Tesi sul tema "1819-1880"
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Law-Viljoen, Bronwyn. "A hermeneutical study of the Midrashic influences of biblical literature on the narrative modes, aesthetics, and ethical concerns in the novels of George Eliot". Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002279.
Testo completoFontes, Janaina Gomes. "George Eliot : a maternidade ressignificada". reponame:Repositório Institucional da UnB, 2014. http://repositorio.unb.br/handle/10482/15531.
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O presente trabalho objetiva analisar o tema da maternidade nos romances da escritora inglesa do século XIX Mary Ann Evans, que publicou sua obra sob o pseudônimo de George Eliot. Embora a maternidade seja um tema constante em sua produção ficcional, ela não tem sido suficientemente explorada nos inúmeros estudos críticos que identifiquei sobre a obra da escritora. O foco desses estudos quase nunca se volta para suas personagens femininas, para suas experiências, apesar de os romances de Eliot nos apresentarem uma rica variedade de mulheres de diversas classes sociais da sociedade vitoriana, com diferentes e complexas experiências, inclusive a da maternidade. Eliot, que optou por não ter filhos, retrata mães em diversas situações, apresentando desde aquelas mulheres que exercem o papel de mães tradicionais, até mulheres que se tornam transgressoras dos valores da época e desafiam esse papel. Objetivo analisar a representação da maternidade em seus sete romances – Adam Bede (1859), Silas Marner (1860), The Mill on the Floss (1861), Romola (1863), Felix Holt, The Radical (1866), Middlemarch (1874) e Daniel Deronda (1876) – desenvolvendo novas leituras de sua produção ficcional, a partir da perspectiva dos estudos feministas e de gênero. Com esse estudo, espero contribuir para novas perspectivas sobre esse tema e para a problematização e desconstrução de valores e mitos patriarcais. ______________________________________________________________________________ ABSTRACT
The present work aims to analyze the theme of motherhood in the novels of the 19th century English writer Mary Ann Evans, who published her writings under the pseudonym George Eliot. Although motherhood is a recurrent theme in her fictional production, it has not been sufficiently explored in the innumerable critical studies I identified about her work. The focus almost never is on her female characters, on their experiences, though Eliot’s novels present a rich variety of women of diverse social classes of Victorian society, with different and complex experiences, including motherhood. Eliot, who opted against having children, portrays mothers in different situations, presenting those women who perform the role of traditional mothers and women who become transgressors of the values of the epoch and defy this role. I intend to analyze the representation of motherhood in her seven novels – Adam Bede (1859), Silas Marner (1860), The Mill on the Floss (1861), Romola (1863), Felix Holt, The Radical (1866), Middlemarch (1874) e Daniel Deronda (1876) – developing new readings of her fictional production, from the perspective of the feminist and gender studies. With this study I hope to contribute to new perspectives of this theme and to the problematization and deconstruction of patriarchal values and myths.
Koo, Seung-Pon. "The Politics of Sympathy: Secularity, Alterity, and Subjectivity in George Eliot's Novels". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12145/.
Testo completoHenri-Lepage, Savoyane. "Traduire les voix dans The mill on the Floss de George Eliot". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81495.
Testo completoD'Albert-Durade's translation evacuates the linguistic diversity in order to shape the novel to the requirements of the target literary polysystem. Molitor, by homogenising the eliotian prose, turns the canonised English novel into a French popular novel. Jumeau, for his part, by rehabilitating the peasant sociolect in his translation, marks the beginning of a rehabilitation movement of George Eliot in France. This study, through the analysis of the voice of a few key characters, attempts to follow the French "translative journey" of The Mill on the Floss.
Tang, Maria. "Les fils du texte : trame et dechirure dans les romans de george eliot". Paris 3, 1996. http://www.theses.fr/1997PA030004.
Testo completoIn a recurrent metaphor, george eliot associates the symbolic activity of the writer with that of the weaver. Yet her novels are informed not only by the traditional analogy between writing and weaving, but also by the transformation and problematisation, the "entanglement", of this received metaphor of artistic creation. The etymological bond between the textile and the textual, and the underlying cultural assumptions common to the structure and construction of both, invite an exploration of the motif of the thread as a paradigm of narrativity. Part one studies the heuristic function of the thread as an instrument of narrative investigation in the fiction of george eliot. Part two focuses on some of the structural variants of the thread in eliot's novels, such as the river, the crowd and the eliotian notion of sympathy. The analysis of "sympathy" discerns a preference for affiliation over filiation in the novels, and this undermining of filiation and of genealogical structures in general is the subject of part three. Finally, part four examines the recurrent imagery of the body lacerated, divided and cut asunder as the expression of the negativity which is constitutive of the act of writing and representation
Routier, Hélène. "D’une esthétique métakitsch sur la scène contemporaine : évolution de la notion de kitsch et son usage au second degré dans des mises en scène d’opérettes de Jacques Offenbach au XXIe siècle". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA005.
Testo completoModern live shows tend to be light and fun affairs which integrate with bad taste and popular culture. Some stagings, which possess an undeniable artistic value, have emerged with a tone that one could call kitsch. According to Hermann Broch, kitsch is the "anti-art". This contradiction arises because, as Susan Sontag and Guy Scarpetta have demonstrated, when kitsch is considered at a distance, with irony, it can be considered art. To call a show kitsch in a non-pejorative manner, and in order to understand the manner of this reversal, one must first define kitsch. Based on the definitions of this notion by thinkers like Walter Benjamin and Clement Greenberg and the descriptions of the properties of kitsch by Abraham Moles and Christophe Genin, this dissertation will notably end with the role of the self-reflexive process of metatheatre. This allows kitsch, in identifying it as such, to become a tool for the stage that produces an aesthetic that we call metakitsch. In terms of concretely defining the stakes, the effects and the limits of this aesthetic, the operetta has proved to be the most suitable theatrical genre. The second part of this study is centered, on the one hand, on four works by Jacques Offenbach presented by the same director, Laurent Pelly, and on the other, on a comparative analysis of four representations of La Belle Helene by Offenbach, presented by different directors. It will emerge that the use of kitsch, which offers a great deal of freedom to directors, produces spectacles that are often ironic, even caustic, hybrid, eclectic and playful. The use of kitsch, of anti-art in art, seems to meet the public's need for something new
Boulerial, Leila. "Mise en scène de l'acte et morale de la personne dans les romans de George Eliot". Paris 3, 2001. http://www.theses.fr/2001PA030087.
Testo completoIn order to reveal the mechanisms directing thoughts and acts, George Eliot presents characters in her novel which seem at first sight to be sheltered from the misfortunes of chance and the unexpected. Owing to numerous unpredictable causes of change, the peacefulness of the caracters'lives is disturbed. Whether they like it or not, they are forced to act. It is only at this cost that they are able to mark themselves out from the society they belong to. Their acts are shaped by chance, heredity, their social milieu and also their free will. Then comes the questioning of their responsibility with regard to what they have undertaken, deliberately or not. It is precisely the consequences of their acts which confirm t eir responsibility. .
Henchey, Karen. "The keen, settled mind : the language of the citizens in George Eliot's fiction". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66141.
Testo completoVitaglione, Daniel. "George Eliot and George Sand : a comparative study". Thesis, University of St Andrews, 1990. http://hdl.handle.net/10023/15069.
Testo completoGoninet, Philippe. "La collaboration Meilhac - Halevy - Offenbach". Tours, 1994. http://www.theses.fr/1994TOUR2042.
Testo completoJumeau, Alain. "George eliot, ses personnages et son lecteur : genese d'une fiction (1857-1861)". Paris 3, 1987. http://www.theses.fr/1987PA030064.
Testo completoMarian evans, the translator of strauss and feuerbach, the editor of the westminster review, a radical publication, chose the male pseudonym of george eliot to become an author of fiction. But the present work is concerned with another fiction : the relationship between "george eliot" (a fictitious person created by the pseudonym and reinforced by the presence of a male narrator), her characters (mere artifacts) and her reader (a reader in the text). We begin with the publication of scenes of clerical life and end with that of silas marner. These five years of intense and continuous production for george eliot can be regarded as the genesis of a fiction, during which she develops a strategy of communication with her reader. This strategy is at first naive and awkward up to adam bede, then, more effective in the mill on the floss, and quite controlled in silas marner. The image of the narrator begins to change with the mill on the floss. After the sexist discourse of the beginning comes an androgynous discourse. Moreover, the narrator no longer claims that his narrative reflects real life. He begins to acknowledge its fictional nature. However, he continues to take the reader back to the past. And feuerbach's humanism still influences his vision. George eliot's fiction-writing, following upon her humanist translations, can be seen as a substitute for her lost faith. Having critically examined holy writ, she is aware of the holiness of writing from a humanist point of view
Nikkila, Sonja Renee. "Pseudonymity, authorship, selfhood : the names and lives of Charlotte Brontë and George Eliot". Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/17556.
Testo completoSeichepine, Marielle. "Le temps dans les romans de George Eliot". Paris 4, 1996. http://www.theses.fr/1996PA040123.
Testo completoMy aim is to study time in all George Eliot’s novels. The novelist actually appropriated the organicist philosophy based on continuity and progressive development. Time in her work is sometimes mythical and static, but is generally organic natural history) and it is also what the philosopher Paul Ricœur would call "historic" (man gets aware of the importance heritage). For the individual, time is synonymous with nostalgia as well as evolution or regeneration through suffering. George Eliot both clings to tradition and wishes for social, economic, political and scientific progress, but she is interested in her fellowmen's everyday life. As regards her characters, some of them suffer from the gap between private public time, others enjoy the present and prepare the future, others still are faithful to the past (through biological, and social ties). Man is submitted to cosmic time, but he also attempts to transcend it through creation and visions. La not least George Eliot challenges the conventions of temporal continuity in fiction. The reader therefore has to cope with more dynamic narrative structure, and in doing so he anticipates the twentieth-century reader
Canton, Licia 1963. "The fate of the fallen woman in George Eliot and Thomas Hardy /". Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65544.
Testo completoFavrot, Matthieu. "Poétique comparée du vers et de la phrase mélodique dans La Vie parisienne d'Offenbach". Paris 4, 2004. http://www.theses.fr/2004PA040128.
Testo completoIn this work, we want to show the originality of the melodic language of Jacques Offenbach (1819-1880), from the analysis of his opera bouffe La Vie parisienne created in 1866 at the Palais-Royal Theater. The stylistic perspective however doesn't stop at the study of the melodic line, at the statement of features or idiomatic shapes but tends to take out a global net of significations. Text and music are considered simultaneously in a comparative poetics : we examine the concordances, the discordances or the conflicts between the verse and the melodic phrase. The former is replaced in its poetic and dramatic context - the strophe or a fixed form - and the latter is apprehended as a structure based on an harmonic teleology, on a cadential interaction between its two members. We get interested too in the rhythmic organisation of the verse, separated by the caesura into two hemistichs and in the motivic organisation of the melodic phrase, according the scheme pickup notes/accent/desinence. Our conclusions not only allow us to determine in which measure Offenbach was preoccupied by the prosodical and metrical problems but also to confront the working of the musical discourse with the one of the poetic discourse, in the particular context of La Vie parisienne and in general
Sullivan, Lindsay M. "'The ethics of art' : incarnation, revelation and transcendence in the aesthetics and ethics of George Eliot and M.M. Bakhtin". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14748.
Testo completoJougan, Sylvie. "La stratégie de l'indirection dans l'oeuvre romanesque de "George Eliot"". Paris 3, 1999. http://www.theses.fr/1999PA030017.
Testo completoThis thesis analyses three novels in chronological order : adam bede, the mill on the floss and middlemarch. For marian evans to have chosen a pen-name, and what is more a masculine penname, + george eliot, ; reveals a strategy of double personality. Such strategy seems meant to serve a double purpose : the distance separating the woman producing the fiction in the third person and the (masculine) enunciator allows for revelation (sometime even for selfrevelation) as well as for silence. Thus, we can perceive a hidden autobiographical content in each of the three novels, especially in the mill on the floss. The jamesian concept of + indirection, ; of obliquity, seems to be of particular relevance, not only to the content, but also to the form of the three novels ; our approach is therefore essentially a narratological one. Thus, in each of the three novels we study indirectness from three different angles. The first angle to be examined is indirectness as a form of + self-quotation ; on the part of the narrative when the interconnexion of the different episodes reveals a single thematic + matrix. ; another aspect we explore is indirectness as a gap - sometimes barely perceptible, sometimes fully discrepant and discordant - between narrative and + discourse. ; that is to say, there exists a gap between the discourse of the narrator-as-historian and the discourse of the narrator-as-orator. Lastly to be considered is indirectness as intertextuality, as the 'resonance' between + george eliot ; 's texts and other texts. It seems to us that these three forms of indirectness in the three novels steer the reader towards the significance of the texts
Wright, Catherine. "The unseen window : 'Middlemarch', mind and morality". Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/15066.
Testo completoPetit, Marquis Aude. "Les mères et la maternité dans les œuvres de George Eliot et d'Elizabeth Gaskell". Thesis, Nantes, 2019. http://www.theses.fr/2019NANT2027/document.
Testo completoIn the Victorian age, more than a personal experience or a social and biological reality, motherhood is a myth, as Roland Barthes defines it. This myth originates from the various types of ongoing discourses from different domains such as medicine, social sciences and literature that give shape to it. Despite the fact that motherhood, as a myth, is a historical construct, since it is produced by topical discourses, essentialist readings of the female body tend to naturalize this myth. This leads to transforming it into a stable and universal reality, so that it becomes difficult to question it, other than in terms of pathological differences, as compared to the norm. This vision of motherhood which stems from these discourses is both an ideological and an idealised construct, based on the middle classes’ way of life, but presented as the norm to follow for every woman. But is it really the norm? This ideal is said to be unvarying and universal (but is it?), despite its undeniable remoteness from the many singular experiences of motherhood in the Victorian age. This thesis aims at exploring how George Eliot and Elizabeth Gaskell write about motherhood and question the Victorian maternal ideal in the following works: “Lizzie Leigh”, Ruth and Wives and Daughters for Elizabeth Gaskell; Adam Bede, Silas Marner and Daniel Deronda for George Eliot. Close readings of their works reveal how these two female writers address the theme of motherhood to voice their own viewpoints concerning the role and place of women and mothers in the Victorian society. The way they write about the humdrum daily routine of these mothers also serves aesthetic and stylistic purposes. More than as mere topic of interest, motherhood is perceived as being the basis of what can be called a maternal writing style
Donada, Jaqueline Bohn. ""The tree that bears a million of blossoms" : a revaluation of George Eliot's Romola". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/69843.
Testo completoLooking back on her own novel several years after its composition, George Eliot said of Romola that it had been the novel she had written with her best blood, thus indicating a predilection for it among her other books. A survey of her critical fortune, even if a quick one, reveals that Romola is the least popular of her novels. Whereas a few contemporary critics, such as Henry James and Robert Browning, have published enthusiastic reviews, the general tone of these opinions is of disappointment. The most common reason presented is that George Eliot’s fourth novel departs too much from the reality the author knew so well and fails to represent truthfully the zeitgeist of Florence and Florentine people at the close of the fifteenth century. The result of such failure would be a novel constructed out of intellectual effort rather than poetic imagination, with an unnecessary flight to the past and foreign setting which produced improbable events and characters. The clash between George Eliot’s appraisal of her book and the general opinion expressed in its critical fortune is noteworthy and provides the initial motivation of this thesis. Summarising the bulk of criticism about Romola, professor Felicia Bonaparte states that George Eliot never disappointed her readers as much as she did with Romola. The goal of this work is to investigate what I consider to be the main reason for this disappointment: that in Romola, more explicitly than in her other novels, George Eliot was experimenting with the form of the novel and stretching its limits to accommodate formal conventions and aesthetic effects until then generally thought to belong almost exclusively to other genres. The immediate effect of this experiment is a reconfiguration of realism and of the interplay between literary genres which looked like an unselective assortment of loose elements. In Romola, we see George Eliot’s writing progressing towards a more modern kind of novel. This work will have been successful if it can coherently argue that, rather than a random mixture of conventions Romola is a harbinger of the modernist novel. The seminal work of Georg Lukács in The Theory of the Novel sheds some light on the potential of Romola for containing most genres within it and Franco Moretti’s collection The Novel provides valuable critical and theoretical support for this thesis at points in which blanks are left by Lukács’s book. Felicia Bonaparte’s work on George Eliot and George Levine’s studies on realism contribute valuably to the interpretation of English nineteenthcentury that unfolds in the present work.
Schweers, Ellen H. "Moral Training for Nature's Egotists: Mentoring Relationships in George Eliot's Fiction". Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2868/.
Testo completoPimentel, A. Rose. "'The divine voice within us' : the reflective tradition in the novels of Jane Austen and George Eliot". Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/2583.
Testo completoCosta, Monica Chagas da. "George Eliot, o nome na capa de The mill on the floss". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/143597.
Testo completoThis work’s objective is to analyze the concept of authorship in the context of George Eliot’s production. In order to do so, two relevant aspects of the author’s activity were defined. The first one is its empirical existence, located within certain practices, as pointed by Martha Woodmansee, Michel Foucault, Marisa Lajolo and Regina Zilberman. The second one, its intratextual operation, as a discoursive instance, distilled from Emile Benveniste’s enunciative theories and from the theoretical propositions of Wayne Booth, Umberto Eco and Wolfgang Iser. These elaborations allowed the development of two analyses: on one hand, of Mary Ann Evans’ (George Eliot’s) trajectory and her role as a late nineteenth century writer, and, on the other, of the novel The Mill on the Floss (1860), in which George Eliot’s authorship is perceived at work. It is noticeable, through the reconstruction of the author’s life, her own reflection on the meaning of authorial practice as a social mission. It is also remarkable, through her novel, the performance o an author figure which organizes the text and directs its reader’s interpretations to determined directions.
Drouet-Richet, Stéphanie. "Les marges du regard dans la fiction eliotienne". Paris 3, 2000. http://www.theses.fr/2000PA030127.
Testo completoLima, Rodrigo Jorge de [UNESP]. "Política externa brasileira em tempos de transformação: modernização e inserção internacional (1889-1912)". Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/93732.
Testo completoA presente pesquisa pretende analisar as imbricações entre a agenda de política externa e aspectos de transformação no Brasil, tendo em vista o cenário político e econômico e o ambiente intelectual do país na virada do século XIX para o XX. Para tanto, busca-se compreender a modernização como um valor que integra a atividade diplomática no que tange aos objetivos de política externa e, portanto, a inserção internacional do Brasil nas primeiras décadas republicanas
This research aims to analyze the intersection between the foreign policy agenda and aspects of transformation in Brazil, considering the political and economic scenario and the intellectual environment of the country at the turn of the nineteenth to the twentieth century. It seeks to understand the modernization as a value that shapes diplomatic activity, in light of the foreign policy objectives and, therefore, the international insertion of Brazil in the first two decades of the Republic
Hooker, Jennifer. "From paternalism to individualism : representations of women in the nineteenth century English novel". Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/546.
Testo completoToussaint, Benjamine. "Religion et humanisme dans l'œuvre d'Elizabeth Gaskell et de George Eliot". Paris 4, 2002. http://www.theses.fr/2002PA040154.
Testo completoElizabeth Gaskell was a Unitarian while George Eliot shared Feuerbach's belief that God is but a projection of man's nobler self. But Unitarianism is a rational, tolerant and hardly dogmatic creed, and this gave Gaskell a pragmatic approach to religion. She was not concerned with the afterlife, but with the way man could improve his neighbour's lot on earth by following the Lord's teachings. On the other hand, Eliot's humanism was strongly influenced by Christian tradition; she wanted to give back to man his true place at the centre of religion, while preserving his capacity to venerate sacred ideals. Though their religious views differed, the two novelists had a similar vision of humanity and the values that should guide people through their existence. They both insisted on the superiority of feminine ethics - as more representative of Christian compassion and mercy - over the patriarchal values which, they thought, were too much influenced by the harsh spirit of the Old Testament
Daley, Nirmala. "A study of the suitability of a modern African novel such as "Things fall apart" by Chinua Achebe for black pupils in Ciskeian schools in contrast to a prescribed novel such as "Silas Marner" by George Eliot". Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1003669.
Testo completoBentley, Colene. "Constituting political interest : community, citizenship, and the British novel, 1832-1867". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36875.
Testo completoAyang, Ondo Marie-Madeleine. "La notion de bien-être physique et moral : relation et interaction dans l’œuvre de George Eliot". Thesis, Bourgogne Franche-Comté, 2020. http://www.theses.fr/2020UBFCH010.
Testo completoThis dissertation analyzes the concept of well-being in the writings of George Eliot in order to account for the question of the individual in his/her relationships with the other and others such as animals and the environment so as to obtain physical, moral as well as personal and social well-being along the resulting ethics and aesthetics. For the novelist, well-being finds its source in the individuals’ suffering in British nineteenth-century society. Conceiving well-being from Eliot’s point of view therefore means giving priority to individual relationships and interactions. This relational vision of well-being amounts to considering the social regularities related to community life, the emotional and symbiotic bond of the individual with the flora and fauna nature, as well as his uniqueness and that of the environment in which he lives
Parkhurst, Brittany. "The Promise of an Ambiguous Self: Eradicating an Essentialist Femininity through Deceit in the Victorian Novel". Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/788.
Testo completoBachelors
Arts and Sciences
English Literature
Roberts, Timothy Paul English UNSW. "Little terrors:the child???s threat to social order in the Victorian bildungsroman". Awarded by:University of New South Wales. English, 2005. http://handle.unsw.edu.au/1959.4/23930.
Testo completoMunoz, José. "Franz Von Suppè et l'opérette viennoise à l'ère du libéralisme (1860-1880)". Thesis, Metz, 2007. http://www.theses.fr/2007METZ007L/document.
Testo completoThrough the process of secularization which the philosophers of the Frühaufklarung have contributed to, the ethical and political area of middle-class theatre progressively develops. A new class, that's to Say, the rising middle class in the second half of the 18th century, calls for its own amusements. Liberalism and Viennese operetta, especially its creator Franz von Suppè represent the context of the investigations of this thesis. The first part of the thesis describes the musical and theatrical forms pnor to operetta and sets up the elaboration of ideological and aesthetic concepts with derence to the birth of Liberalism and its repercussions upon theatre and music. indead, the Austnan liberalism (1860-1879) exerts an influence on mentalities and arts. Maybe operetta is the most characteristic manifestation of this transfer. The second part of the thesis deals with the sociopoliticai and musical analysis of two operettas from Franz von Suppè who is considered to be the father of the classical Viennese operetta : Die schöne Galathee (1865), Boccaccio (1879). Political and economic theuries of Liberalism, as well as its deviations form the background in which the advent of the Viennese operetta takes place, musical and theatrical expression of the rising middle class. The main lines of reflection are the federating and socializing roles of the Viennese operetta in the midst -of the city, women's emancipation, anti-Semitism, anticlericalism, arnong other themes
Kandji, Mamadou. "Roman anglais et traditions populaires de Walter Scott à Thomas Hardy". Rouen, 1988. http://www.theses.fr/1988ROUEL047.
Testo completoAgarian popular culture is an important component of the nineteenth-century english novel. This thesis is an attempt to map out the manifestations of customs, beliefs and popular superstitions, in the english novel, from Walter Scott to Thomas Hardy. The first chapter of this dessertation deals with the cultural heritage. Next, follow the chapters on Scott, Emily, Charlotte Brontë, George Eliot and finally, Hardy who availed themselves of the popular culture they had known and observed, in order to give substance and depth to their fiction. Scott taps the customs, beliefs, of the scottish highlands aiming, in so doing, at the rivival of ancient popular culture. Whereas the Brontë sisters approach it differently. Charlotte is more sensitive to fantasay, fantasmagoria and mental issues ; Emily deals with the supernatural germane to the ballad tradition (fairies, ghost-lores, witchcraft and demonology). The second part of the dissertation reviews George Eliot and Hardy as regional novelists who explore the folklore and local customs of their respective midlands and dorsetshire. In george eliot's treatment, satire and irony take the lead over romanticism. In Hardy’s works one can observe the richness and depth of dorsetshire folklore : popular feasts, fair-grounds, superstitions, and sundry customs and beliefs are handled vividly. As a conclusion, the thesis states that the rise of the english novel is closely related to the genesis of folklore scholarship and popular culture
Murray, E. M. "The significance of utterance and silence in the shift from rebellion to continuity in George Eliot's novels". Thesis, 2014. http://hdl.handle.net/10210/9383.
Testo completoThis study investigates George Eliot's approach to the existential dilemma of her times, the collision of the individual with the general. It takes into account the historical context in which political radicalism and religious controversy threatened the stability and continuity of the individual and of society. The novels fictionalize the philosophical ideas expressed in earlier writings in terms of the individual experience of the characters. Each of the eight chapters is devoted to one ofthe novels and is discussed in chronological order of publication. Reference is made to George Eliot's letters and essays where relevant. The affinities of George Eliot with Auguste Comte and with Wordsworth are also considered. The nature and extent of a protagonist's rebellion is defined as it appears in each specific novel. The forms of active and passive rebellion are diverse. An utterance, usually an extended speech act made in complete sincerity, is a visible sign of the shift of consciousness which occurs when the individual moves from a state of rebellion to one of continuity of being. The two main categories of utterance are those of confession and those of commitment. The continuity of being towards which the individual strives consists of a belief in the innate goodness of the individual and trust in another sympathetic human being to release the good. Chapter One, Scenes of Clerical Life and Chapter Two, Adam Bede, emphasize the ceI,ltral role of a confessional utterance in the attainment of coherence of self. Chapters Three to Six focus on the novels published between 1860 and 1866 that are marked by key utterances of commitment and belief, arising from a sympathetic feeling towards another person. In The Mill on the Floss, Silas Marner and Romola, the pervasive Antigone theme is evaluated in which there is an opposition of two equally valid claims proposed by characters uttering contrary points of view in their expression of a rebellion against accepted norms. With the novel Felix Holt in Chapter Six, a political dimension appears and is further emphasized in the criticism of contemporary mores of the last two...
Tridgell, Susan. "Treatment of emotion in the novels of George Eliot". Master's thesis, 1997. http://hdl.handle.net/1885/145286.
Testo completoLynn, Andrew. "Minstrels in the drawing room: music and novel-reading in Johann Wolfgang von Goethe, Walter Scott, and George Eliot". Thesis, 2014. https://doi.org/10.7916/D8PV6HF5.
Testo completoGibson, Lindsay Gail. "Luminous Pasts: Artificial Light and the Novel, 1770-1930". Thesis, 2016. https://doi.org/10.7916/D8Z89CDT.
Testo completoGlovinsky, Will. "Unfeeling Empire: The Realist Novel in Imperial Britain". Thesis, 2021. https://doi.org/10.7916/d8-4cyr-hb47.
Testo completoAdkins, Lorraine Dalmae. "The self in and through the other : a Bakhtinian approach to Little Dorrit and Middlemarch". Thesis, 2013. http://hdl.handle.net/10413/10621.
Testo completoThesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2013.
"The unfolding of self in the mid-nineteenth century English Bildungsroman". 2003. http://library.cuhk.edu.hk/record=b5896118.
Testo completoThesis (M.Phil.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves 106-112).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.v
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Passionate Impulses in Childhood and Adolescence --- p.26
Chapter Chapter Three --- Moral Dilemmas in Love --- p.52
Chapter Chapter Four --- The Ultimate Return --- p.75
Chapter Chapter Five --- Conclusion --- p.99
Notes --- p.104
Bibliography --- p.106