, learn to come to terms with reality. And, from this persecution, an autobiographical approach is implemented, giving rise to an implicit and disguised self-writing, to a foundational and saving alchemy, to which they can tack back the word again through literary strategies such as disguise, distancing, unsaid and silence. Writing becomes a weapon intended to circumvent censorship, to criticize and denounce the adversary embodied in the two authors by the image of a Tyrant.Thus, by studying the singularity of self-writing of Mme. de Staël and Sonallah Ibrahim, the objective of this thesis is to analyse the scriptural repercussions of exile, censorship and dissent on the conditions of production and dissemination of texts, and also on the processes implemented in the act of writing itself. The analysis therefore focuses on the way in which these authors manage to testify their situation of persecution, and to confront it by summoning original self-writing strategies whose aim is to express an independent, inverted and hidden truth, which is only revealed to a reader with special insight. Disguise, distancing, unsaid, irony are markers of both ideological subversion, in the sense that they illustrate the denunciatory significance of texts which testify to the unspeakable, the inexpressible, and also of formal subversion in self-writing itself ; in this type of writing in the case of Mme de Staël and Sonallah Ibrahim, is distinguished by its non-conformism, by exceeding the rules of this type of the autobiography, thus demonstrating that self-writing is a hybrid genre and in a permanent movement and evolution. In both cases, it is a subversion and a reversal, a turnaround conducive to the confrontation of the author's subversive will with the aesthetic dimension of literature. This approach is therefore conductive and key to the leading role to which these authors are attached, namely concern for the general interest, the concern to express their political point of views in order to awaken the conscience of others. It is thus, by wiping themselves off before a moral cause that transcends them as individuals that Mme. de Staël and Sonallah Ibrahim shed a vivid light on the true power of literature

This thesis examines the lives of the deaf in late nineteenth century Ontario through a statistical analysis of a dataset from the 1891 Canadian Census. I examine the characteristics of the deaf as compared to the hearing population of Ontario in terms of age, sex, marital status, occupation and geographical distribution. Though there are many statistical differences between the deaf and hearing populations, I am able to show how the availability of a formal education for the deaf in the form of the Ontario Institution for the Deaf and Dumb in Belleville, Ont, had begun to minimize the effects of these differences. Education also allowed for the creation of a socially active Ontario deaf community, held together by the Ontario Deaf-Mute Association and the Ontario Mission for the Deaf.

Defence date: 16 December 2005
Examining board: Prof. Raffaele Romanelli, Università di Roma <> (supervisor) ; Prof. Peter Becker, Institut für Neuere Geschichte und Zeitgeschichte, Universität Linz (co-supervisor) ; Prof. Matthew H. Edney, University of Southern Maine, Portland ; Prof. Pedro Tavares de Almeida, Universidade Nova de Lisboa
PDF of thesis uploaded from the Library digitised archive of EUI PhD theses completed between 2013 and 2017

Dissertação de Mestrado em Estudos Portugueses Multidisciplinares apresentada à Universidade Aberta
A substituição de Salazar por Marcelo Caetano no poder ocorre num momento de crise social e política agudizada pela guerra colonial. A “Primavera Marcelista” com as falsas esperanças que criou contribui para tornar mais prementes os sentimentos de revolta e frustração de um número sempre crescente de cidadãos que, cada vez mais abertamente, contesta o sistema e se alia à oposição. Os ecos das mudanças que ocorrem no resto do mundo repercutem-se em Portugal, sobretudo entre a jovem geração, em particular nos meios estudantis. Aí nasce e se desenvolve um movimento artístico-cultural de contestação que, não se esgotando na música popular, tem nela a sua expressão mais visível. Novos cantores com novas propostas de música, nova postura e, sobretudo, com um discurso diferente, popularizam-se e repudiam a música ligeira em voga e quem a representa. Este repúdio estará na origem de um confronto a que chamei “Guerra de Cantigas” e constitui o objecto de estudo deste trabalho. A principal questão que se coloca nesta pesquisa é saber quais os valores que o discurso musicado de cada um destes grupos transmite. Procurei também compreender e retratar o contexto socio-político em que se desenvolve, para melhor apreender o fenómeno e responder a outras questões subsidiárias como o papel desempenhado pela indústria discográfica e os media, a origem social de cada grupo e os objectivos que pretende alcançar. Para tal, utilizam-se como fontes de análise os textos das cantigas e das críticas e comentários da imprensa especializada e dos diferentes actores envolvidos no processo.